C ATALO GUE

THE PIC T URE S

IN THE GALLERY 01"

ALLEYN’

S COLLEGE OF GOD’

S GIFT

D ULW I C H

WITH BIO QRAPHIC’AZ NO TICES“

O F THE PAINTERS

J'

s . 4's .

Revised and. completed to the present time by

S ir Edward C ook

(Author of A.Popular Handbook to the National Gallery

[4162 «m e: of the fiohm om]1

,)l'

\ l !‘

M r

LO NDO N

PRINTED BY DARLING AND SO N,LTD , BACON STREET, E.

—f

LIST O F co'

LL’EGE GO VERNO RS?

19 14 .

DULWICH C O LLEGE.

‘

0haiq~man .—*THE RIGHT HO N . L O RD CHEYLESM O RE,

Deputy Chairman—

*H. J . POWELL ,E SQ .

Sm EDWARD BUSK , M .A. ,

LL .B .

A

R. COATS CANE , Esq .

*PR.0F Esson F . C LOWES ,D .Sc .

A. GRAY , Esq . ,K .C .

l‘EDWIN T . HALL , Esq .

Sm ARTHUR HIRTZEL .

K .C .B.

H. C . KNO TT , Esq .

*W. W . O ULESS , ESQ . ,RA .

L . L . PRICE , Esq .

*R . B. RANSF O RT),Esq ,

J .P.

C llc

'

rlp fg‘

o‘file Governorsm s. W. B ICKELL

, ESQ .

The ndm'ws ofHm members of thn Pictu re Gallflry (‘mv-miftw

(urn ma rked

D . C . R ICHM OND , Esq . ,

O .E ~

THE R IGHT REV . THE L O RD

B ISHOP O F SO UTHWARK .

EVAN SP ICER . ESQ . ,D .L . ,

J .P.

DR . J . J . H. TEALL,F .R.S .

*H. Y . THOM PSO N ,Esq ,

(C hairman of the GalleryC ommittee).

*M . WALLAC E, ESQ . ,

J .P.

A. J . WALTER, Esq ,K .C .

*G . C . WHITELEY . ESQ .

C O NTENTS.

Introduction

The History of the GalleryIts Artistic and Libera1y Associations .

Its Special F eaturesPi ev1ons C atalogues and bescriptionsArrangement of the Present C atalogue

Plan of the Gallery

C atalogue of the Pictul es with Biographical Notices ofthe Painte1s

C ontents of Show- cases in the Gallery

List of the C ollege Plate

AppendixA.

— Extracts from the C ata log ues of Noel Desenfans

(1786 ,B.

— Will of Noel Joseph Desenfim s (1803)C .

— Sir P F . Bou1 -

geo1s s L etter to the Duke ofPortland (January, 1810)

D .— Ext1act from Will of Sir P. F . Bourgeois(December,

E .- Extract f1om Will of Mrs . Desenfans (1814)

Index

I. Alphabetical L ist of Painters with the Subjects ofthe ii Pictures

II. Nume11ca1 L ist of Pictures Painte1s, and Mode ofAcquisition

27930

PAGE

xxxiii

xxxvi

INTRO DUC T IO N

T O THE

C ATALO GUE.

With the History of the Dulwich Gallery.

THE number of pictures described in the present edition of theC atalogue is 594 . O f these , Nos. 548— 594 were not included inthe preced ing edition . The Numerical Index at the end(p . 347) states (so far as can be ascertained) how and wheneach picture in the C ollection was acquired . In the pages herefollowing

,some general account is given , successively , of the

history of the collection ; of the artistic and literary assoc iationsof the Dulwich Gallery ; of its special features ; of previouslypublished catalogues or descriptions ; and lastly, of the arrangement of the present C atalogue .

The collection of pictures now placed in the Dulwich Gallerywas not made

,but grew . The larger part of the collection

g rew out of a succession of events which links together in a

curious way the ear ly annals of the British Stage,the partition

of Poland , and the family into which the great Sheridanmarried . The Gallery , like many British arts , industries , andinstitutions, owes a great deal to foreign elements . Its largestbenefactors were a F renchman and the son of a Swiss watchmaker .

The history of the Gallery be ins with the foundation of

the C ollege of God’s Gift at Dulwic by Edward Alleyn

,actor

INTRODUCTION

and theatrical manager , in the early years of the Sevente enth?C entury . He died in 1626 , and included in his bequest to theC ollege a few pictures . These (28 in number) are of no artistic1ner1t, being for the most par t reproduct ions of conventionalportraits of kings and queens . No list of the picturesbe queathed by the F ounder is extant , but his D iary, preserved111 the archives of the C ollege, enables many of them to beidentified (see the note s on Nos . 521— 536

,537 and they

included , in all probability, the portrait of himself,which is

described, with some account of his career,in the C atalogue

(No .

The next be ques t of pictures was made by W illiamC artwright, a, bookseller and an actor of repute in a late rperiod of the same century . His collection originally con sistedof 239 pictures . A catalogue of them

,in the handwriting of

C artwright himself, is preserved in the C ollege archives, buttwo pages, containing pictures numbered 186 to 209, are

missing . It is illite rate and ofte n inaccurate,but its quaint

descriptions, with the price s paid for the pictures, and in manycases the names of the painters

,are highly interesting .

Wherever the pictures can be identified, C ar twright’ s descrip

tions are quoted in the present C atalog ue . O f the 239 picturesin C artwright ’ s catalogue

,some were given away by him in

his Iife- time (as appears from his own notes) ; others (46 , asal leged by the C ollege) were appropriated, by his servan ts afte rhis death, and a, few were probab ly destroyed

,

” saysDr . C arver , on account of their grossness, or have been lostthrough decay or neglect in past years .

” Particular s of

C artwright’ s bequest,which included many books of great

theatrical interest, and 390 piece s of broad old gold,

” arerecorded in the C ollege Audit Book under date September 4 ,1688 . In The j oint and severall Answers of F rancis J ohnsonand Jane, his wife, defendants, to the Bill of C omplaint ofDulwich C ollege , which is prese rved among the C ollege M SS .

,

the Johnsons acknowledge the appropriation of the property,including several small pictures which we sold for butthey plead e set- ofiz

'

on account of various sums due to themfor maintenance

,for funeral expenses

,and for debts of their

master paid by them . The number of C artwright’ s picture sidentifiable as now in the Gallery is about 80. These pictures,beq ueathed to the College in 1686 , are , for the most part, ofsmall merit as works of art

,but they include many interesting

portraits ; among them ,on e of C artwright himself , which is

described,with some further account of him , in the C atalogue

(No . His collection comprises other theatrical portraits,and a, series of the Lovelace family .

The pictures bequeathed by the F ounder and by WilliamC artwright with some others

‘

were hung , until the year 1883,in the old pictu

‘re - gallery or elsewhere in the C ollege, and theyare the subject of notices by antiq uaries and others . Thus

INTRODUC ’I‘ION

John Aubrey, describing Dulwich C ollege in his Na turalHistory and A ntiquities of Su rrey, 1719, says : In it [thepicture gallery] are several worthless pictures, and some notso bad , the F ounder and his first wife [Nos 4 43

,

Henry,Prince of

'

Wa1es [No . Sir Thomas Gresham,

M ary, Queen of Scotland ; and several others given byM r. C artwright, a comed ian , whose picture [No . 393] is at theupper end .

” In an appendix to his work, Aubrey refers agamto C artwright, Who, he says , gave to the C ollege a collectionof plays and many pictures ; one, a view of London , taken byM r . John Norden in 1603

,with the representation of the city

cavalcade on the Lord M ayor ’s Day, which is very curious .

” Thispicture and others mentioned by Aubrey have disappeared .

A few years late r, Robert Seymour, in his Survey of L ondonand Westminster and Pa rts Adjacent thereto , 1734 , thusdescribes the C ollege pictures : In the room where thechurchwardens dine are several antient pictures, particularlyof the F ounder [No. his F ather, his Brother , his Wife[No . and his M istre ss, who by the picture was a mostbeautiful woman . There is likewise a picture of Prince Henry[No. eldest son o f J ames I .

,and several old heads of

the Kings of England &0. [Nos 521 J oyning to thisroom is a gallery in which are likewise some good pictures,especially one of St . J erome [ 1° No . The long galleryis seldom made any use of but upon the election of a Wardenand then there is commonly a Ball in it .

” M r . S eymour musthave been imposed upon by some re tainer or quizzical F ellowof the 00110 e . There are no portraits of Alleyn ’ s F ather ,Brother, an M istress,

” and the imputation upon his characterin the latte r case is without fcaudation . Perhaps the pictureso described to M r . Seymour in 1734 was the same thatto another visitor , a few years late r, was described as F airRosamund . In the Gallery belonging to the C ollege

,

” wrotethe Gentleman’s M aga z ine (174 5, p . are a grea t manypictures , the donation of different people ; some are very welldone, particularly one representing some F ather of the C hurch,a religious hermit . F a ir Rosamund , tho

’ in faded colours,

still preserves charms enough to render King Henry ’s immoderate passion for her excusable and the F ounder seems toobserve with pleasure. those happy institutions he has made .

There is also the picture of a boy formerly belonging to thisC ollege, drawn by himself and that without any assistance ofany master in the art of painting . This piec e is extremelylively and tho ’ not entirel finis

‘

h’d is generally allow’d to be

very well done .

” The e ther of the Church ,”Which was

thus admired , may be the St. Jerome [No . 4 10] again .The

F air Rosamund is no longer in possession of the C ollege ; noris there any picture which can be identified with t hat of theold Dulwich boy . Lysons, in giving an account of Dulwichin his Environs of London, 1792, had obtained access to

INTRODUCTION .

C artwright’

s C atalogue , and discusses some of the theatricalportra1ts, but

.

does not throw light on the points left obscureby the descr1pt1o

’ns of previous antiquaries . It is tiresomethat

.

these ear ly visitors did not describe the pictures moreparticularly . J ohn Evelyn , who might have done so (ih thecase of Alleyn ’ s bequest), Visited Dulwich in 1675, but he wasin a bad humour : Went to see Dulwich C ollege

,being the

pi ous foundation of one Allen,a famous comedian in King

James ’s t1me . The Chapell is pretty,the rest of the Hospital

very ill contrived ; it yet maintaines divers poore of both sexes .

’T is 111 31 melancholy part of C amberwell Parish .

” It is stillmore tiresome that the Authorities of the C ollege itself didnot take better care , or keep an inventory , of their pictures .

M any pleces, referred to by old writers, have disappeared andof those that remain a large numbe r have to be classed as

Unknown ,” as regards not only subject and artist

,but also

time and mode of acquisition .

The more important part of the C ollection,from an

artistic point of view,begins with the bequest of Sir Pe te r

F rancis Bourgeo is in 1811. The foundation of the DulwichGa llery, as distinct from a collection of pictures placed in the("ullag e , dates from this Bourgeois Bequest ; and it furnishesone of those instances, in which historians delight, of the farfiung interdependence of human affairs . In order that hemight rob a neighbour whom he had promised to defend

,black

men fought on the coast of C oromandel and red men scalpedeach other by' the Great Lakes of North America .

” Everybodyknows the passage in M acaulay ’s Essays . It is the executionof a late r policy , first conceived in the brain o f the sameKing of Prussia , that here concerns as. The Dulwich Galleryis an indirect result of the Partition of Poland .

The cha in of events which led from the sack of 'Warsaw andthe abdication at Gradno to the Picture Gallery at "

Dulwichwas this z — Noel Joseph Desenfans (1745— 1807)— one of thethree F ounders whose remains rest in the M ausoleum attachedto the Gallery— was born at D ouai . It has been often saidthat he was a foundling, but there is no apparent basis for thisstatement except the suppositions to which his name gave rise .

There might be reason in such suppositions, if the name werepeculiar to him

,but

,in fact , it is distinguished and ancient .

The Desenfans were counts in Brabant and nobles in Hainault .

*

Noel Desenfans was at school at Douai , and then went to theUniversity of Paris . In 1763 , at the ag e of 18 , he wrote a tractentitled L

’Elé've de la, Nature , which was translated 1nto

English , and which in Paris procured him an introduction toJean J acques Rousseau . He wrote poetry also 3 and a dramatmpiece from his pen

,La. F éte dc C oulang e , was performed With

W. Young'

s Il is lury of Dulwich Vol. I., p. 484 .

INTRODUCTION .

success . Desenfans presently came to E and as a te acherof languages

,and also

,it is said

,* as a dea er in Brussels lace.

Two tracts which he printed,on Education, attracted some

attention ; another piece from his pen, published in 1777, was

famous in its day (see note on No. 503 in the C atalog ue).Amongst his pupils was M iss M argaret M orris, who fell in

love with him and whom he presently married . She broughthim a fortune of by means of which he starte d upona calling more lucrative than literature or teaching . He had

a taste for art, and on his honeymoon - travels he bought several

pictures at auctions . At one of them he bought a small pictureby C laude, which afterwards he sold advantageously toGeorge III . for This transaction induced Desenfans

to turn his whole attention to such business, and he becameone of the leading picture—dea lers of the day . Among hisforeign friends was M ichael Poniatowski, the Prince Primateof Poland (see No . At Prince M ichae l’s sugg estion,King Stanislaus, his brother (No . appointe d Desenfans

C onsul—General for Poland in England,and gave him a com

mission to purchas e picture s . The times were propitious,for

towards 1789 the troubles of the F rench noblesse threw manyworks of art into the market . Desenfans bought a largenumber of pictures for the King

,which were destined ,

as it

was supposed , to adorn a National Gallery in Warsaw . Healso, however, bought and sold on his own account . In1785 he had a sale of a portion of his collection at C hristie’ s .The sale was unsuccessful for a reason (as g iven by M r . Desenfans) which is curious . The attendance of amateurs wasprevented by an aerial excursion

,

”1‘ Which drew all the

town to the Artillery Ground . In the following yearM r . Desenfans held another and a more extensive sale. A copyof the Sale C atalog ue O f that Truly Superb and Well- knownC ollection, the Intire and Genuine Property of M onsieurDesenfans is preserved in the L ibrary of the Dulwich Gallery .

It has a characteristic preface,1 and in the Dulwich copy aprice is entered against each of the 4 20 pictures offered . Someof the pictures seem now to be in our Gallery ; the fig uresindicate presumably the reserve price s put by the owner uponthe several items . A few note s from this copy are inserted inthe present C atalogue . In buying and sell ing pictures

,

M r . Desenfans had a friend in Pan s who was of service tohim, and with whom he did a good deal c-f business .

Thiswas Jean Baptiste Pierre Lo Brim

, art- critic and picturedea1e1' (174 8 husband of the celebrated M ad ame Vig ée

By J . T . Smith, in Nollekens aml his Times, Vol. I., p. 391

, who is theauthority also for the following

bpart iculars of Desenfans

‘

s marriag e .

This was the ascent in a alloon by Vincent Lunardi, an event whichcaused an amount of excitement and enthusiasm comparable to that Whichhas attended airships and aemplanes in our own time.1 See Appendix A hclOW, p. 312 .

INTRODUCTION .

Le Brun . Several of the lette rs from Le Brun to Desenfansare - preserved among the C ollege manuscripts, and notes fromthem are occasionally used in the present C atalogue .

The scheme for a Polish National Gallery soon came to anend , for Poland as a nation ceased to exist . King Stanislaushad made no resistance to the encroachments of his threepowerful neighbours ; in 1794 the revolt of the Polish patriot,Kosclusko , was crushed by Suwarofl the partition of Polandwas completed between Prussia, Russia, and Austria ; and onApri l 25, 1795, Stanislaus res igned the crown . O n the eve

of his abdication,he heard of the purchase for him of a picture

by Gaspar Poussin, a maste r whom he much admired (see noteon No . The occupation of Desenfans as purveyor ofpictures for the Polish C ourt was now at an end . Stanislausbe came a King in Exile

,a pensioner at St . Pe -tersburg on

the bounty of the three Powers ; and the Russian Government,to whom Desenfans appealed , declined to take over the obligations of the deposed King .

* A large number of picture s whichDesenfan s had bought for the pro jecte d Ga llery at Warsawand for which he had not been paid thus remained on hishands .

In 1799 Desenfans published a Plan for the establishmentof a. National Gallery in L ondon , to which he undertook to

contribute liberally both in pictures and in money . TheGovernment of M r . Pitt had o ther things to think oi

, andthe offer was disregarded . A generation was still to elapsebefore the foundation of a National Gallery was made, andits nucleus was to be the collection , not of a F renchman , butof a Russian (M r . Angerstein). In 1802 Desenfans, findingthat his plea for a National Gallery had fallen on deaf ears ,and recognising that there was no probability of his beingrepaid for the pictures which he had bought for King Stanislaus

,organised an exhibition of the pictures in L ondon with

a View to their sale . He explained the circumstances andoffered to sell any picture at the price which he himse lf hadpaid for it . O i this exhibition Desenfans wrote and publisheda C atalogue thus entitled

A D escriptive Ca talogue (with Remarks and Anecdotesnever before published in Eng lish) of some Pictures ofthe Different S chools purchased for His M ajesty the late

King of Pola nd, which will be Pwhibiflzd early in 1802

at the Great Room No . 3 in Ber'nm‘

s- stract .

The C atalogue does not often give particulars of the purchaseof the pictures , but in other respects it is more inte restingthan most productions of the kind , and several quotat1ons fromit are given in the present volume . M r . Desenfans made apassing allusion to envy among artists, which brought upon

S ee Appendix A below p. 310.

INTRODUCTION .

him a fierce pamphle t from an anonymous assa ilant . Desenfans

replied in a L etter Benjamin W'

est,describing his assa llant

as an anonymous assassin styling himself a painter .

” Thesecritical amenities were

,however , only an inciden t . The body

of the C atalogue was a laudable effort to make notice s ofpictures interesting to the general reader . That the effort wasappreciated by some is shown by a copy of Verses addressedto M . Desenfans 011 the appearance of his C atalogue :

Though tasteless Time,with slow but certain rage

,

Painting ’s sublimest treasures will destroy,

Yet these preserv’d in thy de scriptive page,

Uninjur’d shall Poste-rity enjoy .

So well thy pen each M aster ’ s style d is plays ,Such force and beauty in the work we find,

That F ancy charm’d o ’er every picture strays

And feels the rich collection in the mind

M r .

’

Desenfans thus de serves to be remembered not only as thefirst proposer of a National Gallery , but also as a pioneer inthe now familiar task of popularising picture— catalogues .O f the 188 pictures thus catalogued and exhibited in 1802 ,

not more than 30 or 40 can from the descriptions be identifiedin the Dulwich Gallery , but these include some of the gemsof the collection . Apart

,however

,from any commission from

King Stanislaus , it is clear from papers now among thea rchives of the C ollege that Desenfans continued to buy andsell pictures on his own account . He added considerably to

his collection after 1802 . In 1804 he insured his pictures,and

the L ist of 124,then prepared for the Insurance C ompany,

includes at least 85 which are now in. our Gallery . Do-ubtless

he ac quired other pictures betwe en 1804 and J uly 8,1807,

when he died .

M r . Desenfans, who had been in bad health for some years .seems to have been of a very amiable disposition

,and he had a

large circle of attached friends . What the recent grief ofBurke stated of the excellent Sir Joshma Reynolds wasapplicable,

” wrote one of them ,in a degree to Noe -l Desenfans .

‘ He was the centre of a very great variety of ag reeablesocieties , which were dissipated by his death .

’ He delightedto receive his friends ; and he entertained them with elegance ,and even splendo

rThe room in which we dined was decorated

so as to defy a parallel even in the mansions of our nobles .

We were surrounded by thirteen historical subjects by PO U S SINpa inted in the finest time of that classic master . If ever manpossessed the faculty of rendering society tactful and happy

,

it was Desenfans . He was too well bred to be the hero of hisown table — t he charm lie possessed was the absence of selfdisplay, exchanged for the address to draw forth the talents

c nwirs of the [alc Noel Descfg/ims Esquire

INTRODUCTION

of others . He could continue any subject just as long as itpleased , and change it without any appea ring check or abruptness . In the midst of great bodily sufferings

,he excelled all

m hilarity, and the goodness of his nature impressed hiscountenance with uniform benevolence . His infirmities co-nfined him, for the most part, to the house, but his curiositywas insatiable after every object of liberal science ; and hisfriend, Sir F rancis Bourgeois

, who mixed largely in activelife, delighted on his return home to lay before M r . Desenfansdaily gleanings from the worldBy his Will (dated O ctober 8 , Desenfans left his house

in Charlotte Stree t, Portland Place, with all the furniture,plate , etc .

, therein , to his wife M argaret and his friendSir Peter F rancis Bourgeo is, or to the survivor of them,

addingthat it was his wish that they should continue to live there.He desired also that his body should be laid in a leaden coffin,and kept in a vault prepared in or near the said house . Therehis body lay from the ( late of his death until M arch

,1815

,

when, as related below, it was moved to Dulwich . Desenfansbequeathed all his pictures to Sir F rancis . Bo.urg eois . Thebequest was unconditional , but Desenfan s had often expresseda wish that the C ollection might not be dispersed but mightat some future time be devoted to the enjoyment and instruction of the public i It is pleasant to think that owing to thepiety of his legatees , Noel D esenfans still “ entertains hisfriends — an unknown company of them every day in theyear with elegance and even splendor within the walls of.

the Dulwich Gallery . His amiable counte nance,depicted by

one of his artist—friends, welcomes the Visitor near the entrance

Sir Pete r F rancis ( commonly called Sir F rancis) Bourgeois(1756 to whose history we have now to turn

,was also

of foreign extrac tion . Born in St . M artin ’ s L ane,L ondon

,he

was descended from a Swiss family of good position, who came

to reside in England in consequence of a reverse of fortune .

Bourgeois ’s father , as mentioned above,carried on

“ the tradeof a watchmaker ; and, becoming rich, he determined to placehis son in the army ; this inte ntion was strengthened by thepromise of a commission from Lord He athfield, and

.

youngBourgeo is atte nded drill, parade, and reviews, At this time ,however

,the influence of Noel Desenfans deculed his ca ree r in

life ; he determined to be a painte r , and , rceivm g the approvalof Sir J oshua Reynolds and Gainsborough for some earlyproductions

,he placed himself under the instruction of

Loutherbourg‘

,an artist who is represented by pietures in our

Gallery (Nos . 297, as also by a portrait of h1m by Gains

Life of J ohn Philip Kcmblc, by J ames Boaden,Vol. I., p. 485.

See Appendix B below ,“p

“

. 317.

I b'

uc the letter of Bourg eow in Appendix C below, p. i318.

INTRODUCTION

borough (No . Under Loutherbourg’s guidance, Bourgeois

quickly acquired sufficient knowledge to bring him some g'epu

tation as a painte r o f landscapes , battle —scenes , and sea-

pleces .

In 1776 he left England to travel through Italy , F rance , andHolland , and on his return exhibited several of his works in

the Royal Academy . In 1787 he was elected on Assocxate ofthat body . In 1791 he was appointed painte r to the King ofPoland , and received from him the honour of knighthood . In1793 he became a full member of the Royal Academy, andin 1794 was appointed landscape - painter to George III . , whosanctioned the use of the title conferred by the King ofPo land and shortly after

,while yet in the full vigour of life,

he retired from the active pursuit of his profession to occupyhimself in the arrangement

,and also (as will be seen from

various notes in the C atalogue) the “ restoration,” of the

pictures bequeathed to him by Noel Desenfans . Bourgeoishad for many years l ived with his friend, whom he assistedin the purchase of pictures . There is a humorous drawing byPaul Sandby of the two old friends crossing the Chan neltog ethe

-r.

* After the death of Desenfans, Bourgeois addedto the collection of pictures . The death of Sir F rancisBourgeois was caused by a fall from his horse , Jannary 8, 1811.

By his Will (dated December 20, Bourgeois be

queathed, after the decease . of M rs. Desenfans, all pictures,prints, ornaments, plate , china, clocks, and other effects nowin my three leasehold house s in Charlotte Stree t and Portland

~ Road, to the M aster , Warden, and F ellows of Dulwich C ollegeand their successors for ever . And it is my de sire ,

” he added ,that the same may be there kept and preserved for the

inspection of the public, upon such terms, pecuniary or otherwise, and at such times of the year or days in the week as

the said M aster, \Varden, and F ellows may think pro er .

”

He also directed his executors to invest to pay se ariesand wages of such officers and servants as may be employed inthe maintenance and preservation of the pictures , and a.

further sum of for the repairing,improving

,and

beautifying the West Wing and Gallery of the College forthe reception of the pictures . This gallery

,which formed the

upper part of the We st “Ting, measuring 77 fee t in lengthby 15 fee t 6 inches in width

,was that in which the C artwright

and other pictures had formerly been hung . It was, however ,found to be quite unfitted to rece ive the pictures left bySir F rancis Bourgeois

,and M rs . Desenfans therefore offered

to pay at once which , added to a building reserve ofa. like amount accumulated by the C ollege

,made up sufficient

according to Sir John Soane ’ s estimate— Joo complete the

Reproduced at of Early EHy]M 4 — colow Pa infcrs, by C osmo

M mlkhtmse .

1 b’

cc Appendix D ; below, p. BIS) .

INTRODUCTION . xiii

Gallery and M ausoleum , as well as certain rooms adjoiningfor the accommodation of the poor S isters .

”Sir J ohn

Soane ’ s building was commenced in 1812,and finished in 1814 .

The Almshouses were at a late r date added to the Gallery . InSeptember , 1814 , the pictures were removed from CharlotteStreet, Portland Place , to the new Gallery at Dulwich . Soane’sbui lding was similar to one erecte d by him in the life- timeof Bourgeois contiguous to the house in Charlotte Stree t .

It is impossible to pleas e everybody ; and the be quest ofSir F rancis Bourgeois , though applauded by the picture - lovingp

_

ublic , was ill - received in some other quarters . It is occaswnally proper ,

” wrote J T . Smith , Keeper of the Prints andDrawings at the British M useum

,to expose in public print

the cruel manner in which some persons treat the ir neare strelatives ; in order that other hardened offenders may repentof their conduct before it is too late . Such a person was thelate Sir F rancis Bourgeois

,who left his property to Dulwich

C ollege, without leaving a farthing to his niece and her poor ,innocent and unoffending It appears from theM inute Book of the C ollege that a charitable allowancewas made annually to a near relation of S ir F rancisBourgeois who was not provided for in his Will .Why,

it may be asked , did Sir F rancis Bourgeois think ofDulwich C ollege in connexion with the Desenfans C ollection ?What was the link between him and Desenfans

, on the one

side,and Alleyn ’ s C ollege of God ’s Gift, on the other ? The

answer must , to some exte nt, be matter of conjecture ; butthere is good reason , as we shall se e presently , for surmisingthat the link was the theatrical profession , of which theF ounder of the C ollege had been an ornament . The idea ofa gift to Dulwich did not , however , take permanent shapetill late in Sir F rancis Bourg eo

-is ’s life- time , and a contributorycause was what some people in these days call the tyrannyof London ground- landlords .

”S ir F rancis Bourgeois was

resolved somewhere and somehow to carry out the wish ofNoe l Desenfans for the establishment of a Public PictureGallery . As Desenfans ’s plea for a National Gallery had beenunavailing , Bourgeo is had the idea of converting his collectioninto a sort of private National Gallery in L ondon . With thisend in view

,he wrote

,in J anuary, 1810, to the Duke of

Portland (his g round - landlord), asking him to convert the leaseof his houses in C harlotte Street and Portland Road into freehold

,so that he might bequeath the whole of M r . Desenfans

’s

C ollection , with the additions he (Sir F . Bourgeois) had madethereto

,in such manne r that the same , supported by funds

to be appropriated for that purpose by him,

may begratuitously open to artists as well as to the publi c, and thusform not only a source of professmnal improvement, but also

Nolle/cem and his Times , Vol. I., p. 408.

INTRODUCTION .

an object of national exhibition,creditable to this Kingdom ,

and highly honourable to the memory and ta lents of the muchlamented M r . Desenfans .

” He added that , if the Duke refused ,

he would purchase a freehold elsewhere . The answer camepromptly from Welbeck (J annary 4 , 1810) that the Duke hadneither the power nor the inclination to comply with Sir F ranu sBourg eo

-is’ s request.

*

Sir F rancis Bourgeois had , therefore , to look elsewhere, andpresumably no other suitable freehold in London was immediate ly forthcoming ; for it seems that Bourgeois next ente rtained the idea of offer ing the collection to the British M useum .

He was deterred from doin ao , it is said, on finding that itwould be in the power of t e Trustees of that institution todispose of such picture s as might appear to them superfluous

or inferior . It is conce ivable that some thought of the fateof his own pictures may have crossed his mind . At any rate,he came in the end to prefer , as he said , the unprete ndingmerit of Dulwich C olleg e to the rules of greate r institutions ”? The suggestion that the collection should be givento Dulwich is said by J T . SmithI to have come fromJohn Philip Kemble

,the famous actor, who may well have

felt some special inte rest in a Co llege which had been foundedby a member of his calling, and Which contained severalportraits and many manuscripts of great interest in the historyof the British stage . Kemble, like Desenfans, had beeneducate d at D ouai ; the two men were close friends, and thefriendship , like so much else that belonged to Desenfans, hadbeen passed on to Bourg eoil . § Kemble added one picture tothe collection (No . His suggestion— ii his it were - waspossibly seconded by some of the officials at Dulwich

, as itappears that one or more of the F eIIOWp ially theRev. Robert C orry- being clergymen

,were in the habit of

conducting occasional se rvices in the M ortuary C hapel or Vaultin C harlotte Street, Where, as already stated

,the body of

M r. Desenfans was preserved .

Howeve r these things may be , on December 10, 1810, threeweeks before h is death, Sir F rancis Bourgeois signed the Willwhich made over the collection to the M aste r

, Warden ,and

See Appendix 0 ; below, 318. It will there be noted that the Dukedid not recogniz e his correspon ent’s Polish Knighthood.

1 From the notes of a conversation . a few days before the date of Bourg eois

’

sWill, between him,M r. Lancelot Bough Allen (Warden of Dulwich

C olleg e), and the Rev .Robert C orry. The note s were given b M r. Al len tothe writer of an account of Desenfans and Bourgems in ames Elmes

’

s

Annals of the F ine Artsjfor 1818.

Nollchens and his Tmcs, Vol. L , p . 391. Smith was an O fficial of the

ritish M useum Keeper of the Prints), and does not mention the former

intention to g ive t e collection to that Institution ; but itwas probably in hismind for he writes with some asperity both of Bourg eois personally and “fRemble's sug gestion .

See Desenfans’

sWill ; below, p. 3 17.

INTRODUCTION .

F ellows of Alleyn ’s C ollege of God ’ s Gift at Dulwich . The

collection consisted of 371 pictures .

The principal collection of pictures,and the main portion

of the gallery in which they are housed,were

,as will have

been seen from the preceding pages,the joint bequest and

gift of Sir F rancis Bourgeois and M rs . Desenfans. This lady,

M argaret M orris , was a sister of Sir J ohn M orris , of C lasemont , Glamorganshire . Her portrait

,as M iss M orris , was

painted in 1757 by Sir J oshua Reynolds (sew below ,

Upon the death of Sir F rancis Bourgeois,she kept his body ,

with that of he r late husband,in the M ortuary C hapel in

C harlotte Street ; and when in her turn she made her Will ,*her first direction was that her body should be finally preserved ,

with those of her husband and her friend,in the M ausoleum

to be attached to the Gallery at Dulwich . She died in 1814,

just before the Gallery was finished . In M arch 1815,the bodies

of M r . and M rs . Desenfans and of S ir P. F . Bourgeois were .

in accordance with their wishes,placed in the M ausoleum ,

where they remain to this day .

M rs . Desenfans, by her Will , left a . further sum of £500,together with plate and linen , for the purpose of ente rtainingthe President and other members of the Royal Academy onthe occasion of an inspection of the picture s on or aboutSt . Luke ’ s Day in each year . The object of the annual visitation was that the Academicians should advise the C ollege uponthe due custody of the picture s and upon such cleaning or

other restoration as might from time to time be nece ssary .

It had bee n the intention of S ir F rancis Bourgeois, M rs . D esenfans added

,to provide for this Visit ; but, no provision having

been made for it in his W'ill

,she desired to supply the omission .

In “this matter her wishes are still carried out , though thenature and the occasion of the ente rtainment have been variedfrom time to time . The M inute —book of the College showsthat there has been much discussion on the subject in successivegenerations

.The executors of Sir F rancis Bourgeois were very

indignant,in 1822

,because the C ollege had decided ,

in VleW

of the prior claims of the due custody of the Gallery , to makethe Academy D inner triennial only . The C ollege replied thatthe only money which they were legally req uired to devote tothe dinner was the income from M rs. Desenfans

’s £500

that they could not apply to the purpose any money from theBourgeois bequest other than such balance as might rema inafte r defraying the expenses of the Gallery . If so req uired ,

we are ready to prepare for the Academy such an annual repastas £15 will provide . But we apprehend it would be moreagreeable to them

,as it would certalnly be to a s, to give a

public dinner at such inte rvals only as would enable a s toconduct it on a scale conformable to our former practice

'

and

See Appendix E below, p. 320.

INTRO DUO TIO N .

more suitable both to them and to na.

” Thus, then, it wasdecided , and from time to time a suitable banquet wasgiven to members of the Royal Academy and other guests in

the Picture Gallery . In C reevey’s D iary there is a reference

to an occasion of the kind (J uly 24 , O n SaturdayI dined at Dulwich ; dinner in the Picture Gallery for 30— a

triennial dinner to savants and virtuosos . O ur artists wereC hantrey , etc . ; our M aecenases

, Lansdowne , Sutherland,Argyll, the latter of whom carr ied me in his barouche ; poetsand wags

,Rogers

, Sydney Smith and O reevey l”* Sydney

Smith as a membe r of the Holland House circle and a particular friend of one of that cirole — J ohn Allen, Warden ofDulwich C ollege, (see No . 4 47)— was a guest at more than onedinner in the Picture Gallery .

“ I like pictures ,” he said,

without knowing anything about them ; but I hate coxcombyin the fine arts, as well as in anything else . I got into dreadfuldisgrace with Sir G. B. once, who, standing before a pictureat Bowood, exclaimed turning to me, Immense bread th oflight and shade I innocently said

,Yes ; about an inch and

a half . ’ He gave me a look that ought to have killed me .

”

M rs. Desenfans, beside s providing some funds for entertaining the Royal Academy at Dulwich

,beq ueathed to the

C ollege various pieces of furniture , most of which are now

displayed in the picture galleries . They include two tortoiseshell commodes, probably the work of André Boule (1642Artist in C abmet- work to Louis XIV . ; some Louis XV .

chairs ; a commode of English marqueterie ; and a sideboard,with a Boule clock and two vases .M rs. Desenfans le ft it as her desire that the M aster

, Warden,

and F ellows should open the Gal lery for public inspection onone day of the week only (Tuesday) ; but from 1814 . (oraccording to other versions , from 1817) to 1858 visitors wereadmitted daily on production of cards of admission which Wereprocurable at M essrs . C olnag hi

’s in Pall M all

, and at otherresorts of picture- Iovers in London . At Dulwich itse lf cardswere not procurable . Since 1858 admission has been free dailywithout tickets .The importance of the Gallery thus opened to the public?is

The CreeveyPapers, cd. 1906 , p. 664

1" The precise date of the “

opening of the Dulwich Gallery, variouslyg iven by different authorities as 18 l4

,

"and 1817 I em unable to

determine. It agip

ears from C ollegeminutes that the building was completedbetween July an September 1814 ,and in the latter month the pictures wereremoved from London to Dulwich. The earliest minute in the GalleryM inute- book is dated June 6 , l8 l7 it notifies the appointment of “M r. C ookburn as C urator, as from l0th O ctober 1816

, and includes rules and regulations for the admission of the Public. It would thus appear that the Gallerywas opened

"to the C olleg e (and doubtless to friends of its members

shortly after September, 1814 ; but perhaps not to the g eneral public until1817. The minute of June 6 , 1817,may, however, refer to alterations in therules, not to the first admission of the public.

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xviii. INTRODUCT ION .

O f the four portraits to which no number is attached ,one

that of M rs . Tickell,by Humphry— was given by the C ollege ;

on M ay 29, 1835, to M iss Tickell, only daughter of the subjectof the portrait ; the other three were supposed, in the C atalogueof 1892 , to be in the C ollege ,

” but they cannot now be found .

At various times a few accessions of pictures have beenobtained. by the gift or bequest of well- wishers of the C ollege ,and two or three were bought by the C olleg e itself . Particularsunder this head will be found in the Numerical L ist at theend of the volume . In order that the present C ata logue maycontain a complete inventory of pictures belonging to theF oundation of Alleyn ’s C ollege of God '

s Gift, a few picturesare included which we re specifically presented to Alleyn ’ sSchool (see Nos . 548 These miscellaneous accessions havenot all been of g rea t impor tance ,

but they include severalpieces of value in themselves or of special interest in connexionwith the Dulwich Gallery . It is interesting to note that theconnexion of the C ollege with the dramatic profession has beencontinued by gifts of valuable pictures from actors (see , c . g .

,

Nos . 188, and the acquisition of a fine Ga insborough

(No . by gift of a gentleman not connected with theC ollege , was doubtless motived by the consideration that itwould be in appropriate company .

L as tly, in 1911 a valuable acces sion of 35 pictures wasmade to the Gallery by the gift of an anonymous dono r . Theyconsist, for the most part, of portraits ; the importance of thegift is expla ined on a late r page of this Introduction .

The building itse lf has of late y ears been greatly extendedand improved . Room s IX .

, X .,and XI . (see Plan , p . xxxvi . )

have been built on to the original bu ilding by the presentChairman of the Gallery C ommittee

,M r . Henry Yates

Thompson ; and Room VIII . has been re - roofed and conve rtedby him from a lumbe r - room into an additional picture —gallery

.

Room V . has been re - roofed,to the great improvement of the

lighting , It may be hoped that an additional new Room willpresently be added , with acces s from Room IV .

, of similardimensions to those of Room X . Some of the walls of the oldbuilding are still over- crowded , and there are a few pictures ,worthy of exhibition , which , howeve r , are at present

,owing to

want of wall space ih ’ the public galleries,placed in the Retiring

Room, the C ommittee Room, and the Store Room .

Pieces of furniture , bequeathed by M rs . Desenfans and nowplaced in the galleries, have bee n already mentioned . A Dutchinlaid table and books for the use of visitors have been recentgifts by the C hairman of the Gallery C ommittee, and the leadCi stern , of the date of 1736 , which is now made useful ,

in thegarden , was a gift from the Estates Governors .

The Governorshave also accepted from M r . H. Y . Thompson a show - case ;the contents of it are described at the end of the C atalogue(p :

INTRODUCTION .

Tho Dulwich Ga llery , the growth of which has been traced111 preceding pages, was for many years the only collection ,and for some years longer the best collection

,of pictures by

the O ld M asters accessible freely to the Londoner . It was insome sort open, as we have seen , in 1814 . M r . Ang erstein

’

s

collection — the original nucleus of the National Gallery— wasnot bought by the nation until 1824 . It contained only38 Pictures, and many years elapsed after 1824 before theNational Gallery was equal to Dulwich in extent

,interest

,or

importance . The National Gallery itself - the building,

that,

is, in Trafalgar Square— was not opened until 1838twenty - four years after the completion of the Dulwich Gallery .

The benefaction of Sir F rancis Bourgeois and M rs . Desenfans,i n g lvm g to the public a fine collection of pictures by the O ldM asters, was thus of great importance to the appreciation andpractice of art in this country , and for many years Dulwichwas a favourite haunt , and a school of art, for artists , students,and writers . In the edition of M urray ’ s Handbook for London ,

issued in 1850, the Dulwich Gallery is still referred to as theonly collection freely accessible to the public

,which affords an

opportunity of studying the Dutch masters and CharlesKingsley , writing also in 1850, takes Alton Locke first notto the National Gallery , but to Dulwich

,where there are

,

he says, much better pictures .

”The M inute Book referring

to the Gallery contains many notes, from 1817 onwards,about

the admission of students and cc-

py-ists,and in 1835 regulations

were deemed nece ssary to prevent over— crowding . The number of students in the Bourgeois Gallery having be come so greatas to be inconvenient to the public, it is thought necessary forthe present,

” says a minute of September 1, 1835 , not toadd to the number and it was ordered , that only twope rsons be allowed to study from the sam e picture at the sametime .

” The students seem to have gathered particularlyaround the M urillos ; for Ruskin says in a lette r of 1844 ,written to his friend L iddell (afterwards the Dean), I havenever entered the Dulwich Gallery for fourte en years withoutseeing at least three copyists before the M urillos . I neverhave se en one before the Paul Ve ronese (No .

The educational value of the Gallery was recognised in apractice which began soon afte r 1814 and continues to thepresent time . This is the loan of one or more pictures in

every year to the Royal Academy, for students to copy 111 its

School of Painting . The selection is made each ye ar by theC ouncil of the Academy, and there are some references in

artistic memoirs to this practice . M r . Redgrave , for instance ,recalls the grumbling that sometirnes occurred among poorstudents when a large picture, requiring a considerable outlayin canvas was selected . L ess excusable, perhaps, was the

INTRODUCT ION .

demur respecting the amount' of work it would involvewhen Veronese ’s fine full - length picture was chosen (No .

A masterpiece of Watteau’s (No . 156) has often bee n selected,

and in the note on that picture, one famous pa inte r’s criti ci sm

upon a friend ’s copy of it, will be found . Among other pictureswhich students in several years have been set to copy are

C laude’s J acob and Laban (No . O uyp’s Horses

(No. Guide’ s St. J ohn (No. M urillo’ s F lowerGirl (No . 0stade ’s Boors (No . Rubens

’s

Venus,M ars

,and C upid (No . Van Dyck

’s M adonna

and Child (No . Velaz quez’s Philip IV .

”(No . and

a landscape b‘y Wynants No .

But the Dulwich pictures have been studied by artists otherwise than under compulsion by superior authority . Turnervisited the Gallery, and a remark of his on one of the picturesis recorded (see No . he knew the VVatteau ,

and introduces it into his picture of Watteau Painting (No . 514 inthe National John Jackso-n, the Academician,made a copy of W

'

ilson ’s landscape (No . and the publication of an engraving by C . Turner from his copy was the

subject of a remonstrance by the C ollege (M inutes, July 31,W . J L inton, the engraver , served an apprenticeship

at Kennmg ton ,and in his M emo'ries, published nearly 70 years

after he recalls the pleasures of the Dulwich Gallery .

F rom Kennington through C amberwell to Dulwich was thena pleasant walk through country fields— a walk I often tookas I had the fortune to be acquainted with one of the F ellowsof Dulwich C ollege, and so was sometimes allowed to spend aSunday there, rambling in the large C ollege garden, or forhours alone in the most pleasant of picture gallerieswith its M urillos and Rembrandts, a Titian , a Guido , aWouwermans

, a Gainsborough,a Reynolds the places in

which they hung I can still remember .

” In 1827 there is aM inute of permission given to M r . C attermole to copy one of

Van Dyck’s pictures - probably that of the Knight (No . 154)

for a study in armour . The D ulwich Gallery was a haunt ofHolman Hunt in his student days, as he tells us in hisAutobiog raphy. His notes on one or two of our pictures arecited in this C atalogue, and one of his best- known works maywe ll have owed something; to a remembrance of a fine picturein the Dulwich Gallery (see No .

The Dulwich Gallery has association,furthermore

,with the

three English writers who, in prose or verse , have to the bestpurpose brought lite rary art to the criticism of paintingWilliam Hazlitt, J ohn Ruskin , and Robert Browning

,

Hazlitt was acquainted with M r . Desenfans , and knew well

A M inute of September 28, 1832, says, O rdered that M r. Turner havepermission to make studies in water- colour from some of the pictures," butthis is hardly likely to refer to the M r. Turner.

INTRO ’

DUC TTO N .

the pictures in his house . At a later time,he Visited the

Dulwmh Gallery and made it the subject of a chapter, whichi s now included in his C riticisms ofArt . His notices of severalof the pictures are cited in the present C atalogue .

With Ruskin , the associations of Dulwich and its Gallerytre closer . It was within an easy walk of his homes on HerneHill and on Denmark . Hill successively . It was to C roxtedLane, then entirely rural , leading from Herne Hill to Dulwich ,that he used to g o, in order to think quietly over passagesthat still needed turning and polishing in his books . It wasto the Dulwich Gallery that he repaired in search of powderand shot with which to lay the O ld M asters low in orderthat Turner , his chie f among M odern Painte rs

,

” might beexalted . He had been familiar with the Gallery for manyyears, as is shown by the lette r already quoted . When he waswriting the first volume of his famous book he wasconstantly there , and , as he says in its Preface

,he took his

examples larg ely from Dulwich pictures . A little later , when hewas preparing engravings for late r volumes of the book, aM inute (F ebruary 23 , 184 4) records that The Truste es of theBourgeois Gallery have ordered that M r . Ruskin have permission to make water- colour drawings from the pictures .

”

Those who love best the Dutch painte rs and the school ofclassical landscape may think that the young champion

of Turner used the Dulwich Gallery scurvily . But thoughit may have been pictures at Dulwich that inflamed him againstthe various Van somethings and Back somethings , more

especially and malignantly those who have libelled the sea

yet,on the other hand , the Gallery contained much that

inspired him to warm appreciation . C laude first set thepictorial sun in the picto rial heaven . We will give him thecredit of this with no drawbacks .

” Parts might be chosen outof the good pictures of C uyp which have neve r been equalledin art and in no Gallery are there more good C uyps thanat Dulwich . Several passages from Ruskin ’ s very numerousreferences to the Dulwich Gallery are quote d in this C atalog ue .

A more uniformly appreciative visitor to the Gallery wasRobert Browning , who there first acquired the love of pictureswhich was to inspire much of his poe try . Dulwich was withina pleasant walk of his home in C amberwell , and, when still achild

,he was often taken there by his father . I so love that

Gallery,” he wrote to E . B . B .

” in 1846 , having beenused . to g o there when a child , far under the age allowed bythe regulations - those two Guidos

,the wonderful Rembrandt

of Jacob ’s Vision , such a W'

atte -au , the triumphant threeM urillo pictures , a Giorgione music— lesson group ,* all thePoussins with the Armida and Jupiter

’s Nursing — and

no end to ands — I have sate before one , some. one of those

N0. 84 . no long er ascribed to Giorgione.

XXII INTRODUCTION .

pictures I. had predetermined to see, a good half hour andthen gone away it used to be a green half hour

’

swalk over the fields . It may have bee n to pictures ln theDulwich Gallery that the poet’ s mind reverted forty years laterwhen he included Gerarde de L airesse amongst his Parleymg swith C ertain People of Importance in their Day (see the note son Nos . 176 ,Browning

,in the lette r q uoted above , touches upon an

aspect of the Dulwich Gallery which renders it unique . It 18

a Gal lery in a garden ,and even at the present day is within

reach of country walks . George E li ot,” writing at a time

when the suburbs we re less developed,

” found the greeneryeven more pleasant than the Gallery . We had a deliciousdrive

,

” she said, (M ay,

1859) to Dulwich and back by Sydenham . We staid an hour in the Gallery at Dulwich, and Isatisfied myself that the St . Sebastian (No . 268) is no exceptionto the usual petty prettiness of Guido ’ s conceptions . The C uypglowing in the evening sun

,the Spanish beggar boys of M urillo ,

and Gainsborough ’ s portrait of M rs . Sheridan and her sister ,are the gems of the Gallery . But better than the pictures wasthe fresh reenth of the spring

m the chestnuts just on theverge of t eir flowering beauty

,the bright leaves of the

limes, the rich yellow—brown of the oaks,the meadows full of

buttercups .”The charm of the Dulwich Gallery has bee n best caught by

James Smetham,the painte r

,and an artist in lette r—writing

as well . “ I went down to Dulwich last week ,” he wrote in

1871, to have a look at the Gallery . It is the most delightfulgallery in arrangement an d ‘

surrounding s that I know,or know

of. You don ’t turn out of a hot street,where on the hot

pavement you meet hot and disconte nted people coming out inlavender and straw-c oloured gloves, irrita ted with British art,like a bull that has seen a red rag (the ingrates I). You

walk along a breez y quiet roadfi

‘ This way to the PictureGallery - under gre en trees, afte r green fields, and you givea little ravelly side turn , and The Picture Gallery isopen .

’ow kind ! How civil ! How silent ! You write your

name in a visito rs’ book, and see that yesterday J ohn Ruskinwas here. Then you begin your lounging round

, and notethe thin browns of old Teniers’ C aves of Temptation

,

’ andGerhard Dow’s 0ld W

'

oman and Porridge Pot,’ and Gains

borough ’ s [sic] M rs . S iddons . ’ All is sober and uncrowded.and

well lighted and profoundly still . The keeper of theGallery comes and peers at you over his spectacles . He is notquite sure in his l ittle room which are the pictures and whichare visitors, and he

’ s come. to see .

”Ruskin was fond

, too ,of

the surroundings of the Gallery, and a drawing by him of theexterior has been. exhibited .

*

In the Ruskin Exhibition at M anchester, 1904 ; No. 389.

turnonuorrou . xxiii

The special features of the Dulwich Gallery may in largemeasure be gathered from what has been said in precedingpages about its history and its associations ; but a few generalremarks may perhaps not be without interest to Visitors whoare

.not already familiar with the collection

.

O ne preliminary observation upon its contents may bedesirable . The visitors to the Gallery

,and still more the

reader of this C atalogue , should remember that not all thepictures enumerated can lay claim to any considerable artisticmerit or even to any merit at all . The C atalogue serves amongits other purposes that of an inventory of the pictorial propertyof the C ollege , and therefore it enumerates and describes everypiece but

, as will have been gathered from the history of thecollection , many pieces came into possession of the C ollegein circumstances which precluded consideration of artisticmerit . This remark applies even to the Desenfans- Bourgeoiscollection . F or instance

,the artist by Whom there is the

largest number of pictures is S ir F rancis Bourgeois . It is notsuggested that he was an artist whose work will repay a corresponding amount of study

,nor are all his pictures

placed upon walls of the public rooms ; but he was theF ounder of the Gallery . So, again , with regard to many, andindeed to most

,of the pictures which belonged to Edward

Alleyn, the F ounder of the C ollege . S ome are,it is true

,of

curious historical interest ; but the others , and especially hisseries of Kings and S ibyls

,are of little interest and of still less

artis'

tic merit,and only a few examples are placed on

exhibition . S imilar remarks apply to a large proportion ofthe C artwright collection . O f the 594 pieces enumerated inthis C atalogue , 25 are placed in other portions of the C ollegeof God ’s Gift than the Picture Gallery, and 90 are stored inrooms at the Gallery not open to the general public . O f thislatter number

,some would '

doubtless be shown , if space wereavailable

,but many are not worthy of exhibition . The

Dulwich Gallery is thus a small one , as public galleries g o, andsome general indications may now be given of its specialfeatures .

The collection is remarkable rather for its Dutch,than for

its Italian pictures ; and among the latter , examples of thefifteenth century are very few,

whilst the primitives are notrepresented at all . The date at which the Desenfans-Bourg ems

was formed,and the taste of that time , explain this feature

of the Dulwich Gallery , which indeed was shared by the

National Gallery for many years . In the eighteenth and atthe beginning of the nineteenth, century, the taste for theearlier Italian art

,which has become widespread in our own

time,hardly existed . M r . Desenfans complains that some

connoisseurs of his day found even Raphael too severe . The

INTRODUCTION.

popular Italian masters of his day were the C arracci andDomenichino and Guido Reni . The second volume of Enshi h

’sM odem Painters and the foundation of the Arundel Soci ety,two of the influences which diverted taste in this countrv.

towards the earlier schools , came a generation after Sir F rancisBourgeois made his bequest . Accordingly, the Gallery hasseveral pictures attributed to one or other of the C arraca .

O ne at least of these, in its sincerity and force of expression,re calls the ideals of the earlier art (No . There is alsoa fine example of Domenichino (No . and several popularand pleasing works by, or after , Guido Reni . S ome of theItalian masters of the great period were of a genius souniversal in its appeal as to be independent of fashion . Everycollector at any time desired

,if he cou ld , to possess works by

L eonardo du Vinci , by Titian, and by Paolo Veronese . TheDulwich Gallery possesses none by the former master, but thedesire to do so is indicated by the attribution to him ofseveral works— sometimes of a strangely incongruous character

— in the early catalogues . The reader who is curious in suchmatters will be interested in divers notes to that effect in thepresent C atalogue . The great name of Titian appears in our

list of artists , and M r. Desenfans loudly extolled the merits ofhis principal example (No . M odern criticism consignsthe examples , however , to the lower rank of copies . The

Gallery includes,however

,besides other pieces connected with

Paolo Veron ese,

’ one characte ristic and unchallenged work(already referred to) by the great decorative master (No .

and , in spite of the limitations above explained , the earlierItalians are not wholly unrepresented . The Dulwich Galleryboasts two pieces by Raphael, which , though Small . are genuine ,and are fragments of one of the master ’ s more celebrated works .

There is also a picture which whether by Piero di C osimo oranother is characteristic of the earlier F lorentine portraiture,and there is a pleasing example of the Umbrian School(No .

Has any reader of these pages ever been assailed by thaticy demon of wearm ess who haunts great picture galleries ”?He is a plausible M ephistopheles

, Nathan iel Hawthorne tellsus

, possessing the magic that is the destruction of all othermagic .

” He whispers his incantations sometimes,it seems

,

even against the divine Raphael . “If he spare anything,

”

adds Hawthorne , it will be some such matter as an earthenpipkin , or a bunch ~of herrings by Teniers ; a brass kettle , inwhich you can see your face , by Gerard D ou ; or a long- stalkedwine- glass, transparent and full of shifting reflection

,or a

bit of bread and cheese, or an over- ripe peach, with a fly upon

it, truer than reality herself , by the school of Dutch conjurers . ”In the field of this Dutch g enre, the Dulwich Gallery is rich .

The number of good examples is large,and the proportion of

the very g ood is considerable . E'

véry visitor of taste will pause

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INTRODUCTION

greatest of all the Dutch masters . Rembrandt is present at

Dulwich,as some one has said , in semi- state .

” He bringswith him

,however

,besides othe r works

,one of: the most

charming of all his portraits (No . and his name Isattached to a little work of imagination (No . 126) lvhwh hastroused the enthusiastic interest of many e ducated vi sitors .The F lemish S chool is also a feature of the Dulwich Gallery

the later F lemish School, that is for here again primi tivesare absent . There is a large

,and perhaps a miscellaneous,

collection of works by Teniers, the father and the son . Thereare many works attributed to Rubens, some of which are offirst- rate quality ; and of Vandyck, both in portraiture and insubject- pictures

,there are some fine examples . The Portrait

of a Knight (No. lately (as will be seen from the note)identified

,is famous .

The F rench School and the Spanish School are not so fullyrepresented ; but in each case, Dulwich possesses some masterpieces . Next to C uyp , there is no painter who can be studiedmore fully here than Nicola Poussin . The taste for learnedPoussin has perhaps

,in these unclassical days , to be acquired .

M r . Desenfans was an enthusiast for Poussin . In the oldcollection, in M r . Desenfans

’ time, the Pouss ins ,” Hazlitt tells

us,

occupied a separate room* by themselves, and it was(we confess) a very favourite room With us .

” M r . Desenfans

devoted some pages of his C atalogue to shaming a carelesspublic into interest by reciting a list of the illustrious F renchmen who had ranked Poussin among the greatest of painters ;and English lovers of art may be reminded of the high

,

though discriminating, praise which S ir Joshua Reynoldsbestowed upon him in many a page of the Discourses. It isrash in such matters to think differently from S ir Joshua ; andvisitors to the Dulwich Gallery, if only in gratitude to M r .

Desenfans, should not allow a certain dryness and severity inPoussin’ s style to obscure his many beauties and felicities .

Everyone, it may be assumed, likes C laude ; and here will befound some characteristic examples of him . The greatesttreasure of the Dulwich Gallery in the F rench School

,so far as

a single picture is concerned, is , however, by another artistan acknowledged masterpiece of “ the prince of C ourt painters

,

”

Anto ine Watteau (No .

O f the two chief painters of Spain,our Gallery possesses

good examples . The Philip IV . of Velazquez is a very finepicture ; and M urillo

’s Peasant Boys and F lower Girl ”are masterpieces in their sort . The examples of the latterpainter ’ s religious art are less important ; though, as will beseen from the note on one of them (No . Tennyson wasmuch attracted by it.

In the English School , the Dulwich Gallery is strongest where

The dining - room. See above, p. x.

INTRODUCT ION . xxvii

the School itself is very strong,namely

,in portraiture . The

glories of the English School of landscape must be sought elsewhere ; though our Gallery contains a beautiful example ofRichard lVilson (No . In English portraiture . it may bedoubted whether any Gallery of the same size is richer or

more instructive . There is,indeed

,only one important

example of Reynolds ; but that , though probably not much ofit is by his own hand

,is a replica of one of his greatest works

(No . To the collection of Gainsboroughs in the DulwichGallery, reference has been made above . But the interest of theGallery in this department of art does not depend only upon itsReynolds , its Gainsboroughs, or its beautiful early piece byL awrence (No . or its fine example

,recently acquired

,of

Romney (N0 . Reynolds and Gainsborough are the greatold masters in this branch of the school ; their portraiture

is so accomplished ” said Ruskin,

“ that nothing is left forfuture masters but to add the calm of perfect workmanship totheir vigour and felicity of perception .

” But Reynolds andGainsborough were not the first portrait painters . S eriousstudy of our English portrait painters begins

,

” say s the authorof a recent work on the subject, with the second half of theeighteenth century

,despite the well recognised fact that the

greater part. of English ancestral portraiture belongs to thepreceding centuries . Quite apart , moreover

,from this

numerical aspect is the certainty that the best painters ofthe seventeenth century were considerable Seriousstudy of English portraiture in this wider and more consecutiveway has been made possible at the Dulwich C ollege by theacquisition from an anonymous donor in 1911 of 34 portraitsof English men and women , the work of painters whoflourished in this country in the seventeenth and eighteenthcenturies . This collection supplements many interestingexamples of the earlier portraiture which were

,by happy

circumstance,in the Gallery already , and which now acquire

an additional interest . It is one of the more notable featuresof the Dulwich collection that it contains a sequence ofportrait painters

,English by birth

,or working in England

,

ranging from Vandyck,J ohnson , and William Dobson to S ir

Thomas L awrence and S ir William Beechey. The paintersrepresented include (among others not already mentioned)M ytens , Honthorst Hanneman ,

Isaac F uller,Sir Peter Lely ,

S oest , Nason , M ary'

Beale , Huysman , Greenhill , J RilevSimon Dubois, Kneller, Dahl , J ervis , Hogarth ,Hudson ,RichardlVilson

,Northoote , Hoppner , and O pie .

To most Visitors the primary interest in painted portraits isconcerned with the persons portrayed . Portrait galleriessaid C arlyle, writing from this point of view , far transcend ln

worth all other kinds of national collections of pictur

Le and the Stuart Portra it Painters, by C . H. C ollins Baker, vol. i, p. 1.

xxvi ii INTRODUCTION .

whatever .

” He complained that the galleries of Berlin , likeother galleries

,are made up of goat- footed Pan ,

Europa ’sBull

,Romulus’ s She -Wolf

,and the C orreg g iosity of C orreggio ,

and contain,for instance, no portrait of F riedrich the Great

no likeness at all, or next to none at all, of the noble seriesof Human Realities

,or any part of them

,who have sprung ,

not from the idle brains of dreaming dilettanti, but from thehead of God Almighty, to make this poor authentic earth alittle memorable for us and to do a little work that may beeternal there .

” It cannot be said that every portrait in O ur

Gallery is of a Human Reality who is known to have doneeternal work in the world or to have been the glory of his time .

M any of them are of unknown persons ; for our painters takeno care

,as J ohn Evelyn complained to Samuel Pepys

,

“ totransmit to posterity the names of the persons whom theyrepresent ; through which negligence so many excellent piecescome after a while to be dispersed in dirty corners .

” Butour Gallery includes among its portraits a considerable numberof famous personages . We have by Vandyck , the Prince ofO neglia, and the wife of Sir Kenelm D igby . We have byvarious artists the Lord C hancellors Bacon and Somers ; amongthe statesmen, Sir Harry Vane and Aubrey de Vere ; of artistspainted by themselves , Greenhill , Reynolds , and O pie ; amongthe poets , M ichael Drayton , Abraham C owley , and RichardL ovelace . The last—mentioned portrait is one of a series of theL ovelace family which for some reason or other was in thepossession , as above stated , of a benefactor to the Gallery,William C artwright . A second family series of great interestthe Linleys of Bath— has been mentioned already

.Another

feature of the Dulwich Gallery in the field of portraiture is dueto the connexion of the C ollege with the stage . Relating toits earlier annals , there are portraits of Richard Burbage

,

Edward Alleyn (the F ounder), William C artwright,Bond

, Sly,and Richard Perkins . There are portraits also of NathanielF ield and Nathaniel L ee . The Kemble tradition lives onour walls in portraits of Sarah (M rs . S iddons), John Philip ,

and Charles . There are portraits also of Sarah Bartley andher husband George , the comedian ; and the latter presented tothe Gallery an interesting portrait of M okere . In the case ofall portraits of known personages, biographical notes are givenin the C atalogue wherever they seemed likely to be in theleast degree welcome as aids to the visitor ’s recollection

.

Painted portraits have an interest,however

,apart

from the personality of the sitters an interest , or ratherseveral points of interest ; and many of these appeal to nonprofessional persons . There is , for instance , the interest oftracing fashions in dress , in hair , and in other methods ofpersonal adornment . Then , it is curiously interesting to notethe changes in taste or fashion which governed the manner inwhich a sitter liked to be represented— in devotion (as often in

INTRODUCTION

Italian pictures), in full dress, and , as far as possible, in heroicattitude

,or

,again , in everyday appearance . The conventions

of portraiture— and especially the treatment of backgroundsis another point of interest . But perhaps , most interesting ofall is to note the different degrees of success which differentartists attained in what must ever be the highest function ofthe portrait—painter . He gives us

,

” said Jonathan Richardson

,in an Essay on the Theory of Painting not

only the persons,but the characters of great men . Let a man

read a character in my Lord C larendon (and , certainly, neverwas there a better painter in that kind), he will find it improved by seeing a picture of the same person by Van Dyck .

”

This is very true of the great portrait— painters,and the ideal

was fully attained by many of the old masters ; but in the re

birth of painting , the higher level of excellence was onlygradually attained . To give some sort of superficial resemblanceto a sitter is said not to be difficult, and in the days beforeDaguerre an average skill in portraiture was a painter ’s surestfoundation for a respectable livelihood ; but to give a trueimpression of individuality and life is difficult, and the powerof doing it is rarer . The most cursory glance at the walls ofthis

,or any other

,portrait gallery shows it . How many

wooden portraits there always are ! And it is more difficult still to discern the manners in the face

,and paint a

character or an ideal :

As when a painter,poring on a face,

D ivinely thro ’ all hindrance finds the manBehind it

,and so paints him that his face

,

The shape and colour of a mind and life,

L ives for his children, ever at its bestAnd fullest .

Painters who aim at this ideal portraiture are partly controlled

,no doubt

,by their own temperament or by the taste of

their time . It is difficult to believe, in the latter connexion ,that all Rig aud

’s sitters had the air of the Grand M onarch

or all Vandyck’s the air of the cavalier ; and , in the former

respect,that all Gainsborough ’s sitters had the same delicate

and half wistful grace . Hardest of all, then , is it, we maysuppose

,to combine individuality with ideality . Perhaps the

most successful attempts in this direction,among the early

English portaits in our collection , will be found in the bestpieces by Greenhill and in the portrait of Richard Lovelaceby an unknown painter . Remarks

,intended to direct the

visitor ’ s attention to the various points of interest indicatedabove

,will be found in the C atalogue in notes either upon

particular painters or upon particular pictures .

So much, then , upon special features of the Dulwich Gallery .

No at tempt has been made in foregoing pages to cover the

XXX INTRODUCT ION .

whole ground ; their purpose is introductory, not exhaustive .

F or,after all

,does not the Visitor

,while not impatient (It

’

l s

hoped) of some general suggestions , prefer to follow spemal

interests and pick out particular favourites in a Gallery forhimself? He will find plenty of scope for such selection 111

our Gallery,and will often

,we do not doubt

,fix upon

_p01nts

or pictures which are not touched upon in this introductlon .

The earlier C atalogues of the Dulwich C ollection (or portionsof it), which in one sense or another may be called oflimal

,were

as follow :

(1) Before 1686 .

"

The C atalogue by C artwright,described

above,

V .

(2) 1802 . The D escriptive C atalog ue , by Desenfans , de

scribed above, p . ix .

(3) 1804 . The List of Pictures to bc Insu red,by Desenfans,

mentioned above ,‘

p . x . The L ist is printed at pp ,223 seq .

of S ir George VV

arner’s C ata log ue of i

'lIcuuwc'

ripts and ill umiments in Du lwich C olleg e As indications ofthe taste of the time among collectors

,the prices which

M r . Desenfans attached to the several pictures havesome interest . O i pictures which may be identified withworks in our Gallery , the most highly priced are M urillo ’s“ O ur Lady of the Rosary ”

(No . and twoN . Poussin ’s (Nos . 227

, also each . A third picture by the same artist (No . 234 ) comes next, AL andscape, C attle and F igures

,which may be one of our

large C uyps, is also valued at At £800 stand M urillo ’sF lower Girl ” (No . Vanderwerf

’s

“ Three Graces ”our No . 147), and Vandyck

’s Samson and Delilah ” (No . 127)

and Virgin and C hild (No . VVatteau ’

s famous Ball(No . 156) is valued at no more than £200

,and Velaz quez

’s

“ Philip IV (No . 249) at the same sum . The two panelsfrom Raphael ’ s altar - piece (Nos . 24 1, 243) are valued at £250the pair .

(4) 1813 . A Brief C atalog u e of Pictures, lat e the propertyof Sir F rancis Bourg eois, R .A.

,by J [ohn] Britten ; M ay 24 ,

1813 . The M S . of this catalogue is M SS . No .xvii in

Warner ’s C atalog ue of Ill anusc'

ripts . M r . Britton cataloguedthe pictures ac cording to their position on the walls of theseveral rooms in Bourgeois ’s house .

(5) 1816 . A C a talog u e of the Dulwich Gallery. This,like

the preceding . was a mere list of the pictures,with artists ’

names . It was printed (without date). It was compiled byRalph C ockburn, C urator of the Gallery (1816 Thiscatalogue was reprinted , with minor variations

,at several

dates (those collected in the British M useum ’ s C atalogue are

INTRODUCTION .

conjecturally dated 1820,1821

,1830, 1835 , 1840,

but inno case was any description of the pictures supplied .

Between 1821 and 1864 . An I-I-isto'

rtcat amt D escriptive

C ata log ue , by S tephen Poyntz Denning (C urator from Jannary,1821

, until his death in assisted by his son,the Rev.

Stephen Denning . This was never printed ; the M S . (in twostages) is preserved in the Gallery, and some notes have beentaken from it in the present C atalogue .

(7) 1876 . A D escr iptive Catalogue with Biog raphical Noticesof the Painters, by John C . L . Sparkes

,Head M aster of L am

beth School of Art,and of the Art Department of Du lwich

C ollege . Printed by order of the Governors . This was the firstcatalog ue

'issued by them which was more than a list of names .

(8) 1880. A D escriptive and Historical C atalogu e with Biog raphicalNotices of the Painters, by Jean Paul Richter , Ph .D . ,

and John C . L . Sparkes . Printed by order of the Governors .

In this cata logue,M r . Sparkes

’s notices of British painters

were retained,but the rest of the work was re - written by

Dr . Richter , who altered a large number of attributions .

The numbers attached to the pictures in successive catalogueswere altered from time to time to correspond with the orderin which they were placed on the walls .

C atalogues (5) to (8) included only the Bourgeois Bequest anda few pictures acq uired by the Gallery since the date of thatbequest . Those catalogues were supplemented by :

(9) 1890. Catalog ue of the C artwrig ht C ollection and oth

Pictures and Portraits at Dulwich C olleg e , by J ohn C . L .

Sparkes,with descriptive and biographical notes by the Rev.

Alfred J C arver,D - D . Printed by order of the Governors

The pictures included in this catalogue were numbered independently of the numbers in the preceding catalogues . Areference to a numbered picture at Dulwich might thus meaneither of two pictures .

(10) 1892 . Descriptivr'

and Historica l C atalog u e of the

Pictures in the Dulwich C olleg e Gallery,with Biog raphica l

Notices of the Painters . Printed by order of the Governors .

This catalogue was,in the case of the Bourgeois collection ,

largely based upon Nos . (7) and but it also reprinted(ih a re - arranged form) No . The numbers of the greaterpart of the Bourgeois were now altered , but the renumberingwas not applied either to the remaining part of the Bourgeoiscollection or to any (except a few) of the pictures in No .

A reference by number to the Dulwich Gallery might nowmean

,in some cases

,one of four things— a Bourgeois picture

(new number), a Bourgeois picture (old number), a Bourgeoispicture (not re - numbered), a C artwright picture .

( 11) 1905 . A re - print,with very few alterations

,of No .

(12) 1910. In this year was issued Pictures in theh

Dutwtch

Gallery : Princess Victoria, S eries . Engraved and mented ty

order of the Governors by Emery Walker at Hammersmtth.

xxxii INTRODUCTION .

Ten pictures were reproduced , with an introduction and notesO n the pictures by H. Y . T . Postcards with reproductions of

27 of the pictures were also placed on sale . A Second Partin the Princess Victoria Series was issued in 1911 ; and athird

,in 1912 .

In addition to these official catalogues, there have beenseveral other catalogues or descriptions of the Dulwich Gallery ,and some reproductions of the pictures :

Between 1816 and 1820, M r . Ralph C ockburn , C urator ofthe Gallery, executed and published a series of F ifty C olouredAquatint Plates of the C hief Examples of the O ld M asters m

the C ollection .

In 1823,in the New M onthly M ag a z ine (vol . 7, pp . 568

575,vol . 8

, pp . 67 William Hazlitt published (anonyinously) notes on the Gallery, as part of a series of Sketchesof the Principal Picture Galleries in England .

”

In 1824 there appeared a little book . called Beauties ofthe Du lwich Picture Gallery (L ondon , 1824 , p . It wasanonymous

,but an advertisement states that a few of

the following descriptions have appeared in the New M onthlyM ag az ine .

” The book was written by Hazlitt , and is anexpansion (with many alterations also) of his previousSketches . (It escaped the atte ntion of his bibliographer ,

Alexander Ireland .)In 1824 there also appeared in book- form a collection of

Ha z litt’s articles in

.

the M agazine entitled Sketches of the

Principal Picture Galleries in Eng land (the . Dulwich Gallery ,pp . 25

In 1836 a critical notice of the Dulwich Gallery appeared inthe Tour of a, German Artist in England ,

by M . Passavant,vol . 1

, pp . 64 — 70.

In 184 1 The Penny M aga z ine+a pioneer in popularisingknowledge

,a magazine conducted by the Society for the

D iffusion of Useful Knowledge— published a series of six woodcuts (very well done) with descriptive letterpress (which alsowas contributed by an obviously competent hand). The permission to make the woodcuts is recorded in the minute bookof the Gallery under date April 15 1841.

This publication seems to have set competitors on the track ,for on November 4

,184 1

,it was resolved by the Trustees

That M r . Bentley have permission to make copies of six of thepictures for the purpose of engraving in line to be publishedby M r . Virtue .

” M r ., Virtue was the publisher of The Art

Union J ournal (afterwards known as The Art J ca rna l), andin the number of that periodical for July

,184 2 , mention is

made of a suggestion to publish a catalogue of the Gallerywith engravings .

” Nothing,however

,seems to have come of

the suggestion . S ixty- e ight years later,something of the kind

was done in a different way (see No . 12 above, p . xxxi)

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xxxiv INTRODUCTION .

in the C atalogue of 1905, which bore various numbers duplicating those in the precedin series

,have been renumbered

consecutively in the order in which they stood in that catalogue,and are now 458— 547 the remaining

"

pictures,now numbered

548— 594,are those which have been added to the collection

since the last edition of the C atalogue was printed . It is hopedthat these numbers 1- 594 will henceforth remain constant, anyadditions being numbered in the order of acquisition .

As the number attached to each picture in this C ataloguecorresponds to the number on the frame

,a vis itor has only to

note - the latter number in order at once to find the descriptionof the picture . If he wishes to turn to the descr iptions ofpictures by particular painters

,he w ill readily be able to find

them by reference to the Index of Painters (p .

A biographical notice of each painter is given under the firstpicture by that painte r in the case of subsequent pictures bythe same painter

,a reference is given to the number of the

picture under which the biographical notice will be found .

The general method of arrangement, above described , is thatwhich seems to have been found simple and convenient in thecase of the Popular Handbook to the National Gallery writtenby the editor of the present C atalogue .

After the title of each picture and the painter’ s name,school

and date, and biographical notice of him (or a referencethereto), comes a simple description of the picture, with a noteof its dimensions (height first, measured within the frame).M r . Desenfans was severely critical of catalogues which confine

themselves to such particulars and indeed they sometimesirritate visitors who may be actually standing before the pictures thus described . We do not need to be told - they areapt to say— that this is a wall or that is a tree

,or that

this colour is blue and that red . But in an officialcatalogue , such simple inventories are necessary as a means ofreference and identification . Perhaps

,too

,they are some

times useful even to a spectator in the Gallery itself as helpingto direct or fix his attention .

The descriptions are in many cases followed - after a dashby a statement of engravings or other reproductions of thepictures .

These particulars, which partake of the nature of an ihventory, are in a large number of cases supplemented bvremarks of an explanatory, critical , anecdotic, or historicalcharacter . The attempt is thus made to combine

,in a sing le

volume, the functions of an oflicial catalogue and of a popularhandbook . Particulars about the provenance of the severalpictures are given as far as possible ; but it should be remembered that the greater part of the collection was formed by apicture -dealer and , as already stated , he was not minded

~

totake the public very largely into his confidence in this respect .

INTRODUCT ION . XXX"

With regard to the attribution of pictures to particularpalnters, or their description as being by or after orfrom the school o f a painter

,this edition follows in the

main that which was edited by Dr . Jean Paul Richter in 1880(No . S in the list on p . xxxi) In cases of alteration

,or of doubt

and dispute, various Opinions are cited in the notes . Theseoften display great contrariety . There is a small picture inthe

‘

Gallery by a great painter which has been the subject,durlng recent years , of printed remarks by the directors of twopublic galleries in the United Kingdom . By one of them it waspronounced to be a genuine masterpiece by the other

,it was

denounced as an execrable forgery which could not deceiveeven a tyre . In a subject so uncertain as pictorial criticism

,

and admitting so greatly of individual preference or prejudice,

these differences of opinion are very frequent,and they are

sometimes expressed with a vigour of vituperative languagewhich equals that of rival editors of classical texts . The scienceof pictorial criticism is doubtless progressive

,

‘ especially sincethe introduction of photography which has made comparisonand recollection so much easier than in former times . It isvery improbable

,to take one instance

,that the picture in our

Gallery which passed for many years as a Giorgione will everbe restored to that master . But it is noticeable '

that criticismoften returns upon its tracks . M any of the altered attribu

tions in the Dulwich C atalogue of 1880 were reversions to thosein the C atalogue of 1820. The differences of critics are equallygreat with regard to the general merits of a painter or apicture . It might be thought that the merit of Gainsborough’ sportraits was matter of general agreement ; but the GermanArtist

,

” visiting Dulwich in the course of his Tour ,” found

them remarkable only for insipidity .

” Where the doctorsdisagree

,the spectator should feel encouraged to cultivate his

own judgment ; but it is hoped that suggestion and interestwill be found in a collection of critical remarks by competentobservers .

In the miscellaneous notes,much has been added in the

present edition . Several of the biographical notices have beenre - written or revised . But in large measure this is a new

edition of previous catalogues (Nos . 8, 9, 10, and 11 in the list).

O f the biographical notices , those of foreign artists were in

those editions written by Dr . Richter , and those of Englishartists by M r . Sparkes . The inventories were abbreviatedor re - cast from more elaborate ones by M r . Sparkes (No . 7)The notes on pictures other than those in the Desenfans

Bourgeois collection were mostly written by Dr . C arver, andthese have been retained (with some alterations and additions)in the present edition cf the C atalogue .

C ATAL O GUE .

The pictures are described in numerical order , the numbersbeing those which are affixed to the frames . F or further explanation of the arrangement

, see above p . xxxiv .

The refei ences to Smith’ s C atalogue are to A Catatog u e Raisonné of the Works of the M ost EminentF lemish, and F rench Painters, 9 vols . 1829— 1842

,by J ohn

Smith (a picture - deale1). 0ne or two r‘

efe i ences are to thenew edition of the Dutch section of that work by C . Hofstedede Groot

,now appearing (1907 onwards) ; English.

translationby E . G . Hawke .

References to Desenfans’ s C atalogue are , unless otherwise

stated,to the C atalogue of 1802 (see above, p .

1. C u p id .

After RUBENS (F lemish : 1577

Sir Peter Paul Rubens, the head of the F lemish School(as Reynolds called him), and one of the world

’ s greatestpainters

,was born at S iegen, in Westphalia His fathe1 , Jan

Rubens,was private secretary to William of O range , and died

at C ologne in 1587 . Jan s widow,M aria, born Pypelinx , then

returned to Antwerph where the young Rubens 1eceived hispr1ma1y education at the Jesuit school . When sixteen years ofage he was a page of the C ountess L alaing . Giving up the studvof the law,

he visited the studios of Tobias Verhaeght, of Adamvan Noort , and of O tto Vaenius . In 1598 he was received intothe Guild of St . Luke of Antwerp . Two years later he went toItaly

,and for eight years was in the service of Vincenzo

Gonzaga , Duke oft-J

M antna , as C ourt- painter . Ah excellentL atin scholar

,he was also proficient in F rench, Italian, English,

German, and Dutch . His attainments and personal add1esscaused him to be employed in diplomacy . The painte rRubens

,he said of himself, amuses himself with being

ambassador .

’ In 1603 he went on a diplomatic.

mission toSpain .

In 1608 he returned to Antwerp , and was appointedC ourt- painter to the Archduke Albert , Governor of the Netherlands . In 1609 he married his first wife, Isabella B1ant, and

'

in

27930

9d

1611 built himself a beautiful house at Antwerp . In 1620 hevisited Paris at the invitation of M ary de’ M edici (a s1ster ofthe Duchess of M antua), for whom he painted the celebratedseries of allegorical pictures now in the Louvre .

After the deathof his wife in 1626 , he sold his collection of works

.

of art to theD uke of Buckingham,

and was often employed in diplomaticmissions . In 1628 he was sent to the C ourt of Phihp IV. ofS pain

,and spent much time in the company of Velazquez . In

1629 he was sent’

to C harles I . of England , by whom (as also byPhilip IV .) he was knighted . A picture in the NationalG allery (No . 4 6) commemorates the painter ’ s mission toEng land . During his sojourn in our country, he painted theceil ing of the Banqueting Hall

_

of ~Wh.itehall (now the UnitedS ervice Institution). In 1830 he married at Antwerp theyoung and beautiful Helen F ourment (see No . 131) a nieceof his first wife . He lived henceforward partly , at Antwerp,partlyat his country seat, Ste en— always occupied in executinglarge commissions

,and surrounded by a company of pupils and

assistants . The number of works ascribed to him is enormous,but of them many were partly or wholly painted by his pupilsa fter his sketches and under his direction.

The range of subject in the works of Rubens is very wide, asmay be seen from the list of those in our Gallery (p . butin nearly all of them may be found the same glamour ofjoyousness , the same facility of execution, the same love ofredundance , the same sense of power . The facility withwhich he invented,

” says Reynolds,the richness .of his com

position, the luxuriant ha rmony and brilliancy of his colouring,so dazzle the eye, that whilst his works continue before us, wecannot help thinking that all his deficiencies are fully supp

lied.

”

Whatever imperfections in his art may have resulte saysRuskin, from his want of seriousness and incapability oftr

'

ue passion , his calibre of mind was originally such that Ibelieve the world may see another Titian and another Raphaelbefore it sees another Rubens . Under the influence of theVenetian School ,

” says Dr . Richter, the energetic mind ofRnbens created a new style of art adapted to himself and toh1s countrymen . His genuine works are disting uished by anextraordinary and overflowmg power in dramatic comp

osition,

by healthm ess of conception, by naturalness , by a bright and

g lowmg colour , and by an m g enious ,

a lmost life '

- like,

e xecution .

E ight Winged infant boys (amorini) circle in space withJow ed hands they wear red and blue scarves ; C upid

i

iioatsforward in the centre, havi ng just discharged his arrow

. Blueskyw1th rey clouds . The figures are life- size . C anvas ; 5 ft7 in x ft . 2 in .

Designed for the decoration of a ceiling.

3

2 . S t . C e c ilia p layin g on th e O r g a n .

BOLOGNESE SCHOOL (16th— 17th C entury).

The Saint seated , and singing to the notes of an organ ; onthe left ; purple - grey dress ; green mantle lined with orange ;red drapery behind her ; infant angels above . Who'le- lengthfig ure ; life- size . In the foreground a ly re

,some books, sheets

of music, &c . C anvas . 7 ft . in . x 4 ft . 7 in . O riginalsiz e , 5 ft . 8 in . x 4 ft . 2 ih . This picture has been added toat the top and bottom and sides, and these parts werere - painte d , it is said , by Sir P. F . Bourgeo is (see below).St . C ecilia was a young Roman lady

,an early convert to

C hristianity . She renounced all her worldly possessions, and

devoted herself to heaven and the practice of music,an art in

which she excelled : hence the legend ascribed to [her theinvention of the organ . She made a vow iof perpetual chastityand , her parents having married h@

‘

rag ainst . her will toVa lerian , a noble Roman

,she continued to keep her ‘

vo -w,and

converted both her husband ' and her brother to the C hristianfaith . With them she suffered martyrdom about the yearA .D . 230. This legend is the subj ect of many pictures

, and

of two chef of art— the C ecilia -of Raphae l'

at Bolog na ,

and the dead C ec ilia of Bernini . As the patro-n - sa-int of music,

she is represente d as singing to themotes of her organ,and in

most of the pictures (as in Tennyson’ s Palace of Art) an

angel look’d at her .

” Her house was consecrate d a s a church ,and in 1599 her body was exhumed with high eccle siasticalstate . This kindled much popular enthusiasm ,

and the painterstook ’ St . C ecilia for a subject with renewed fervour . Domenichino alone (who was in Rom e on the occasion o f t he openingof her sarcophagus) painted six pictures of her .

The present picture was sent to Desenfans, in December,

1790, by his friend in Paris, Le Brun , who ascribed it to

Anniba le C arracci , and s aid : It is a little maltreated , butapart f rom that would be worth livres .

” Desenfans’s

friend,Bourgeois

,took it in hand, and dealt w ith it as a bove

stated .

3 . C la s s ica l L an d s ca p e w ith fig ure s .

WILLEM ROM EYN (Dutch : before 1630, d. after

Romeyn Was born at Haarlem . In the year 1642 he ismentioned as being a pupil of Nicolas Berchem (No . He

was admitte d into the Pain te rs ’ Guild at Haarlem in 1646 ,and appointed C ommissary in 1660. The l bap

'

tisms of two ofhis sons are recorded

'

in the years 1652 and 1658, . and the deathof his wife in 1683 . Another document mentions him as st illliving in 1693 . It is supposed that he visited Italy. He . like

27930

4

Pynacker (No . distingu ished for his classical landscapes, dotted with ruins, such as Nicolas Berchem and KarlDu

‘j ardin (No . 72) had brought into fashion on thei r returnfromRome .

O n the right, three mules standing ; on one of them thedriver is sitting

,his back turned towards the spectator ; a

church and a gateway beyond ; 011 the left, cattle , sheep , anda fountain ; blue sky; with grey clouds . S igned W . Romeyn .

C anvas : 1 ft . l g in . x 1 ft . 44 in .

4 . V iew on a Pla in .

C UYP (Dutch : 1620

C uyp , who is represented by 15 pictures in this Gallery (inno other collection are there so many), was one of the mostuniversal of . the Dutch painters . He painted still- life , birds,cattle, horses , landscapes, sea- pieces

,portraits ; but what is

specially characteristic of his art,and what is best illustrated in

this Gallery, is his rendering of sunlight . In this he was unsurpassed among the Dutch masters ; and indeed , as Ruskin says ,for expression of effects of yellow sunlight , parts might be

chosen out of the good pictures of C uyp ,which have never

been equalled in art .

” He loved to paint the bright,but

hazy, light of a hot summer noon— day,with strong glowing

colours in the foreground , and delicate tints in the distance .

He was less successful in representing distant mountains (see(No . His sense of proportion was sometimes a littleat fault ; and he was fond of placing a piece of brilliantscarlet in his pictures, with which the critics have found faultbecause it is unaffected and unwarmed by the golden tone cfthe rest of the picture , and shows little distinction between itsown illumined and shaded parts . The charm of his bestlandscapes is in their golden blaze of absorbing light

,their

amber warmth, their veil of gilding , their harmonies of goldand grey . These are qualities which led the connoisseurs tocall C uyp the Dutch C laude . The incident

,or lack of in

eident, in his pictures is in keeping with the drowsy effectsWhich he loved . He chose calm and sunny scenes

,and fixed

upon quiet combinations of fig ures, cattle and buildings.

Though he lived in troublous times,his pictures suggest

,as one

of his biographers has said , that he passed his whole life inArcadia , untroubled by any more anxious thought than whetherthe sun would give the effect which he required for his paintings, or the cows stay long enough for him to depict them intheir natural attitudes .

” It may be noted that C uyp usuallyintroduces cows of a warm brown colour into his landscapesa fact that influences their general tone . O u Dutch pasturesto- dar the cattle are almost all black and white '

(C . H .

de

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6

great success which had attended the works of a maste r tillthen unknown

,overran all Holland for the purpose of collect

ing them ; but the Dutch, who are not easily duped , surprlsed

at the eager and constantly renewed demands for them , atlength began to open their eyes and to find out beaut1es ln

those chef d’oeuvres which had so long surrounded them,

unregarded . Their value immediately increased , and thepictures of C uyp were removed from the hall to the

'drawingroom . S ince that time, connoisseurs have been unanlmous 111

praise of them,and they. have been sought with such avidity

that a work which 50 years ago sold for five guineas willreadily now fetch 500 (C ata log u e , 1802 , vol . ii . , pp . 14 1

F rom the particularity of this account,and from the large

number of C uyp’s which M r . Desenfans had‘ in stock, it may

be surmised that he had entered the market as a buyer in theearliest days of the boom .

” It has continued to the presenttime

,and where M r Desenfans said five hundred, a modern

picture- dealer might say five thousand . A critic , writingninety years later than Desenfans, says that the very richestof the collectors commit all kinds of extravagances in order tobecome possessed of C uyp

’s finest works . And what would

not the amateurs give for some of the C uyp’s in the Dulwich

Gallery? What a talent ! What universality in the handthat could paint skies more glowing than those of Both ;clouds as vaporous as those of Van der C appelle ; water moreluminous than Van de Velde ’s ; , cattle as live to nature asPaul Potter ’s horses better than Wouwerman

’s ! Ruysdael is

the greater artist, the greater mind ; but C uyp has to adegree unapproached by any of his contemporaries

,the secret

of variety and charm (Quarterly Review ,O ctober

,

In the centre,a shepherd standing and a woman sitting .

O n the right are five cows three ly ing down .two standing ;

a small wood behind . In the foreground,also four sheep ; and

in the middle , three more . Near a road on the left,a stream

visible ; a village , and windmills , in a long ~ stretching flat

country . C lear , bright summer’s sky with fleocy clouds tend

ing towards evening . S igned , A. C uyp . Panel : 1 ft . 6% in . x2 ft . 3g in .

— Engraved by R . C ockburn and by J . C ousen .

Sky and land are suffused in a soft bright haze ; the lighttrembles and palpitates in the fleecy mists that veil withoutobscuring the blue sky ; it steals over the meadows and blendsitself with the water . Never was nature so g lorified .

It is . theidealisation of peace and serenity . What a wondrous

.bright

idyllic life it suggests ! Did C uyp in strolling about the Dortcountry come upon a scene like this . or was it only a phantomof the ideal world -in which the artist lived ‘

.

D S o let it standfor us , a revelation of loveliness , sweet as the unheard melodies .

’ To attempt to expla in the execution . the manipulation

of the pigments would be like analysing a smile or the glanceof

‘ a bright ey e .

”(Henry Wallis , M agaz in e of Art

Thls p1cture was formerhr called A View of Utrecht.

5 . L an d s ca p e w ith C a t t le a nd F ig u r e s .

W . RO M

3

EYN (Dutch : before 1630,d . after

O n the right, sheep and goats . some lying on the ground andtwo standlng ; a girl kneels and milks a goat ; behind her , adonkey with panniers ; on the left, an old tree ; in the background , mounta ins ; blue sky, with clouds . S igned WRomeyn .

”C anvas : 1 ft . 1% in . x 1 ft . 43 in .

A companion picture to No . 3 ; harmonious in colouring , andclearly pam ted .

6 . A T ig e r Hun t .

S IR P. F . BO URGEO IS,RA . (English : 1756

F or a biographical notice of Bourgeois,one of the founders

of the Dulwich Gallery, see above

, p . xi . He enjoyed con

siderable reputation in his lifetime for his landscapes,battles .

sea pieces, &c .

,but

,though as an artist he had taste and

versatility, posterity has applauded him more for the pictures hecollected than for those he painted .

A rough , rocky, mountainous district, with blasted pinesscattered about serves as background for the picture . In theforeground a man in a turban

,red jacket

,and green trousers . ~

mounted on a piebald horse,spear in hand

,dashes at a small

tiger ; dogs are on the left . Behind is a brown horse , riderlessa man on foot

,and another lying on the ground , on whom a

second small tiger springs . C anvas : 3 ft . 871,in . x 4 ft . 7 in .

7 . L an d s cap e w ith 8 . T ow e r .

DUTCH SCHOOL (17th C entury).

O n the right,a low wall

,with a moat before it ; two houses .

and behind them,a circular tower ; on the left, a road on it

four fig ures, together with a cow,sheep

,and two dogs ; large

trees in the centre ; cloudy sky . Panel : 1 ft . 7§ in . x1 ft . 3% in .

Very probably a work of Wynants (see No . 114) to whomat one time the picture was ascribed . It is No . 167 in Smith ’sC atalogue (Wynants).

8 . I ta lian L a n d s ca p e .

JAN BO TH (Dutch : b . about 1610; d.

J an Both was the son of a painter on glass at Utrecht .

While still young , he entered the studio of Abraham Bloemaert,

8

head of the School of Utrecht. With his elder brother Andr ies,he presently travelled through F rance into Italy , and settledfor some time in Rome, where Jan formed his style on that ofC laude (No . The brothers also worked in Venice ,

OwhereAndries

,dining one night not wisely but too we ll, fell into a

c anal from his gondola and was drowned . J an returned toHolland in or before 1644 . A document of 1649 shows him to

have been one of the chiefs of the Painters ’ Guild at Utrecht.The landscapes of Jan Both are almost always Italian, but

they are truer to nature in their forms than the idea l compositions of C laude . They owe their great repute to theglowing power of their colouring, especially to the str ikingeffects of the light and the soft golden tone of the atmosphere .

But in this respect the landscapes of J Both have a closerresemblance to the Dutch Views of C uyp than to those ofC laude . It has often been stated that the fig ures and cattlein his pictures were painted by his brother Andries, but this“is doubtful .

A wooded bank reaches from right to left . In the foregrounda man washing his feet in a pool ; near him another man anda dog three cows on the right ; a man baiting three packmules from a box of hay . The road is bordered with bushes .A slope in a park half conceals a house behind trees . Bluefair—weather distance and summer sky . S igned B .

” C anvas :1 ft. 9 in . x 2 ft . 1 in .

— Eng raved by R . C ockburn .

9 . L an ds cap e w ith a. C hurch .

ABRiAgA

M VERBO O M (Dutch : b . before 1630, d . after6

Verboom was born at Haarlem , where he worked as a landscape painter in the middle of the 17th century . His earliestpictures are dated 1653 . They come very near to the earlierworks of J Ruysdael . In several of his pictures the fig uresare painted by L ingelbach and Adrian van de Velde

,from

which we may conclude that he stayed at Amste rdam betweenthe years 1653 and 1663 . He painted especially quiet forestviews, of a deep - toned colouring in his early period and of aweak sketchy execution in his later time

.

O n the right, the edge of a wood , and two wayfarers on a

pathway a village church in the centre of the middle distance ;on

f

th

gleft, a pollard- stump ; cloudy sky. Panel : 1 ft . 5 in .

x1 t . in .

In the earliest catalogues of the Gallery ascribed to Hobbemanext , labelled Unknown in 1880 ascribed by Dr . Richtei'to Verboom.

1 0. I t a lian L an ds ca p e .

JAN BO TH (Dutch : b. about 1610,d. See 8.

O n a road is a waggon,drawn by two oxen . The immediate

foreground is occupied by a donkey lying on the ground,and

a red mastiff . Behind them a man drives a grey horse . Thebank on the left is covered with copse - wood and small trees .

The middle distance is a warm ochre— coloured heathery hill,

with a small castle tower on its summit . A blue mountain inthe back ; summer sky with evening light , and filmy clouds .

O ver all is a delicate effect of hot weather . C anvas : 1 ft . 7i in .

x 1 ft . 3g in .— Engraved by R . C ockburn .

Both,” says Hazlitt

,saw nature with an Italian eye,

and could not persuade himself to depict her otherwise thanin a veil of southern sunshine . In fact

,he seemed to look at

a ll things through an imaginary haze of golden light, which,while it in no degree distorted their individual forms andcharacters

,gave them a hue which is scarcely to be met with

out of his pictures ( Beauties of the Dulwich Gallery, p .

11 . A rch of C ons tant in e , R om e .

HERMAN SWANEVELT (Dutch : 1620

Swanevelt was born at NVoerden . He is said to have begunpainting under Gerard Dou

,but he went early to Rome

,Where

‘

he studied under C laude and often painted the fig ures in hispictures . Having a great predilection for sojourning in theruins of Rome

,Tivoli

,and Tusculum

,he was called (as C on

stable said) the Hermit of Italy from the romantic solitudeshe lived in

,which his pictures so admirably describe .

” Hevisited Paris

,where he was admitted a member of the Royal

Academy in the year 1653 . The date of his death isl

variouslyrecorded as 1655 (registers of the Paris Academy), 1659 (Passeri)and 1690. A picture in our Gallery (No . 219) is apparentlyd ated 1675 . His compositions are tasteful , but generally a coldgreen tone pervades them . His numerous etchings and drawingsd eserve more admiration .

The triumphal arch in the centre,seen from the C olosseum,

an arch of which is on the left a dwelling—house is built on theleft side of the arch ; pilgrims, ladies, and gentlemen in theforeground . O u the right two artists sketching the ruins ofthe Palatine, covered by wood . C anvas : 2 ft . 10 in . by3 ft . 84; in .

The picture is interesting as showing the state of the ruins,&c . at the time (cf. No . The arch of C onstantine , whichnow stands entirely free , was built in the year 311 by the“Romans

,in honour of the Emperor C onstantine after his victory

~ over M axentius near the Ponte M olle .

10

12 . B anks o f a B rook .

JAN BO TH (Dutch : b. about d .S ee 8

A brook threads its way through stony shallows ; on the

further side a bank crowned with trees hills in the distance.O n the left a lake with a Village on its margin . A. man drives,a laden donkey and a cow

,and is followed by another man

with two cows . F arther back still, _two men converse ; another,

with a bundle over his shoulder,advances towards the bank .

The‘ sun is on the right ; bright summer sky , with filrny clouds .

C anvas : 1 ft . 91 in . x 2 ft . 21 in .

13 . S t . An th ony of Pa dua a p p e a r in g t o a K n ig h t ..

SPANISH SCHO O L (17th century).In the foreground a White horse lying on the ground, the

rider,thrown down behind it a landscape with houses . Above,

to the right,St . Anthony in his habit, seated on clouds , a lily

in his right hand.C anvas : 1 ft . 3% in . x 1 ft .

This picture was in early catalogues of the Gallery called’

The C onversion of St . Paul but the saint may be recognised by his F ranciscan habit and his usual attribute

,the lily,

as St . Anthony of Padua,the disciple of St . F rancis : there

are many legends of his appearance to soldiers . The authorship of the picture is less certain . It was first attributed toVelazquez

,being taken for an early work . Next

,it was given

by M r . Sparkes to Gaspar Poussin ; and lastly, by Dr . Richter,to an unknown painter of the Spanish School .

14 . A V illa g e on F ire .

TENIERS THE ELDER (F lemish : 1582— 1649)David Teniers, father of a more famous son (see No . was

the son. of a mercer at Antwerp . In 1596 , he ente red the studioof his elder brother Juliaen Teniers , who in the previous yearhad been adm itted as master into the Guild of St . Luke atAntwerp . He also visited Rome

,where he was influenced by

E lsheimer (No . In 1606 he was admitted as master intothe Guild of St . Luke, and in 1608 married Dympne C ornelissende Wilde . He worked chiefly at Antwerp , where he died . Hepainted principally scenes of the life of country people

,in

which the landscape generally predominates . In his late r timehe was influenced by his son , David Teniers the y ounger , whoseskill, however, he in no way rivals . The pictures painted bythe father are more brown in tone and stiffer in design thanthose of his son .

N ight piece . O n the left . in the foreground,peasants taking

flight, trees behind ; in the middle distance a church . a. villageon fire behind it ; imthe centre . a river . Dark sky . with thecrescent moon to the left . Panel : 9 in . x 1 ft . lg in .

l l

F oi'merly ascribed to Teniers the Younger , but in 1880

,as

showm g an earlier stvle , to the father .

15 . A R oa d n e a r a L ak e .

JAN BO TH (Dutch : b . about 1610,d . See 8 .

A t oad receding from the front of the picture passes by themarg ln of a lake, the water of which is hidden by a clump of

dark bushes on the left edge ; a stretch of meadow with hedges ,and a grey hill in the distance . In the foreground a manwaters a pack - horse from a pail . A man on horseback . In themiddle distance , another man with three cows . A clear summersky . Panel : 1 ft . in . x 1 ft . 3 in .

— Engraved .by R . C ock

burn (who calls it M orning and by Barns .

A fine example of the golden effects in which Both excelled .

The picture was formerly in the Poullain collection (Smith’s

C atalogue,No .

A R oa d n e a r C ottag e s .

School of S . RUYSDAEL (‘Dutch z 1600

Salomon van Ruysdael , one of the founders of the HaarlemSchool of Landscape

,was uncle of the more famous J acob

(No . and was born in that town,Where in 1623 he was

admitted as a master into the Painters" Guild , becoming cleanin 1648.

In the centre,two cottages surrounded by trees ; in the

foreground , a man leading a cow on a sandy road ; near hima boy ; behind them a man and a woman lying on the ground ;three other fig ures in one of the cottages ; to the left, in thedistance

,a flat landscape ; blue sky with clouds . S igned Pan

van olo Panel : 1 ft . 731 in . x 2 ft . Ii in .

A little picture painted in two colours,brown and blue .

so as to be a monochrome in effect . A fine breezy sky ,

full of the driving power of the western wind (Sparkes).

F ormerly ascribed to Isaak van O stade . The name of thepainter indicated by the fragmentary signature cannot bewholly traced ; but to judge from the style of the picture onemay conclude that its author must have been a close follower ofSalomon van Ruysdael . The fig ures are very much in thestyle of Adrian van O stade (Dr . Richter).

17 . Port ra it of S ir P . I‘ . B ou r g e o is , R .A .

Sm WILLIAM BEECHEY ,R .A. (English : 1753

Beechey was born at Burford , in O xfordshire . His father .

intending him for the law . articled him to a conveyancer atStow,

in Gloucestershire ; but the young man, disliking themonotony of country practice . was soon transferred to the othee

12

of M r . O wen, of Tooke’ s C ourt, L ondon . While with thls

gentleman, Beechey became accidentally acquainted with se ine

students of the Royal Academy, whose studies so charmed himthat he at once sought for and obtained a substitute to serveout his apprenticeship

,and in 1772 was permitted to cnter the

Royal Academy as a student . By the study of Sn J oshuaReynolds’ works, and by following the good adv1ce

'

of hisfriend Paul Sandby, he soon made rapid progress, ch1efly

_

mportraiture

,painting small historical pictures a nd conversation

pieces in the manner of Zofiany ; but his first life- sl z e porti'ait

was not painted until 1781, during his residence in Norwwh,where he had lived five years . O n his return to L ondon,Beechey took Vanderg ucht

’s house, 20 L ower Brook Street.

The patronage of the nobility led the way to Royal patronage,and in the year 1793, when he was elected Associate of theRoyal Academy,

’

he was appointed portrait—painter to QueenC harlotte . In 1798 he was commissioned by George III . to

paint the large picture,now in Hampton C ourt, of the King

and Prince of Wales reviewing the Dragoons, which work sosatisfied His M ajesty that he bestowed the honour of knighthood on the painter , who was then elected a RoyalAcademician.

Sir 1Villiam Beechey was twice married , and had eightchildren : one of his sons, C aptain Beechey, R.N. ,

was a disting uished Arctic traveller ; another , W . H. Beechey, wasknown as the author of a L ife of Sir Joshua Reynolds .

” SirWilliam sold most of his pictures

,engravings

,and materials

by auction in 1836 (in which year he presented this portraitto Dulwich), and removed to Hampstead , where he died threeyears later at the age of 86 . Though not in the first rank ofEnglish portrait paint ers, his pictures have truth, simplicity,and attractive colouring .

The face is three- quarters, towards the left . Grey hair andwhiskers ; white cravat, shirt- rumes, and waistcoat, red andwhite ribbon belonging to an O rder passes across it a darkcoat ; and red curtain background . Panel : 2 ft . 53 in . x2 ft . in .

— Engraved by J Vendramini for C adell ’ s BritishPoa'trait Gallery.

F or a notice of Sir F rancis Bourgeois (see the Introduction,p . xi). This portrait, exhibited two years after his death,was No . 221 in the Royal Academy

, 1813 . There is a secondvers1on of it (exhibited at Suffolk Street, 1830) in the NationalPortrait Gallery . Sir F rancis is painted wearing the PolishO rder of M erit (see below , p . O n the back of our panelis a sketch by Sir Joshua Reynolds representing a irl bendingover a child in her lap . Beechey used so say t at he hadpainted the portrait of his friend Bourgeois on the other sideof the panel in order that it might be sure of preservation

.

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19 . A R om a n S o ld ie r w ith a T rop h y .

School of RUBENS (Ii lem1sh 1577 S ee 1.

A Roman soldier clad in 01111ass and red mantle , bare - h‘eaded ,stands facing the spectat01 holding up a trophy ; a

'lands'

capeand dai k sky in the background . Panel : '1 ft 7 in . x1 ft . 1}, in .

The soldier,extending his left hand towards heaven; is

dedicating a tl ophy of arms to the gods . Desenfans calledthe subject “ A'chilles contemplating armou1 ’

; valued forinsurance m 1804 at £60.

20. L a nd s ca p e w ith F ig u r e s .

JAN M IEL (F lemish : 1599

M iel was born at Antwerp . He was a pup il of G . Z eg ers,and studied in Rome under A . S acchi . In 1648 he was ad

m itted as member into the Academy of St . L uke . Shortlya fterwa l ds he was summoned to the C ourt at Turin by C harlesEmanuel Duke of S avoy , and died there in 1656 . Hispaintings

,as a 1ule

,1 ep1esent scenes from the life of the

lowei classes in Italy, country people , musicians, beggars ; thelandscape frequently is an impm tant featu l e in the work .

He aISO painted some altar— pieces for Roman churches In hisgem e p ictui es the execution is very ca1

,eful the design

accurate,the coloui ing often -cool and dark

,the i e ndering

flat . The fio ures in C laude ’s landscapes 11 el e often painted byhim .

In . the ( ze 11t1 e , a young 11 oman seated on the ground,

with a guitar in her hands . O u he 1 1 ig ht, a huntsman ,

standing , and loading his gun ; a d og near them . In the

middle distance , -a circu lar tower and a Roman ruin . Hills inthe background ; blue sky and dark clouds . C opper : 8 ih .

x 11—3 in .

The4

colouring -is of an enamel like effect .

2 1 . C u p id on a B e d .

ITAL IAN SCHO O L (11th C entury)C upid , with fai1 hai1 , lying on a bed ; his head bent forwar 'ds

.

his wino s raised ; cu1tai11s 011 both sides ; his feet not visibleC anvas : 8 111 x 85 111

A small pictui e of beautiful sentiment,colou1

,and effect

(Spai kes) F o1merly asc1ibed t-o Schedone,but certainly

painted by a latai a1tist . The pink light tints recall theinfluence of F ede1100 occ10 (Richter ?)2 2 . S u s anna h an d t h e E ld e r s .

ADA1I ELSHEIM ER (Ge1n1a11 1578Elsheime i was the son of a tailm at F 1ankfo1t- on M ain . He

went to Rome, whel e he was in communication with the masters

p

10

of Rembrandt , Lastman and Pinas,of Amsterdam . His con

temporaries, Sandrart and C ornelius de Bie , describe him as anextraordinary artist , Who had a peculiar manner of his own .

He was , indeed , the first who invented a style of small sceneries,landscapes, and other curiosities .

” His pictures are of a verysmall size, and the minutest details are given therein with moreexactitude than in the large historical paintings of the Italians .

He usually painted -on copper (as is the case with this picture),and finished his works with so much labour that the prices hereceived never sufficiently repaid him . It is said that he wasnot fortunate in his career

,and that he was imprisoned for

d ebt,but was restored to liberty by C ount .Hendrick van Goudt,

his pupil and protector,who engraved some of his compositions .

Elsheimer , says S ir S idney C olvin (Guide. to British M useumfills a very important place in art as the fore

runner on the one hand of C laude and his group , by his delightin the composition and massing of the forms of hill

, plain andg rove in the country round Rome, and on the other hand ofRembrandt and his group

,by his predilection for strong

artificial contrasts of light and for the dramatic and speakingaction of his figures .

” Rembrandt was certainly acq uaintedwith the works of E lsheimer . Amongst his pupils

‘

and followersare

,his sons

,Van Goudt

,

”

Cornelis van Poelenburg , DavidT eniers the elder

,Pieter van L aar

,Lastman

,Pinas

,Thomas

Teniers the elder , Pieter van L aar,Thomas van Hagelstein

,

J . Kenig ,of Niirnberg ,

Bramer,and

l

Uijtenbrouck.

O ne of the E lders,habited in a rich dress

,is standing

to the right of Susannah Who is seated ; the o ther,who is

bareheaded,is sitting by her side ; a dark oak tree behind ; on

the right a fountain,adorned by dolphins -and nude infant boys ;

in the background a castle in a park ; evening sky. C opper :9 in . x 113 in .

An early work of the master .

2 3 . R u in s of a T em p le .

B . BREENBERGH (Dutch : b . about 1600 d . after

Bartholomeus Bree nberg h was a native of Utrecht , but wente arly to Italy , where be painted landscapes and historical subjects . C ornelis van Poelenburg (No . 25) is said to have beenhis master . He lived the greate r part of his life in Italy , buthis work was . also in much request in F rance , where he wasknown by his C hristian name only

_ as Bartolomé ,

‘ there areseveral of his pictures in the Louvre . Amongst his . works the

landscapes are more important than the historical compositions .

He succeeded best in small landscapes, which usually representRoman scenery : they are extremely finished in their design , andof great delicacy in execution . They may generally be recognis

‘

ed'

by the cool bluish tone of their colouring . The back

16

grounds give an impression of great distance , and the figures inthe foreground are conceived in a spirited manner . His etchings (about thirty- one in number) are conspicuous by thei r greatdelicacy . In the British M useum there are many drawmgs byhim

,chiefly views of ruins in and around Rome .

O u the left, upon a rock , a ruined circular temple ; on theright

,in the middle distance

,a tower . In the foreground , a

waterfall,three men travelling

,a woman sitting on the ground,

a dog,an ass

,and cows . Panel : 6} in . x 9 in .

A fine specimen of the artist’ s skill, and very attractive in thevariety of its scenery

,which recalls the Upper Tiber valley near

Rome.

2 4 . C h r is t a s a B oy b e a r in g th e Em b lem s of the

Pa s s ion .

GERM AN SCHO O L (16th—17th C entury).Christ, represented as about ten years of age, advances to theleft

,dressed in a long grey coat and red mantle . He carries

the cross, spear, and reed with the sponge in his left hand is a

basket with linen, cords , dice, and nails . The face is lookingdown . A nimbus of golden rays around the head . The floorstrewn with flowers. Dark background . C opper : 5% ih . x42 in .

At one time attributed to C arlo Dolci ; but,said Dr.

Richter, the general conception is quite in the style of theNorthern Schools ; the picture clearly shows in its minute oxeention the influence of Elsheimer .

”

25 . A S a tyr and a Nym p h D an c ing .

C . VAN PO ELENBURG (Dutch : 1586C ornelis van Poelenburg or Poelenborch was born at

Utrecht, where he commenced his studies in the school ofAbraham Bloemaert . He afterwards Visited Italy and Rome,where in 1617 he studi‘ed the works of Elsheimer and Raphael .O u his way home he painted for the C ourt at F lorence

,and on

his return to his native country,in 1627

,he was received with

great consideration . He was dean of the Painters ’ Guild atUtrecht in 1649

,in 1656 - 58

, and in 1664 . He generally paintedsmall Italian landscapes , which he enlivened with nude fig ures,sometimes with subjects from Holy Scripture . N . Berchemoccasionally painted the fig ures in his pictures , whilst, on theother hand , Poeleuburg sometimes painted the fig ures in thelandscapes of J Both, and also in the architectural views ofHendrick van Steenwyck the younger . A. van C uylenborchand B. Breenbergh (No . 23) were his pupils . Gerard Hostand F . Ve1‘w11t imitated him .

The s‘

atyr . standing to the left, is playing 011 a tambourine;the

nymph in the centre, her back to the spectator , is playing the

17

cymbals both are nude ; another nymph, sittin on the groundbetween them , in a violet mantle, is inciting t e two dancers .

Behmd her a boy : on the left a dense wood ; on the right, in thebackg round , a pool. Grey sky . Signed C . P.

” Panel ,elliptical . 1 ft . 23 ih . x 1 ft . 7g ih .

A carefully - painted picture,the fig ures having an enamel

like surface : a good example of the g enre which attractedthe arti st ’s patrons .

2 6 . R u in s of a R om a n B u ild in g .

B. BREEN‘

BERGH (Dutch : b. about 1600, d. afterSee 23 .

O u the right , in the foreground . large antique ruins ; threecows and some sheep stray about the down ; on the left, greengrey hilly distance . A fine —weather sky and white clouds .

Birds flying about . Panel : ' 6% in . x 9} in .

S imple in its motive ; somewhat monotonous in colour .

2 7 . S t . J e rom e .

ITALIAN SCHO O L (16th— 17th Century).

The head turned to the left,and seen in profile ; the hands

clasped and holding a cross recl mantle blue sky in the back .

C opper : an ellipse, 3 in . x 2 in .

F ormerly ascribed to Guido Reni , but inferior (says Dr .

Richter) to this master’ s pictures , especially in its design .

2 8 . N oe l D e s on ian s .

JAM ES NO RTHC O TE,R.

.A. (English : 1746

James Northcote was born in Plymouth, where his fatherfollowed the trade of a watchmaker

,and took him as his own

apprentice . But young Northcote disliked the trade,and

occupied all his spare time in the study of art . In 1771

Dr . Zachary M udge introduced him to Sir J oshua Reynolds .who,with his customary kindness,took him as resident pupil, andNorthcote remained in the house of his master five years

,where

his diligence was so great that he gained the esteem andapproval of the President . O u quitting Sir Joshua

,Northcote

set up as a,portra it painter ; but not feeling satisfied

,and

wishing to follow the higher walk of historical painting , hewent to Rome in 1777 . There he spent about five years , waselected member of the Academies of F lorence and C ortona .

and returned to England,in time to assist Alderman Boydell

with his Shakespeare Gallery . F or this work Northcote pamtednine good pictures, which established his reputation . Success

27930

18

served to increase the painter ’ s enthusiasm ; but his abilitieswere limited

,and he never reached the height to which he

aspired . This disappointment aroused within him‘ a spirit ofsarcasm

,which he vented in remarks u-pon the works of his more

successful contemporaries , and few escaped condemnation .

Northcote was a student of the Royal Academy , was electedAssociate in 1786 , and Royal Academician in 1787 . He contributed largely to theExhibitions ; and ,

notwithstanding somewhatdefective drawing and dull 'colouring

,he acquired a consider

able fortune by the practice of his art . This fortune was butlittle diminished throughout his long life

,for his habits were

so penurious that a tithe of his income sufficed for his expenses .Northcote was not married ; a sister , to whom he left all hisproperty

,resided with him

,and assisted in all his plans for

economy . He worked up to within a day of his death,at the

a g e of 86 . He was buried in M arylebone New C hurch .

Northcote’s literary works are of considerable importance in

the history of British art,and he was acquainted with two

other writers whose connexion with our Gallery has been noticedabove (p . His famous C onversations were taken downby Hazlitt . He was a friend of Ruskin ’ s father , and paintedportraits of Ruskin as a child (see Pra etefrita). Northcote

’s

Life of Titian (1830) is of little value , but his M emoirs of SirJ oshua Reynolds (1813) were the foundation of all subsequent

'

biographies of the President .

An amiable, shrewd face looks out from the picture ; a highcollared dark coat over a red waistcoat

,and large white cravat .

The head is seen in nearly full view . C anvas : elliptical .2 ft . 41 in . x 1 ft . l li in .

— Engraved by F reeman as frontispiece to the M onthly De cember , 1809

,and to the

J l emoir ofNoel D esenfans, 1810 ; Princess Victori a Series , 1.

F or a biographical notice of M r . Desenfans,see the Intro

duction , vii . He was of the m iddle size,with a well

p roportioned form . His features were regular and stronglye xpressive of benevolence and pene tration . There was a spiritand vivacity in his eyes that strikingly resembled those of M r .

G arrick (M onthly 31i'r'ror

,D ecember

,

2 9 . A.Wom an a t th e S p in n in g - w h e e l .

l

DUTCH SCHOOL (17th century).

O h the left, seated , facing the spectator , an old woman,spinning ; before her, on the ground , a child , with a rattle,offering her a paper on the right

,kitchen utensils . C anvas :

2 ft . x 1 ft . 11 in .

At one time ascribed to \Villem Kali? (1630

19

30. A C a s t le in a W o od .

G . PO USSIN (Roman : 1613

Gaspard Ba'ghet (commonly called Gaspard Poussin) was

born at Rom e,where his parents

,who were F rench

,befriended

Nicolas Poussin (see Nicolas married a daughter of hisfriends

,and encour aged his brother - in- law

,Gaspard , towards

landscape art,and took him for his pupil . " Gaspard , like

Italian painters of an earlier time,adopted his master’ s name .

After three years with Nicolas,Gaspard set up for himself ,

and obtained many commissions,working successively in

Perugia , M ilan , F lorence, and Naples . Returning to Rome,he carefully studied the paintings of C laude

,under whose

influence he developed his maturer style . He painted landscapes on canvas and in the open air . He lived in Rome, butrented houses also at F rascati and Tivoli . The enchantingscenery of the Tusculan or Tiburtine territory and of Rome,where

,as M artial observes

,nature has combined the many

beauties which she has scattered singly in other places,was his

favourite ground .

“ A little ass that he cared for himselfhis only servant, bore his entire apparatus

,provisions

,and a

tent . under which ,protected from the sun and wind

,he made

his landscapes .

” 8 0 great was his facilit) r that he is said tohave required only one day to make a picture . The number ofhis works is very great

,and examples are to be found in all

c ollections . His pictures are , now at least,often sombre

,

owing to his fondness for painting on a dark ground . His?work is inspired by a sense of the grandeur and infinity innature

,so th at in spite of some mannerism and inaccuracies

,

his pictures have,as Ruskin admits

,a permanent power of

address to the human heart .

”

A castle on a woody hill ; a road in the foreground ; 011 ittwo fig ures ; a high tree on the right ; blue sky and some clouds .

C anvas : 1 ft . 65 in .

‘

x 1 ft . 27} in .

No . 67 in Desenfans"C ata logue, where it is called View

in the Environs of Tivoli ,” and the following anecdote about

its purchase is told z the King of Poland was particularly desirous that the works of this maste r should serve asmodels to the landscape pa inters of Warsaw ,

we were recom

mended to purchase as many of them as we could find ; theyare

,however

,so scarce that this is the only one we were able

to procure . O u the day we purchased this , together with someo ther works of the different schools , we wrote to inform HishIajesty of it . He was then holding a diet at Grodno

,and

on the eve of flosing part of Poland , Which made him answer :J e vous reme rcie de tout mon coeur, car a present mon

‘bonheur n ’ est p’lus q u

”en peinture .

’

27930

20

3 1 . G ip s ie s in 3 L a n d s ca p e .

TENIERS THE ELDER (F lemish : 1582 S ee 14 .

In the centre. a gipsy—mother , sitting on the g round

_

and

suckling her child ; a girl standing near her . Another gipsywoman is telling an old man his fortune . In the background .

on the left.a castle . C loudy sky . Signed with a T insIde a

D . F . Panel : 8% in . x 11g in .— Engraved by R . C ockburn .

This and No . 33 are probably companion pictures . They arepa inted in the silvery tone of the y ounger Teniers . to whomthey were at one time. ascribed ; the dark outlines . however,are characteristic of the e lder Teniers (R ichter) . The p resentpicture is No . 169 in Smith ’ s C atalog ue of the y oung er Teniers ;sold in the collection of M . la Prade in 1776 for francs .

3 2 . H a g a r a n d I s hm a e l .

P. F . M O LA (Bolognese : 1612

Pietro F rancesco M ola was born at C oldre , near C omo , andstudied at first under Prospero O rsi , and afterwards underGiuseppe d

’Aspino at Rome ; he studied colour at Venice .

He then painted at Rome in the manner of Bassano andjoined Albani at Bologna . In the year 1650 he settled atRome . As a scholar of Albani

, M ola belongs to the BologneseSchool ; his fig ures have , however . more life than those ofAlbani . and there is an idy llic character in his works whichmakes them attractive . Desenfans states that he once sawGainsborough rapt in study of a picture by M ola . and askedthe painter what attracted him . It is this manner ofpainting ,

” replied Gainsborough . that I shall never attain .

for M ola appears to have made it his own by patent .

”

Hagar , in a yellow dress and red mantle . kneels on theground , turned to the right . where Ishmael lies ; an angelappears close to her . on clouds : trees in the background ;evening sky . A circular p anel : 7% in . in diameter

.

The representation of Hagar and Ishmael was a favouritesubject of M ola ’ s . S imilar pictures by him are in the L ouvreand in Lord Northbrook’

s C ollection .

3 3 . A P e a s a nt E a t in g M u s s e ls .

TENIERS THE ELDER (F lemish : 1582 See 14 .

O h the left . near a wall . a peasant seated on the ground ;near him a pan with mussels . He is in conversation withanother peasant standing O pposite him . In the background . a

https://www.forgottenbooks.com/join

22

3 7 . A S h e p h e rd D rivin g C ow s .

DUTCH SCHO O L (17th C entury).

A shepherd boy drives two cows , one red , the other white,near a wood ; a dog strays in the foreground a man on a greyhorse is crossing a bridge ; in the background , to the r1g ht,

_a

castle ; hills in the distance . Grey, calm sky . C anvas : 3 ft . 7 ln .

x 4 ft . 11% in .

At one time ascribed to A . 0ii defaced by over -

palnting .

38 . S t . L aw ren ce in A d o ra t ion .

ITALIAN SCHO O L (17th century).

The S aint kn eeling in front . with upturned face .

_

He isclad in deacon’s vestments

,with a palm—branch in h is l

'

1g bt

hand ; his left holds a gridiron , the symbol of his marty rdom .

Dark background . C anvas : 1 ft . 23 in . x 1175}in .

Sketchy in execution . At one time attributed to PietroBerrettini da C ortona (see No .

39 . A n O ld B u ild in g w ith F ig u re s .

C O RNELIUS BUSART (Dutch : 1660

Dusart was the son of J an Dusart (or Tucert), who was anative of Utrecht

,but had settled and married in Haarlem,

where C ornelius was born . It is not known when he e nteredas a. pupil the studio of Adrian van O stade . O h Jannary 10,1679

,he was admitted into the Painters ’ Guild . In the year

1682 his name is mentioned in the parish registers of theReformed C hurch ; he was then unmarried . The objects ofart left by him were sold four years after his death by auction .

Amongst them were , besides Italian pictures, engravingsafter the best Italian, F rench, English and Dutch painters .

”

C ornelius Busart was a faithful follower of his masterAdrian van O stade He painted especially representations of

village fétes, drinking bouts, peasants quarrelling , charlatans,&c .

,where he well characterises the unrestrained joy of the

lower classes, though often the design degenerates into caricature . His colourmg is usually cooler in tone and a lso morevaried than that of his master .

The interior of a courtyard , surrounded by the remains of alarge building , one archway of which serves to fram e thwhole composition. O h the left

,a donkey is lying down ; in

the centre . a woman seated in a low chair,sucklin

gher baby ;

a cat at her feet ; opposite her, a peasant standing talking

23

to her, and behind him a dog .

Panel : 1 ft . 638 in . x 1 ft . 23 111.

‘ f

A remarkably careful and choice pictureby th1s scholar of O stade

,

A wooded country beyond .

says Waag en,who approaches nearest to his

master in the glow of his colouring .

” A graceful treatmentof an ordinary subJect ; much assisted by the warm subduedtone of colour (bparkes). O ne of the artist’ s best works

,

harmon ious ln colouring, clever in composition, and in con

ception quite original and independent of Adrian van O stade(R1chter).

4 0. A G r ou p of Pou r S a in ts .

School of RUBENS . See 1.

.

O u the right stands St . C atherine in a white garment.her

right hand resting on a sword , a palm - branch in her left; behind her m bishop (St . Ambrose opposite another bishop (St .

and another Saint in white garment and blackmantle holding a pilgrim ’ s staff. Two angels with wreaths float1ng above ; a niche in the background . Panel : 2 ft . 2% in .

x1 ft . 7% in .

The great slenderness of the fig ure and the monotonouscolouring betray a period later than that of Rubens .

”

(Richter).

4 1. T h e M a rtyrd om of S t . S eb a s t ia n .

ITAL IAN SCHO O L (17th C entury).

The Saint stands in front bound to a tree,the head turned

upwards ; on the right a river on the left,the armour and the

mantle of the Saint,indicating his having been a Roman

soldier clear evening sky . C anvas : 2 ft . 1-3 in . x 1 ft . 63} ih .

The legend of St . Sebastian was peculiarly popular with theainters . He was a soldier in the Praetorian Guard and aghristian— young , and of a good presence, and high in theImperial favour but refusing to renounce his faith during thepersecution of the Chr istians under Diocletian (A.D . he wascondemned to be shot to death with arrows by his fellow- soldiers .

This sentence was carried out on the Palatine Hill ; but Ireneand some other C hristian women

,coming by night to take down

his body from the tree to which he was bound , discovered thatlife was not yet extinct

,and by their care he was restored .

He was, however , re - arrested,and

,persisting in his faith ,

suffered martyrdom a second time,and was stoned to death .

The circumstances of the story made Sebastian a favourite Saintamong pious women ; whilst his youth and beauty, and theopportunity which his martyrdom offered

.

for the d1sBlay of thefig ure and of strong expression, made h1m a favourite subject

24

for artists . The subject more generally treated is his firstmartyrdom

,as in this picture and in Guido ’ s (No

tO f

his rescue there is a version by Belucci (No . It 1s interesting to compare the present picture (at one time ascrlbed toM ola) with the more famous one attributed to Guido . There 18

here no attempt at dramatic effect ; no forced expression .

4 2 . F ru it .

J AN VAN HUYSUM (D utch : 1682

The fame of Jan van Huysum began at home, as was fittingin a land of lovers and growers of flowers ; but his_ reputationsoon spread throughout Europe . While still young he became‘

rich and honoured,and reached the summit of fortune . The

prices noted in the sale catalogues of the 18th century , whichare altogether out of proportion to those realised by other works,reveal to us with what infatuation this finished master , so delic ate

,erudite and careful

,was regarded (Havardi s Dutch

S chool). The florists were proud to supply him with specimensand perhaps the bric - a - brac dealers lent him the vases, in Whichhe usually placed his flowers . He was fond of introducingbirds ’ nests into his posies (see Nos . 120 and And twoother evidences of the painter ’ s skill were required in Dutchflower- and - fruit pieces . The first of these is the dew - drop

,or

rain- di'op— it may be two or three drops— of either size,on one

o f the smoothest petals of the central flower . This is always,

and quite openly, done to show how well the painter can do itBut there was a further towr de force demanded of the Dutchworkman . Not only a dew- drop

,but in some depth of bell

,or

cranny of leaf , a bee, or a fly,was needful for the complete

satisfaction of the connoisseur (Ruskin’ s Notes on, F ront and

Hant). Jan van Huysum did all these things with patient andskilful precision (see , e . g .

,No . but whilst as a

painter of flowers he gained enormous success,his inclination

and tastes were always for landscapes . Whenever he had a fewdays to himself he fled to the country and amused himself bypainting bushes with rude fig ures .

” He was born at Amsterdam , where he resided all his life . He was the pupil of hisfather , Justus van Huysum . His three brothers were alsopainters : Justus, a battle- painter ; Jacob , who chiefly copied inLondon the works of Jan and M ichael

,a teacher of drawing

,

who painted flowers and fruit .

A blue Delft bowl stands on a red marble slab,and contains

peaches, nectarines, grapes , raspberries, which fall over theside ; a cracked nut on the slab ; light brown background .

S igned J an van Huysum . Panel : 1 ft . 3 -1 in . x 1 it . i in .

This and No . 61 are companion pictures,and were sold from

the Braamcamp C ollection in 1771 for £207 (Desenfans C atalogue

,No . 137 Smith ’s C atalogue

, Nos . 23 and

25

4 3 . T h r e e W om en w ith a C ornu cop ia .

RUBENS (F lemish : 1577 See 1.

Two women , partly undraped , seated 011 the ground, holdingup a large cornucopia

,which at the same time they fill with

fruit from a basket before them . O u the right,further back,

stands a third woman,clad in a tunic and assisting them . Dark

clouds in the background . Panel : 113, in . x in .

A sketch for a large picture .

4 4 . A V'i ew on th e R h in e .

HERM AN SAF TLEVEN (Dutch : 1609

A native of Rotterdam ; pupil of Jan van Goyen , and probablyalso his elder brother

,C ornelis Saftleven . H. Saftleven ,

wrote Sandrart, painted landscapes, and distinguished hims elf by the care as well as the great accuracy with which hep ainted . A good landscape painter

,

” said C ornelius deBie of him ; at first he painted peasants and barns

,but now

h e indulges in his predilection for landscape- painting . He livesat Utrech He usually represented in his pictures thee nvirons of the Rhine they are executed with the greatest care

,

and the smallest detail is rendered with the accuracy of aminiature painting . The very thin impasto on his paintingsp roves the great firmness and skill of the artist

,whose works

,

a lthough praised by Sandrart and C . de Bie,have only of late

been duly appreciated .

O u the right, the river on it numerous boats ; on the left, awoody cliff with trees

,cottages, churches, and the tower of a

castle ; various fig ures on roads scattered about . Beyond theriver steep mountains with villages and castles . Blue sky

,with

a few clouds . S igned and dated 1656 . Panel : 1 ft . 43 ih . x1 ft . in .

At one time ascribed to Vosterman . It is one of Saftleven ’s

best pictures remarkable for the exquisite finish of the minutestdetails . F ormerly in the possession of M r . M oses Vanhausen

,

who brought it over to England in

- 4 5 . In t e rior of a C ot t a g e w ith F ig u re s .

A . VAN O STADE (Dutch : 1610

Adrian,elder brother of Isaac van O stade , was a pupil of

F ranz Hals,in whose school his pictorial perception was

developed . He painted trivial subjectsybut he often caught“ the poetic side of peasant- life bygiving to its sports, its quarrels ,its quiet enjoyments the ma.g 1c light of the sun- gleam . He

26

had,says Sir F rederic Burton, artistic qualities of a high

order — consummate skill in composition and taste in arrangement ; subtlety of Chiaroscuro and refined delicacy of colourappropriate and never overstrained action in the fig ures, and

'

precision,combined with breadth

,of handling .

”

His earliest pictures had a light blue tone ; later on a yellowishtint pervaded them ; but those painted after the year 1640, whenhe came under the influence of Rembrandt . m

'

ay be distinguishedby their deep

,warm

,brown colouring

,combined with that

Chiaroscuro so peculiar to Rembrandt . In this his second period(about twenty years) he generally represents his peasants incontemplative solitude

,in family or friendly circles , and in the

enjoyment of comfortable quietude . His colouring becomesmore variegated in his latest period , his light more even andclear

,his conception calmer . Amongst his scholars were his

brother Isaac van O stade , C ornelis Bega, C ornelis Busart . andM ichiel van M usscher.

He was born at Haarlem . His father, Jan Hendriks , aweaver

,left the hamlet O stade , near E indhoven, for Haarlem .

In the year 1662 Adrian was made Dean of the Guild of St .

Luke . In July,1638, he married M achtelg en (M athilda)

Pietersen,a young lady of Haarlem . who died in September,

1642. The name of his second wife . who died in 1660, is notknown . He died at Haarlem .

The interior of a room with an open window on the left ; near ~

it,and facing the spectator

,is a man with a pipe

,receiving

a glass of beer from a woman seated opposite ; she is seen inprofile holding a beer jug in her left hand ; view of a tree andbushes through the window . Whole- length fig ures . Panel :1 ft . 1 in . x 10A, ih .

No . 75 in the C atalogue of Desenfans, where he says , This .

exquisite little picture has always passed for one of the finestproductions of Adrian O stade .

” Desenfans is said to have paid£105 for the picture . (No . 124 in Smith ’ s C atalogue .)

4 6 . S t . S e b a st ian w ith I'a ith an d C h a r ity .

A. BELUC O I (Venetian : 1654

Antonio Belucci was born at Soligo on the Piave,near Venice .

At first he studied and worked in Venice ; later on he was calledby the Emperor Josepll I . (1703 - 1711) to Vienna . where he was .

also employed under Charles VI . (1711 F rom him,and

from other German princes . he received the title of courtpainter . In the year 1716 he came to England

,from the court

of the Elector Palatine . A ceiling in Buckingham House wasdecorated bv him in 1722 . He found a protector in the Dukeoi Chandos . Being afflicted with the g out . he left England and .

27

returned to his native place where he died . He left a nephew,

says Walpole, who made a fortune by portrait - painting.

The wounded Saint (a three - quarter - length fig ure), who ispartly covered with a red mantle ,

falls back into the arms ofF

_

aitl1..

a female fig ure in white , who bends over and supportsli im Wlth her right hand . whilst her left holds a cup and across . 011 the left , a casque and piece of armour , with anarrow . C harity , on the right . holds the Saint ’s left hand inher own and delicately draws an arrow from ' his side with herright ; she wears a g olden _

cope lined with green . Goldencoloured clouds form the background . The fig ures are life- size .

C anvas : 4 ft . 8 in . x 4 ft . 4 in .

A carefully executed work of the master ; for the subjectthe rescue of the S aint after his first martrydom

— see No . 4 1

presented to the Gallery by the Rev . T . B . M urray,of L incoln ’ s

Inn F ields . in April , 1852 .

4 7 . L a n d s ca p e w ith F ig u re s .

J . “T JENIX (Dutch : 1640

J an VVeenix was born and died at Amsterdam . He was a

pupil of his father,Jan Baptist

'

Weenix,who had married

J ustina d’Hondecoeter in 1638 ; although he chiefly lived atAmsterdam . his name is to be found in the registers of theGuild of Saint Luke at Utrecht in the years 1664 and 1668 . He

was also for some time in the service of the Elector J ohannWilhelm

,of the Palatinate at the castle of Bendsberg , near

the Rhine . J an Weenix painted occasionally Italian views ,like his father

,who had visited Italy ; but was principally an

animal—painter,and became most celebrated by his representa

tions of (lead hares (see , e .g .,National Gallery, No .

O n the left, in the foreground , a shepherd sitting on theground a young dog between his legs ; an older one lookingover the boy ’ s shoulder ; behind him ,

the ruins of a Romantemple ; on the right , a group of four sheep ; and in the middleground

,a river

,with numerous fig ures scattered about ; hlg h

rocks in the distance ; cloudy sky . S igned J Weenix and

dated 1664 . C anvas : 2 ft . 6% in . x 3 ft . 22 in .

Painted under the influence of his father , J B . Weenix ,and probably after his studies in Italy an early and veryimportant work of the master (Richter).

4 8 . A W om an w ith C ow s on a R o a d .

School of DUJARDIN . See 72 .

A woman in a white dress and red mantle carrying a

pitcher ; a cow and a goat standing . and another cow ly ing

28

down ; on the left, a fountain . Behind these, cottages and atree ; in the distance , blue mountains . Sky blue, W ith a fewclouds . Panel : 9 in . x 7 in .

4 9 . A R oa d n e a r 8 . C otta g e .

TENIERS THE ELDER (F lemish 1582 S ee 14 .

O u the left,a cottage ; before it two wayfarers, to whom a

peasant shows the way . In the distance,on the right

,a

shepherd and sheep under trees ; beyond , a pool . Blue sky W ithgrey clouds . S igned D .T

_

. (monogram) F .

” Panel : Si in .

x 6§ in .- Engraved by R . C ockburn .

C ompanion picture to No . 52 .

50. A n O ld W om an E a t in g .

QUIRYN BREKELENKAM (Dutch : 11 .about 1625

,

d.

At the time when Gerard Dou began to be celebrated he tookas an apprentice a young man

,a native of Swammerdam ,

near L eyden,named Brekelenkam

,who acquired from his

master his method of light and shade and imbued himself atsecond hand with the precepts of Rembrandt . He paintedquiet interiors

,industrious households and kitchen scenes . In

the National Gallery there is a signed picture by him(No . Inspired by Rembrandt’ s teaching

,he placed his

fig ures in a beautiful amber light . They are neither too graceful nor too striking

,but singularly lifelike and truthful .

The scenes in which he delights are always quiet, modest, andsober in movement and expression

,but his execution is none

the less interesting . His touch is free,supple

,and soft ; and

his fig ures are modelled with remarkable power upon . a redground , frequently by the aid of simple transparent colours .

The woman a full- leng th fig ure , turned to the left, isseated in an armchair before a fire she wears a black jacket

,

dark green apron , and white cap, and is eating with a spoonfrom a pipkin . In the background stands a large bedstead

.

Panel : 1 ft . 6 in . x 1 ft . 2 in .— Princess Victoria Series

,i .

This admirable picture (formerly in the O rleans collection)No . 129 in Desenfans

’s C atalogue of 1802

,there attributed to

Gerard Dou . To what superlative excellence ,” exclaims

Desenfans, may gen ius and application carry the art of

painting ! We may really believe we see the old woman’ shead and hands trembling through the debility of extreme oldage . O ne of the early pictures of Dou, for notwithstandingits high finish, we may easily recognise the school of Rembrandt

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30

is generally known,C laude le L orrain or C laude L orraine : He

lived most of his life at Rome, then the centre of attracti on tothe learned and fashionable world of Europe , and became thechief painter of what is called classical landscapes ”

.

At an

e arly age C laude lost both of his parents . While staylng Withhis elder brother

,a clever woodcutter at F reiburg - in -Bresg au ,

he learned to draw ornaments and arabesques . At the ageof 19

,he found his way to Rome , Where he worked for six

years, as assistant to Agostino Tassi , a scholar of Paul Erll.He next travelled elsewhere in Italy , staying for a while inVenice

,of which place there are sometimes recollections in his

S ea- ports .

” After a visit to his native country (at Nancy),he returned by Lyons to Rome where he worked withunceasing industry and gradually made a great reputation .

His house at Rome , the Tempietto , may still be seen at thea ngle of the streets S istina and Gregoriana . His friendSandrart , a German painter , tells us that at Tivoli or in theC ampagna C laude used to linger in the open air from befored aybreak even to nightfall

,so that he might learn to depict

w ith a scrupulous adherence to nature ’ s model the changingphases of dawn

,and the rising and setting sun .

” M any ofC laude ’s sketches may be seen in the British M useum . Bythe aid of such studies he built up his classical compositions .

Amongst his earliest patrons at Rome was the Ambassador ofF rance at the Papal C ourt , for whom he painted a pictureof the F orum, of which there is a version in our Gallery(No . C ardinals , Popes, and foreign S overeigns gave himcommissions, and his work was so much copied that hed ete rmined to form an album containing sketches of hisa uthentic works . This was the famous Libe -

r Veritatis (nowat C hatsworth), which suggested to Turner the LiberS tudim'

um . C laude , who suffered from much ill- health in hisJater years, died at Rome and was buried in the C hurch ofthe Trinita de ’ M onti . A monument was erected by hisnephews “ to their beloved uncle

,C laude Gellée L orraine

,a

most eminent painter , who , in painting landscape . represented to admiration the very rays of the rising and settingsun .

” The monument was destroyed during the F rench occu

pation ,in 1798, and in 1836 the painter ’s remains were trans

ferred to the C hurch of S . Luigi de ’ F rancesi,near the

Pantheon .

O ne of the chief characteristics of C laude ’ s pictures,a

characteristic which gives him a distinctive place in the historyo f landscape- painting , was noticed by his nephews in theire pitaph . He

“ set the sun in heaven,

” says Ruskin. Hepainted the effects of misty shadows cast by the sun ’s rays

over the landscape, and other delicate aérial transitions asno one had e

.

ve1‘

.

done before , and in some respects as no,

oneElias clone in 0119. Since .

”F or the rest

,he painted an imaginary

3 1

world , full of serenity and sweetness . He knew the realworld thoroughly,

”said . Goethe , and he made use of it to

e xpress the worlcl contained in his own beautiful soul ”— a

world of enchanted castles,echoing grottoes, waveless seas .

The characteristics of his pictures,said a great English

landscape painter , are always those of serene beauty Sweetness and amenity reign through the creations of his pencil ; buthis chief power consisted in uniting splendour with repose ,warmth with freshness

,and dark with light (L eslie

’ s Life ofC onstable

, p .

In the foreground , a column and an urn, probably ruins of

a classical monument . O u the left,a village

,and beyond it

hlg h rocks . O u the right,a bridge and a distant view . Three

fig ures, cattle , and geese in the foreground . C alm sky .

C anvas : 3 ft . 5 in . x 4 ft . 6 in .

-5 4 . T h e G u a rd - room .

TENIERS THE YOUNGER (F lemish :

David Teniers , the younger , generally reputed one of thegreatest of genre - painters

,was born at Antwerp

,and first

studied under his father (see No . But his true masters,though he was not actually in their studios

,were Rubens and

Brauwer . In 1633 he was admitted as master into the Guildof St . Luke at Antwerp . In 1637 he married the daughterof the painter Velvet Breughel

,the former ward of Rubens

,

who acted as witness at the wedding . Brilliant and refined

in person,enjoying the patronage of those who occupied a high

rank in the domain of art,marvellously gifted and fruitful ,

Teniers soon became known,esteemed

,and celebrated . The

Archduke L eopold -William of Austria,then Governor of the

Netherlands for Spain , appointed him his private painter anda ide de sa chambre

,at the same time making him keeper of his

g allery in the Palace of Brussels .

” In 1647 he took up hisresidence in that city . His country seat at Perck (depictedin No . 817 in the National Gallery) was a constant resort ofthe Spanish and F lemish nobility . Louis XIV . iS '

said to havee xclaimed

,when someone showed him some works by Teniers ,

Eloig nez dc moi ces mag ots take away the absurd thingsbut other sovereigns , less enamoured of the grand style, patronised this painter who brought so much technical skill to therepresentation of common life . Queen C hristina of Swedendesired to possess pictures by him

,and Phllip IV . of Spam

admired them so much that the Prado is richer than any otherg allery in works by Teniers . In 1663 he became the firstPresident of the Academy of F ine Arts at Antwerp . He diedat his chateau at Perck in his 81st ye ar .

32

Though Teniers painted mostly the life of the peasant- world ,as in brick-making (No . cutting, chaff (No . tendingswine (No . 146)— he depicted also the incidents of the guardroom and the guild of the cross— bow men . As compared withDutch painters of genre

,Teniers painted boors somewhat dc

haut cn bas— exaggerating their boorishness ; and he was fondof “ introducing gentry into his scenes , who are attended obse

quiously or joyously by g rateful . peasants (e .g . No . But

what gives his pictures their high reputation is their finetechnique . He seems

,says Ruskin never to have painted

indolently he touched with a workmanly hand .

” Andthen

,his colouring is very delicate in tone, his handling of the

brush light and spirited . In their glowing colouring and theirtransparent brown shadows

,his early pictures have something

akin to Rubens ; they are of a cooler tone in his later works ,and have a fine grey silvery tint in those pictures which areconsidered his best . The colouring in his late st works is ratherheavy and monotonous .

A page,with a sword in his hand

,advancing to the left ;

before him,the armour and the weapons of a knight ; in the

middle ground,an open door

,through which passes a soldier

with a musket on his shoulder . O u the right,a dog ; and in

a corner of the room,four men in conversation . S igned

“ D Teniers C anvas : 2 ft . 35 in . x 1 ft . 9% in .

A late work of the artist .

55 . A B la cksm ith ’s S h op a t R om e .

J L INGELBACH (Dutch : 1625

Jan L ingelbach was born at F rankfort- ou- M ain,but his

family moved , while he was still young, to Amsterdam .In

1642 he went to Paris for two years,and then to Rome . He

remained in Italy for eight years,returning to Amsterdam

for the rest of his life . The facility with which he posed anddraped little fig ures caused him to be sought after for thiswork by the landscape painters of the time— such as “ iynants,Hobbema, Hackaert

, M oucheron , Philip cle Koninck,and

Je cob Ruysdael . O n his own part,he painted very different

sorts ofgmtures, but principally , and with special skill , crowds

compose of var1ed groups , Italian seaports , hunting scenes ,and fairs . Karel (111 Jardin is said to have been his mastersometimes he imitated Ph . Wouwerman .

In the foreground , a blacksmith ’ s shop with the Papal coat‘

oi - arms a pack-mule 1s being shod by two men in front of it.

111 the background, a View of the church Trinita de ’ M onti,

33

d 0t

éi

ge

iiincmn

, grey blue sky . C anvas . 1 ft. 9% m . x

Pre y iously ascribed to Sling elandt, but it is doubtless (saidDr . Richter) an orig1nal painting by L ing elbach .

5 6 . A L ady Playin g on th e V irg ina ls .

GERARD DO U (Dutch : 1613

Gerard (Gerrit) Dou, or Dow (properly Douwensz , son ofDow), was born at Leyden . His father

, Douwe Tansz oon ,a

glaz1er , placed him, when nine years of age, with an engraver,B

_

ortholomwus D-olendo, that he might learn drawing, and sometime afterwards apprenticed him to Pieters Kouwenhouen

,a

glass— pew ter . In his fifteenth year, 1628, the youth, by his

own wish, entered Rembrandt’ s studio at Leyden, where heremained for three years, and learnt oil— painting . Rembrandthlmself was then only twenty years of age . Dou established

“

himself in his native town as an independent artist,and lived

there all his life, except between the years 1651 and 1657,

and 1668 and 1672 .

He began to paint at first portraits (his own portrait is inthe National Gallery), and afterwards representations of familyand professional life of the middle and lower classes

,in small

sizes, with, as a rule, not more than three fig ures. He doubtless owes to Rembrandt the clearness and strength of hiscolouring and the treatment of the light and shade . Hisacute observation, unequalled precision , and the great patiencewhich he devoted even to the smallest details, have always beengreatly admired . The German painter, Sandrart, relates thathe once vis ited , with Piete r de L aar , the studio of G. Dou,

and that he admired,with him

,the great care bestowed by

the artist on the painting of a broomstick . Dou remarkedthat he would

"

still have to work at it for three days . He

carried the same,almost meticulous, care into the painting of

his living models . The wife of a wealthy burgomaster paidthe penalty of possessing a fair white hand by having to sitfive long days while the painter transferred it to canvas . The

cheek of a fair model would grow pale with fatigue while hewas rounding a pearl on her neck .

” The present picture is agood example of his careful talent .

The lady,a whole— length fig ure , turned to the left, and seen

in profile, is seated in a red, straight- backed chair , before awindow . She wears a Iight— blue jacket, g reyish

‘

dress, and whiteapron . The virginals, on which she is playing , stand on atable .

In the background,a screen . O n the right, a large

piece of rich tapestry looped up to the ce iling over a table,on which lie a flute , an open music- book, &c. A wine- cooler

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34

with a flask in it, and a spray of vine occupy the foregroundon the right. A birdcage is hung in the rmddle of

.

the.

room.

Panel : 1 ft. 2g in . x 114 in .— Princess Victor1a

.

S.

er1es, 1.

A remarkable work,unusually rich in compos1tion, and

.

wellpreserved ; the elaborate minuteness of the workmanship is

marvellous . Desenfans bought the picture in.

1800 at theGeldermeester sale for £88 . In a list of his pictures . madefor insurance in 1804 , he valued it at £500.

5 7 . B rick - m akin g' in a L an ds ca p e .

TENIERS THE YOUNGER (F lemish :See 54 .

Brickmakers’ sheds in the middle distance, with numerousfig ures occupied in brick-making . O u the right, a broad river ;on the left

,a large church surrounded by trees . C loudy sky .

S i ned D . Teniers, F .

” Panel : 1 ft. 55 ih . x 2 ft. 2% in .

ne of his finest works in this Gallery . Very spirited andc areful in execution , especially in the fig ures.

5 8 . T h e Ho ly F am ily.

After ALBANI (B010g nese : 1578

F rancesco Albani was born at Bologna . His father was arich silk- merchant

,who first intended the son to be a lawyer,

and afterwards a merchant . But,following his inclination for

a rt the boy entered the studio of Den ij s C alvaert, of Antwerp,then the first painter in Bologna, where Guido Reni becamehis friend . Later on he studied in the Academy of L . C arracci ,following the example of Guido , with whom he afterwards competed. When both had settled in Rome

,their rivalry become

the cause of personal enmity,and Albani joined Annibale

C arracci . He returned to Bologna in 1616 . In 1625 and 1630he worked at Rome, and in 1633 in F lorence . He lost his fortunein the later years of his life

,which were embittered by discon

had been especially famous for his decorativepictures in whlch he introduced pretty children ; as in theg raceful F our Elements (Turin), painted for C ardinalM aurice of Savoy, and furnished to the C ardinal’ s order witha 00pious quant1ty of Amorini .” Albani is said to have

possessed charming models for such works in his first wife, andtheir twelve lovely children .

In the centre, the Virgin seated with the infant Christon her lap

.Red garment and blue mantle ; brown headdress.

The C hild is nude, sits on an amber- coloured cushion , and holdsan apple . The M adonna points with her left hand on the book

,

35

which Joseph holds open on the rig ht . Bushes in the background . C opper : 1 ft. 1% in . x 1015 in .

A very similar picture by Albani , of about the same size,was in the O rleans Gallery . It has been engraved by Leng loisla jeune . The attitude of the C hild recalls that of the infantChrist in Raphael ’ s M adonna dei C andelabri .

59 . In t e r ior of a C hu rch w ith a. B ap t ism .

PIETER SAENREDAM (Dutch : 1597

Saenredam was born at Assendelft . In 1612 he entered thestudio of F ranz de Grebber at Haarlem. In 1623 he wasadmitted into the Painte rs’ Guild there

,being nominated

Secretary of it in 1635, and C ommissioner in 1640. He wasa member of the Reformed C hurch . He died at Haarlem . He

is one of the chief Dutch painters of architecture ; his interiorsare remarkable for their luminous effect .

View into the side- aisle of a church,With circular columns

and cross vaults ; on the left, behind , the iron gate of thebaptistery

,a priest and a g entleman waiting ; in the nave a

page,a nun carrying the baby

,followed by two ladies

,all

approaching the baptistery . Panel : 1 ft . 4 in . x 1 ft . 71

}in .

6 0. L a n d s ca p e w ith C a tt le .

C UYP (Dutch : S ee 4 .

In the foreground,a river

,two men, and three cows ; two

boats lie close to the shore a bank with bushes in the distance ;on the river

,a sailing- boat ; cloudy sky . S igned A. C uyp .

Panel : 10% in . x 1 ft . 2 in .— Engraved by R. C ockburn .

An early work, recalling the style of Van Goyen”(Richter).

M r . Denning recorded that the picture had been painted on bySir F rancis Bourgeois .

6 1 . F lowe rs .

JAN VAN HUYSUM (Dutch : 1682 S ee 42 .

A small Delft vase on a marble slab holds some pink roses,picotees

,marigolds

,and orange flowers

,with butterflies ; a snail

on the pedestal ; light brown background . S igned f JanVan Huysum .

” Panel : 1 ft . Si in . x 1 ft . Ii in .

C ompanion picture to No . 42 .

6 2 . C h r is t B e a rin g H is C ros s .

SPANISH SCHO O L .

F ull- leng th fig ure of C hrist, life- size,bearing the C ross on

his left shoulder,and advancing to the right ; the crown of

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36

thorns on his head . He is clad in a long grey garment a cordhanging down from his neck ; barefoot . Behind him on theleft

, St . J ohn and the two M aries lamenting . Barren landscape on the right . Dark sky . C anva s : 7 ft . 4 in . x 4 ft . 2% in.

(The canvas was originally only 6 ft . 3 in . high .)At one time ascribed to M orales . These representations are

very common in Spain, where they are called C alle del amargura (via. Dolorosa). The sense of weight which is expressed by the attitude of the principal fig ure— the bare, desert.

aspect of the landscape — and the solemn tone of colouringwhich pervades the whole— produce together a fine and mostappropriate general effect ” (Hazlitt). The picture was formerlyin the C alonne collection sold at M r . Bryan ’ s sale, 1798,for £69

6 3 . C ows and S h e ep .

01117 1) (Dutch : See 4 .

Two cows and thr ee sheep ; behind them, a few houses onthe right

,a wall ; a town in the distance ; grey cloudy sky .

S igned AO .

” Panel : 1 ft . 2g in . x 1 ft . 73 in .

Said not to be a genuine work (Denning). An earlywork ; especially clever in the representation of the broad andtransparent shadows (Richter).

6 4 . ?e a sants w ith C ows .

G. CAM PHUISEN (Dutch : 1624

Govert C amphuisen was born at Gorcum ,and was probably

the son of Dirk Raphaelsz C amphuisen (a literary man whodied in In 1647 he married at Amsterdam

,of which

town he was made a citizen in 1650 he died there at the ageof 50. C amphuisen was probably influenced by Paul Potter ,with whom his style has some points in common ; but he cannotbe considered to be a pupil of this master

,who was one year

younger,and who came to Amsterdam only in the year 1652,

when C amphuisen was already an accomplished artist. Hepainted principally domestic animals , cattle , sheep— in meadows

,

courtyard, or stable . The peculiar treatment of light,by which

his colour melts into golden hues, his broad execution , brownshadows , and firmly- painted yellow lights

,certainly all denote

a peculiar style and an original master,whose merits have not

yet been enough appreciated .

In the foreground , a cowherd , barefoot , with his boots hungaround his waist; he stands facing the spectator , and pointsto some object with his left hand ; he leans on a long stick

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38

fashion. To his residence there,coupled with his fondness for

music,are owing the series of portraits of the L inley fan nly

which are among the treasures of our Gallery . Gainsboroughused to say that he painted portraits for money, landscapesbecause he loved them, and was a musician because he couldnot help it .

” In 1774 he came up to London , took a portlon o_

f

Schomberg House in Pall M all,and was henceforth the rival

of Reynolds as chief portrait- painter of the day . In his lastillness he asked Reynolds to come, and said to him,

We are

all going to heaven,and Van Dyck is of the company .

Reynolds devoted his F ourteenth Discourse (D ecember 10, 1788)to Gainsborough, of whom he predicted that the name ofGainsborough will be transmitted to poste rity in the history ofart among the very first of the English school . He noticed ,among other characteristics of Gainsborough’ s style, its graceand elegance ; a lightness of effect, produced as a kind ofmagic by his hatching, sketchy manner ; and the charm of his

colour . To these points may be added , as characterising many ofGainsborough’ s portraits

,a ting e of pensive tenderness which

it is difficult to attribute to so many of his sitters .

The fig ure leans with both elbows on a drawing, which liesflat on the table his right hand is tucked into his waistcoat ;his white cravat covers it ; the left is under the rig ht ; he wearsa brown coat and gold- coloured satin waistcoat . The face

,

with regular features , is turned towards the left . C anvas :2 ft. 52 in . x 2 ft .

— Princess Victoria S eries,ii . Reproduced

also in Austin Dobson ’s Ai Prior Park, p . 74 .

F or a biographical notice of Loutherbourg , see No . 297. Asthere stated

,Loutherbourg opened his exhibition of moving

Eictures (a sort of anticipation of the cinematog raph), whiche called the Eidophusikon, or a representation of nature .

At that period it was the general opinion that the picturesquewas confined to the C ontinent, and the object of Loutherbourg

’s

exhibition was to show the beauty of our own country . Gainsboro'ugh ’s sympathies were so completely e nl isted

,that for a

time he talked of nothing else, and passed his evenin s at theexhibition in long succession (F ulcher

’ s Life of Gains w ough,p . It may have been at this time that Gainsboroughpainted the portrait of the man whose ingenuity he so muchadmired, and whom he puts before us with so earnest an

expression .

6 7 . V iew on th e C oa s t n e a r S ch eve n in g e n .

PHILIPS WO UWERMAN (Dutch : 1619 See 18.

In the foreground, on the right, a road ; fishermen loadingbaskets with fish ; beyond , a hut a tower in ruins

,and the

39

church tower of Scheveningen . O u the left,below

,horsemen

near the sea—shore, with two ships ; blue sky with a few darkclouds . S igned Ps W .

”C anvas : 1 ft . 7 in. x 2 ft. 651 ia .

The Sale of fish on the coast of Scheveningen is,

” saysC rowe, a singularly warm and clear picture in his firstmanner .

” “ An excellent picture,” says Waagen

,of the

first period , which in impasto and warmth approaches Isaacvan O stade .

”S old in the collection of De Witt

,Amsterdam

,

174 1, for £27 (Smith’ s C atalogue

,No .

6 8 . A ca lm .

w. VAN DE VELDE THE YOUNGER (Dutch : 1633

William Van de Velde, the younger, born at Amsterdam,

was the son of the painter of the same name. After havingbeen instructed by his father, he visited the studio of S imonde Vlieg er, who at that time was rightly esteemed as the bestmarine painter . In 1675 he and his father were summonedby King C harles II . to England

,and two years later they

received an annual salary of £100 each— the father fortaking and making draughts of sea- fights,

” the son forputting the said draughts into colours .

” The Van de Veldes,thus employed, produced,

” says M acaulay, for the King and

his nobles some of the finest sea- pieces in the world .

” Thepalm,

” says Walpole, is not less disputed with Raphael forhistory than with Van de Velde for sea- pieces.

” These praisesmay be considered overdrawn to- day, but the calms at seaof the young er Van de Velde have much charm . In 1686 hereturned to Amsterdam , but King James II . summoned himto England, where he died at Greenwich .

F our small ships and two boats in the centre, near the fronttwo large boats and ships on the right and on the left, in themiddle distance

,with a busy crew in the rigg ings . A cannon

is fired off from the one on the left ; blue sky with clouds .

S igned W .V .

” C anvas z l ft . 11} in . x 2 ft . 52 in .

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imag e with g reat fidelity, which being unprolong ed downwardsinforms us that the calm is perfect, and being unforeshortenedinforms us that we are on a level with the water or nearly so.

Yet underneath the vessel on the right the grey shade whichstands for reflection breaks off immediately, descending likesmoke a litle way below the hulls, then leaving the masts and

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4 1

and behind them a plain . The sea beyond in the distance.F igures and cows in the foreground ; evening sky, with darkc louds . C anvas : 2 ft . 4g in . x 3 ft . 2} in .

— Engraved byR. C ockburn .

A replica of this picture was in the C ollection of the Dukeof Sutherland at Stafford House .

71 . T wo Hors e s .

CUYP (Dutch : 1620 S ee 4 .

A brown horse stands saddled,placed with his flank to the

spectator . O u the right,a grey horse

,facing the spectator a

g room , in red cap and dark clothes, is busy tightening theg irths . The background on the right is formed by a wall ; onthe left are bushes and open country

,with the tower of a castle

beyond . Blue- grey sky . Panel : 11% in . x 1 ft . 35 in .

Engraved by R . C ockburn .

It is hard to say,

”writes Hazlitt

,which is most true to

nature— the sleek,well— fed look of the bay horse, or the bone

and spirit of the dappled iron - grey one,or the face of the man

Who is busy fastening a girth . Nature is scarcely more faithfulto itself than this delightfully unmannered

,unaffected picture is

to it .

”

72 . Pe a s an t s a nd a W h it e Ho rs e .

KAREL DUJARDIN (Dutch : 1623

Karel Dujardin (or du Jardin) was born at Amsterdam ,and

was probably a pupil of Nicholas Berchem . Wh en still younghe wandered to Italy

,and settled in Rome, where the nickname

Bockbaard (goat’ s- beard) was given him by the joyous

a cademical band .

” O n his return from Italy he is said to havestayed some time at Lyons, where he married a widow, withWhom he afterwards settled in Holland . He was at the Haguein the year 1656 - 7, where he became one of the founders of thePictura S ociety . In 1659 he was living at Amsterdam . In

1676 , as shown by a dated drawing, he was at Rome : He diedin Venice . He painted mostly Italian scenery, but, unlikeBerchem

, g enerallywithout antique ruins . His pictures are veryunequal they are excellent, says Burger, When not detestable .

The examples in the Dulwich Gallery (this and No . 82) belong tothe former class . F ifty- two engravings by him are known, datedfrom 1652 to 1660. Jan L ingelbach (No . 55) and WilliamRomey

_n (No . 3) were amongst his pupils .

In the foreground a white horse ; on the left a ram , feeding ;on the right a man poorly dressed sitting on the ground he is in

4 2

conversation with a girl who leads a donkey ; three other fig uresbehind . The background is a wooded valley , in which stands a

convent. Evening sky . C anvas : 1 ft .- 5 in . x 1 ft. 35 m .

— Engraved by R. C ockburn .

The white horse is in beautiful light and shade ; h1s pendantlips and attitude denote his age . The distance is solemn and low

in tone . The extreme distance is formed of grey- blue hills . Awarm

,mellow

,sunny sky, with summer clouds, completes this

charming little picture . (Sparkes )

73 . A. G rey Hors e .

After VAN DYCK . See 81.

The horse stands nearly in front, with flowing mane andsaddle- cloth ; grey sky . Paper , mounted on Panel : 1 ft . 6kin.

x 1 ft . 5 in .

A subject very often repeated in the School of Van Dyck .

7 4 . Portra it o f a. L a dy .

GRIM O U (F rench : About 1678

Alexis Grimou,born at Romo

’nt,canton F ribourg, was the

son of one of the Swiss Guards at Versailles. He acquired hisart by copying Van Dyck

’s and Rembrandt ’ s w orks . His

picture of women playing and singing obtained a cons iderablevogue, and in 1705 he was admitted to the Academy at Paris .In 1709 he entered the Academy of St . L uke . A portrait ofhimself and other pictures by him are in the L ouvre .

Bust of a lady. turned to the right, full face, hands not visible,.brown dress, white ruff, greenish background . Small life- sizefig ure . S igned Grimou .

” C anvas : 2 ft . x 1 ft . 8 in .

Spirited in conception ; sketch- like execution .

75 . T h e R a p e of Pros e rp in e .

VENETIAN SCHO O L (17th C entury).

O u the left, Pluto lifting Proserpine on to a car ; C upid holdsthe reins of two black horses , which are rushing down into theinferno . C anvas : 2 ft . lé in . x 1 ft . 7in .

A spirited rendering of one scene in the beautiful Greek mythwhich has attracted painte rs, sculptors, and poets in all ag es— 3the myth of Demeter and her daughter Persephone (Proserpine), whom Aidoneus (Pluto) carried away by the consent ofZeus, as she played apart from her mother, gathering flowers ina meadow of soft grass, and above all the strange flower of the

4 3

narcissus, which the earth brought forth for the first time,to

snare the footsteps of the flower- like girl . She stretched forthher hands to take the flower thereupon the earth opened

,and

the King of the Great Nation of the Dead sprang out with hisimmortal horses . He seized the unwilling girl and bore heraway weeping .

”O f a later part of the myth

,the search of

D emeter (C eres) for her‘ daughter

,there is a rendering in

another of our pictures (No . The story with its sequel,

wherein it is ordained that Proserpine should remain for part ofthe year With her mother (the goddess of corn and fruits) onearth, and for part in the kingdom of the dead, is. primarily (inits literary phases) a legendary conception of the successionof the seasons . The dark clouds in our picture befit the comingof winter .

The authorship of the picture is not known . It was lent tothe Royal Academy in 1829 as a work by Nicolas Poussin . Itwas next ascribed to M ola (see No . The landscape andthe whole composition ,

” said M rs . Jameson,are full of that

spirit and picturesque feeling that characterises M ola .

” Dr .

Richter, however , took the picture away from M ola,opining

that it was painted under the influence of Titian as regardsthe drawing of the fig ures .

” The Rape of Proserpine was thesubject of a lost picture by Titian (painted for the Duke ofM antua).

7 6 . Pe a s a n ts in C onve rs a t ion .

TENIERS THE ELDER (F lemish : 1582 S ee 14 .

O n the right, in front, three peasants standing ; near thema dog ; in the middle distance

,a church and cottages

surrounded by trees before them a shepherd with sheep ina meadow . Grey sky . S igned DT (in monogram) F .

”

C anvas : 4 ft . x 5 ft . 9 in .

At one time ascribed to Teniers the Younger .

7 7 . A Ha lt of C ava lie rs a t an I nn .

PHIL IPS VVO UWERM AN (Dutch : 1619 S ee 15 .

O n the left, in the foreground, a hut near a road a cavaliersitting on the ground in conversation with another

,standing

opposite ; a third on horseback,drinking from a pitcher two

horses behind . The inn - keeper and h is wife baiting the horsesnear the inn ; a white dog in the immediate foreground ;travellers on the right

,in the distance . Blue sky with clouds .

S igned Ps . W .

” Panel : 1 ft. 42 in . x 1 ft . in .

This picture is rendered very attractive by the simplicity andnaturalness of the composition . This and No . 79 are

,it is

believed,the pictures which were sold from the M arquis de

4 4

Brunoy’s C ollection

‘

in 1749 for £216 . There is a tradition thatone of the cavaliers in the present picture represents Charles II .

If so, the p icture was painted in 1656 , when he was in exile in

Belgium .

78 . T h e Ha lt o f a Hun t in g Pa rty .

PHILIPS WO UWERMAN (Dutch : 1619 S ec 18.

O n the left,a river

,near Which are cavaliers and a lady

reposing ; a neg ress selling oranges ; on the right, a road, alady and g entleman on horseback, and an old man , cap in hand ;extensive lanscape on the left .

“

S igned “ Ps W .

” C anvas :1 ft . 9 in . x 2 ft . 7% in .

— Engraved by M oyreau (as PetiteChasse a l ’oiseau and by R . C ockburn . Princess VictoriaSeries

,ii .

This picture is No . 215 in Smith ’ s C atalogue, where it iscalled a truly beautiful example of the maste r — clear andsilvery in execution

,and full of animation . It was formerly

in the collections of the Due d ’O rléans , 1739 ; of M . Hogen

bergh,Amsterdam

, 1743 , £50 ; of D anser Wyman .1797 , £162 .

M r . Desenfans bought it for that sum . Smith (1829) valuedit at 600 guineas .

79. T wo Hors em en n e a r a F ou n t a in .

PHILIPS WO UWERM AN (Dutch : 1619 See 18.

O u the left, a servant—maid standing near a fountain, inconversation with a trumpeter on horseback

,who has his back

towards the spectator ; near him ,a cavalier holding his horse’s

bridle,and looking at a white dog ; a peasant sitting on the

road behind ; on the right, an extensive view blue sky witha few clouds . S igned . Panel : 1 ft . 4 % in . x 1 ft . 11} in.

S ee note on No . 77 .

80. Portra it of a L a dy in W h it e .

C ORNELIUS JOHNSO RT (English : 1593— 1662

This painter has been commonly called C ornelis Jaussen van

Ceulen . Usually, however, he signed himself C ornelius Jonsonsometimes, J ohnson ; never , Jaussen . Towards the end of hislife

,he added van C eulén which was presumably the family

surname . He was of F lemish origin,but was born in London

he was baptised in the Dutch Reformed C hurch in 1593 . Hewas probably trained by M arc Ghaeraedts . The famous Portraitof M ilton ag ed 10 (1618) is traditionally ascribed to him . Helived in Blackfriars , and from 1618 onwards was employed bythe C ourt and the aristocracy . When Van Dyck came to settle

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4 6

great picture,

Rinaldo and Armida (now in the possessionof the Duke of Newcastle), tor £78. In the spring of 1632 hewent to London, and , being recommended by the Earl ofArundel

,was received most courteously by C harles I. The

King assigned him apartments at Blackfriars, and a summerresidence at Eltham ,

in Kent . He also received the title ofPrincipal Painter of their M ajesties at St . James ’s,

” andwas knighted by the King on July 5

,1632 . O n O ct . 17, 1633,

he was granted an annual pension of £200 for life . It is notknown at what time he married M aria Ruthven, of the household of Queen Henrietta . Her father , fifth son of LordRuthven, Earl of Gowrie, was a celebrated physician . SirAnthony always went mag nificiently dressed , had a numerousand gallant equipag e, and kept so good a table in his apartment

,that few princes were more visited or better served .

During the political disturbances Van D yck , in the autumn of1640, returned to Antwerp , where Rubens had died that sameyear , in M ay. In J anuary, 1641, he went to Paris, but notmeeting there with the success he had expected, he returned toEngland (in M arch , 164 1 O n December 9, 1641, he died atBlackfriars, after a severe illness, and was buried in the oldC hurch of St. Paul ’s . He left a large property (aboutto his wife and his daughter Justiniana (then only eight daysold), and to other relations .In the artistic development of Van Dyck three periods are

to be discerned . In the first he was scholar and rival ofRubens, and it is often difficult to say of a part icular picturewhether it is the work of the master or the pupil . The secondperiod is that of Van Dyck

’s Italian sojourn , when he was

much influenced by the Venetians,and especially by Titian .

The third period comprises his time in England in this a coolerand paler harmony predominates in his pictures . In historicaland religious subjects he was not always successful

,but among

portrait- painte rs he was justly entitled,

” according to SirJ oshua Reynolds, to hold , all thing s considered , the firstplace .

” He was admirable in rendering the best aristocratictyp e , giving a special emphasis to the courtly bearing andcommanding beauty of his sitters , whom he often invested witha graceful touch of melancholy . L ike Rubens

,he seldom

painted his pictures without assistance . He himself sketchedthe fig ure in little more than an hour , and painted the heads ;the dresses he had sent to him , and had them copied by pupils,g iving, after this, another and last touch to the picture . Thecolour, although generally cool in tone, surpasse s in freshnesse ven that of Titian .

Charity, - a three - quarter- length figure , turned to the right,s its m the centre, her face turned upwards . She is in white

4 7

drapery, with a blue scarf round her shoulders and a redmantle on her lap , on which sits a boy two others lean againsther shoulders . In the background

,on the left

,a dark wall ; on

the right, a curtain ; blue sky, W ith clouds , behind . C anvas :4 ft . in x 3 ft . 5 in .

— Engraved by C ankerken and W .

Ryland .

The type of C harity which is here given,and Which was

generally adopted by northern painters (as , for instance, bvReynolds) is Spenser

’ s (F aerie Queen ,i. 10,

She was a woman in her freshest age,

O i wondrous beauty,and a bounty rare

,

With goodly grace and comely personageA multitude of babes about her hung

,

Playing their sportes,that joy

’d her to behold .

Thus here C harity,looking up to heaven with a fine , open,

animated expression of hope and love,

” is surrounded bychildren . O ne little fellow

,nude

,half sits

,half scrambles in

her lap , and reaches to her cheek ; the second child climbs upher shoulder ; the third appears at the b ack of her neck . TheItalian type had more severity and intensity . It is theglowing of her love that is fixed upon, and it is represented byflames (as by Dante ; and by Giotto, in the Arena C hapel).Van Dyck painted several repetitions of his C harity .

When M rs . Jameson wrote, one was in the collection of LordM ethuen , another in that of Lord Lonsdale , and a third inthat of M r . Hope . O ur picture was probably painted by ana ssistant, under the master

’ s direction . O f this picture and ofNo . 90_Haz 1itt said that Van Dyck never produced anythingmore complete . They have the softness of air

,the solidity of

marble ; the pencil appears, to float and glide over the featuresof the face

,the folds of the drapery , with easy volubility, but

to mark everything with a precision , a force, a grace indescribable . Truth seems to hold the pencil, and elegance toguide it .

8 2 . A S m ith S h o e in g'an 0 x .

KAREL DUJARDIN (Dutch : about 1625 S ee 72 .

In the centre of the foreground a red ox is being shod ; thesmith stoops down

,with his back to the spectator 5 on the left

a boy,and a farmer

,in a large slouch hat and ample grey

cloak ; on the right, three hens . The background consists of

a smith’ s shop and a wall . Blue sky . S igned K du JardmF C anvas : 1 ft . 2% in . x 1 ft . 4 in .

This is a charming example of the painter ; executed Withskilful accuracy and care

,and very harmonious in general

effect .The costume of the fig ures is Italian . Sold at the C raw

ford sale in 1806 for 120 guineas (Smith’ s C atalogue, No.

4 8

83 . Portra it o f B oile au .

School of RIGAUD (F rench : 1659

Hyacinthe Rig aud y Ros (the Red) was born at PerpignanHis father , M athias Rigaud , a painte r , and son of a painter,died -in 1667 . Hy acinth studied at M ontpellier under Pez etand

,Ranc . In 1681 he went to Paris, and, following the advice

of Le Brun , he worked chiefly as a portrait— painter, studyingfor that end the works of Vandyck . It was not until theyear 1700 that he was admitted as a member of the RoyalAcademy . He was made Professor in 1710. Rigaud finishedannually thirty to forty portraits, he himself painting all theaccessories . Princes

,courtiers, and men distinguished by merit,

had their portra its painted by him . F or a further note on hisportraits , see No . 85 .

Half - length fig ure, turned to the right, the face in full ;greyish wig ; black mantle, lined with brown dark background.

C anvas : 2 ft . 7g in . x 2 ft . 1g in .— Engraved by Ravenet.

A portrait of Nicolas Boileau Desp'

reaux (1636 thecelebrated poet

,satirist, and critic , who enjoyed a re putation

in F rance very similar to that of Pope in England .

8 4 . A M u s ic Party.

VENETIAN SCHOOL (l 6th C entury).

A g‘

rdup of three fig ures, half— leng th,small life siz e ; in the

front a lady, turned to the right, and looking towards thespectator . She is leaning on a balustrade

,a music - book in her

hands . Low crimson dress, with puffed sleeves, large hat withwhite feathers ; two men behind her singing, one seen in profile ,the other facing the spectator . Panel : 2

"

ft . 1g in . x1 ft . 10 in .

This,at one time a scribed to Giorgione

,was a favourite

picture with Robert Browning (see above, p . The picture,which has nothing in common with the style of Giorgione, hasbeen much t e- painted . Amongst other Venetian painters withwhom various critics have detected resemblance are Bonifazio,Lotto

,Palma Vecchio

,and Savoldo .

85 . Port ra it of L ou is XIV .

School of RIGAUD (F rench : 1659 See 83.

Half- length fig ure . thi‘ec- quarter in profile . turned to the left,life

- sme , hands not visible ; a cuirass over a brown coat .blue

riband, black n ; the right arm stretched out . Dark back

4 9

g round . C anvas , strained on panel : 3 ft . x 2 ft . 4} in . ;originally an oval .The portrait represents le plus bel homme de son royaume

at the age of 55 or 60. The style of the picture illustrates whatReynolds said of Rigaud and his school

,and what may well here

be quoted , as our gallery is now rich in portraiture of differentstyles and periods : Du Piles recommends to us portraitpainters

,to add grace and dignity to the characters of those

whose pictures we draw ; so far he is undoubtedly right ; but ,unluckily , he descends to particulars, and gives his own idea ofgrace and dignity . If,

’ says he, you draw persons of high

character and dignity, they ought to be drawn in such an attitude that the portraits must seem to speak to us of themselves, and , as it were , to say to us : S top, take notice of me

,I

am tha t invincible King , surrounded by majesty : I am that

valiant commander who struck terror everywhere : I am that

g reat minister who knew a ll the spring s of politics : I am that

mag istrate of consummate wisdom and probity.

’ He goes onin this manner with all the characters he can think on . ‘Ve

may contrast the humour of this presumptuous loftiness with thenatural unaffected air of the portraits of Titian

,where dignity

,

seeming to be natural and inherent draws spo'

ntaneous reverence

,and instead of being thus vainiy assumed, has l

th'

e appearance of an inalienable adjunct ; whereas such pompous andlaboured insolence of grandeur is so far from creating respectthat it betrays vulgarity and meanness and new- acquired conse

quence . The painters,many of them at least

,have not been

backward in adopting the notions contained in these precepts .

The portraits of Rigaud are perfect,examples of an implicit

observance of these rules of Du Piles ; so that, though he wasa painter of great merit in many respects

, yet that merit isentirely overpowered by a total absence of simplicity in everysense (Eighth Discourse).

8 6 . L and s ca p e w ith S p ort sm en a nd G am e .

ADAM PYNACKER (Dutch : 1621

This painter was born at Pynacker, near Delft, in 1621.

Neither his family name nor the name of his master is known .

He went to Italy , where he remained three years, and died atDelft in 1673 . He was under the influence of C laude in Italy .

Besides landscapes he painted sea - pieces . His pictures aresomewhat rare .

O n the left,a forest ; in the foreground , a boy,

richly dressedand blowing a slim hunting - horn ; near him three greyhounds , adead roebuck

, &c . A man with hounds,a horseman , and other

27930

50

fig ures further back an extensive plain in the distance onther ight . Evening summer sky . C anvas : 4 ft . 351 in . x 6 ft . 4 § in.

O f brig ht and harmonious colouring . .A first- rate work of themaster . The fig ures treated in a somewhat decorative manner .The picture was probably designed to be let into the wall of apalace . It was sold from the collection of M . van L eyden in1804 for £140 (Smith

’ s C atalogue,No .

8 7 . W oody L ands cap e w ith W a t e r - mul .

HO BBEM A (D utch : 1638

Whether Hobbema or Ruysdael was the greatest of the. Dutchlandscape- painters is a question of dispute . Perhaps the answerwhich different judges give to it depends in some degree on

‘their own taste in landscape . Sometimes the work of the twopainters is very similar, but in its most characteristic form thestyle of the one is quite distinct from that of the other . Ruysdael (see No . 105) is the painter of solitude ; Hobbema, offields with dwell ings sprinkled o ’ er and hamlets cluster’d

with barn and by re and spouting mill . The pervading tone ofRuysdael

,again

,is dark and sombre ; that of Hobbema is golden

and warm . His incisive touch and warmth of light give to hiss ubjects an enduring charm . O i the life of M eindert Hobbema little is known . He was born at Amsterdam

,where in

1668 he married, Ruysdael (J e cob) acting as a witness at thec eremony . It is conjectured that he was a pupil of SalomonRuysdael . His talent was developed at an early age ; at Berlinthere is a drawing by him dated 1651. In the year

,

of hismarriage he was , through the influence of a friend of his wife,appointed an exci

'seman . He died in poor circumstances atAmsterdam . His works were little known in his own timeand country ; it was in England that their merits were firstappreciated , and fine examples have in modern times fetchedvery large prices . The fig ures in his pictures were often paintedby A. van de Velde, W

'

ouwerman,Berchem

,L inge lbach, and

others . Hobbema’s work had considerable influence upon the

English painter John C rome , whose last words are said to havebeen : Hobbema

,my dear Hobbema, how I have loved you

(See a pleasant essay by M r . E . V . Lucas,entitled O ld C rome’s

Hobbema,” in the C ornhill M ag a z ine, July,

In the foreground , on the left, a large oak , bushes, and sevenfig ures . O u the right, a broad river , over which is built a

m ill ; beyond the water to the right, a farm ,trees

,and some

fi gures . C loudy sky . S igned Hobbema .

” Panel : l - ft,

u i in . x 2 ft . 8% ih .- Engraved by R . C ockburn . Also by 0.

C arter , in the M aga z ine of Art, Vol . 15, p . 68. Princess Vic

o l

toriaO

Series, iii . Details from the foliag e are engraved byRuskin in M odem Painters

,Vol. 5 (Plate 54 and F ig .

O ne of the finest and most important works of the masterfull of the rural repose which he conveyed so skilfully

.The

out- of- door effect is quite illusive ; the whole picture is lightedfrom the left, a plan which throws the mill- buildings into shade ;thei r dark sides are reflected into the calm water with wonderful truth and transparency . A glimpse of distance lets theeye out of the picture . C ertainly one of his happiest efforts.

A journey from the Land ’s End to see it would be amply re

paid . Hobbema ’s compositions are always distinguished for

their naive te ; the example before us is a fine instance of themastery which achieves the appearance of perfect artlessness

.

Deep down in some remote old - world province must be themill that suggested the subject of this picture

,with its com

fortable farm - house, seen beneath luxurious oak branches ; theclouds float softly by, the branches wave, the stream runs deepand slow , the

'

water sparkles at the wheel,bright patches of

sunlight glance on the farm - yard,stream and meadow ; and

all,,by the dexterous, floating execution, is fused in one“ har

monious whole ; one feels the air is full of pleasant countrysounds , the splash of the mill- wheel

,the life of the farm—yard

,

and the songs of birds . To anyone jaded with toil or city lifethe sight of this picture will bring peace. and rest ; it reviveslong- faded memories of happy, 1careless youth ; it is a continually renewing tonic without one tinge of bitterness . Suchhas been its influence in the past . such will it ever be , as long asendure the pigments laid on

,some two hundred years a 0

,by

the cunning hand_of the great Hobbema (Henry allis,

M aga z ine of Art, The fig ures in the foreground are supposed to have been painted by som e other artist

,but those in

the back,which harmonise well with the landscape, by Hobbema

himself .

88. A Pa r r ie r and Pea s an ts ne ar R om a n R u in s .

NIC O LAS BERCHEM (Dutch : 1620

Nicola s Berchem (or Berghem) was born at Haarlem ; theson of a pa inter , Pieter C laesz . After study under his father ,he ente red the studios of J an van Goyen , Nicolas M oeijaert,Pieter d_

e Grebber, J an ‘Vils,and J an Baptist Weenix . In

June, 1642, he became. a member of the Guild of St . Luke atHaarlem . He married the daughter of his master , J an \Vils .He is known to have been in Haarlem in 1656 , 1657 and 1670.

He died , and was buried , at Amsterdam . When at the heightof his reputation , in 1665, he is said to have sold his labour,from early morning until 4 p .m .

,to a dealer for 10 fiorins a

day. There is no external evidence on record”

of a Vi sit to

27930

52

Italy ; but it is clear from his p ictures that he had been.

andstudied there . In the L ouvre there is a view of

'

the environsof Nice signed by him ; his landscapes are

,for the mest part

,

taken from the mountainous parts of Italy ; and the typesand costumes of the figures therein represented are also entirelyItalian

,although not copied directly from nature . He seems

to have competed with Jan '

Both (see No . 8) in supplying Dutchpatrons with the Italian views which had become fashionable .

His pictures,though sometimes stagey, are carefully finished,

and please by their warm ' tone of colouring and brilliantlighting .

A smith kneels and shoes a donkey ; a white- faced red cowfeeds out of the donkey ’s panniers . A herdsman behind pointsthis out to a woman on a donkey ; she is dressed in a blue skirtand amber- coloured bodice . Behind her is

'

another herdsmanwith a goad . A Roman vault in ruins

,covered with plants

and hanging boughs . In the background,on the left

,

‘ twomen 5 one approaching a white horse , the other asleep . O n

the right a rocky path,on which is a woman on a donkey

,with

a child in her arms a man by her side with a dog ; they arefollowed by a shepherd . Sheep wander about the path

,and by

the side of a stream . In the distance a country house and bluehill . S igned Berchem f .

”C anvas ; 2 ft . 1g in x 2 ft . 7% ln.

This -picture should be looked'

at close in order to appreciatethe workmanship , which , however , loses something of. its successinl effect as we retire . In this connexion some entertainingremarks may be quoted from the first volume of Ruskin’sM odern Painters (F irst Edition) : A very clever and carefulwork . A most studied piece of Chiaroscuro . Here we havethe light isolated with a vengeance ! Looking at it from the

opposite side of the room , we fancy it must be the representation of some experiment with the oxy- hydrogen microscope ;and it' is with no small astonishment that we find on closerapproach, that all the radiance proceeds from a cow ’ s head !M ithra may well be inimical to Taurus.

if his occupation isto be taken out of his hands in this way

' If cattle heads areto be thus phosphorescent, we shall be able to do without thesun altog ether l But even supposing that this were a truerepresentation of a point of light . where are our points ofdarkness ? The whole picture . wall

, fig ures , and ground . isone mass of deep shade . through which the details are ,

indeed,

marvellously given , when we look close’ . but which totally precludes all possibility of giving a single point or keynbte ofshade . Now

, nature , just as far as she raised the white cow shead above all the middle tint in light

,would have put some

black cow ’s head . or hole in the wall,or dark piece of dress,

something . it matters not what~ below all the middle tint in

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54

contrasts with the sublime repose of the M adonna . This is asolecism

‘

in taste . The other defect has arisen from e h lh atten

tion to academic accuracy .

' The neck of the Vlrg ln,instead

of forming a. graceful undulation from the shou.

lder upwards;as it would in nature were the head thrown over m the marinerhere depicted

,forms

,in the first instance too straight e, line,

and then too suddenly abruptly forms the line of the chin andthe cheek .

”

The picture - is a, replica of the celebrated 'M adonna in theBridgewater Gallery

,but is less brilliant in colour . O ther

versions are at Blenhe im and Dresden . O ur version formerlyin the collections of the Duke d ’Abaie and M . Donjoux , wasbought at M r . Trumb‘

ull ’ s sale in 1797 for £71 88 .

9 1 . T h e R e tu rn from Hawk ing .

PHIL IPS WO UWERM AN (D utch z

‘

1619 See 18.

In the centre, a group of horses , whose riders have dis

mounted ; between them a lady on horseback,and a negro

holding an umbrella over her . O h the left , preparations arebeing made for a repas

'

t under an arbour,near a castle .

Game in the foreground ; numerous fig ures ; a distant landscape on the right . S igned Ps W .

” Panel : 1 ft . 7g in.

x 2 ft . 1 in .— Engraved by Dequevauviller and M oyreau ; and

in the O rleans Gallery.

This picture— a late work of the master,almost too crowded

in composition— is No . 334 in Smith’ s C atalogue,described

as La C hasse aux Iaperviers .

” It was in the O rleanscollection

,1738 .

92 . A C ou rtya rd w ith a F a rr ie r .

PHILIPS WO UWERMAN (Dutch : 1619 See 18.

O n the left, a cavalier on horseback speaking to a woman ;another , dismounted , looks on at two countrymen shoeing hiswhite horse ; on the right, a herdsman leading his flock througha gateway ; beyond , a boy riding on a donkey, and shouting ;at high wall and a tower form the background ; a compositionof fourteen fig ures . S igned Ps W .

”C anvas : 1 ft . in.

x 1 ft . 53 in .— Engraved by M oyreau (as L e C olombier du

M aréchal and by R . C ockburn .

Thisopicture

— an excellent example of the master ’ s best timewas ln the collection of M . (I

’Arg enville , 1766 , £32 ; M . J . B.

Horion, of Brussels , bought it in 1788 for £164 (Smith’

s

C atalogue, No .

55

93 . Portra it of a M an ( 2 R a c in e ).

School of RIGAUD (F rench : 1659 see83

Half—lerig th o

fig ure , turned to the right ; the face seen nearlyin full , hfe— sme ; grey wig ; red - brown mantle

. Grey background . C anvas : 2 ft ‘ 1 ln . x 2 ft .

Thi s picture, hitherto called A M ale Portrait,must be

the supposed portrait of Racine,the great tragic dramatist

ct F rance (1639 which was presented to Desenfans byhis friend James Boaden , to supplement the portraits byRigaudof Louis XIV and Boileau (Nos. 85 and which werealready in the collection . Boaden

,in an account of his friend

,

mentlons the pride which Desenfans took in his native country,

and continues : M ag nificent as his collection certainly was,one desideratum the writer of this faint tribute was so fortunate as to supply . He [Desenfans] had great satisfaction inseeing before him the portraits of Louis the F ourteenth andBoileau . C hance, during the progress of the F rench Revolution

,led me to purchase of an emigrant Rig aud

’s portrait of

Racine . He was so good as to accept from me the other greatpoet of that reign

,whom the King had joined with Boileau

in the task of recording his glories,and M r . Desenfans was

made infinitely happier by the present than Racine was by theappointment (M emoirs of the Life of J ohn Philip Kemble ,1825

,vol. ii

, p . Boaden’s reference is to the appointment

of Boileau and Racine as joint historiographers - royal, in whichcapacity they accompanied the King

,as a kind of special corre

spondents, on some of his campaigns .

94 . Port ra it o f th e A rt is t .

JO HN OP IE , RA . (British : 1761

J ohn O pie,whose real name was O ppy

,was born at St . Agnes

,

ne ar Truro,in C ornwall

,Where his father was a carpenter ,

and by Whom it was intended that he should follow the sametrade . But he early showed

'

great abilities,was fond of study,

and had so great a love for drawing that it was more to himthan his daily bread .

”O pie ’ s endeavours to become an artist

so angered his father that he treated him with great severity ,and did all in his power to prevent his pursuit of what heconsidered an unprofitable profession . An uncle , however ,noting the lad ’ s abilities , gave him much encouragement ; andthe celebrated Dr . “

'

olcot (the satirist , Peter Pindar thenpractising as a physician at Truro , procured him several commissions

,and then

,taking him to London , maintained him in

his own house,and introduced him to Sir J oshua Reynolds .

In a short time O pie became so popular that he was spoken ofas the C ornish Wonder ,

”and the neighbourhood of Leicester

F ields,where he lived

,was daily thronged with carriages of

56

the rich and great,awaiting their turn ffor a This

terrific popularity,” as O pie termed it, toned down in course

of time,and his sitte rs became less numerous

,but he still main

tained a good position as a portrait- painter ; and his smallhistorical pieces were considered to have great merit . O piewas made an Associate of the Royal Academy in 1786 , and afull member in the following year ; and when F useli resignedin 1805, he was appointed Professor of Painting in his stead .

O pie was a man of"

much learning ; he wrote many clever articlesfor the magazines of his time

,and delivered four lectures at

the Academy, which are remarkable for their fluency and force .

It was O pie who,when a young artist asked him what he mixed

his colours with,gave the answer With brains .

” M r . 0pie ,”

said Horne Tooke,

crowds more W isdom into a few wordsthan almost any man

_

I ever knew ; he speaks in axiom ,

” andM rs. S iddons used to say

,I like to meet M r . O pie, for then

I always hear something I did not know before .

” He was

twice married from the firstwife he was divorced ; the secondwas the celebrated Amelia Alderson

, b etter knownas M rs . O pie .

’

He died,in the forty- sixth year of his age

,of congestion of

the brain,and was buried near Sir Joshua Reynolds, in St.

Paul ’ s C athedral .

The shoulders are in profile ; the face, which has a melancholyair

, is turned towards the spectator ; dark coat, White neckc loth . C anvas : 1 ft . 4g in . x 1 ft . 8 in .

The intellectual,but somewhat uncouth

,appearance in this

portrait agrees with what we are told of the painter ’ s appeara nce and manners . The C ornish boy in tin - mines bred (asDr . Wolcot has it) never lost a certain roughness .

’

The totalabsence of artificial, manners

,

” wrote M rs . Inchbald,was the

most remarkable characteristic,and at the same time the

adornment and deformity,of M r . O pie . His portraits

"

of

himself are very numerous . His biographer,in enumerating

and describing some thirty,says that many were e xecuted for

the purpose of making experiments in pigments and in methodsofl

t

;aatment (J ohn

'

J ope Rogers : O pie and his Works,p .

9 5 . A C a s t le an d its Prop rie tor .

TENS

IER

S

SzL

THE YOUNGER (F lemish : 16106 6

O u the right,.

a gentleman in a red mantle and a ladyin a white dress, - ln conversation With a peasant ; a boy standingbehind ; a castle in the distance, and a river with a bridge onthe left . C loudy sky . S igned D . T . F .

”C anvas : 3 ft . 732 ia .

x 5 ft. 5% ln .— Princess Victoria Series

,iii

.

57

In some of the earlier C atalogues of the Gallery, the prop rietor was called Teniers himself , but this is not the case .

Very sweet and delicate colouring,

” says Sparkes of thep icture, in quiet sober tints .

” Ruskin finds the rendering ofthe foreground unsatisfactory . The curves repeat oneanother , and are monotonous in their flow,

and are unbrokenby the delicate angle and momentary pause with which thefeeling of nature would have touched them ; and are disunited,so that the eye leaps from this to that, and does not pass fromone to the other without being able to stop

,drawn on by the

continuity of line ; neither is the re any undulation or furrowing of w atermark

,nor in one spot or atom of the whole

surface is "there distinct explanation of form to the eye bymeans of a determined shadow ; all is mere sweeping of thebrush over the surface with various ground colours, without asingle indication of character by means of real shade( M odern Painters, vol . i. , pt . ii . , sec . i i . , ch .

“

9 6 . E ve n in g R id e n ea r a R ive r .

CUYP (Dutch : 1620 S ee 4 .

O n the left,a shepherd and shepherdess

,near a pool over

grown with trees ; behind, a river with a view of the oppositewoody shore . O n the right

,two horsemen on a road, and a

rocky hill behind . C lear evening sky of a warm summer day.

S igned “ A. C uyp . Panel : 1 ft . 62 in . x 2 ft . 15 in .— Eu

gr aved by R . C ockburn,and by T . M ayor in 1769 (the picture

being then in posse ssion of John Barnard,

Especially attractive by the rich golden tone of the eveninglight

,and by the warm shadows in the foreground .

97 . A Ha lt of T rave l le rs .

PHILIPS WO UWERM AN (Dutch : 1619 S ee 18.

O u the right, a brook ; beneath a groun d?dead trees, twomen resting ; a white horse standing near them ; a third manis on horseback ; behind , some trees and a hut ; in the background

,on the left

,a barren

,hilly landscape

,under a stormy

cloud . Signed PS . W .

” Panel : 1 ft . sg in . x 1 ft . 4 in .

An early work,of great fulness and depth of colour

,painted

under the influence of Isaac van O stade (Richter).

9 8 . A W om an w ith a J u g .

A . VAN O STADE (Dutch : 1610 S ee 45 .

The woman, turned to the left,is seated at a table ; she

holds in her right hand a glass of beer,and in her left a

58

stoneware jug,which rests on her lap ; she wears a blue apron;

brown sleeves,black bodice

,white neckerchief and cap ; half

length fig ure , greyish background . S igned A . O stade .

Panel : 6g in . x Si in .

Painted in the master ’s latest period : 0001 in tone .

99. Portra it of a Y oun g M a n .

REM BRANDT (Dutch : 1606

Rembrandt Harmens van Ryn (of the Rhine) - the greatest .

genius of the Dutch School , and by general consent one of thesupreme masters of painting— was born at Leyden , the son of amiller . His mother was a baker ’ s daughter . He never wentto Italy or cultivated the grand style,

” and Sir JoshuaReynolds found his work deficient in good taste .

” But he

studied the familiar sights of nature and the common peoplearound him W ith a poet’ s eye for characte r, though grace ofform was not within the compass of his art . His portraits.

have an inward life such as those of few other painters possesshis dramatic insight and power of expression have caused himto be called by some the Shakespeare of Holland .

”So,

again,in his religious pictures, he was influenced by no

previous conceptions or conventional representations,but gave

pathetic or powerful fancies of his own (see in this connexionthe remarks cited upon No . After leaving the L atinSchool Rembrandt studied under Jacob van Swanenburg h atLeyden for three years . He then went for

,a short time to.

the studio of Peter Lastman,at Amsterdam

,but returned to

L eyden in 1624 determined to study and practise in his ownfashion .

” His earliest signed works are dated 1627 , and herapidly won a considerable reputation . In 1631 he moved toAmsterdam

,where he remained till his death . His famous

Anatomical Lecture (Hague M useum) was painted in 1632 .

In 1634 he married . Saskia van Ulenburgh,a lady of good

family and possessed of some fortune,whose features may be

recognised in many of his pictures . He was devoted to his .

art . When he was painting ,” said one of his biographers,

he would not have given audience to the greatest monarchon earth . He was a great collector

,and bought in so lordly a

fashion as to wreck his worldly fortunes . Saskia died in 1642,and Rembrandt lived with Hendrickje Stoffels, whose homelypeasant features appear in many pictures of his middle period .

In 1656 he was declared bankrupt ; he found himself homeless,penniless, and in large measure friendless . But to his lateryears many of his noblest works belong . He set his face,

”

says M . M ichel, more steadily than ever towards the goalhe had marked out for himself . Within the walls of his makeshift studio, seeking solace in work and meditation, he lived‘

59

for his art more absolutely than before ; and some of hiscreations of this period have a poetry and a depth of expressmn such as he had never before achieved .

” Among hisnumerous scholars were F erdinand Bol

,the de Konincks

,

Nicolas M aes and Gerard Dou . The distinctiveness of his stylehas caused such words as Rembrandtism

,Rembrandtesque ,

Rembrantism to be used . He was the great master ofChiaroscuro . He held up to nature “ the dark mirror

,

” andwas . says Lord L eighton , the supreme painter who revealed tothe world the magic mystery of gloom .

”

Turned a little to the left,the face seen in full

,long fair

hair, black mantle, white frilled collar , short moustache handsnot Visible . Greyish background . S igned and dated ,

f ‘ R .

van Ryn , Panel : 11 in . x 95 in .— Princess Victoria

Series,iii .

A well- preserved picture,of a lively and pleasant conception ,

and carefully executed in that style which Gerard Dou adoptedas a model when he was a pupil of Rembrandt .

100. C u p id .

SIR P. F . BO URGEO IS . RA . (English : 1756

S ee 6 .

Represented as lying on the sea - shore ; he touches the pointof an arrow ; his quiver and bow lie under him . Dark cloudysky . C anvas : 1 ft . 7 in . x 2 ft . 8 in .

101 . L and s ca p e .

After NIC O LAS PO USSIN (F rench : 1594

Nicolas Poussin was born at Andelys , in Normandy . Afterpassing through the Latin school , he visited the studio of thepainte r Quentin Varin , who had settled at Andelys . He wentto Paris when eighteen years old , and studied under F erdinandElle from F landers

,and under l’Allemand

,from Lorraine . He

studied the works of Raphael and Giulio Romano throughengravings . After visiting Poitou ,

Andelys,and F lorence , he

became acquainted at L aon with the painter , Philip de C hampagne

,With whom he worked at the Luxembourg at Paris ,

under Duchesne’ s direction . In the year 1624 he went to Rome ,the aim of his wishes, and there became influenced by theF lemish sculptors, F rancois Duquesnoy and Alg ardi . In 1629he married Anna M aria Dug het, and lived in Rome on theM onte F incio , near the studios of C laude lo Lorrain andSalvator Rosa . Summoned by Louis XIII .

, in the year

60

he returned to Paris,and was appointed premier peintre

ordinaire de sa M ajesté ,” in 164 1. In

'

the following year hewent back to Rome

,where he died . He was buried m the

church of San Lorenzo in Lucina .

0

Upon the antique remains of sculpture and p ai ntmg ,Poussin

,

” says Sir F rederic Burton, built a style,.

severe,classic

,and deliberate

,though not unwarmed by imagination .

In nature,the grand lines of the L atian landscape inspired

him,and its whole character harmonized in his mind with his

classic studies . He studied the ancients so much ,” says

S ir Joshua Reynolds , that he acquired a habit of thinking intheir way

,and seemed to know perfectly the actions and

gestures they would use on every occasion . (F or a fulleraccount of the master see Handbook to the National Gallery,vol . i

, p . Poussin is one of the painters who may mostprofitably be studied in the Dulwich Gallery . The Gallery contains 16 pictures Which have been attributed to him . M any ofthese are

,indeed

,now described as only Afte r N Poussin

by which is meant that the pictures are probably productionsby unknown scholars or imitators of the master . But amongthe others

,are some of his finest works (Nos . 229 and 234

especially). In the old collection (in M r . Desenfans’ time) the

Poussins occupied a separate room by themselves , and it was(says Hazlitt) a very favourite room with us — ~ as it was alsowith M r . Desenfans himself (see above , p . xxvi . , and below ,

No .

O n the right, a river , with a boat ; behind it, a Village androcks ; fig ures in the foreground ; blue mountains in the distance ; cloudy sky . C anvas : 1 ft . 92 in . x 3 ft . 1

1; in .

102 . A. M oth e r and h e r S ick C h ild .

Sm JO SHUA REYNO LDS,P.R .A. (English : 1723

Reynolds,the first President of the Royal Academy

,was born

at Plympton , in Devonshire . His father was Rector of St .

M ary’ s in that town, and Head M aster of the Grammar S chool .When a mere child , Reynolds showed a decided taste for painting

,and read with avidity all books relating to art . He was

accordingly,when in his eighteenth year

,placed with Thomas

Hudson (No . the most famous portrait - pa inter of thattime

,who set him to copy Guercino ’s drawings . After l eaving

Hudson , Reynolds studied for a short time under WilliamGandy, of Exeter, and then set up for himself as a painterat Plymouth Dock ; but , his father dying in 174 6 , he returnedto L ondon, and took up his abode in St . M artin ’ s L ane . In1749 he accompanied C ommodore Keppel to Italy

,where he

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62

of a colourist than a draughtsman ; a nd in conception and

subjects,though he advocated the grand

“

style and desu'ed

to end his lectures at the Academy with the name of thattru ly divine man, M ichael Angelo ,

” he had himself none ofthat master ’ s soaring imagination . O ur Gallery possesses aversion of a great work in w hich Reynolds obviously, and notwithout success

,attempted a treatment . of his subject in the

manner of M ichael Angelo (No .

O n the right,the mother

,in a brown dress

,dark blue- grey

headpiece, which trails on to the floor, sits at the edge of a bed,and holds on her lap a. sick girl in her night—dress

,low at the

shoulders . The drapery of the bed is dark brown grey , Afootstool

,two books

,and a phial of medicine are on the floor .

The 'inother’s face is turned with a'

. somewhat frighte ned expression towards the left

,where

,in

'

the palpable obscure,”

we see a supernatural vision of a W inged angel , who is drivingaway a ghastly fig ure of D eath , holding a sickle in

" his righthand , and who cowers as he defends himself with his left .

C anvas : 2 ft. 2g in.

'

x 2 ft. 10; ih .

The mother is said to have been painted from the notoriousKitty F isher , for notice of whom,

see L eslie and Tom Taylor ’sL ife

'

of Sir J oshua Reynolds, vol. i, p . 163,note .

103 . A B risk B re e z e .

w. VAN DE V

‘

ELDE (Dutch : 1633 S ee 68.

Near the front two sailing— boats , large ships in the backg round . Blue sky with grey clouds . S igned WVV .

”

C anvas : 1 ft . 7% in . x 2 ft . g in . _

— Engraved by R . C ockburn .

C alled by Waagen View of the Texel .” A warm ,evening

light ,” he adds

,ha pilyblended with the delicate silver tone

of the master, and t i e most exquisite finish of all parts makethis one of his most charming pictures . Acco rding to M r. Desenfans, one of the most capital performance s of the master'

and described by Smith (C atalogue , No . 40) as pure andintact.”

104 . Portra it o f H im s e lf .

Sm JO SHUA REYNO LDS , P.R.A. (English : 1723S ee 102 .

F resh- shaven face, powdered hair , spectacle s, ruffle shirt, greygreen velvet coat . C anvas : 2 ft . 53; in . x 2 ft. 5 in.

— Engravedby C aroline Watson in M a lone ’ s L ife of S ir J oshua Reynolds}Princess Victoria Series, iii .

63

A replica of the picture in the Royal C ollection . O ur versionhas been highly praised by foreign critics ; Dr . Waagen thinkingit superior and more powerful in colouring than that in theKing ’ s private gallery .

”M rs . Jameson

’s note to the contrary

e ffect seems , however , to be the better opinion .

105 . A W a t e rfa ll .

J . VAN RUYSDAEL (Dutch : 1628

Jecob van Ruysdael (or Ruisdael) was born at Haarlem .

'

There is nothing certain known about his youth . His father ,Isaac van Ruysdael

,was a picture- dealer and manufacturer of

frames . He is thought to have also worked as a painter, and tohave given some instruction to his son . It is also supposed thatthe landscape- painter Salomon van Ruysdael and Albert van

Everdingen were the masters of Jacob,who was admitted into

the Guild of St . Luke in 164 8,and became a citizen of Amster

dam in 1659. He remained unmarried,in order to promote the

comfort of his aged father, and in spite of his activity histalents were not appreciated by his contemporaries as the ydeserved to be . His fellow - i

‘elig ionists

— he belonged to the sectof the M ennonites— obtained for himin 1681, by

'

payment of acertain sum to the burgomaster of Haarlem

,a place in the

a lmshouse of that town , where he died soon afterwards .

O f all the Dutch painters, says F romentin , Ruysdael is theone who has the noblest resemblance to his country . He hasits spaciousness

,its sadness

,its somewhat gloomy , placidity ,

its monotonous and tranqnil charm .

” His pictures representfor the most part views in the environs of Haarlem andBentheim . Yet Ruysdael is also one of the most individual ofpainters . He has a distinct manner , and his pictures suggest amarked personality . In him

,said Goethe , the poetry of loneli

ness f'ound expression he represented the past in thepresen

,

and suggested to the spectator that “ the works ofnature live and last longer than the works of man .

” There isa solemn earnestness about his pictures, attuned to the

'

more

sombre aspects of nature . His colouring is forcible and harmonious, but not rich ; brown , green , and grey forming the localtones

. His colours have perhaps darkened through time .

’

Thefig ures

in his works were generally put in by N . Berchem ,A . wan

de Velde,VVouwerman or L ingelbach . H

'

is art greatly 1m

pressed one of the great English landscape— painters , C onstable ,whose friends used to call

‘

his residence in Keppel - stre'

etRuysdael House .

I have seen an affecting"

picture byRuysdael this morning,

” he wrote ; itl

haunts my mind andclings to my heart and stands between you and me while I em

talking to you .

”

64

The waterfall occupies the entire width of the foreground ;beydnd it, on the left, a hill covered with autumn—tmted beechtrees . O n the right, in the middle distance, a meadow, partlylined with fir- trees and leafy bushes in the background , a rock ;three fig ures to the right

'

on the bank of the river . C loudysky . S igned Ruisdael . (The signature Ruysdae l is saidto mark his earlier works .) C anva s : 3 ft .

'

2 in . x 2 ft . 8} in .

— Eng raved by R . C ockburn .

106 . A Pe a s an t h o ld in g a. G la s s .

TENIERS THE ELDER (F lemish : 1582 See 14 .

An old man turned to the right, laughing, and holding up abeer glass with both hands brown hat and j acket . C lear bluesky . S igned D (with T inside) F .

”C opper : 3} in x

2} in .

C ompanion picture to No . 110.

107 . f ig u re of a. F em a le P ilg r im .

TENIERS THE YOUNG'

ER (F lemish : 1610

See 54 .

Ah old woman standing , turned to the left, a stafi androsary in both her hands ; she wears a slouched felt hat . Asmallportable triptych on her waistband . Blue sky with grey clouds.Signed D (With a T inside) F .

” Panel : 6 } in . x 4} in.

Nos . 107 and 109 are companion pictures .

108 . Int e rior of an A le - h ou s e .

ADRIAN BROUWER (F lemish : 1605

Brouwer takes high rank among the genre - painters ; Reynoldscouples him with the younger Teniers as the representativeartist in that sort. His pictures, which are very scarce

,show

invention,great skill in composition

,and gift of colour . His

rendering of low life is as true as it is humorous . Rubensgreatly admired his work and Vandyck painted his portraitfor a collection of celebrated painters . Brouwer seems himselfto have been somewhat of a character

,

”and successive bio

g raphers alternately besmirched and belauded him .

’

Hisepitaph, of course, did the latter ; describing him as a manof great mind, who rejected every splendour of the world, andwho despised gain and riches .

” He was born at O udenarde.When a youth , he undertook a voyage , and falling into thehands of pirates . he was robbed , and only saved his life byescaping to the Dutch coast . He remained some time in

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66

110. Ah O ld W om an .

TENIERS THE ELDER (F lemish : 1582 S ee 14 .

Is seen in front,the head turned to the left ; a stick in her

right hand ; left hand not visible ; greenish dress, black felthat . C lear blue sky . S igned D (with T inside) F .

C opper : 3% in . x in .

C ompanion picture to No . 106 . Both were at one timeascribed to the younger Teniers .

111 . J oh n Ph ilip K em b le .

Sm W . BEECHEY,R .A. (English : 1753 See 17.

The face is seen nearly full . Grey hair , dark deep - set eyes,aquiline nose, and firm

,refined month . He wears a dark

velvet coat and shirt- ruflles ; hands crossed on a book , whichrests on a table on the left . C anvas : 2 ft . 5 in . x 2 ft .

This celebrated actor (1757 brother of M rs . S iddons(No . was born in 1757 at Prescot in L ancashire , where hisfather

,Roger Kemble

,was the manager of a company of

comedians . He was educated at the English C atholic C ollegeat Douai

,and at an early age showed his power of elocution .

Believing that his father intended him for the priesthood,he

returned clandestinely to England,joined a travelling com

pany,and acted with great success at L iverpool, Edinburgh,

York , and other places . He was a scholar,wrote verses

,and

delivered lectures on the art of speaking . In 1783 he madehis début in London , as Hamlet at Drury L ane

,with the

company at which theatre he remained for 19 years,becoming

manager in 1788. He played all the great Shakespeareancharacters, often appearing with M rs . S iddons . He wasmanager of C ovent Garden Theatre from 1802 to 1817

,when

he retired from the stage . The close of his life was spent onthe continent, mostly at Lausanne, where he died , and whereas Rogers jokingly asserted , he was jealous of the homage paidto M ont Blanc . The portrait shows the noble countenance andsolemn demeanour which helped him to render impressive somany of his representations of Shakespearean tragedy . Heis said to have been instrumental in suggesting to Sir F rancisBourgeois the bequest to Dulwich (see above , p .

This portrait (oi which there is another version in theGarrick C lub) was exhibited at the Royal Academy in 1799,and was commissioned by M r . Desenfans as appears from thefollowing letter , in which he congratulated Beechey on theknighthood conferred by the King :

Charlotte Street, Thursday morning — Dear Sir, Some of your brother

artists will probably wish you joywith their lips only, and Iwish you jowith all my heart, nay, my own vanity is gratified on this occasion. as

67

have always been partial to your performances. Indeed, by conferring thehonor of n hthood on you the King has honor

’

d himself asmuch as he“ has done 011. Since I have shown my pictures to His M a

'

esty, I haveentertain’ the highest O pinion of his taste from the remarksl heard him

“ make. I em hep y that he has now g iv’

n at once a fresh proof of hisknowledge, and a resh encourag ement to the arts. I hope as soon as you

are at leisure youwill g o on with the Kemble rtrait, so that Imay have" to

.

boast I possess thefirst picture of Sir Wi liam Beechey. Believe me,with great and sincere attachment

,Dear Sir, your humble and obedient

“servant Noel Desenfans "

. (S ir William Beechey, by W. Roberts, 1907.p. 66 .

112. A W inter S c en e .

TENIERS THE ELDER (F lemish : 1582 See 14 .

L arge houses to the left ; before a door, preparations are beingmade to kill a pig ; in the middle distance , houses and barns ;a wood behind twenty fig ures around , variously engaged .

Dark sky. S igned D . (with T . inside) F .

” C anvas : 2 ft .

1} ih . x 3 ft . in .— Engraved by L aurent .

The killing of the pig is popular,it W ill be observed , with old

and young alike . While the butcher sharpens his knife, themistress of the house holds a pan to catch the blood . Ah old

man leads a young child up to see the operation . A womannurses her baby at the door

,and four boys either look on or

bring wisps of straw to singe the body of the pig when he isdespatched . The picture is No . 603 in Smith’s C atalogue (ofthe Younger Teniers).

113 . A M an S m ok in g .

A. VAN O STADE (Dutch : 1610 See 45.

Three—quarter length fig ure , sitting at a table and turned tothe left ; black coat, mantle and hat . He is lighting his pipeat a chafing - dish

,which stands on the table, near a beer- glass .

Grey- greenish background . S igned A. O stade .

” Panel :63 in . x 5} ih .

Ah excellent example of the master ; p ainted at about thesame period as No . 45 .

114 . L a nds cap e .

JAN WYNANTS (Dutch : c . 1620

Wynants was one of the founders of the Dutch School of landscape

,and a painter of much originality . Artists should

descry abundant worth , says Browning in trivial commonplace .

” Wynants did this . O ut of a few docks and thistles,”

it has been said, a tree,and a sandbank, he could make a

27930

68

picture . He found the poetry oi.form and light in the

simplest objects ‘

of nature . O f his life almost nothing is known .

The earliest of his dated pictures were done in 1641- 2 . InQctober, 1642, the registers of the St . Luke’ s Guild at Haarlemmention a Jan Wijnants as dealer in works of art . A pictureby him at St . Petersburg is dated 1679. In his earlier worksthe fig ures were put in by P. Wouwerman ; in his later, byA. van

'

de 'Velde and L ingelbach .

A sandy hill on the right,and a road over it ; below, near

a pool , a cow ,two sheep

,and a shepherd ; trees in the centre of

the middle ig round on the left,an extensive landscape in the

background blue sky ; heavy clouds to the right . S ignedJ . a . Panel : 6 in . x 73; in .

— Engraved by R.

C ockburn .

This and‘

No . 117 are companion pictures (Nos . 165,166 in

Smith ’s C atalogue). They fairly represent the characteristicstyle of the master .

115 . B o e rs M ak in g M e rry .

A . VAN O STADE . (Dutch : 1610 S ee 45.

Three men sitting around a table in a room a young one onthe left singing and holding up his beer - glass an old one playing on a fiddle : these two are seen in profile a third

,facing the

spectator , is singing and smoking behind the table ; a cat on theleft . In the back a window and an open door

. Whole- lengthfig ures. S igned and dated A. O stade

, Panel : 1025 in .

x 8% in .— Engraved by Suyerhoef under the title Jan de

M off .

” Woodcut (by Jackson) in the Penny M ag az ineO ne of the finest and purest specimens of Dutch art in

existence (Denning). An exquisite example of the master’svelvety and delicate beauty of colour and execution (Sparkes).“ '

A most beautiful and well— preserved specimen of the master,

of his best time . The influence of Rembrandt isperceptible in

the golden tone of the prevail ing chiaroscuro (Richter). O fastonishing depth, clearness and warmth of colour (Waagen).An article accompanying the woodcut above- mentioned G oes intofurther detail : Three Dutch Boors are seated rouxfd a lowtable , one of them playing or having just finished a tune uponthe fiddle , t lst his companions evidence their admiration ofhisskill , one by suspending his enjoyment of the tobacco pipe

,the

other by pledging the musician in a cup of beer.There is a

lively speakmg ness in the latter fig ure , which excellently contrasts with the solid complacency of the smoker . Next to theexpression contained in the picture

,we may admire the admir

able arrangement of the lig hts and darks, and the extreme

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70

subject his landscapes come nearer to the conception ofHobbema than of Ruysdael.

In the foreg round low wooded hills slope down to a plain traversed by a river

,which flows across the picture . Beyond the

stream is a hilly bank, and on the left a castle with towers ;on the road to this castle are a horseman, a woman carryingpails

,and a man driving two pack- donkeys followed by a dog .

Grey sky with clouds . C anvas : 2 ft. in . x 3 ft . 3 in .

This picture was labelled Unknown,” when left to the

Gallery, but was afterwards attributed to Hobbema, and in 1874a signature

,Hobbema,

” was discovered . This signature, however

,is no doubt not genuine, and the picture was attributed

by Dr . Richte r to Du Bois, as it shows all the characte risticsof the style of his later period .

”

C ritical opinions of the picture have greatly varied . Awretched picture and ce rtainly not Hobbema

’s (Denning).

The scene is simply an old chateau,embosomed among wooded

There is less detail than in the other picture by Hobbema,

but in effect it is grand beyond expression . The grey, gloomysky (a triumph of pure colour and delicate execution) throws adreary atmosphere over the whole prospect . The solitude aroundthe old chateau, and the cold still shadows on trees and spreadingslii

él

fs are full of wild poe try (Bentley

’s M iscellany, vol. 10,

p .

119 . L and s cap e .

AS O RIBED 'ro ZUC CARELLI. S ee 175.

A welI- watered country discharges a fall into a little lake,

near the foreground . M ountains are in the distance . A roughbank, on the right, has on it cottages and a farmstead .

Awoman and a child who have carried a load

,sit down to rest.

Another fig ure advances towards them with a load on herhead . A man reclines farther in the picture . Dark trees on

the left. C anvas : 1 ft. 2 ih . x 1 ft. 6 in .

This picture was No . 31 in Besonians ’ C ata logue,where it

is stated that it and a companion Winter Scene werepainted by Zuccarelli in his youth for his friend

, M r . Dalton,Keeper of His Britannic M ajesty’ s pictures , and if the cc

ne isseurs Will examine them close, to se e the beauty of thefig ures, the chasteness of the colouring, the firm execution,and above all the fire with which they are painted

, they mustconfess that such works will carry the name of Zuccarelli toposterity .

” Dr . Richter considered, however , that the presentpicture was not by Zuccarelli and attributed it t na rtist O f the u Eng lish Schodl .

”0 an unknow

71

120. A V a s e w ith F lowe rs .

JAN VAN HUYSUM (Dutch : 1682 S ee 42 .

A group of flowers in a vase resting on a marble slab .

Tulips , roses, F rench marigolds , poppies , auriculas, salvias,orange- blossom, forget—me- not

, London pride, iris, larkspur ,Veronica, flax , and convolvulus minor ; a bird

’s nest with hedgesparrow ’ s eggs in it

,and one cuckoo ’s egg ; insects on the

leaves and dewdrops ; blue- grey background . S igned Janvan Huysum F ecit .

” Panel : 2 ft . 6% in . x 1 ft . 11} in .

A fine example of the master . Van Huysum’s vase of

flowers at Dulwich C ollege— the one in which the blue tintpredominate s— could never have been more perfect in re spectto its colours than at the present time . Tints of the utmostconceivable brightness and delicacy are yet perceptible tothe naked eye , and are even enhanced when viewed througha magnifying lens of great power . The complimentary language of Pope to Jervas

,the portrait painter

Beauty,frail flower, which every season fears ,

Blooms in thy colours for a thousand years

might be applied to many of the old painters with considerableshow of truth (Henry M erritt

’ s Dirt and Pictures S eparated).

12 1 . A R om an Em p e ror R ewa rd in g h is S oldie rs .

ASCRIBED TO PIETRO DA C O RTO NA (Roman : 1598S ee 226 .

O u the right, the Emperor, on a raised seat, presenting agold- leaved wreath to soldiers standing before him, withstandards and a banner . O u the left, near the front, twoprisoners , a woman and a man , seated on the ground, amidsta quantity of spoil ; in the background , a circular temple, twophilosophers with table of laws ; blue sky, with a few clouds .

C anvas : 2 ft . 11-3 in . x 2 ft .

Painted in imitation‘ of one of the antique reliefs on the

triumphal arch of C onstantine, at Rome , where the featuresof the Emperor are those of Trajan . The head of the Emperorrepresented in this picture has no resemblance to that ofVespasian

,as has formerly been stated , nor, indeed, to any of

the other Roman Emperors ; the portrait is, therefore, nodoubt

,an arbitrary one . The picture has at various times in

the history of the Gallery bee n ascribed to Ricci (see No .

to an unknown painter of the Italian School,” and to Pietro

da C ortona . The latter ascription derives some support froma drawing (also ascribed to Pietro) Which was lent for tem

porary exhibition in our Gallery (1913) and whichn shows

considerable,though not exact, resemblance to the design m

the picture .

72

12 2 . A. R oa d th rou g h a W ood .

NIC O LAS BERCHEM (Dutch : 1620 See 88.

O n the skirts of a beech- wood is seen a fallen tree beyond,a path overflowed W ith rain- water . A woman in a red skirt,black bodice

,and white headdress

,comes down a pathway

driving a cow ; near her a man in conversation with her .

F arther to the right three cows,driven by a man

,who is

followed by a dog . Three large trunks_of ash- trees on the

right,where two horsemen canter

,splashing through the water .

The way turns from this side of the picture towards the left,

where it disappears behind the rough ground and boulders,

which form a bank on which smaller oak- trees grow . C loudysky . S igned Berghem .

”C anvas : 3 ft . 10 in . x 2 ft . 10% in .

An early work,rich and lively in colouring

,especially of the

trees . A branch from this picture is facsimiled , for comparisonwith Turner ’s rendering of tree - structure

,in the fifth volume

of Ruskin ’s M odem Painters (fig .

12 3 . A. S h ep h e rd a n d S h e p h e rd e s s .

School of RUBENS . S ee 1.

In the foreground a shepherdess yellow silk dress,long fair

hair, sitting in front ; on the left near her , a shepherd tryingto kiss her an ivy wreath on his head

,his boots trimmed With

foxes ’ - heads ; on the right , a white cloth on a jug near a pool .In the background a man driving three cows a hut and trees .

C loudy sky, evening light . C anvas : 3 ft . 7% in . x 5 ft . 5 in .

M r . Holman Hunt,as cited above (p . used to study

in the Dulwich Gallery, and it seems probable that he had thispicture in mind, consciously or subconsciously, when he designedthe composition of his Idle Shepherd (now at M anchester).The picture, previously ascribed to Rubens , was catalogued byDr . Richte r an early work of J J ordaens (for Whom see

No . and it was conjectured that the shepherd and shepherdess were portraits of that painter and his wife

. Thepicture appears to have been in the possession of Rubens whenhe died , No . 94 in the C atalogue of his effects being A shepherd and shepherdess .

”

12 4 . A. R oa d n e a r a R ive r .

C UYP (Dutch : 1620 S ee 4 .

In the centre two high trees,beneath which two shepherds

reposing ; on the left, a youth on a donkey, and a shepherdesspointing . Peasants fishing on the other bank of the river .

O h the right, high trees , a cottage, and mountains to the left,

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74

colouring and the flat modelling of the fig ures and trees clearlyshow that the picture was not painted by Rembrandthimself

”

?and other critics have endorsed his verdict, some 8 881 ni ng it

to Rembrandt’ s pupil, Salomon Koninck . However t is maybe

,the design of the picture is intensively Renibrandtesque

in its sense of grandeur, and in its unconventional treatmentof a Biblical subject . Visitors who are not too much underthe tyranny of names may well feel free still to study

‘ thepicture carefully . None in the Gallery has been more admiredby judges of repute .

“ Here is the J acob’s Dream,

” wroteHazlitt

,with that sleepin figure , thrown like a bundle of

clothes in one corner of t e picture, by the side of somestunted bushes, and with those winged shapes hovering above,not human

,nor angelical

,but bird- like, dream- like, treading

on clouds,ascending

,descending

,through the realms of end

less light, that loses itself in infinite space ! N0 one elsecould ever grapple with this subject

,or stamp it on the willing

canvas in its gorgeous obscurity,but Rembrandt ! Within

the realm of creative art,” wrote M rs . Jameson ,

“ I knownothing more wild

,visionary

,and poetical, than this little

picture . The only thing I remember comparable to it as aconception is the otchin of Ang els Appearing to the Shepherdsby Nig ht, also by Rem randt .

” James Russell L owell datedhis appreciation of Rembrandt from a visit aid to Dulwichin 1855 . The Jacob’s Dream,

he wrote,is fufiof ima.g ination

and grandeur— and yet perfectly Dutch,too

,for Jacob is

nothing but a F lemish peasant,e ven to the costume . But

those wondrous angels ! There are only two, and yet they areenough— so dim and dreamy and majestic they are

,and one

thinks he can make out hosts of them in that darkening g lorybeyond . It is just a brown heath, with one brown dream ofa tree, under which lies a brown Jacch. Everything is brownbut the two grey angels , both draped below the feet, and Withsuch soft silent wings— yet so full of sweep and sustentation !Henceforward I em to be thankful for another great genius .

We met Browning and his wife there,and Browning pointed

out to us some reeds behind Jacch, evidently scratched in withthe handle of the brush, showing how rapidly it had beenpainted ” (L etters, vol . i. , p . Artists have been equallyenthusiastic . It is always J acob’8 Dream,

” wrote JamesSmetham

, which turns the scale as to whether I come toDulwich or no That picture was painted betweenRembrandt’ s breakfast and his tea, on a late O ctober day,when the wind was sighing and the leaves falling . I know itwas .” And Henry M erritt refers to the picture as one ofthose which would cause Rembrandt to live for ever by virtueof his incomparable and inhere nt beauties .” L ook at thatsmall and, at first glance, insig nificant picture entitled Jacob

’s

Dream. F rom this rude heap , on which the travel- worn son

75

of Isaac sleeps , up through the opening in the amber clouds,seems to reach away

,into illimitable distance

,a road from

earth to heaven, paved with glowing gems . The sle eper isutterly wanting in dignity, a mere pedlar in hobnailed bootsthe angels are faintly sketched in

,with ragged Wings, mere

specks , only distinguishable from the varied shape of theclouds , which form the interminable archway through the sky .

A tranquil light shuts out the gloom, and breathes warmth

upon the brief space around the wanderer ’s pillow,making

that dreary wilderness a smiling nook of rest .

127 . S am s on and D e lila h .

Sm A. VAN DYCK (F lemish : 1577 See 1.

O u the right, Delilah, sitting on the ground,in a white silk

dress, her breast uncovered . Samson repose s in her lap— a skinround his hips . An old man in a black tunic approaches himwith a pair of shears ; two women bend over the head ofDelilah ; a group of soldiers waiting behind a column on the left .

Blue sky. The four fig ures in the foreground are life~ siz e .

C anvas : 4 ft . 11 in . x 7 ft . 6% ih .— Engraved by M e tham .

This picture was formerly attributed to Rubens,under whose

name it appears in Desenfans’ C atalogue of 1786 , and again inhis list of pictures for insurance in 1804 Dr . Richteropined that it was painted in imitation of Rubens, but differsfrom his style in the harmony of the colour .

” It is verycharacteristic of the early work of Van Dyck

,by whom there

is another ve rsion of the subj ect at Vienna (replica atHampton C ourt). The fig ure of Samson,

” wrote Hazlitt indescribing our picture

,is nobly designed

,and coloured in a

fine deep sun - burnt tone,which contrasts and yet harmonizes

with all the rest of the picture, being made to blend with it bymeans of other objects (particularly the gorgeous robe ofDelilah). The face of Delilah is also full of the most intenseand appropriate expression— e ager

,anxious

,and conscious of

the danger that she is incurring — yet penetrating, confident,and determined to accomplish her purpose at all risks . In themidst of the intense vitality which pervades almost every partof the work

,the effect of the ha shing fing er of Delilah

- is verystriking : it suspends and fixes the whole scene to a singleinstant of time

,in a most artful and impressive manner

(Beauties of the Dulwich Gallery, p .

128 . C a tt le and F ig u re s n e a r a R ive r, w ith

M ou nt a in s .

C UYP (Dutch : 1620 S ee 4 .

In the foreground,two cows ; a shepherd conversing with a

flute - playe r . O u the right, in the middle distance, cattle andfig ures below ste ep rocks . The middle distance is occupied by

76

a river ; behind it, meadows and mountains ; somewhat cloudysky ; red evening tints on the left . S igned A C uyp .

”

C anvas : 3 ft. 35 ih . x 4 ft . 8§ ih .

Generally considered one of the painter ’ s maste rpieces . Incomposition, depth, glow,

and clearness of colouring, saysDr . Waagen, and general feeling of rural tranquillity on awarm summer ’ s evening

,this is one of the most beautiful works

of the master .

”Specially noticeable,

” says Dr . Richter,

for the strength and clearness of light,the transparency of

the full- coloured shadows,the firmness of modelling, and the

true perspective of the depth of the landscape in comparisonwith the endless height of the sky . F or the representation ofthe mountains in the background

,however

,the Dutch painter

did not follow nature .

” The picture,says Haz litt

,is woven

of ethereal hues . A soft mist is on it,a veil of subtle air .

The tender green of the valleys beyond,the gleaming lake

,the

purple light of the hills,have an effect like the down on an

unripe nectarine . You may lay your fing er on the canvas ;but miles of dewy vapour and sunshine are between you andthe objects you survey . It is almost needless to point out thatthe cattle and the fig ures in the foreground, like dark , transparent spots, give an immense relief to the perspective . Thisis, we think, the finest C uyp , perhaps, in the world . Anotherlandscape [No. 124] by the same painter has a richer colouringand a stronger contrast of light and shade

,but it has not that

tender bloom of a spring morning (so delicate, yet so powerfulin its effect) which the other possesses .

” Ruskin makes fun ofthe recourse to C ovent Garden market for terms of art- criticism,

and continues : I daresay that the sky of the first- rate C uyp ilvery like an unripe nectarine : all that I have to say about itis that it is exceedingly unlike a sky .

” He objects that the

blue remains unchanged and ungraduated over three- fourthsof it,

” and that the sunset colours around the sun in the lefthand corner do not melt into it or extend their influence tothe zenith

,as they would in nature (see M odem Painters,

vol. i, pt . ii

,sec . iii , oh . He points out

,further

,that

C uyp’s beautiful rendering of yellow sunlight is often accom

panied, even in his best pictures , by solecisms in tone, thoughit is possible that in some cases either the original colourmay have gone down or the parts may have been villainouslyrepainted .

” Thus , in the present picture, there is falsenessof tone in the greens of the steep bank on the right

,

” andin the browns of the lying cow which is in visible and painfulcontrast with the one standing beside it ; the flank of thestanding one being bathed in breathin

gsunshine

,and the

reposing one laid in with lifeless brown (ib .,sec

.ii,oh . i).

This is one of the pictures by C uyp which were acquired at

very low prices (see above, p . it was bought at M v. Bryan ’ssale

,1798, for £110 53 .

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78

will see for himself that there is no foundation in the picturefor these latter words . It is true that artists did sometimespaint fair penitents to order as M ary M agdalens but it isclear that this picture, of g lowing power , is Simply } portraitof the painte r ’ s second wife — a living incarnation of his femininetype of beauty . The demijohn in the left- hand corner mayindicate the convivial tastes of the painter who married herin 1630, when she was sixteen and he fifty— three years old . Inthe ten years of their married life

,he painted her over and over

again, and in every variety of costume, and after his deathin 1640 she was the owner of his house in Antwerp , as isshown by the following extract from the L ife of the Duke ofNewcastle

,written

,the title- page informs us

,by the thrice

Noble Illustrious and Excellent Princess M arg aret Duchess ofNewcastle, his wife .

” This lady tells us that when her husbandwas in exile in the days of O liver C romwell , he found himselfin Antwerp where for some time he lay in a public inn .

F rom this indignity, however , he was rescued by M r. EndymionPorter , who profiered him lodging where he was, and afterhe had stayed some while there endeavouring to find a housefor himself which might fit him and his small family and alsobe for his own content

,he lighted on one that belong ed to the

widow of a famous picture drawer Van Ruben,which he took

,

”

and in Helen F ourment’s house he was no doubt living when he

had news of the battle of Naseby in 1645 .

13 2 . L ands cap e w ith a S h ep h erd a nd f lock .

After RUBENS (F lemish : 1577 See 1.

A view over an open swelling country in the foreground,a

green rising ground, covered with scattered trees ; on the left, abridge and a pathway ; on it a - shepherd playing a flute

,followed

by a flock of sheep and two cows in the distance,blue moun

tains . A stron blue sky smirched with red . In the left topcorner is a doub e rainbow . C anvas : 3 ft . 55 in .

x 5 ft. Ii in .

This picture (Smith’s C atalogue, No . 725) was No . 87 in

Desenfans’s C atalogue . He there calls it The Two Rainbows,

”

and says that it came from the C abinet of Prince Rupert .

Rubens , says Ruskin, perhaps furnishes us with the firstances of complete

,unconventional

, unaffected landscape.His treatment is l

healthy, manly, and rational , not very affectionate , yet often condescending to minute and multitudinousdetail ; always, as far as it goes , pure, forcible, and refreshing,consummate in composition and marvellous in colour

.It

is to be noted , however, that the licenses taken by Rubens inparticular instances are 'as bold as his general statements aresincere .

” He cites the present picture in illustration,express

79

ing, however, a doubt whether it be indeed from Rubens’s ownhand . The sudden streak and circle of yellow and crimsonin the middle of the sky, being the occurrence of a fragment of asunset colour in a pure daylight

,and in perfect isolation

,while

at the same time it is rather darker,when translated into light

and shade, than brighter than the rest of the sky, is a case ofbold absurdity, come from whose pencil it may (M odefrnPainters, vol . pt . ii . , sec . i .

, ch . 7 ; sec . ii .,ch.

133 . L an dsca p e w ith C a t t le .

ABRAHAM VAN BO RSSO M (Dutch : latter part 17thC entury).

This artist, about whose life nothing is known , was a pupil ofRembrandt . He was a clever landscape- painter and skilful inperspective . There are drawings by him in the British M useum .

O u the left, in the foreground , six cows and a calf are beingdriven through a pool of water by a man holding a stick ; behindthem a wood and a farm on the right an extensive landscape

,

with the stump of a large tree and a dog . in the foreground .

Sheep,a horseman and other fig ures in the background . C loudy

sky . C anvas : 3 ft . 74 in . x 5 ft . ih .

At one time ascribed to the School of Paul Potter ; by Dr .

Richter to A. van Borssom . Ruskin has an interesting criticismon this picture : In the picture attributed to Paul Potter inthe Dulwich Gallery

,I believe most people must fe el

,the

moment they look at it,that there is something wrong with

the water,that it looks odd and hard , and like ice or lead ;

and though they may not be able to tell the reason of theimpression

,for when they g o near they will find it smooth and

lustrous and prettily painted,yet they will not be able to shake

off the unpleasant sense of its being like a plate of bad mirrorset in a model landscape among moss, rather than like a pond .

The reason is,that while this water receives clear reflections

from the fence and hedge on the left, and is everywhere smoothand evidently capable of giving clear images, it yet reflects noneof the cows (M odem Painters, vol. i .

, pt . ii . , sec . v .

, oh .

13 4 . T h e m mof th e R eb e l A n g e ls .

SEBASTIANO RIC C I (Venetian : 1662

Ricci (or Rizzi) is one of the more attractive painters of theIta lian decadence — his compositions, though not profound or .

original,being lively and ingenious He must have covered

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acres of walls and ceilings with his facile productions, for hewas employed by many sovereigns— by our own Queen Anneamong the number . There are several of his works atHampton C ourt. He worked for ten years in this country,and is said to have left our shores in disgust on learning thatthe task of decorating the cupola of St. Paul ’ s was to beentrusted to a native artist (Sir J ames Thornhill). The AbbéLanai gives an interesting account of Ricci , one who can bereckoned second to none among the professors of our ownepoch .

” He was born at C ividal di Belluno in the VenetianStates . F rom his twelfth to his twentieth year he was a pupilof F ederigo C ervelli , at Venice, and .at M ilan . He wasemployed at Piacenza by the Duke Ranuccio of Parma , andcopied the frescoes of Annibale C arracci in the Palazzo F arneseat Rome . He made the tour of all Italy, employing hispencil whe rever he received commiss ions at any price .

” Hepainted in the Imperial Palace at S chonbrunn . near Vienna

,

and in the Grand Ducal Palace at F lorence . O h his way toEngland he was elected a member of the Royal Academy atParis, 1718 . O u leaving England , he returned to Venice,where he died . F rom his acquaintance with such a varietyof schools

,he stored his mind ,

” says L anzi , with fine images,

and by dint of copying many models , his hand became practisedin different styles . In common with Giordano, he possessedthe art of imitating every manner some of his pictures in thestyle of Bassano and of Paul [Veronese], continuing yet to imposeupon less skilful judges, as in the instance of one of hisM adonnas at Dresden, for some time attributed to C orreggio.

The chief advantage he derived from his travels was, that on

having occasion to represent any subject, he was enabled torecollect the manner in which different masters might havetreated it , availing himself of it without plagiarism according ly.

” His most successful imitations were of Paul Veroneseand a F rench painter , who like the less skilful judges wasonce deceived, is said to have taken a sarcastic revenge .

Take my advice,” he said , and paint no more Ricci ’ s .

”

St.M ichael, in blue corselet and red mantle, holds the sword

in his right hand ; a g littering shield in his left ; he trampleson

, and drives downwards, the fallen angels , represented by sixnude fig ures with bats

’ wings . C anvas : 2 ft . 11 in . x2 ft . 1 in .

Daring and clever in the design of the foreshortenings .The picture recalls Luca Giordano ’ s

,which are now at Vienna

in the Belvedere Gallery, and in Lord Northbrook’s C ollection .

The picture was at one time attributed to Pietro da C ortona(sec No .

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82

of the C alabrian Hills,and is said to have once herded for a

while with a band of brigands in the Abruzzi . M any Suchadventures may be found in Lady M organ ’s Life of SalvatorRosa , which, however , is perhaps more a romance than abiography . He was born in the village of Renella, near Naples,the son of an architect and land - surveyor . His uncle, PaoloGreco, gave him his fi rst instruction in painting ; afterwardshe entered the studio of F rancesco F racanz ano, a scholar ofRibera . Lanfranco supported the young Rosa, who alsovisited the studio of Ribera

,and for three years that of his

scholar Aniello F alcone,whom he imitated . He went to Rome

in 1635, where he received orders for paintings at Viterbo . In164 6 he returned to Naples

,and in the following year he took

part in the rising of M assaniello, after whose defeat he fled toRome

,and settled there again . F our years later he was sum

monad to F lorence by the Grand Duke of Tuscany, and remainedthere for nine years

,returning afterwards to Rome, Where he

died .

O n the left a high tree ; behind it the side of a hill , and beforeit a pool . A C apuchin fi'iar sits near the edge ; another is fishing . C loudy sky . Very thinly painted ; sketch- like execution .

C anvas : 2 ft . 5 ih . x 1 ft. 5 ih .— Engraved by R . C ockburn .

O ne of his very best landscapes,” says Haz litt ; rough

grotesque,wild ; Pan has struck it with his hoof ; the trees , the

rocks,the foreground are of a pie ce, and the fig ures are sub

ordinate to the landscape . The same dull sky lowers upon thescene

,and the bleak air chills the crisp surface of the water .

”

M r . Desenfans obtained this picture from Le Brun in 1788.

13 8 . T h e Perry B oa t .

F RANCESC O CASANO VA (Italian : 1727

F rancesco was younger brother of one of the most notedadventurers of the 18th century

, C asanova de Seing alt,”

author of the famous , or infamous , M émoi'rcs. F rancesco wasborn in L ondon , where his parents were fulfilling a theatricalengagement . His father , of ancient Spanish family

,had

married an actress and adopted the stage as a profession. When

not yet six years of age, F rancesco went with his family toVenice . Having shown a taste for art

,he studied under

F rancesco Guardi and F rancesco S imonini,the battle- painter.

In 1751 he went at his elder brother ’ s advice to Paris,but in the

following year he left Paris for Dresden,where he worked for

four years , copying pictures by Wouwerman and other Dutchmasters . In 1757 he returned to Paris and soon mad e a reputation by his battle- pieces , being elected a member of the F rench

83

Academy in 1763 . There are several of his pictures in theLouvre . In 1767 he exhibited in London a picture ofHannibal C rossing the Alps

,

” which attracted much attention .

In spite, howeve r, of his great success, the high prices heobtained for his pictures

,and the patronage of royalty and the

nobility , his extravagant habits and luxurious mode of life, inaddition to two unfortunate matrimonial adventures

,kept him

continually in debt and trouble . O ne of his own etchings,entitled La Diner da Peintfre Casanova ,

represents him as justalighted from his coach and barte ring his pictures for food to anold woman selling sausages by the wayside (Diet . Nat. Bio

g raphy). He was commissioned to paint battle- pieces by the

Empress C atherine II . of Russia , and , le aving his debts behindhim

,went to Vienna where he worked till his death . Amongst

his pupils was Loutherbourg (see No .

O n the right an old town wall ; behind it a tower in front tworiders

,and horses with loads on their backs . A man pushes off

a boat,which is filled with goods and passengers : three persons

are close to him on the shore . O u the left, on the distant bank ,a castle

,a bridge

,and a tower . Blue sky with light clouds .

C anvas : 1 ft . 245 in . x 2 ft . 2 in .

The influence of Philips VVouwerman is here clearlydiscernible .

139. A V as e w ith F low ers .

JAN VAN HUYSUM (Dutch : 1682 S ee 42 .

A vase decorated with fig ures is placed on a grey slab, andcontains a large overblown tulip , tuberoses , double stocks,roses

,auriculas

,hollyhock , a bird ’ s nest with robin ’s eggs .

S igned J an‘Van Huysum . C anvas : 2 ft . 8 in . x

1 ft . 11% in .

Uncommonly broa d in execution, of a vaporous tone .

140. T h om a s L in ley , th e E ld er .

T . GA'

INSBO RO UGH ,R .A. (English : 1727

S ee 66 .

In a sand— coloured coat and grey powdered wig , brushedstraight up ; white cravat . He holds a sheet of mus1c in hisleft hand

,which is placed across the heart . C anvas : 2 ft . 5% ln .

x 2 ft . in .— Princess Victoria Series, ii ; The D mleys ofBath.

p . 42 .

This is a portrait of the head of the famous fami ly whosechronicles are told in the book just mentioned . Thomas L inley ,

27930

84

the Elder (1732 was the son of a carpenter at Wells , andfor a time followed his father’ s trade ; but he had a nativetalent for music

,and after a period of study in Italy, he set

up at Bath as a singing—master . He married in 1752, and had alarge family of sons and daughters

,most of whom inherited

his talents . We are all geniuses here, sir ,” said one of them .

The y were a nest of nightingales .

” F or many years , assmtedby his children

,L inley carried on concerts in the Bath Assembly

Rooms . Afte rwards he became joint—manager of the DruryLane O ratorios , and through his son - in- law ,

Richard BrinsleySheridan

,he was associated in the management of Drury Lane

Theatre,where he directed the music for fifteen years . He was

a fertile composer of songs,cantatas

,madrigals and elegies , and

it was he who wrote the music for the song in The School forS candal .

A portrait of his W ife is No . 456 . O f his twelve children,seven are represented by portraits in our Gallery— Elizabeth andM ary (M rs . Sheridan and M rs . Tickell), No . 320; Thomas,No . 331 ; Samuel , No . 302 ; M aria , No . 475 ; O zias, No . 4 74 ; andWilliam

,No. 178 . The air of distinction which appears in these

children was derived,as one can see from the present portrait,

from the father,which shows

,says the authoress of The Dialeys

of Bath, that from him the most beautiful of his daughtersinherited her finely cut brows and mea t In person hewas tall, in colouring dark, and in manner reserved and somewhat stern . Yet we hear frequently of his shedding tears ; helaughed boisterously, thoug h not, perhaps, often . He was so

devoid of envy that he was not only ready to admit the talentsof every rival in his art

,but to contend for the merit of his

contemporaries

The L inley family, conspicuous for their good looks , werefortunate also in their painters . O f the portraits in our

Gallery, three were made at Bath by the youthful Lawrence ;and four by Gainsborough . With their invariable trick of

attracting the interest of interesting people, the L inley familyearly possesse d themselves of Gainsborough’ s affections . How,

indeed , could he fail to be enchanted with them ,he who adored

beauty and music almost equally? He painted the father . hepainted Tom and Sam he painted Elizabeth andTom together (Pierpont M organ) E lizabeth and M ary together(320) Elizabeth alone twice (Lord Rothschild andWertheimer);M ary alone ; M ar

y’ s husband and Elizabeth’ s husband ; and

E lizabeth ’s son . inally, when he and they alike had movedto London and were all prosperous togethe r

, Gainsboroughadopted a little boy of three years old for the avowed reasonthat he looked so like a L inley .

” At Gainsborough ’s funeral,M r . L inley, the subject of the pre sent picture, was among themourners .

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86

the centre of the scene? The pig,just poking his head out of

his sty,and crunching a carrot in the most pig g ish manner,

_

ls

equally fine and true . It is the same with the smallest mi nutiaeof this admirable work . The particles of chaff that are fallingfrom the chaff— cutter ’ s knife are actually in motion ; there isevidently not a breath of wind stirring, or you might expectto see them blown away as they fall 1 The purity and sweetnessof tone which pervades the picture is also delightful (Beautw:of the Dulwich Gallery, p .

14 3 . P ortrait of a L a dy .

RUBENS (F lemish : 1577 S ee 1.

Half— length figure , facing the spectator , fair hair, violetdress with slashed sleeves

,strings of pearls round neck and

waist, a fan in her right hand . Reddish- brown background.

Panel : 2 ft . 6; in . x 2 ft. 1; in .

This fine picture was No . 88 in the C atalogue of Desenfans,who says that it was sold to him as a portrait of the wife ofRubens .

” Desenfans re - christened it a portrait of M aria de’

M edici, to which queen, however , it bears no resemblance . Hevalued it for insurance in 1804 at £150.

14 4 . C a tt le n e ar th e M a a e , D ort in th e d is t ance.

C UY P (Dutch : 1620 See 4 .

O u the right, a group of cows with a milkmaid on the left,

the M aas with ships ; behind it, the church and houses of Dort.A threatening cloudy sky . S igned A. C uyp .

” Panel :2 ft . 5; in . x 3 ft. 5% ih .

The execution of the foreground is less careful than usual,

but the representation of the storm— clouds which gatherthickly over the landscape is masterly .

14 5 . A B u ll .

O M M EGANCK (F lemish : 1755

Balthazar Paul O mmeg anck was born at Antwerp . In 1767he entered the studio of Henricus Josephus Antonissen,

andwas appointed professor of painting at the Antwerp Academyin 1796 . He was the chief animal painter and one of the mostdistinguished landscape- painters of his time . His conceptionis entirely realistic, his execution very careful, but cold in tone.In his landscapes he usually represents the environs ofAntwerp ; his pictures were highly appreciated during hislifetime, not only in his own country, but also at Paris,

87

where he often exhibited,and where his representations of

sheep were, in particular, so much admired as to earn for himthe name of the “Racme des moutons .

”

The bull is seen in profile on the right ; behind it , its keeper ,lying on the ground ; near him ,

a dog ; in the distance ,meadows, With cows and a woman ; a church, windmills andcottages among trees ; evening sky . Panel : 1 ft . 2; in . x1 ft . ih .

C lear and cool in tone the colouring dry .

14 6 . A S ow a n d L it t e r .

TENIERS THE YOUNGER (F lemish : 1610

S ee 54 .

In the centre a sow,turned to the left before it

,five young

pigs ; a pigsty behind ; on the right, the swineherd with a whip ;two cottages with peasants in the background . Blue sky withgrey clouds . S igned “ D Teniers F .

” Panel : 9% ih . x1 ft . g in .

— Engraved by R . C ockburn .

O i all the pictures by Teniers the younger,in this Gallery,

the most brilliant and glowing in colour . It was bought fromthe C alonne collection in 1788 for £34 . (No . 300 in Smith ’sC atalogue).

14 7 . T h e J u d g m ent of Pa r is .

ADRIAEN VAN DER WERF F (Dutch : 1659

This is one of the most celebrated pictures of the artist who,

after Gerard de L airesse (see did most to lead the Dutchschool away from its old ideals

,and who was most admired

in his day . He wa s born at Kraling er—Ambacht

,near Rotter

dam,in 1659 received lessons in drawing from C ornelis

Picolett ; and then entered the studio of Eglon van der Neer(by whom there is a pictur e in the National Gallery, No .

But the example and teaching of Lairesse induced him topursue the classical and academical style . The Duke of Wolfenbuttel and other high personages of his time contended for thepossession of his pictures

,and in 1703 he was knighted by the

Elector Palatine John William ,who also awarded him a pension

to retain his services for six months in the year . In theNational Gallery there is a portrait of the artist, seated ina garden

,with roses

,palm- trees

,and a statue of F ame in the

background. But F ame is fleeting , and modern taste has

hardly confirmed the admiration which the painter ’s workswon in their own day . His fig ures have elegance and his

88

pictures are executed with great finish ; but the heads aremonotonous and wanting in expression

,and the work is cold

in colouring with an ivory- like smoothness of the flesh . Sir

Joehna Reynolds has some interesting remarks , which he i llus.

trates by reference to this artist, amongst others, upon theprocess of extreme softening which

,instead of producing the

effect of softness,gives the appearance of ivory, or some other

hard substance,highly polished . The portraits of C ornelius

J anssen (see No . 80) appear to have this defect , and conse

q uently want that suppleness which is the characteristic offlesh ; whereas, in the works of Van Dyck , we find the truemixture of hardness and softness perfectly observed . The samedefect may be found in the manner of Vanderwerf , in oppmsition to that of Teniers .”

O u the left, Paris sitting, with the apple in his hand ; a reddrapery in his lap ; opposite him ,

Venus standing,W ith out

stretched arms . C upid carries her blue mantle ; two dovesbefore her ; M inerva, With the helmet, and Juno, with thetiara

,behind her ; on the left, in the background , M ercury.

A high rock in the background ; dark blue sky . Panel :2 ft . g ih . x 1 ft . 5g ih .

— Engraved by Blot in the Galeriedu Palais Royal,

” with the following note : This agreeablecomposition , when examined in its minutest deta ils

,shows

everywhere the great finish and the delicate execution so characteristic with this master ’ s works .”

The picture was painted for the Regent Duke of O rleans in1718, and brought to England with the F lemish part of theO rleans Gallery in 1793 . Desenfans gave 385 guineas for it.

He states in his C atalogue that Sir J oshua Reynolds usedto say that the only one of Vanderwerii ’s pictures he knewfree from that defect [the ivory- like smoothness

,above noticed]

was the Judgment of Paris which he had seen in F rance incompany with his friend M r. Burke . In that work

,said Sir

Joshua, Vanderwerff has shown himself a great Italian master,in the three goddesses which in every sense of the word are

goddesses indeed . And he particularly admired the uncommonecency with which the subject was treated .

”

14 8 . A S aint B le s s in g th e S ick .

After RUBENS (F lemish : 1577 See 1.

The Saint, in the dress of a priest , stands at an altar turnedthe people , who knee l in the foreground ; on the left a

woman in convulsions , supported by two men . A roup ofpri ests on the left of the Saint ; three angels above e backg round is architectural . Panel : 2 ft . 5 in . x 1 ft . 6% in .

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90

This portrait of an old burgomaste r, keen and shrewd of face,was formerly attributed to Hans Holbein (1497 thoughneither in drawing nor in colouring equal to

.

that.

master ’sgenuine works . Holman Hunt

,in describing his v

.

1s1ts to the

Dulwich Gallery, mentions the picture : A.portrait of a man

with a stubbly white beard by Holbein fascm ated me With its

delicate painting (P're-Raphaelitism,vol . i .

,Desen

fans,in his C atalogue (No . says : We are ignorant who

is the person this picture represents,but it is one of the fine

productions of the master .

” It came from the C alonne C ollection and was described in the catalogue as A man’sport rait : a very expressive , fine head, finished with great'delicacy .

” We detect.

at a glance what sort of man he was ;testy

,opiniated

,despotic in his household, but not Without

kindness— rough,hasty

,irre ular ' kindness— when he had his

own way .

”(Bentley

’s M isce lany, vol. 10, p .

152 . T h e Prince of A stu rias on Hors eb a ck .

After VELAZQUEZ (Spanish : 1599

Don D iego Velazquez de S ilva was born at Seville . He was.a pupil of F rancisco Herrera the Elder

,an excellent colourist,

and of F rancisco Pacheco of Seville ; he also studied Italian andF lemish pictures and the works of Luis Tristan of Toledo . In1622 he went to M adrid, where he devoted himself to the studyof the various works of art, especially to those of the VenetianSchool in the Escurial . He entered the service of Phili IV.

of Spain,who created him his court- painter . The Du e of

O livarez was his protector , and when Rubens was at M adrid hebecame his friend . In the years 1630 and 1649— 51 he visitedItaly . Velazquez was married April 23 , 1618 , to the daughterof his master at Seville

,Dofia Juana Pacheco , by whom he had

two daughters .In his early works he imitated Ribera . M ost of the

pictures which he painted at M adrid were for the King .

Besides portraits , he also painted historical compositions,

interiors, landscapes, genre and still - life pictures,very seldom

religious subjects out of Spain he is little known , except by hisportraits and small compositions . Velazquez is the greatestartist during the 17th century, not only of Spain , but also ofall Southern Europe . In contrast with M urillo

,his pictures

are remarkable for their manly seriousness of conception . Hisportraits giy e the firm and decided character of the individual

,

and their p ictorial perfecti on is as great as their imposing concaption . His tones are so true, said Sir F rederic Burton,and the technical qual ity of his work is so perfect

,and so

exactly adapted to its end , that only when we come to observethe apparent want of effort in the execution is our wonder fullyr

91

aroused .

” In the art of Velazquez,said Ruskin

,all effort

and all labour seem to cease in the radiant peace and simplicityof consummated human power .

The young Prince is riding a brown horse , which, much foreshortened , gallops towards the front ; he is dressed in a velvetcoat, pink scarf , leather boots and black hat . He ho lds themarshal ’s baton in his right hand over the horse ’s head . Hillylandscape ; grey- blue sky . C anvas : 3 ft . 2 ih . x 2 ft . 7% in .

This picture is an old copy,on a reduced scale

,of the original

in the M useo del Prado at M adrid— one of the most popularof equestrian portraits by Velazquez, full of life and spirit .

The portrait is of Don Balthazar C arlos,son of Philip IV .

The King was noted as the first rider in his kingdom,and the

boy, now in his seventh year , is seated as lightly and firmlyas his father . He is sitting as upright as a dart

,and as

bold as a lion— as if he felt the future General within him .

”

The Prince, immortalized in several pictures by Velazquez, didnot live t i as cend the throne ; he died in his seventeenth year .

There is another repetition of the equestrian portrait (with someslight differences) in the Wallace C ollection . O ur picture,though it lacks the brilliant light and colour of the orig inal ,was greatly admired by a famous painter . It is the subjectof an anecdote cited by the biographer of Gainsborough .

Being much struck with Velaz quez’s portrait of the young

Duke of Asturias,now in the Dulwich Gallery

,Gainsborough

said to the servant of its possessor , M r . Agar,Tell your

master, I will g ive a thousand pounds for that picture .

’The

message was delivered,and M r . Agar , thinking the offer advan

tag eous, sent Gainsborough word that he might have thepainting on those terms . Gainsborough

,very much confused ,

was compelled to acknowledge that, however he might admirethe picture

,he could not afford to give so large a sum

(F ulcher , p . 149,who took the anecdote from Northcote ’s C on

versations). M r . Desenfans valued the picture for insurance , in1804

,at £400.

153 . A L a dy Pu r ch a s in g G am e .

DUTCH SCHO O L (17th C entury).

The game— dea ler sits on the left ; he wears a leather jerkinand a blue —cloth undercoat

,high leather boots ; near him lies

a hare . The lady wears a yellowish satin dress and a bluebodice she looks down at the dealer , as she tries the weightof a pair of fowls a maid follows in attendance ; on the right,a dog looking up at her . The scene is laid in a courtyard .

C anvas : 1 ft . 6 in . x 1 ft . 2 in .

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At one time ascribed to Gonzales C oques, a Elemish painter(1614 but

,

” said Dr . Richte r , the picture certainlybelongs to the Dutch S chool . ”

154 . M a g da lene in C on t em p la t ion .

Afte r ANNIBALE CARRAC C I . S ee 230.

M agdalene, in a blue mantle, sits on the ground, bare tothe waist . In her lap

,a skull and a book ; her right arm

supports her uplifted head ; on the left and in the centre, rocks.

In the distance, hilly landscape . Evening sky . C anvas :11% in . x 1 ft. 3 -3 ih .

— The original has been engraved byF anni .O f the original picture, M rs . Jamason says in her Sacred and

L eg endary Art : The M agdalene of C arracci has heard thewords of mercy she has memories whi ch are not of sin only ;angelic visions have already come to her in that wild solitude ;the upward ardent look is full of hope and faith and love . The

fault of this beautiful little picture lies in the sacrifice of thetruth of the situation to the artistic feeling of beauty— thecommon fault of the School ; the forms are large, round, full,untouched by grief and penance .

” The fault,if such it be,

is not confined to the school of the C arracci . The artists areperhaps of Pepe’ s opinion :

How many pictures of one nymph we view,

All how unlike each other,all how true !

Let then the fair one beautifully cry,In M agdalen’ s loose hair and lifted eye ;O r dress

’d in smiles of sweet C ecil ia shine,

With simpering angels,palms and harps divine

Whether the charmer sinner it, or saint it,If folly grow romantic

,I must paint it .

However this may be , the artists, especially those in the 17thcentury, were very fond of painting the M agdalen ; theopportunities which the subject afforded for the display ofluxuriant female forms in all the abandon ofromantic solitude, made it attractive, and there are five

pictures of her in our Gal lery . We see the lifted eye inthe picture attributed to Guido A book beside a skullwas a favourite symbol of her meditative penance (as here and

in O ften she is placed in a cave,and the emblem of

penance is a scourge

155 . T wo C h u rch e s a nd a. T own W a ll .

JAN VAN DER HEYDE (Dutch : 1637

This painter has been called the Gerard Den of architecture from the delicate exactitude with which he represented

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94

Dr . Richard M ead, famous alike as a physician and an amateurof literature and the fine arts . F or him Watteau painted twocharacteristic pieces . F inding the climate of L ondon unfavourable

,he returned to Paris

,establishing himself for a while in

the house of his friend Gersaint,a picture- dealer , for whom

he painted a sign- board which had an extraordinary success.

He was constantly befriended by the Abbe Harang er, whoobtained for him the loan of a country- house at Nogent, where,however

,he died shortly afterwards . It is said that at the

last a priest in attendance upon him begged him to kiss thecrucifix . That I never could

,

” replied the artist,

for itis so ill- made that I am quite in a rage with the sculptor .

”

The contrast is remarkable between the life of the painterand the kind of subjects which he painted . He was physicallysuffering nervous

,ill- suited to live with others ; difiident of

himself 'apt to under- rate his powers,and melancholy in tem

perament . His subjects were fétes gala'ntes, balls , romances,and intrigues ; a society of courtiers, comedians, musicians,dancers

,and all those who pass their lives in amusing others

,

or being amused and with whom pleasure seems to be the soleend of life . M r . Pater

,in the study of Watteau

,above men

tioned,~has touched the point of contrast in his general descrip

tion of the sentiment in the painter’ s works . Half inmasquerade , playing the drawing- room or garden comedy oflife

,these persons have upon them

,not less than the landscape

which he composes,and among the acc idents of which they

group themselves with such a perfect fitting ness , a certainlight we should seek for in vain upon anything real . F or theirframework they have around them a veritable architecturea tree- architecture of which those moss - grown balusters

,

termes, statues , fountains , are really but accessories . O nly,as I gaze upon those windless afte rnoons

,I find myself always

saying to myself involutarily, The evening will be a wet oneM ethinks , Antony Watteau reproduces that gallant world,

so much to its own satisfaction,partly becauses he despises

it yet he will never overcome his early training ; andthese light thing s will possess for him always a kind of worth,as characterising that impossible or forbidden world which the

mason ’s boy saw through the closed gateways of the enchantedgarden .

” Watteau invested the gay world with an ideal charmby his perfect tact and by lightness of touch . He had greatpowers of desig n and composition ; his fig ures have the truecharacter of the persons they are meant to represent ; hiscolouring is brilliant, soft, and harmonious . M r . Desenfans,surprised to find but few pictures of Watteau in English collections, once asked Sir Joshua Reynolds whether the collectorsof this country rejected them . I wish

,

” replied Reynolds,it was so, and that they would let me have them ,

for Watteauis a master I adore . He unites in his small fig ures correct

95

drawing , the spirited touch of Velazquez , with the colouringof the Venetian school . But Watteau is little known to us ;his works being extremely dear on the C ontinent

,the brokers

and dealers bring us over copies of his pictures or those of hisimitators L ancret or Pater

,which they impose upon us as

originals .

A large colonnade with caryatides ; under it a party of ladiesand gentlemen assembled in two groups

,one on each side ; in

the middle g round , on the right, the musicians near a buffet ;on the left, in the foreground , a pair dancing a fountain andhigh trees in the background . C anvas : 1 ft . 7% in . x 2 ft. 4 in .

— Engraved by Scotin . Also by C . C arter, in theM agaz ine ofArt, vol. 15, p . 103 . Princess Victoria Series

,ii .

This is a famous picture and has always been considered oneof Watteau

’s masterpiece s . It is among the few mentioned

by name in the Discourse read to the Royal F rench Academyof Painting by the artist’ s friend , the C omte de C aylus . Itspopularity in the artist’ s own time

,and afterwards

,is attested

by the numerous copies or repetitions that are known to exist .

The picture has all the e lements characteristic of the master,and both in design and execution it shows him at his best .“ He might almost be said ,

” writes Hazlitt in his notes onour Gallery,

“ to breathe his figures and his flowers on thecanvas— so fragile is their texture , so evanescent is his touch .

He unites the court and the country at a sort of salient pointyou may fancy yourself with C ount Grammont and the beautiesof Charles II . in their g ay retreat at Tunbridge Wells . Histrees have a drawing- room air with them , an appearance ofgentility and etiquette

,and nod gracefully overhead ; while

the fig ures below,thin as air

,and veg etably clad, in the midst

of all their afiectation and grimace, seem to have just sprungout of the ground

,or to be the fairy inhabitants of the scene

in masquerade . They are the O reads and Dryads of theLuxembourg ! Quaint association, happily effected by thepencil of Watteau ! The old beau ’ s face is flushed, as hedances

,and puckered up with gay anxiety ; but then the satin

of his slashed doublet is made of the softest leaves of thewater- lily Zephyr plays wanton with the curls of his wig !The picture embodies in one small canvas, the social ideal ofpre- revolutionary F rance . It shows us, as they themselveswould have wished to be depicted , the grandfathers and randmothers of the victims of the guillotine . There are 73 guresin the picture

,and each is fulfilling to perfection his or her

part in the masquerade . The line . of guests, drawn up insymmetrical row ,

is full of the ceremonious life and grace ofthe ball . L ove is proceeding there in whispered avowals andgentle interbreathing s. We wonder who is that lady in white

96

satin— not the crude white satin of our ball - room, for a shadowhas transformed the satin to soft dissolving greys ; and deep inthe brown shadow about her we perceive a lady in sapphi re- blueand a gentleman in a carmine - coloured cloak . I remember tooa delicate little lady in yellow pink ; her legs are crossed sheholds a fan to her lip and looks down , sentimentally considering the young man who tells of his g rande passion . Theyoung man leans out of a picturesque shadow and whisperstender addresses . Does she believe him? Does he mean whathe is saying? Vain questions . His “ pleading is part of theentertainment

,and he plays his part no bette r and no worse

than the other twenty gallants that surround him . The groupof guests on the left is less symmetrically arranged than thaton the right . But here the comedy is being played withexactly the same spirit and with the same grace . And yet thepainter

,principally by his own extraordinary delicacy in the

arrangement of the light and shade,has avoided even a

suspicion of monotony . The regularity of the line of the firstgroup is broken up by masses of the shadow the second g roupis more scattered

,the execution is simpler

,and the light

being on the fig ures the colour is more brilliant . And thenwhat balances and enfolds the composition is the garden

,a

formal garden,where a fountain showers among the dim green

trees , keeping the dreamy birds awake in the branches (F rom“ An Autumn O uting by G . M . in The Speaker , O ctober 1,

The scene of the picture was probably suggested by thearchitecture and garden of the Luxembourg . In 1831 C . R.

L eslie , R .A.

,had been making a copy of it

,and C onstable

wrote to him : Your Watteau looks colder than the original,which seems as if painted in honey ; so mellow ,

so tender,so

soft, and so delicious : so I trust yours will be ; but besatisfied if you touch but the hem of his garment

,for this

inscrutable and exquisite thing would vulgarise even Rubensand Paul Veronese .

”

It is not known when and from whom M r . Desenfans boughtthe picture . When engraved by Scotin

,it was in the collection

of M . Glucq , C ouncillor of the F rench Parliament (Goncourt’s

C atalogue Raisonn e’

, No . It was in the Duke of M orny’s

sale the sale of the M ontallé collection,1783 ;

a sale of November 26,1787 and the sale of the

C abinet L ebrun S everal drawings for it exist . Astudy for the dancing gentleman is in the Louvre ; seven othershave been engraved in F ig ures, diffé'rents cam cté'res de paysage

et d’e’

tudes par Antoine Watteau , tifrées des plus beaucc Cabinetsde Paris (Nos. 355

,4 42

, 4 46 , 466 , 475, Replicas of thepicture attributed to Watteau are at Blenheim

,at Wroxton

Abbey, and in the collection of C ount Rostochin at St . Petersburg . O ne

, attributed to J B. Pater, is in the Wallace

collection at Hertford House (No .

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98

159 . Portra it of a; Y ou n g L a dy .

School of PAO LO VERONESE (Venetian : 1528

Paul Veronese stands in the forefront of the colourists and isthe g reatest of decorative painters . In his work,

”says

Ruskin,

the whole picture is like the rose — glowing withcolour in the

,shadows

,and rising into paler and more delicate

hues,or masses of. whiteness

,in the light .

” In his choice andtreatment of subje ct he was distin uished by a certain gaygrasp of the outside aspects of t e world ,

” and he lovedmag nificent splendour . I can easily conceive,

” said Sir

J oshua Reynolds, that Paolo Veronese, i f he were asked,

would say that no subject was proper for an historical picture butsuch as admitted at least forty fig ures : for in a less number; hewould assert, there could be no opportunity of the painte r

’sshowing his art in composition ,

his dexterity of managing themasses of light and groups of fig ures, and of introducing avariety of Eastern dresses and characters in their rich stuffs .He was born at Verona

,and his father, Gabriele C aliari, a

sculptor,taught him at an early age to draw and to model ;

but as he showed more inclination for painting , he was sent tohis uncle

,the painter Antonio Badile . The silvery tone which

differentiates his best works from the golden lustre of Titian continnes in the manner of the Veron ese, as distinguished from the

Venetian,school . Afte r working for a time at Verona,

M antua and Vicenz a,he settled in Venice

,where he soon began

to rank in favour with the greatest Venetian masters . In1560- 1 he went to Rome in the suite of Grimani , the VenetianAmbas sador . In 1565 he married a daughter of his formermaster at Verona . He died in Venice .

Three- quarter—leng t-h fig ure , small lifes ize, the head turnedto the left ; white satin dress draped with red ; the left handon a book, which is placed on a table . A column on the right ;dark background . C anvas : 3 ft .

4} in. x 2 ft . 533 in .

A picture with many points of excellence . M r . Ruskinconsiders it genuine (Denning). Painted by an unknownVenetian artist under the influence of P. Veronese

,to whom it

was formerly ascribed (Richte r).

160. He a d o f C le op a tra .

ARTIST UNKNOWN.

A half- length fig ure of Iife- size the head is seen in full- faceturned upwards . With the left hand the breast on that sideis uncovered while the asp is a lied to it with the ri ht.

C anvas : 2 ft .

’

5 in . x 2 ft . in .

pp g

99

This is not one of the Desenfans-Bourgeois pictures . Thereis no record of

_how and when it came into the possession ofthe C ollege . It is , perhaps, a copy after Guido Reni .

16 1 . Ho ly F am ily .

School of SCHEDO NE (Italian : 1580

Bartolomeo Schedone, or Schidone,was born at M odena

about the year 1580. Very little is known of his life . He

studied the works of C orreggio at Parma,where he entered

into the service of the Duke Ranuccio . who appointed himhis chief painter , and for whom he painted several portraitsand other works . These

,with many other works of art in the

possession of the Duke of M odena,afterwards passed into the

collection of the K ing of Naples . Browning,it may be remem

be red , introduces Schedone’s narhe into his poem In a Gondola ,

in the passage where the lover fancies the pictures in his lady ’ schamber coming to life : You ’d find Schidone ’s eager Dukedoing the quainte st courtesies To that prim saint by Hastethee- Luke (nickname of Luca Giordano). Schedone

’s works

are rare . This artist produced but little,says Lahz i, being

seduced by the love of gambling ; nor did he survive very longafter losing a large sum of money .

”O f all the imitators of

C orregg io , he succeeded be st in rendering the na ive conceptionof his mode l . In later y ears he was also influenced by the schoolof the naturalists

,as is seen by the peculiar light in his pictures

>

especially on the fig ures .

O n the right the M adonna , taking into her arms the infantChrist ; on the left, the infant St . John sitting ; behind himSt. J oseph bending forward . Trees in the background

,a hut

in the distance . Blue sky . Panel : 1 ft . Si ih . x 1 ft . 53 in .

A clever imitation of Schedone , but heavy in design ; thefig ure of St . Joseph is copied from the Pieta by C orreggio inthe Pinaco teca at Parma (Richter).

16 2 . A P ie ta.

School of L O DO VIC O CARRAC C I (Bolognese : 1555

Lodovico C arracci is famous in the history of art as thefounder of the Eclectic School of Bologna , of which the object(as expressed in a sonnet by one ~

of the school) was to combineThe design of Rome, Venetian action and management of

shade , the dignified colour of Lombardy (Leonardo), the terriblemanner of M ichael Angelo , Titian

’ s truth and nature, thesovereig n purity of C orregg io ,

' and the just symmetry of

27930 G 2

100

Raphae .

’

l

’ A pretentious,and

,as modern criticism judges,

an impossible ideal ! But be it remembered that Sir JoshuaReynolds considered that by L odovico the aim had -in a measurebeen attained . In style L odovico C arracci,

” he said,“

(Imean his best works) appears to me to approach the nearestto perfection . His unaffected breadth of life and shadow, thesimplicity of colouring

,which

,holding its proper rank

,does not

draw aside the least part of the attention from the subject,and

the solemn effect of that twilight which seems diffused over hispictures

,appear to me to correspond with grave and dignified

subjects better than the more artificial brilliancy of sunshinewhich enlightens the pictures of Titian .

”Sir J oshua recom

mended the Academy students,accordingly

, to devote particularstudy to the works of Lodovico at Bologna . The change ineducated taste with regard to the Bolognese painters , sinceReynolds

’s day, is one of the curiosities of criticism . Poussin

ranked Domenichino next to Raphael, and preferred the worksof the C arracci to all others in Rome . Shelley

,when stay

ing at Bologna in 1818,could not thus admire either

D omenichino or the C arracci , but remember,

” he wrote,

a pologetically, in confessing his heresy, I do not pretend totaste .

” The heresy of one age becomes the orthodoxy ofanother , and later in the last century the Eclectics fell from their

'place of high esteem . Their “style may have been all that Sir

J oshua found in it, but it was felt that they had little to say .

'The alte red point of view may be found in the books of Ruskinand in the Renaissance of J A. Symonds . Whilst the Italianmasters of the Renaissance united their own ideal imaginationswith nature

,it was .

“ the model which gained supremacy inthe school of the C arracci who drew from it even their conception of the ideal and of nature . Lodovico was born at Bologna,the son of a butcher named Vincenzo C arracc i . His first maste r,

’

Prospero F ontano , in Bologna, and also his second,Tintoretto,

in Venice,advised him to give up painting . But hewas indefatig

able,and studied the works of Bagnacavallo and Tibaldi in

Bologna . Under the guidance of Domenico Passignano inF lorence

,he afterwards studied the works of Andrea del Sarto .

Subsequently he went to Parma to study the paintings of Correggio

,and to M antua to study those of Parmigiano and Giulio

R omano . When he returned to Bologna,in 1589

,he founded,

With his two cousins Agostino and Annibale C arracc i,the new

school of painting , from which afterwards issued the greatestItalian artists of the seventeenth century .

In the foreground , the M adonna , seated . The body of thedead C hrist lies on a

,

white,cloth , whilst his head rests on the lap

of the M adonna, who stretches out her left ‘ hand,l am entin

O n the right 'two infant angels, kneeling ,one ho lding the naii,

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102

16 4 . Ap ollo f layin g' M arsyas .

F ILIPPO LAURI (Roman : 1623

F ilippo L auri,born at Rome

,was the son of Baldassare

Lauri, a native of Antwerp and a landscape- painter in thestyle of Paul Bril . F rom him his son received his earliestinstruction . Afterwards F ilippo went to the studio of AngeloC aroselli

,his brother - ih - law . He died at

' Rome . He ainted

principally Bacchanalian and mythological subjects . ith thee xception of a large picture at Rome representing Adam andEve

,his fig ures were of small size . He sometimes painted the

fig ures in C laude’s landscapes .

M arsyas sta nding on the right, bound to a tree ; oppositehim , Apollo , with laurels in his hair , and a knife in his hand,is on the point of fiaying him . O n the left, four other satyrs,one on a tree ; on the right are four young satyrs . C loudysky . C anvas : 1 ft . 65} in . x 1 ft . 2; in .

F ew subjects of ancient mythology have been more popularwith artists than the story in Which the Greeks symbohsed thecontrast between the music of the flute and of the lyre — the

story telling how M arsyas , a Phrygian satyr, picking up theflutes which Athena had thrown away , challenged Apollo withhis lyre to a contest

,and how the god

,when the muses had

awarded him the victory,flayed M arsyas alive

,for his pre

sumption . A lecturer on art might find an inte resting pointby comparing the representations of the subject in ancientG reek sculpture with the selection of the more violent episodeswhich the “painte rs of the Renaissance were apt to make .

16 5 . V e nu s an d C up id .

School of RUBENS (F lemish : 1577 Sec 1.

Venus seated on the ground, partly covered with a red mantIE,and holding one hand and one foot to a fire

,near which C upid

c rouches on the right . In the background.on the left

,a wood

,

and a river on the right blue sky with light clouds. Panel :

l ft g in . x 1 ft . 6 in .

Differs both in conception and design from Rubens’ style,says Dr . Richter , but resembles it in colour .

The pictureshows the Goddess of L ove warming her hands at a fire whichher mischievous son is kindling . Is it meant to symbolize theraising of a flame in some tender heart and the necessity thatthe laughter - loving goddess should have a hand in it?

(D enning).

103

16 6 . A R om an F ounta in w ith C a tt le and'

F ig ures .

NIC O LAS BERCHEM (Dutch : 1620 See‘ 88.

O u the right, a Roman fountain . In the foreground a kid,and a goat, which is being milked by a woman dressed in a blueskirt and yellow bodice, who converses with another womanwearing a red skirt, green bodice, with white apron . A redand a white cow stand at the fountain

,where also a woman is

engag ed in washing . O n the right,in the middle g round, a

woman on a donkey a man in slouched hat by her side. Afew other animals in the foreground . In the background

,

hills, with a farm in the distance . The sky is partly coveredwith clouds . S ig ned Berchem . Panel z l ft . 2} in . x1 ft. 6% in .

— Engraved by Dequevauviller and by R. C ockburn .

This picture is traditionally known as Le M idi,” and ren

ders the brightness of noon—day sun with great skill . It is oneof the best of Berehem’

s C ampagna scenes . It was sold in Parisin 1768 for £160.

16 7 . Pé t e C h am p et re .

VVAT'

I‘EAU (F rench : 1684 3 6 6 156 .

O h the right,a lady on horseback

, attended by two men ;on the left, a group of two gentlemen and three ladies sittinon the ground ; wine— bottles and bread before them two gir sand two youths standing behind . A man engaged with dog s inin the right corner two horses behind him high trees on eltherside ; on the left, a view on a river with a villag e ; blue sky.

C anvas : 1 ft. 753; in . x 2 ft . 1 in .-Princess Victori a Series, iii .

Though less celebrated , says Sir C laude Phillips, thanits companion, this is a. work of pecu liar charm

,of a pathos

which has little to do with the mundane subject, but dependsupon a poetic twilight imagination . The long er, looser strokeof the brush in this piece contrasts curiously with the crispness?and peculiar mannerism of the Bal. ” Some connoisseurs opinethat this is one of the pictures of which Reynolds spoke as

common in England— a supposed Watteau, but really by Pater

'

16 8 . L an ds ca p e w ith W in dm ills .

J VAN RUYSDAEL (Dutch : 1628 See 105.

In the foreground, on the right, a hut'

near a windmill ;another windmill further back ; the

“:Groote Kerk of

Haarlem in the distance ; on the right the pathway crosses thefields ; on it a mounted horseman and a boy ; a wdman at thed oor of the hut, conversing with another

-boy ..

~In the fore

g round a pool ; near it, a horse and a woman . Grey sky .

104

signed R.

” Panel : 1 ft ; x 1 ft . 5 in .— Engraved by R.

C ockburn .

A fine early “work,full of feeling

,dating from about 1650- 2.

The horse in front was probably repainted by the artist h imse lf (C . H. de Groot

,No .

16 9 . M r. C h arles S m a ll Pyb u s .

Sm WIL L IAM BEECHEY,R.A. (English : 1753

S ee 17 .

F ull face turned to the left ; grey hair ; dark blue coat, and

white neckcloth . C anvas : 2 ft . 5 in . x 2 ft .

’

M r . Pybus was a barrister- at- law,M .P. for Dover and one of

the C ommissioners for the O thee of Lord High Admiral from1791 to 1795 . His sister married the Rev . Sydney Smith , theelder, and became the mother of the famous Sydney the younger .

This marriage,” says the latte r

,took place with the entire

consent of her mother,M rs . Pybus

,but with so Vehement an

opposition on the part of her brother, M r . C harles Pybus (Who

was a strong politician and one of the Lords of the Admiraltyunder M r . Pitt), as produced a complete breach between them,

and deprived them of the assistance and protection he mighthave given them on their entrance into life .

”

170. Ph ilip Herb er t , F ifth E a rl of Pemb roke .

SIR A. VAN DYCK (F lemish : 1599 'See 81.

Half - length fig ure , life- size, turned to the left ; long fa ir hair,thin moustache the left hand placed on the hip, the right onthe

'

breast, which is covered by a maroon—coloured mantle,thrown over the shoulder .

_D ark b ackground . C anvas : 3 ft.

3—g— l

in . x 2 ft . 8} ih .— Princess Victoria Series

,ii .

Philip Herbert (1619- 1669) was M .P. for Glamorgan duringthe Long Parliament and President of the C ouncil

,1652. He

had succeeded his father in the Earldom of Pembroke in 1649 ;he made his peace with Charles II . at the Restoration , and wasappointed a councillor for trade and navigation in 1660. As hewas born in 1619 and the painte r died in 1641, this portraitmust be one of the latest , as it is certainly one of the finest,works of Van Dyck

’s English period

,and may be compared with

the Portrait of a Knight,” No . 173,which is an example of

his early or Italian period . There is,however

,some uncer

ta inty as to the identity of the portrait . At one time it wasca lled Philip, 4th Earl of Pembroke,

” with whose authenticportrait it has very little in common . The identification of theportrait with the fifth Earl , if one of the family at all

,

” wassugg ested by the late Sir George S charf . Philip Herbert , the5th Earl, was painted as a youth by Van Dyck ; engraved by

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106

House : Stothard, when a student, asked the L ibrarian to

recommend something for him to copy . Wilson at the moment1was standing at one of the windows which, as the quadranglewas then unfinished,

commanded a fine view of the river .

There,

’ he said,pointing to the animated scene ,

‘13 some

thing for you to copy .

’But landscape was not popular at

the time ; Wilson’ s means were still insufficient, and he became

more and more dreary . His last abode in L ondon was a poor,barely- furnished chamber near Tottenham- court Road , andhere he would in all probability have ended his days but thatthe death of his brother put him in possession of a small estatein Wales . With broken spir its and declining health, heo btained, by this timely aid, ease and comfort for his last days .He left London in 1780 ; and after two years of quietude, hed ied suddenly, and was buried in the churchyard of M old, inwhich church his father had for many years oficiated.

When Wilson was dying, Dr . Wolcot Peter Pindarwrote his celebrate d lines about the painter left in povertyto pine

But, honest Wilson, never mindImmortal praises thou shalt find,

And for a dinner have no cause to fear .

Thou start’st at my prophetic rhymes

Don ’t be impatient for those times ;‘Vait till thou hast been dead a hundred years .

The prophecy came true before that date . O u the occasiono f an exhibition of about seventy of his works in the BritishG allery, Pall M all, 1813 , a contemporary paper, recording hismerits , added the following remark To the emotionse ngendered by the magic touch of Richard W ilson we can applyno other epithet than that of sacred .

” He is deservedly re

garded as one of the greatest masters in landscape of theE nglish School . Poor Wilson ! wrote C onstable in 1823 ;think of his fate, think of his mag nificence . But the mind

1oses itself less in adversity than in prosperity . He is noww alking arm in arm with M ilton and L innaeus . He was oneof those appointed to show the world the hidden stores andbeauties of nature .

”

The foreground is formed of a plane of rock,covered in the

immediate foreg round with brambles . Ah artist has pitchedhis easel on this place, and a woman , with a child in her arms.looks on at his work . The plateau is walled in by rocks andt rees on the left edge . Beyond him is a chasm

,with the river

frushing down in cascade into it . The right of the foregroundis formed of dark trees ; and beyond it a swelling green hill ,with a pathway and two fig ures on it . Two others are seen onthe edge near the cleft . O n the other side of the chasm two

107

promontories are seen ; on the nearer one are modern buildings ;on the farther one the Roman ruins (the supposed Villa ofM aecenas) ; beyond both is the flat sunlit C ampagna . A warmsunny shy, tinting away to clear blue- grey

. C anvas :2 ft . 4 } m . x 3 ft . 2 in .

— Engraved by R . C ockburn and byC . Turner (the engraving by the latter was made from a copyby John Jackson, Princess Victoria Series

,iii

.

A loyely specimen of Wilson’ s art

,representing one of his

favouri te scenes . The artist shown in the foreground is saidto be

'

Wilson himself ; and there is an anecdote relating tothe pi cture,

” says Hazlitt, that W ilson was so delightedWith the waterfall itself as to cry out

,while painting it , Welld one, water , by gad .

’ The water however,was assisted by

art ; for the F alls of Tivoli , like those of Terni , are in largemeasure the work of man .

1 72 . S ir P . r . B ou rg eo is , R .A .

JAM ES NO RTHC O TE,R .A. (English : 1746

S ee 28.

F ull face , turned to the left , looking at the spectator ; redd rapery behind ; white necktie, red coat or dressing gown , withfur edge . C anvas : 2 ft . 6 in . x 2 ft. in .

F or a biographical notice of Bourgeois, see p . xi . This

portrait shows him as a young man’

; for a portrait of him inlate r life

, see No . 11 .

1 73 . Portra it of a. K n ig h t .”

Sm A. VAN DYCK (F lemish : 1599 S ee 81.

L ife - size,three - quarte r - leng th fig ure , standing and turned

s lightly to the left about thirty-five years of age, black shorthair and beard

,aquiline nose

,blue eyes ; damasked cuirass ;

the left hand resting on his sword, the right holding a marshal’ s

s taff ; white stiff collar ; behind him , on the right, on a table ,a helmet and gloves . Dark background . C anvas : 4 ft . in . x3 ft. 24} in .

— F rium e Victoria Series, i Reproduced also inThe Art Journal, 1911, p . 239.

An admirable portrait, says Haz litt, in Vandyke ’ s finestmanner . It is full of dignity and self- possession, not nu

mixed with an air of secret self- importance 5 but thereis no tinge whate ver of pretence or affectation .

” The picturehas at different times been ascribed to Rubens and to VanDyck . It is almost certainly by the latter painte r . The identification of the knight

,

” with his refined face and splendidsuit of armour

,has also been much debated . He has some

times be en called the Archduke Albert ; but an article by M r .

Albert van de Put, in the Burling ton M agaz ine of September ,

)108

1912,establishes pretty conclusively that the portrait is of

Emanuel ~ Philibert, the third son of C harles Emanuel I.

(Duke of Savoy, 1580 and through his mother , C atherine,the grandson of Philip II . of Spain (the husband of QueenM ary of England). The identification depends primari ly on

the devices fig ured on the armour , the incised devices beingsimilar to those which are found on suits or pieces preservedat M adrid

,at Turin

,and in the Wallace collection . O h all

these,and again in our picture

,the ornament includes a device

consisting of branches or sprays,usually three in number

,

passed through an open crown or coronet ; and this devicebelongs to the House of Savoy . The apparent age of the“ knight ” in our picture and other collateral facts suggestthat he is Emanuel Philibert . This prince was born in 1588.

He set out for Spain in ‘1603 ; was created Prince ofO neglia by his father in 1620, and in 1621 by Philip IV . ofSpain , Governor of S icily . There

,in Palermo

,he died of the

plague in 1524,aged 36 years . At about this time it is re

corded that Van Dyck had sailed from Genoa to Palermo,where

he painted the Prince of O neglia . O ur portrait may well bethe one of which there is thus record ; painted shortly beforethe Prince’ s death . The bust of Emanuel Philibert in theGalleria Beale at Turin seems from the like ness to confirmM r . Van de Put’ s identification . (F or the case for attri

buting 'the portrait to Rubens,see an article by Sir C laude

Phillips in The Art J ournal, 1911, where the suit of armourin the Wallace collection (No . 1122) is reproduced beside ourportrait . Sir C laude suggests that the picture was paintedby Rubens in about the year

17 4 . V iew of th e C am p o V a cc in o , R om e .

School of C LAUDE (F rench : 1600 See 53.

O n the right, in the foreground , three columns of the Templeof Vespasian, with its L atin inscription : (D ivo Vespas ian

'oAugusto) SENATV S PO PVLV SQ (ue Romanus

, etc .) INCENDIOBelow, in the distance, the three columns of

the ruined Temple of C astor and Pollux ; and beyond them ,the

C hurch of Santa M aria L iberatrice ; close to it, the F arnesiniGardens, on the M onte Palatine . O u the left

,in the fore

g round , the triumphal arch of Septimius S everus , with partof . ite -dedicatory inscription, A.D . 202

,with the text inexactly

reproduced . Beyond the arch, the Tower of Nero, called alsoTorre delle M i lizie ; to the right of the archway

,the columns

of the Templum T . Antonini et F austinse,into which is built

the C hurch of S . Lorenz o in M iranda ; above it an arch belonging to C onstantine ’ s basilica further on

,the small church of

SS . C osmo e Damiano and behind it , the rococo facade of the

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110

Joseph Smith, British C onsul at Venice, Zuccarelli visitedEngland , where he was employed as scene- painter at the

O pera House . After staying five years in this country,.

he

returned to Venide, but he visited England for a second time

in 1752,when he was patronised by the court and the

nobility . He was a member of the Incorporated Society of

Artists,and one of the F oundation members of the Royal

Academy After gaining much reputation and money,

he returned to Italy,first to Rome, and then for retirement

to F lorence,where he died . In his pictures the landscape and

the fig ures are of equal importance . They are lively and’

elegantly conceived,and clever in execution ; a delicate pink

tone generally prevails in them .

A fountain on the right ; a shepherd seated in front of it ;he is conversing with a young woman carrying a water jar .

In the centre is a man driving goats , sheep , and a cow . Behind,

a woman on horseback,with a child on her lap . A village on

the left,in the background . C anvas : 3 ft . 2% ih . x 4 ft . ih .

Bright in colour,and very spirited in conception ; the

woman with the child on horseback recalls the M adonna of thePesaro family by

‘

Titian .

17 6 . A p ol lo a n d D a p h n e .

GERARDE DE LAIRESSE (Dutch : 164 1

Lairesse,a F lemish painter

,who settled in Holland

,was the

most distinguished artist of the period of decline in Dutch art.

F or that decline we should attribute to Gerarde de Lairessethe responsibility, says M . Havard

,if it were not that he

expressed the Sentiments of his time . He personified the effect ;the cause is to be found - in the general tendency of his time .

Having vanquished the arms of the Grand M onarch in Germanyand F landers, the Dutch sought to rival his fame in thedomain of fashion . F rench taste was introduced upon the

banks of the Amstel , together with the Paris fashions . It wasat this moment that L airesse appeared .

” He was born atL iege

,the son of a painter

,and studied there under Bertholet

F lemalle, a follower of Nicholas Poussin . He acquired greatfacility at an early age, and presently quitting his home, settledat Amsterdam, where he came into high favour . The rapidityof his execution was famous ; there is a story that he made awager that he would paint , in one day, a large picture of Apolloand the M uses, and that he not only gained the wager , butpainted into the picture a capital portrait of a curious bystander . His method of work was eccentric ; he would preparehis canvas, and, Sitting down' before it, take up his violin anti

111

play for some time then , putting. down the instrument,he

would rapidly sketch in the picture,and

,again resuming the

fiddle , would derive fresh inspiration from the music .

” He was .

of deformed fig ure , but possessed of a natural persuasiveeloq uence, and his influence over students and fellow- artists was .

considerable . Great personages bought his pictures,and some

of them are in the L ouvre ; and he was called“ the Dutch.

Raphae l .” This favour is explained by the nature of the

subjects which he treated— hi storical and Biblical subj ects ,which were then considered noble . F ollowing the example ofLebrun, he constantly mixed up mythology and history . Hiscostumes, borrowed from the Romans and Greeks of Paris, hisarchitecture

,recall ing the porticos so dear to the painters of the

Renaissance, were regarded as skilful revivals . We must admirein him boldness, execution, tasteful arrangement, graceful

'

draperies, and skilful painting . His works , however, lack thefire of life, the magic spark which animates the compositions ofthe great epoch of art . His co louring , moreover , is cold andeven dull (Havard : The D utch S chool, p . He was alsoan accomplished engraver . and executed a large number of platesfrom his own design . “ Then about fifty years of age, Lairesse Y

became blind ; but this misfortune did not damp his love for artor his desire

'

for propaganda . The instruction which he could .

no longer give by his brush he conveyed in a series of lecturesgiven once a week to his fellow- artists and to the pu ils of theAcademy

.These discourses were , after his death, pu lished by

his son under the title ’t g root Schilde

frboek, and this GreatBook of Painting, translated into various languages , was forfifty

years the handbook given to young artists for their guidance and instruction . It is on this book that Browning foundshis talk With Gerarde de Lairesse in Pa/rleying s with.

C ertain People ofImportance in their Day

He was hindered tooV

Vas this no hardship — from producing , plain

To us Who still have eyes, the pageantryWhich passed and passed before his busy brainAnd

,captured on his canvas showed our sky

Traversed by flying shapes, earth stocked with broodO f mdnsters— c entaurs bestial , satyrs lewdNot without much O lympian glory, shapesO f god and goddess in their g ay escapesF rom the severe serene : or haply pacedThe antique ways, g od—counselled, nymph- embraced ,Some early human kingly personage.Such wonders of the teeming poet

’ s ageWere still to be : nay, these indeed beganAre not the pictures extant — till the banO f blindness struck both palate from his thumb

And pencil from his fing er .

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The poet g oes on to avow his familiarity with those extantpictures worthy of a prince’ s purchase in their day,

” thoughhe loved them less than the book . Browning, as we have heard(above p . was a frequent visitor to the Dulwich Gallery,and there are other passa es in the poem— e spec ially that in

he describes Lairesse s mythological treatment of treeswhich

'

show that he had in his mind our pictures of Daphnechanging into the laurel and of Pan seiz ing the nymph of thereed .

In the foreground,Apollo

,pursuing the maid on a road her

hands are already changing into laurel leaves . Behind, avillage

,at the foot of a bank ; on the right, a river and low

mountains . Evening sky . C anvas : 1 ft . 23 ih . x 1 ft . 5341 in .

177 . Pe a san ts a nd C at t le n e ar a B rook.

Afte r A. VAN DE VELDE (Dutch : 1639 S ee 51.

O u the left,a woman sitting with her feet in the wate r and

drinking from a cup ; beside her a herdsman . O u the right,three cows and two sheep under trees . Bushes and hills inthe background . Evening sky . Panel : 11% in . x 1 ft. 2 in .

— Engraved by R . C ockburn .

178 . W illiam L inley .

SIRl

'

é‘H

g)M AS LAWRENC E , P.R .A . (English . 1769

30

This. young man , Reynolds is reported to have said ofL awrence, has begun at a point of excellence where I leftoff,

” and admirers of the younger artist used to call him thesecond Reynolds.

” This is exaggerated praise . There was anelement of truth in what O pie said of him : Lawrence madecoxcombs of his sitters, and his sitte rs made a coxcomb of him .

”

L awrence was born at Bristol,the youngest of sixteen children .

His fathen, a man of good education , had been first a solicitor,then a supervisor of excise, and ultimately the landlord of anhotel , the Black Bear,

” at D evize s . His mother.was the

d aughter of a clergyman . Young Lawrence was an infantprodigy his first sketch was made when he was five years old,and his father used to show him off to visitors both‘ for hisdrawing and for his powers of recitation . At the age of ninehe copied an historical picture of Peter denying C hrist, andin the following year began to draw portraits professionally.

M r . L awrence , desiring to make his son’s talent known to thefashionable world'

, took him to,Weymouth

,to “

O xford, and toBath . In Bath M r . Lawrence hired '

a house ; and sent thence

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114

friends in many different q uarters . Byron has accordedLawrence ’ s delightful talk,

” and celebrated his prai se as anartist : “Were I now as I was , I had sung what Lawrence haspainte d so well .” He was intim ate with Sir Robert Peel, whowas one of the pall- bearers at his funeral .

The head is seen in a little more than profile view , lookingtowards the left ; long brown hair over the forehead , whichalso falls in curls over the shoulders white cravat . C anvas :2 ft . 55 in . x 2 ft . ih .

— Princess Vict oria Serie s, i. ; TheLinleys of Bath, p . 174 .

O ne of the finest specimens of the art of L awrence : So

true in the colouring ,” says M rs . J ameson ,

“ao careful in

execution that perhaps very few of L awrence’ s more celebrated

pictures might bear a comparison with it .

”C ampbell , the poet,

in calling his own portrait by L awrence lovely,” added :

This is the merit of L awrence ’ s painting ; he makes oneseem to have got into a drawing- room in the mansions

"

of theblest, and to be looking at oneself in the mirror .

”But in

William L inley,the handsomest of a handsome family

,

L awrence had a subject ready- made to his hand . The portraitmust be an early work of the painter . The sitter is shownas a boy ; and as he was born in 1771 and L awrence only twoyears earlier, the artist can at most have been not more than19 when he painted the portrait . A very beautiful miniatureof L inley , ascribed to George Eng leheart and made apparentlya few years late r than L awrence ’ s portrait

,is in the possession

of .M r. Henry Yates Thompson and is reproduced in thePrincess Victoria Series , part 11. M iss Jane L inley

,in a

letter to her future husband , dated O ctober 6 , 1798 writes asfollows about her brother William I have heard of awonderful metamorphose he has undergone which I can nootherwise account for , than by conjecturing that the lovelyEll inor has been speaking in favour of C rops ! for he isbecome one at last, in spite of the anti—democratical objectionhe had to adopting the fashion, and he pretends now to te llmy mother that his motives are solely those of economy.

As William L inley became a C rop in O ctober,1798, it is

clear that Eng leheart’s miniature with its flowing locks was

painted before that event , probably soon after his returnfrom India in 1796 .

William , born 1771, was the youngest of the twelve childrenof Thomas L inley (No . He was educate d at St. Paul’sSchool and Harrow , and then entered the East India C ompany’sservice . In 1796 he returned to England

, and attained somedistinction as a dramatic author and musical composer . Heresumed his duties in India in 1800

,and remained there till

1806 , when he settled in England,devoting himself to litera

ture and muswal composition . As a y oung man he was

115

alway s in love with some charming lady,but he remained a

bachelor and lived in chambers in F urnival ’s Inn , writingnovels and verses , and composing songs . He survived hisbrothers and sisters and it is to him (together with his brotherO zias) that the Dulwich Gallery is indebted for the collectionof L inley family portraits . He died in 1835 and was buriedat St . Paul ’s , C ovent Garden , where a tablet to his memoryspeaks of him as “ the last of a family of genius

,

” whodelighted in cultivating his own and in rewarding thatof others . He was a beautiful singer in his youth

,and

C oleridge ’s lines to him,inspired by his rendering of a song by

'

Purcell, may be recalled before this portrait of the beautifulboy :

While my y oung cheek retains its healthful hues,

And I have many friends who hold me dearL inley ! methinks , I would not often hear

Such melodies as thine,lest I should lose

All memory of the wrongs and sore distress,

F or which my miserable brethren weep !But should uncomforted misfortunes steep

M y daily bread in tears and bitterness ;And if at death ’ s dread moment I should lieWith no beloved face at my bed - side

,

To fix the last glance of my closing eye ,M ethinks

,such strains

,breat hed by my angel— guide

Would make me pass the cup of anguish by,M ix with the blest

,nor know that I had died !

179 . P a n a nd S yr in x .

GERARDE DE LAIRESSE (F lemish - Dutch : 1641

S ee 176 .

A river - valley with high tree s on the left ; on the right, an

antique sarcophagus and a distant view of a hill with a farmIn the foreground

,on the bank of the river

,the god Pan

seizing the nymph,whose right hand is transformed into a reed .

C anvas : 1 ft . in . x 1 ft . 5% in .

F or the myth of the origin of the Pan ’ s - pipe, see O vid

’s M eta ~

morphoses, i . 691. Remembering Robert Browning ’s poem onLairesse , Visitors will recall before this picture M rs . Browning ’ spoem on the subject of it : the piece entitled A M usicalInstrument

,

” which ends thus :

Yet half a beast is the great god Pan ,

To laugh as he sits by the river ,M aking a poet out of a man :

The true gods sigh for the cost and painF or the reed which grows nevermore again

As a reed with the reeds in the river .

27930

116

180. M u s ic ian s .

THE BRO THERS LE NAIN (F rench : 1593 - 1648—77

Antoine,L ouis

,and M atthieu le Nain , the sons of a serjeant,

were born at Laon,in F rance

,where they were taught painting

by an unknown foreign master . They went, however, afterwards to Paris to perfect themselves in their art, and in 1630were all working together there in one studio . In J anuary,1648, they became members of the Royal Academy . Antoine,called Le C hevalier, was born in 1588 ; L ouis, called L a Romain,in 1593

,and M atthieu in 1607 . Antoine and L ouis both died

in 1648 ; M atthieu lived till 1677 . Nothing else is known abouttheir lives . The three brothers painted chiefly compositionswith grotesque fig ures (bambochades). They gave to the headsa serious and often a melancholy expression the prevailing tonein their colouring is a certain greyish green, broken by a bri htred, which is generally the colour of the draperies . No difi

ger

ence has as yet been established conclusively in the style oftheir works, which are therefore attributed to the three brothersin common ; but an attempt to disentangle their several stylesand works is made in the Catalogue of the L a Nain Exhibitionheld at the Burlington F ine Arts C lub in 1910, to which workthe student is referred .

A young woman seated before a table playing the guitar ; nearher

,on the right , another woman ; an old man stands playing

the flute behind the table, on which are seen a jug , a cup, anda loaf of bread ; a dog before it ; three- quarter- length fig ures ;dark background . C anvas : 1 ft . x 1 ft . 3% in .

This picture was sent to Desenfans in 1790 by his friend inParis , Le Brun .

18 1. F is h in g on th e I ce .

CUYP (Dutch : 1620 S te 4 .

A crowd of people with a fishing - net stand on the ice ; sledgesand barrels on the left . Near the shore a windmill . Grey sky.

Panel : 1 ft . 3 in . x 1 ft . 8 in .

Winter scenes by C uyp are very rare . We miss here theimpression of cold air by which the objects ought to appearin sharp outlines . A similar picture

,but larger

,is in the

D uke of Bedford’s collection .

182 . Pe as an t s in th e F ie lds .

PHILIPS WO UWERMAN (Dutch : 1619 S ec 18.

A.

white horse and cart in the foreground ; a peasant,leaning on the horse . is m conversation with a woman

,sitting

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118

18 4 . F ig ur e s on th e B ank of a R iver .

ITAL IAN SCHO O L .

O u the left a tower - like building ; in front of it various groupsof figures on the right

,a river, with two boats ; a hi ll beyond ;

buildings in the background grey sky . C anvas : 3 ft . 5§ in . x4 ft. 9} in .

The circular building in the background recalls the Churchof S . Stefano Rotondo, Rome . Before 1880 ascribed to PaulBril, of Antwerp (1556 the fig ures to Ah . C arraccn

185 . M e e t in g of J a cob an d R a ch e l .

SPANISH SCHOOL (17th C entury).

In the foreground Jaceh and Rachel kneeling Je cob is

kissing Rachel ; behind, on the left, a well a flock of sheep inthe centre

;woody landscape and blue sky . C anvas : 2 ft . 115 ih .

x 4 ft . 10 ih .— Eng raved by R . C ockburn .

This picture,ascribed to M urillo until 1880 and by some good

judges still considered his, was much admired by most of thosewho wrote about our Gallery . Particularly attractive incolouring and expression (Passavant). Painted con amore;has the attraction of a pleasing idyll , which bears a greataffinity to many scenes of L opez de Vega (Waagen). A

sweet pictu re with a fresh g ree n landscape, and the heart oflove in the midst of it (Hazlitt).

186 . D ian a .

G . B . TIEPO LO (Venetian : 1696

Giovanni Battista Tiepolo , called Tiepoletto, was born atVenice . His parents, perhaps of Jewish origin , were dependentso f the noble family of Tiepolo, but without being in any wayrelated . He was at first a pupil of Gregorio L azzarini, anumtator of Paolo Veronese, and of F ranceschini, who professeda cademical tendencies . Afterwards he was influenced byGiovanni Battista Piaz etta , and still more by the works ofPaolo Veronese . In the year 1712 he began to work publicly atVenice, Udine, Verona, Bergamo and , in 1740, at M ilan . Hewent

'

to Wiirz burg in 1750, and returned in 1753 . He was

appomted chief director of the Academy of Painting, whichwas founded at Venice in 1755 . In 1761 King C harles III . ofSpain summoned him to M adrid , where he died .

Ti epolo (who has been called the Paul Veronese of the

e ighteenth.

century was the last great decorative painter ofthe Venetian School ; his fresco paintings are as important ash is pictures on panels ; they are conspicuous by their richness of

119

iny ention, their boldness in the foreshortenings

,and their

brightness and clear harmony of colour . Whilst he was atVenice he received commissions from Bavaria

,Saxony

,and St .

Petersbnrg . In M adrid he painted only altar- pieces anddecorations of ceilings .

The goddess wears a white garment,and holds in her right

hand a quiver containing arrows on the right,two stag s down

below, a female fig ure with hounds ; two winged boys nearDi ana . C anvas : 1 ft l in . x 1 ft . 1} in .

C ompanion sketch (to No . 189) for a ceiling decoration .

187 . T h e Imm a cu la t e C on ce p t ion .

M URILLO (Spanish : 1618

M urillo is the most widely popular of all Spanish painters .

His works combine with high technical attainment q ualities ofsentiment which appeal to popular taste . In rendering subjects of common life , he understood how to unite a genuineconception of reality with a pleasant humour . In his sacredcompos itions he mingled the common and the re ligious withremarkable skill . There is no great elevation of character inhis types, and the sentiment of M urillo is to some tastes overcharged ; but his sweetness of expression and his raptures ofenthusiastic devotion have appealed strongly to the p opularmind . M urillo ,

” says Justi,

who assimilated least offoreign elements , became the most international of all Spanishpainters , for he possessed the art of winning the favour of all ,the gift of a language intelligible to all times and peoples, toall classes

,and even to aliens of his faith .

” He was himselfintensely religious . He was often seen praying for long hoursin his parish church

,and in his last illness (brought on by his

falling,in absence of mind

,from a scaffo ld) he was carried every

day to pray before a picture of the Descent from the C ross .

”

I wait here,

” he said to the sacristan , till the pious servantsof our L ord have taken Him down .

’ In technique, M urillo hadthree distinctive styles — viz .

,the f'rio (the cold), his earliest,

which was dark , with a decided outline ; the calido (thewarm), his second , the colouring of which was warmer, thedrawing being equally well defined ami the sapw oso

(vaporous), his last, which was less decided in its detai l and lesssparing in its colouring . His latest style has contributed mostto his popularity . He did not, however, paint in these variedmanners at different epochs only, but adapted them to thesubjects he wished to represent .

Bartolomé Esteban M urillo was born at or near Seville , ofhumble parents

,and first studied art with Juan del C astlllo, a

120

distant relation of his . When twenty— eight years of age, hewent to M adrid

,where he received advice from Velaz quez and

where he studied the works of Titian , Rubens , Van Dyck,Ribera

,and Velazquez , at the royal palaces . He returned to

S eville in 1645, married a lady of fortune, and commissionspoured in upon him . In 1660he founded the Academy of Painting at Seville .

The Virgin , in white dress and blue mantle, which she claspsto her bosom, is floating among clouds . Two infant angels ather feet

, one behind her with a palm—branch ; four othersabove ; and seven on her right . C anvas : 1 ft . 2125 in . x 115 in.

This small picture (of which the composition resembles thelarge picture at Lansdowne House) is of a subject so oftentreated by M urillo that he has sometimes bee n called The

Painter of the C onception .

” The spotless purity of the BlessedVirgin

,the opinion that she came into the world sinless as her

own D ivine offspring,had loug h een the darling dogma of the

Spanish Church,and the Papal Bull forbidding the teaching of

any contrary doctrine had been published in the year precedingM urillo ’ s birth . Seville

,his native town

,went into a frenz y

of religious joy . Every church and every convent requiredhenceforth a picture of the subject . Pacheco

,in his Art of

Painting (written under the direction of the Inquisition),gave very full and precise directions for its treatment.M urillo , in his many pictures , did not observe the le tter of

Pacheco ’ s law very strictly ; but in some particulars he neverdeparted fr

'

om rule , and these may be observed in our littlepicture . The Virgin , who was to be represented with all thebeauty that the painter’ s pencil could express

, was always toturn her eyes to heaven , and to fold her arms meekly across herbosom . Her robe must be white, and her mantle blue . Shewas to float among clouds and about her cherubs were tohover .

188 . Por tra it of M oli‘

e re .

F RENCH SCHOOL (17th C entury)Turned to his right, the face is seen in full long black hair ;

thin moustache ; the right hand on the mantle ; shirt open atthe throat ; left hand not visible . C anvas : 2 ft . 3g in . x

1 ft . log in .— Princess Victoria S eries

, i.

This portrait shows the great F rench dramatist (1622— 1673)in early manhood . It was formerly attributed to C arlo M aratti(see No . but its execution clearly shows that it belongsto the F rench school . and moreover M aratti and M oliere hadno connexion with one another . It has also been attributedfi

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122

renowned as an independent master,and when he Visited

England he painted the portrait of William III . Afte r working at Diisseldorf

,for the Elector of the Palatinate, he

at the Hague,where he died . Besides portraits, S chalken

painted mostly small fig ures of a very delicate fimsh especiallyscenes from daily life by candlelight. In his earlier periodhe comes very near to Gerard Don in his genre pictures . TheL atin school left some traces in his work, as he sometimes tookhis subjects from the classics ; as here, from O vid ; and in theNational Gallery (No . from C atullus .

C eres, dressed as a peasant- girl , stands before a cottage door,drinking out of a bowl

,with a candle in her left hand ; opposite

her the old woman,holding also a candle near her a nude boy

pointing mockingly at C eres on the right,in the foreg round,

different utensils a tree near the door ; the full moon shiningover the hut . Dark sky . Panel : 1 ft . 4kin . x 1 ft. 21} in .

F or the subject— an incident in the story of'

Demeter (C eres)and Persephone (No . 75)— see O vid’ s M etamorphoses. C eres

,

’

seeking through the world for her daughte r Proserpine,arrived

at the cottage door of an old woman,and begged refreshment

The son of the old woman,mocking at the wretched and woe

worn appearance of the goddess,was turned into a frog . The

same subject has been treated by E lsheimer,to whom this

picture was at one time ascribed,but Elsheimer

’s composition

is entirely different . Desenfans attributed the picture toGerard Don (see No . and , says Dr . Richte r, it hascertainly been painted in the school of that maste r

,but

,to

judge from'

its technique , it must be considered an early workof G . Schalken .

”

192. C attl e n ear a n iver .

C UYP (Dutch : 1620 S ee 4 .

In the centre, 8. group of cows lying on a bank,in deep

shadow. Behind , a river , with houses and a tower on theoppos1te shore ; g rey evening clouds ; close air . S igned

,

“ A.

C uyp .

” Panel : 1 ft . 11 m . x 2 ft . 4% in .— Engraved by

R . C ockburn .

This picture is mentioned by J A. C rowe as an especiallyfine exarhple of C uyp

’s favourite contrasts between dark

coloured cattle and a warmly- l ighted river

193 . A Ha ll: of S p ort sm en .

PHILIPS WO UWERM AN (Dutch : 1619 S ee 18.

F ive men‘

on a road, near a brook : one on horseback;another loading his gun two occupied with dogs on the right

,

123

a boat on a river , some houses beyond ; grey sky . S igned,Pl W.

” Panel : 115 in . x 1 ft . 2 in .

Ah early work of the master .

194 . L ady V en et ia D ig b y on h e r D e a th - b ed .

Sm A. VAN DYCK (F lemish : 1599'

See 81.

O nly the head and the right arm,against which she leans

her cheek, are visible : she is seen full face, turned a little tothe left . A faded rose on the sheet dark blue counterpaneand curtains . The fig ure is life— size . C anvas : 2 ft . 5 ih . x2 ft. 7} in .

— Princess Victoria Series, ii .John Aubrey, the antiquary, te lls us that

,walking down

Newgate, some time in the reign of C harles IL ,he saw a bust

of the famous Dame Venetia Stanley in a hoz ier’s shop,

the gilding on it destroyed by the Great F ire of London .

This Venetia, daughter of Sir Edward Stanley, famous for herbeauty and for what the D ictionary of National Biog raphycalls her pre- nuptial indiscretions

,became

,in 1625, when 25

years old, the Wife of Sir Kenelm D igby (1603 philosopher, naval commander, and diplomatist . John Aubreyregrets that he could never see the bust again

,for they

melted it down . How these curiosities,

” he adds,would be

q uite forgott, did not such idle fellows as I em putt themdowne I L uckily for the Dame ’ s memory

,her appearance is

otherwise preserved . F or when, in 1633 , she was found deadin her bed, her devoted husband had at once sent for hisfriend, Sir Anthony Van Dyck

,who painted this picture of

her in the position in which she was found . Her end wasevidently peaceful, and is emblematised appropriately by awithered rose . Absurd reports were spread to the effect thather husband

,who loved her to madness and who piqued himself

on being an adept in medical and occult science, had hastened

her end by administering a potion of viper—wine to preserveher beauty . His grief at her death was profound . He

retired to Gresham C olle e,and spent two years there in

complete seclusion . Ife wore,

” says Aubrey, a longmourning cloak, a high—cornered hat, his beard unshorn, lookedlike a hermit, as signs of sorrow for his beloved wife .

” BenJonson wrote a series of poems in her praise, and many otherpoets of the day commemorated her beauty and her death .

She past away,” said one of them,

So sweetly from the world , as if her clayLaid only down to slumber .

”

O ur picture was one of those which specially interested JamesRussell Lowell when he visited the Gallery and met theBrownings there . I was glad,

” he wrote , to show M rs.

Browning the likeness of a woman who had inspired so noble

124

and enduring a love in so remarkable a man as Sir Kenelm(Letters. i.

, p . A picture similar to ours is 111 LordSpencer's C ollection at Althorp .

195 . R e surrect ion of C h ris t .

moor (Venetian : 1662 Sec 134 .

In the centre , the tomb, the stone cover of which is liftedup by angels ; above it, C hrist in the air , holding the bannerof victory . and surrounded by angels on light clouds ; soldierslying on the ground , others taking flight . In the distance

,on

the right, are rocks. C anvas : 2 ft . 8} in x 3 ft . 10 ih .

A dramatic composition . the fig ures very theatrical in theirmotions .

196 . Pe a s an ts l ‘ ordin g'

8, S tr e am .

NIC O LAS BERCHEM (Dutch : 1620 See 88.

In‘the foreground

,the bank of a small stream

,up which a

woman on a donkey is riding . A man on her left . Goatsprecede , and cows follow her . Below

,a man is seen fording

the stream . with his sheep . O n the farther bank,which is

clothed with oaks and e lders , are a man, a cow,and a sheep .

O n the right , the stream , and on the other side, trees . Stormyclouds show the end of a wet day settling into a fine evening .

S igned Berchem F Panel : 1 ft . 5 in . x 1 ft . 94} ih .

Very clever in the distribution of strong light and broadshadows .

197 . A C a lm .

W . VAN DE VELDE (Dutch : 1633 Sec 68.

In the immediate front a sandy shore,from which a boat is

being pushed off, a group of sail ing boats on the rightnumerous ships in the middle and far- ofi distance ; blue skywith evening clouds . S igned and dated “ W V V

C anvas , strained on panel : 1 ft . 1 in . x 1 ft . 2g in .— Engraved

by R . C ockburn .

An early work of the master,important by reason of its

authentic date .

198 . Port ra it of a L a dy .

Copy after TITIAN (Venetian : 14 77

Raffaelle and Titian are two names, said Sir Joshua

Reynolds to the Academy students,which stand the highest

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126

is probably the one described in his collection as a nakedwoman putting on her smock .

199 . A. F lowe r G irl .

M UR ILLO (Spanish : 1618 S ee 187.

A dark girl,seated on a stone bench

,dressed in a yellowish

bodice and sleeves,with a yellow- brown petticoat

,white under

sleeves and dress ; over her left shoulder is a brown embroideredscarf

,in the end of which she holds four roses . A white scarf

,

with a rose stuck in it, is wound round her head . O n the ri ht,

a pilaster ; on the left, a landscape, with bushes ; cloudy sq .

C anvas : 3 ft . 10% in . x 3 ft . 15} in . The canvas has beenenlarged ; the original size is 3 ft . ih . x 2 ft . 93 in .

— Eu

grave d by Robinson , R. C ockburn , and others . PrincessVictoria Series, i .

O ne of the most charming pictures in the collection ; a study inwarm colouring perhaps the most attractive of all the low - lifespecimens of M urillo ’ s art which have crossed the Pyrenees .

A choice example,” says Dr . Waagen

,of the very peculiar

contrasts and harmony of colours which gave many of M urillo ’spictures such a magical effect .

” It has been described as The

Gipsy Girl,” but those who know Andalusia think that she has a

M oorish rather than a gipsy look .

The history of the picture has been traced back to 1737,when

it was in the C ountess de Verrue ’s sale ; C omte de Lassay sale,1775 Blondel de L agny sale, 1776 at the Randonde Boissy sale , bought by M . de C alonne ; at his sale bought byM r . Desenfans for 640 guineas ; valued by him for insurance in1804 at £800.

200. Portra it of a L a dy .

School of VAN DYCK (F lemish : 1599 S ee 81.

About forty years of age, sitting in an arm - chair,fair hair

,

black felt hat, and black damask dress . deep white falling collar,with lace edging, white gloves . F aded green drapery as back~

ground . C anvas : 2 ft . 11 ih . x 2 ft . 3 in .

201 . L a dy Pene lop e N aunt on .

School of VAN DYCK (F lemish : 1599 S ee 81.

Three- quarter - length fig ure , life- size,standing facing the

spectator ; her left hand raised to the waist,and holding a

browni sh scarf ; low red dress,pearl necklace and earrings ;

amber- coloured background and t een or t t.

C anvas : 3 a . 9 in . x 2 ft . 115 ing ‘r am 0“ “ 8h

127

Lady Penelope Naunton was first wife of Philip,fifth Earl of

Pembroke (No . she was a widow when he married her .

The picture can hardly be considered,at any rate in its present

condition , as a work by Van Dyck himself . He wasapparently assisted by one of his pupils

,

” said Dr . Richter'

M r . Denning had previously recorded that “ the picturehas been terribly injured by cleaning and scrubbing .

202 . T h e M a s s a c re o f th e Inn o c ent s .

CHARLES LE BRUN (F rench : 1619

Le Brun , son of a sculptor , was born in Paris , where hebecame a pupil of F rancois Perrier and of S imon Vouet . TheC hancellor Pierre Ség uier was his constant protector . In theyear 164 2 he went to Rome in company with Nicolas Poussin

,

and studied for four years the antique and the great masters ,but imitated principally Nic . Poussin . He returned to Paris byway of Lyons , without visiting Venice , and took a lively interestin the foundation of the Royal Academy of Painting and Sculpture in 1648

,of which he was presently appointed D irector . By

C ardinal M azarin he was introduced to Louis XIV . ,from whom

he received numerous commissions . 111 - 1660 he was createdDirector of the Gobelins ; at Hampton C ourt there are sevenlarge pieces of tapestry representing incidents in the history ofAlexander the Great , which were executed after compositions ofLe Brun . In 1662 he was made D irector of the C abinet of F ineArts

,belonging to the King, with whom he also took part in

the campaign of F landers in 1677 . He displayed much skilland invention in large decorative paintings , and exercisedmuch influence over F rench art during the reign of L ouis XIV .

,

to whom his grandiose art strongly appealed .

Soldiers , one on horseback,massacring children , whose

mothers are wailing . In the centre,Herod in his car ,with four

horses,riding down children and their mothers . A bridge With

fighting men across the middle distance ; beyond , the mausoleumof the Emperor Augustus at Rome (now the Teatro C orrea),represented in its original state ; on the left, the pyrarnid ofC estius (near the Porta O stiensis). C anvas : 4 ft . 3 ln . x6 ft . 1 in .

— Engraved by Bertaux and by L e Noir .

In the Gale'rie da Pa lais Royal, where Bertaux’s eng ravm g

appears,the picture is described in the following terms : The

M assacre of the Innocents is a picture of perfect beauty .

The composition and the arrangement are sublime , the expression grand

.noble

,

and just . The elegance and purity of thedrawing

,the execution and the taste of the draperies , leave

nothing to be desired . The picture was commenced in 1657 for

128

a C anon who was an amateur of pictures . It was finished some

y ears afterwards for M r . M etz, Garde (lu Trésor.

Roya It,'was bought by Desenfans from the O rleans C ollectlon for £150,

- and was valued by him for insurance in 1804 at.

£500. Tovisitors who cannot find the perfect beauty ,

” whi ch the catalogue just cited ascribes to the picture , M rs . Jameson

’s descrip

tion may afford comfort : C onfused and scattered in

arrangement,and very tame and dingy i n colour , it is a dis

agreeable picture of a subject of which Rubens has given us the

terror,Poussin the tragedy, Raphael the poetry, and Guide the

pathos .

203 . A R om an R oad .

After N . PO USSIN (F rench : 1594 8 6 6 101.

High trees in the foreground ; the road occupies the centrei-of the picture ; in the middle distance , on the right , a pool ;(behind it a few buildings

,with a high tower ; a village and

mountains in the centre of the distance ; blue evening sky,w ith grey clouds . A man and a woman reposing in the foreground on the right ; others on the road . C anvas : 2 ft . 6% in.

x 3 ft . 3 in .— Engraved by R . C ockburn .

A picture by N . Poussin, representing this subject, waspainted in 1650 for M . Passart, Secretary of State .

“ Verypleasing

,

” says Dr . Waagen,of our picture

,for its

b eautiful lines and deep feeling . A really great landscape,great in feeling at least

,

” says Ruskin,who adds , however,

some criticism of detai ls (see M odem Painters, vol . i .

, pt. ii . ,sec . ii .

,ch . i .

, ch . The picture is much praised also byHazlitt . The power and skill displayed in this work

,

” he

says, are observable chiefly in the magical e ffect producedby the light and shade . As one instance in detail of what ishere meant, I would point out a patch of light placed nearamong the trees , on the left of the scene in front , which at

once converts a mass of otherwise unmeaning darkness into a

piece of pure truth and nature . In order to judge properlyof this example , and indeed of the whole picture I wouldurge the spectator to recede from and advance towards it,with his eyes fixed upon the general scene as a whole— noton any individual part of it . He will find the effect to bemagical in regard to the particular patch of light that I havealluded to ; he will also find that the efiect will be to connectit, in a most extraordinary manner , with all the other lightparts of the picture beyond , and convert them all intoportions of the same whole . It would not be fair to deny thatthis fine work requires considerable study and attention to

appreciate it fully . But I must add that,the more study and

attention are bestowed on it, the more in proportion will theybe repaid.

”(Beauties of the Dulwich Gallery,

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Her winged sprite,and throug h her wounds doth fly

L ife’s lasting date from cancell’d destiny .

It is not uninteresting to note that at the time whenS hakespeare’ s Rape of Lucrece was running through succe ssivee ditions, the same subject was being repeate dly painted inItaly . With Guido it was a particular favour ite, and severalversions of it by him are recorded . O ne of them was sold atthe Trumbull sale in 1797 to a M r . C leland for £131, but thep rovenance of our picture has not been ascertained . Aduplicate of it has been engraved by Dupuis .

“

2 05 . J a cob w ith L a b an and h is D au g h t ers .

C LAUDE (F rench : 1600 S ee 53.

In the centre of the foreground a group of high trees ; Jecobin conversation with Laban, who stands between Rachel andL eah ; on the left sheep and goats ; a bridge, with a caravan,a nd a fortified place . O n the right a view over a flat lands cape, with rivers and hills, and the sea . C anvas : 2 ft . 4 in.

x 3 ft . 3 in .— Engraved by R . C ockburn .

No . 188 in Smith’s C atalogue, where it is stated that thepicture was painted for Sig . F rancesco M ayer in 1676 ; oftenc alled , par excellence, The Dulwich C laude .

” Remarkablefor the warm and transparent atmosphere

,

” says Dr . Richter .

O ne of his loveliest productions ,” says Hazlitt, and one

of those in which no other artist could compete with him . Aforeground runs all across the front

,from the centre of which

rises a family of those elegantly pencilled trees which he wasso fond of introducing , and which run up nearly to the top ofthe picture

,and divide it into two compartments in front

,

which, however, b lend into one sweet whole'

in the distance.

O n the left, in the middle distance, there is a little hill risinga little as if to overlook the scene, clothed with a r ich garmentof trees, and crowned with a diadem of buildings on the rightis a bit of still water , spread out as if for a mirror ; anda ll beyond is a receding distance blending with the sky

,which

seems descending on purpose to meet it (Beauties of theDulwich Gallery, p . O ne of the most genuine C laudes Iknow,

” says Ruskin ; adding , however , that it departs fromth e truth of nature in which the extreme distance of largeOb jects is always characterised by very sharp outline .

” Thedistance on the right is as pure blue as ever came from thepalette . laid on thick ; you cannot see through it ; there isnot the slightest vestige of transparency or flimsiness about it.and its edge is soft and blunt. Hence

,if it be meant for

near hills, the blue is impossible, and the want of detailsimpossible, in the clear atmosphere indicated throughout thewhole picture . If it be meant for extreme distance

,the blunt

131

edge is impossible, and the opacity is impossible (M odemPainters, vol . pt . ii .

,sec . iv .

, ch.

206 . Infant C h r is t S le e p in g .

School of M URILLO (Spanish : 1618 S ee 187.

The C hild , about two years of age, nude, lies on whitepillows . The right hand bent away from the body ; the leftrests on the hip the left leg lying across its fellow . A redcurtain, looped up on each side . C anvas : 1 ft. 10; in . x2 ft . 85 in.

Passavant Who accepted the picture as a genuine M urillo,

praised its exquisite colour ing .

”

207 . S t . C ath er in e of A lexan d ria .

VENETIAN SCHOOL .

The Saint, a whole length fig ure , is seated in front ; fairhair

,with a crown on it ; brown dress, with white mantle on

her knees . She leans on a wheel,and holds a palm—branch in

her right hand . C anvas : 4 ft . 25 in . x 3 ft . is in .

“ A fig ure full of expression , most correctly drawn andpainted with uncommon spirit (Desenfans, who attributedit to Paolo Veronese).

“ A good and,I should think

,a genuine

picture (M rs. Jameson). A pasticcio,painted in imitation

of Palma Giovane and Titian (Richter).[Pasticcio— a pasty or hotchpotch— is a technical term— as

in music fo'

r a pot—pourri— so in painting for a picture ordesign made up of fragments pieced together or copied withmodification from an original , or in imitation of the style ofanother artist ]

208 . A M ounta in Pa th .

JAN BO TH (Dutch : b . about 1610,d. See 8 .

In the centre of the foreg round a brook ; high trees on theright . A sandy mound is crowned by a huge Tor . Behindthis, a line of hills ; a road on the left leads into a plain . O u

it peasants travelling , two on donkeys , one driying a cow . Inthe centre

,two men

,who lead and drive a white

.

horse acrossthe stream . C lear sky, with clouds over the hi lls . S ignedBoth .

” C anvas : 2 ft . 4 in . x 3 ft . 7 in.

A rich,carefully executed picture , of g i'eat clearness the

evening light (Waagen). . O f extraordinary power in its

colouring ; J an Both appears here rather as a Dutch painterthan as a follower of C laude L orrain . Probably an early wor(Richter).

27930

132

209. V en u s and A d on is .

C opy after TITIAN (venetian : 1477 8 6 6 198.

Venus undraped,with her back turned towards the spectator,

seated on a bank,embracing Adonis

,who stands in the centre

and turns away from her ; on the right three hounds ; on theleft

,in the background , C upid sleeping . C loudy sky . C anvas :

5 ft . 95 in . x 6 ft . 2 in .

Venus is endeavouring to detain Adonis, but the young huntsman

,clad for the chase

,is eager to be off with his hounds and

his spear . The enamoured goddess caresses him , but the godof love is asleep

,with his bow and quiver hanging idly :

Rose - cheek’d Adonis hied him to the chase

Hunting he loved , but love he laughed to scornS ick— thoughted Venus makes amain unto him

,

And like a bold - faced suitor ’ gins to woo him .

O ur picture is one of many versions of a favourite subject .

Another is in the National Gallery (No . When C anovavisited England in 1815— 6 , he came to see the Dulwich Gallery,then recently opened

,and he told M r . Baugh Allen, the M aster

of the C ollege,that he had seen many pictures of the same

subject by Titian but none more worthy of the maste r .

” O therswill perhaps think differently . The original picture

,of which

ours is a late copy, is in the M useum of the Prado at M adrid .

It was sent to Philip II . of Spain in 1554 as a pendant toa Danae,

” and was commended by Titian to his royal patronin very material fashion . If in the Danae

,

” he wrote . theforms were to be seen front- wise

,here was occasion

‘

to look atthem from a contrarv direction— a pleasant varietv for theornament of a camcrm o .

2 10. T h e E d g e of a. W ood .

J VAN RUYSDAEL (Dutch : 1628 S ec 105.

In the foreground , old oak— trees ; on the right, a wood ofbeeches ; two roads lead towards the middle ground . In thebackg round ,

low trees and bushes ; beyond these a meadow :

in the meadow a shepherd with sheep ; on the road .in the fore

ground . a horseman and a Sportsman on foot,followed by three

hounds ; other fig ures behind . In the distance is seen the

cupola of the Huis ten Bosch . C loudy sky . S igned R.

”

C anvas : 3 ft . 10 in . x 5 ft . in .

Prominent both for its size and for its mastery of painting . this picture impresses the spectator with a sense of thesombre force of nature . Those primaeva l oaks

,gnarled and

storm- beaten , seem to stand as stern sentinels at the gates ofthe forest , into whose dark glades the eye searches , vainly

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134

possibilities of the subject appealed strongly to the artists whentheir imagination turned

,on the Revival of Learning , to

classical themes , and there are few galleries which do not containversions of it . Tennyson appropriately

,therefore, makes it the

subject of one of the vignettes in his Pala ce of Art :

O r sweet Europa’s mantle blew unclasp’d

F rom off her shoulder backward borne :F rom one hand droop

’d a crocus : one hand g rasp

’d

The mild bull ’ s golden horn .

This subject was a favourite one with Guido, who is known tohave repeated it several times

,and various copies are also

recorded . Which,

” says Desenfans,rendered us extremely

cautious in the purchase of this picture [No . 5 in his C atalog ue] ;but after the strictest inspection, and having consulted two ablefriends

,we were induced not to miss this, from the certainty of

its being an original which could never be doubted, since it hasall those requisites essential to characterize and distinguish theoriginal from the copy . An able artist may make a copy whichwill approach to originality

,but it will never have that freedom

and spirit which are in this,and which constitute a good pic

ture,because in copying he is restrained and cannot proceed

and colour with as much fire as if he were painting a pictureof his own . What are besides the characteristics of an originalfig ure

— the outline,no doubt

,the extremities

,hands and feet,

which it is so difficult for an artist to paint, and which nonebut the greatest painters have been able to execute well ; letany judge examine the hands of Europa

,and say whether they

are not painted by Guido? D esenfans does not , however, tellus the provenance of the picture .

The original version of the subject by Guido went,according

to M alvasia, to Venice . There are versions in many galleries ;our picture corresponds entirely with .the one in the Hermitag eGallery at St . Petersburg .

2 13 T h e D e s tru ct ion of N iob e ’s C h ild ren .

G . PO USSIN (Roman : 1613 See 30.

In the foreground, Niobe and her children , several of whomare pierced by the arrows ; on the left, high trees ; in the centre,a river ; behind it, on the right, rocks with a waterfall a villageon the left in the middle distance Apollo and D iana are seen inthe air , discharging their arrows ; evening sky, with a few clouds.C anvas : 3 ft . x 4 ft . 4} in .

The story of Niobe who boasted of the number and beauty of“her children against Leto , who had only two ,

and of the slayingof Niobe

’s children by these two (Apollo and D iana), was often

used by the Italian painters as material for a picture . It maywell have been rendered the more popular by the excavation at

135

Rome in 1583 , which unearthed the famous statues of Niobe ’schildren now in the Umai Gallery at F lorence . Very clever

,

”

said Dr . Richter, of our picture, especially in the design ofthe fig ures ; those, however, of Apollo and D iana may be attributed to Nicolas Poussin .

” Ruskin,on the other hand

,did not

believe the picture to be a genuine work by G. Poussin , andc

i'itij

c

fses it severely in M odern Pictures (vol. i . , pt . ii. , sec . iv .

,

C 1. u

2 14 . I s a a c B le ss in g J a cob .

JAN VICTO RS (Dutch : b. 1620, d . after

Victors, a native of Amsterdam,was a pupil of Rembrandt

,

whose style he imitated in historical and Biblical subjects on alarge scale . He was more successful in portraits and genrepictures of smaller size of the fo rmer

,there is a good example

in the L ouvre Young Girl at a Window of the latter, inthe National Gallery The Villag e C obbler

O n the right, Isaac is sitting in a bed , on which is a reddishbrown coverlid ; he is seen full face . Je cob

,in a rich violet

dress, kneels before him ; he has on his back a quiver witharrows ; near him a table with meat on it . O pposite him

,on

the left side of Isaac, is Rebecca standing . O u the left, in thebackground , a woman is looking in through an open door . Thefig ures are life - size . C anvas : 2 ft . 3 in . x 6 ft. 6 -5 in .

At one time ascribed to Rembrandt . This picture is muchdamaged by t e - painting

,but in those parts where the orig inal

colour is still to be traced, for instance in the quiver on theback of Jacob, it clearly betrays (according to Dr. Richter)the style of J Victors, to whom M rs . Jameson had attributedthe picture . Rembrandt treated the same subject in one of hisfinest pictures, dated 1656 , which is now in the Gallery at C assel ;this picture was imitated not only by Victors, but also by otherscholars of Rembrandt L ievens, Bol, Backer, F linck,Eckhout

,S . Koninck , and de Gelder .

2 15 . A C la ss ica l S e a p ort a t S un s et .

C LAUDE (F rench : 1600 S ee 53 .

A slightly agitated sea ; on the right, a rocky bank with hightrees

,a tower and a temple . In the middle di stance, a seaport

and a mountain . O n the left, in the foreground, a large shipand two boats two men standing on the shore . C anvas : 2 ft .

41 in . x 3 ft . 2 in .— Engraved by R. C ockburn . Princess

Victoria Series, i ii .

136

O ne of the sunset pictures,called sometimes Golden

C laudes,

” to distinguish them from the morning landscapes,such as its companion (No . which are styled Si lverC laudes .

2 16 . S o ld ie rs G am b lin g .

SALVATO R RO SA (Neapolitan : 16315 S ee 137.

In the foreground a group of four fig ures : one on the right,in a yellowish coat

,helmet and cuirass

,stands leaning on a long

stick . O pposite him two others throwing dice ; a third , inarmour

,stands behind

,leaning over them . D ark sky . Signed

Rosa .

”C anvas : 2 ft . 5 in . x 1 ft . 1L; in .

— Engraved byR . C ockburn . Princess Victoria Series , iii .This picture very spirited

,

” said Waagen,and in a deep

glowing tone — is a study for the large picture in the Hermitage Gallery at St . Petersburg . The spirit with which the

different fig ures are treated dig nifies the subject . The characteristic air of the one who is looking on— upright

,firm , self

poised , Roman— is truly admirable (Hazlitt).

2 17 . V illa g e n e a r a L ak e .

School of G . PO USSIN (Roman : 1613 S ee 30.

O u the right, a lake ; behind it a village, with a castle steepmountains in the background ; on the left, in the foreground,three fig ures reposing another to the right on the shore of thelake ; clear evening; sky, with a few clouds . C anvas : 1 ft . 65 in .

x 2 ft . g in .

2 18 . A n E ve n in g L a nd s ca p e .

After RUBENS (F lemish : S ee 1.

O u the right, trees and a village, before which , in the foreg round , a shepherd playing the flute , and sheep ; in the middledistance , a brook ; in the background ,

hills . Evening sky,with

dark clouds . Panel : 1 ft . 6 ih . x 1 ft . 45 in .

Ah eloquent landscape , says Hazlitt,

— a shepherd pipinghis flock homewards through a narrow defile

,with a graceful

group of autumnal trees waving on the edge of the declivityabove, and the rosy evening light streaming through the cloudson the green moist landscape in the still lengthening distance

.

”

2 19 . I ta l ian M oun t a in ou s L an d s ca p e .

HERM AN SWANEVELT (Dutch : 1620 S ee 11.

In the foreground , on the left , a river , crossed by an archedbridge ; a rocky bank beyond on the top of it a house With a

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138

Portrait of Wouwermans by Rembrandt and was highlyesteemed by Hazlitt : Nothing can be richer than the colouring

,more forcible and masterly than the handling, and more

consistent and individualiz ed ‘ than the character of the face .

It is one of those portraits of which it is common to say— J thatmust be a likeness (Beauties of the Dulwich Gallery).

22 2 . T wo Peas an t B oys a nd a Ne g ro B oy .

M URILL O (Spanish : 1618 See 187.

O u the right, a boy sitting on the ground and holding a cake ;opposite him,

a negro boy,carrying a jug on his left shoulder,

asking in vain for some of the cake ; on the left, a younger boy,laughing

,and pinching the neg ro

’ s leg ; a jug and a basket infront mountains in the distance ; cloudy sky . C anvas5 ft . 2% in . x 3 ft . 5 in .

~ Eng raved in mezzotint bv Sav .

Princess Victoria Series , iii .flee No . 224 below .

2 23 . T h e In fan t S am u e l .

Sm JO SHUA REYNO LDS , (English : 1723

See 102 .

A boy with curly chestnut hair and bare shoulders standsin profile facing towards the left . His right hand is advanced,his left is engaged in holding together his white drapery ; overboth arms a dark brown mantle is passed . C anvas : 2 ft . 5} in.

x 2 ft .— Princess Victoria Series, ii .

The prophet Samuel, on receiving his call, eag erly lifts hisface to the supernatural light which streams in from above .

This,rather than the picture in the National Gallery (No.

fits the description which Hannah M ore gave afte r a visit toSir Joshua’s studio in 1776 . I wish,

” she wrote to her sister,y ou could see a picture Sir Joshua has just finished of theprophet Samuel on his being called . The gaze ofyoung astonishment was never so beautifully expressed . Sir Joshua tells methat he is exceedingly mortified when he shows this picture tosome of the great ; they ask him who Samuel was . I told himhe must get somebody to make an oratorio of Samuel, and thenit would not be vulgar to confess they knew something of him.

I love this great genius for not being ashamed to take hissubjects from the most unfashionable of books . " Reynolds wasfond of this particular subject, and repeated it several times.“ I do not know ,

” wrote M r . Lecky,

whether Reynolds’s

Infant Samuel ’ is an original conception . If it is,I think

it must be the one religious type in art which England hasgiven to the world .

”

139

224 . T w o S p an is h Pea s a nt B oys .

M URILLO (Spanish : 1618 S ee 187 .

A poorly- dressed boy sits on the ground,two bats and two

balls be fore him , a pointer in his right hand . He lookslaug hmg ly at a boy, standing on the left , with a jug in hisright hand , and bread in his left hand

,at which he is

munching ; a dog at his feet . In the back,on the right

,a

building ; on the left , cloudy sky . The background probably notfinished . C anvas : 5 ft . 3} in . x 3 ft . 5§ ih .

- Engraved inmezzotint by Say. Princess Victoria Series

,ii

.

This and No . 222, companion pictures, are among the most

celebrated in the Gallery . Though in some parts the colourspossess less transparency than is usual with the master , theyare fine examples of M urillo ’ s spirited rendering of low lifeas he saw it . There are similar pictures in the M unich Gallery .

It may interest and perhaps amuse the spectator to readtwo sharply contrasted e stimate s of the pictures by famouswriters . The triumph of this C ollection , said Hazlitt

,and

almost of painting . In the imitation of common life,nothing

ever went beyond it , or, as far as we can judge , came up to

it. A Dutch picture is mechanical , and mere still life to it .

But this is life itself . The boy at play on the ground ismiraculous . It is done with a few dragging strokes of thepencil, and with a little tinge of colour ; but the mouth, thenose , the eyes , the chin, are as brimful as they can hold ofexpression ,

oi arch roguery,of animal spirits

,of vigorous

,

elastic health . The vivid , lowing , cheerful look is such ascould only be found beneat a southern sun . The fens anddykes of Holland (with all our respect for them) could never

graduce such an epitome of the vital principle . The otheroy, standing up with a pitcher in his hand , and a crust ofbread in his mouth

, is scarcely less excellent . His sulky,phlegmatic indifference speaks for itself . The companion tothis picture , 222

,is also very fine . C ompared with these

imitations of nature,as faultless as they are spirited

,M urillo ’s

Virg ins and Ange ls, however good in themselves , look vapid ,and even vulgar .

” And elsewhere Hazlitt says of the presentpicture : The merit of these two faces consists in the absolute,the undisguised , and unadorned truth of their expression , andits wonderful force and richness ; and also in the curiouscharacteristicness of it . By the truth of expression, I meanthe fide lity with which the ainter has represented what heintended to represent ; and y its characteristicness, I meanthe adaptation of that expression to the circumstances . Thepersons represented are of that class and condition of life inwhich the human qualities of our nature scarcely developthemselves at all- in which man can scarcely be regarded inany other light than the most sag acious of the anima l tribe of

140

beings . Accordingly,the expressions of these boys respectively

— rich,varied

,and distinct as they are— are almost entlrely

a nimal . There is nothing in the least degree vulgar aboutthem for vulgarity is a quality dependent on a certain state ofsociety ; and these have no share in society, and are con

sequently without any of its results , good or bad . In fact,

their wants and feelings are merely animal, and the expressionswhich these give rise to are correspondent . The delight of -theone is that of the happy colt

,sporting on its native common ;

and the sulkiness of the other is that of the ill - conditioned cub,growling over its food . At the feet of the boy who is eating ,stands a dog

,looking up expectantly ; and there is nearly as

much expression in his countenance as there is in either of theothers . I would not lay much stress on this , but does it notseem to have been introduced purposely , that we might compare the expre ssion of this third animal W ith that of the, two

others , and see that they are all animal alike, and that theyare all intended to be so? (Bea uties 0} the Dulwich Gallery,p .

Go into the Dulwich Gallery , writes Ruskin on the otherhand (whose description , by the way , shows that he was

writing from memory, not quite accurately, and confusing thetwo pictures), and meditate for a little over that much«c elebrated picture of the two - beggar boys

,one eating ; lying

on the ground , the other standing beside him . We haveamong our own painters one who cannot indeed be set besideM urillo as a painter of M adonnas

,for he is a pure naturalist

,

a nd, never having seen a M adonna , does not paint any ; but

who, as a painter of beggar or peasant boys , may be setbeside M urillo

,or anyone else— “

Y

. Hunt . He loves peasantboys, because he finds them more roughly and picturesquelydressed , and more healthily coloured , than others . And hepaints all that he sees in them fearlessly ; all the health andhumour , and freshness and vitality

,together with such

awkwardness and stupidity , and what else of negative or positive harm there may be in the creature ; but yet so that onthe whole we love it, and find it perhaps beautiful , or if not,at least we see that it is capable of good in it

,rather than

of evil ; and all is lighted up by a sunshine and sweet colourthat makes the smock frock as precious as cloth of gold

. Butlook at those two ragged and Vicious vagrants that M urillo hasgathered out of the street . You smile at first

,because they

are eating so naturally, and their roguery is so complete.

‘But is there anything else than roguery there,or was it

well for the painter to give his time to the painting of thoserepulsive and wicked children? Do you feel moved with anycharity tow‘rards children as you look at them? Are we the‘least more likely to take any interest in ragged schools; -or toh elp the next pauper child that comes in our way .

because the

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14 2

C ortona . It was with him that Pietro went to F lorence, and,when not yet fifteen years old, to Rome, where he enteredthe studio of Baccio C iarpi of F lorence, in order to study theantique and the works of Raphael, M ichelangelo , and Polidoroda C aravaggio . C ardinal Sacchetti became his protector, and

introduced him to Pope Urban VIII . (Barberini). He worked.

for twelve years at the frescoes of the Palazzo Barberini,‘

which are . considered to be his chefs He visitedL ombardy, the Venetian States , and painted at the PittiPalace in F lorence, and was afterwards exclusively employedin Rome where he was knighted by Pope Alexander (1665Pietro , says L anzi

,chose Trajan

’s

'

column as his favouritestudy ; and from it may have drawn his heavy proportions, andthe appearance of stgeng th and robustness , that characterisee ven his female forms and his children . He is reckoned theinventor and chief artist of a style which, in the opinion of

M engs, combines facility with taste .

” His‘ colouring is

pleasing, his chiaroscuro agreeable . He was ce lebrate d as anarchitect

,especially of facades; no less than as a painter ; and

with Bernini, established the Baroque style of the 18th century .

The judicious division of his historical compositions (continnes L anai), which derives aid from the architecture, thatskilful gradation by which he represents the immensity ofaerial space

,his knowledge in the art of shorte ning what is

seen from below,that play of light seemingly celestial

,that

symmetrical disposition of his fig ures, are things which en

chant the eye and fascinate the soul . It is true that thismanner does not always satisfy the mind ; for , intent on gratifying the eye, it introduces useless fig ures, in order that the composition may not be deficient in the usual fulness ; and , forthe sake of contrast, fig ures in the performance of the

gentlest actions are painted as if the artist was representingthem in tournament or battle . Gifted by nature with facilityof genius and no less judgment, Berrettini either avoided thise xtravagance, or did not carry it to that absurdity which inour times [0 1800] haS

' marked his followers from the usualtendency of all schools to overcharge the characteristics of theirmaster .

”

The Saint, seen in full face, kneels on the steps outside a

t emple ; her face is uplifted to heaven , her hands crossed ; anoutline nimbus surrounds her head ; g olden— coloured dress,white skirt and sleeves , blue cloak . O u the left

,a tripod lies

on the ground , with fire in it ; behind , a man falling down.

O h the right, the Emperor Alexander Severus,with wild looks.

his head covered with a mantle,and surmounted with a laurel

wreath . F our other persons around him . In the distance, onthe right, a temple under a tree, and

'

an obelisk,with blue

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sky above . F ive angelic heads on clouds looking d own on theSaint. C anvas : 3 ft . 9 in . x 2 ft . 9§ in .

This picture, often repeated by the artist, is closely con

nected with one of the interests of his life . At the foot of theC apitoline Hill, on the left hand as one descends from theAra C oeli into the F orum , there stood in ancient times asmall chapel dedicated to St . M artina . The EmperorAlexander Severus had, according to her legend

,wished to

force her to sacrifice to the gods ; but when she entered thetemple of Apollo, and had made the sign of the cross, thestatue of the god was overthrown

,with a part of the edifice ,

the ruins of which crushed the priests and the people . In1634 the body of St . M artina was discovered beneath thechapel dedicated to her— a discovery treated with greatexultation . The Pope, Urban VIII . , composed hymns in herpraise, and his nephew, C ardinal F rancesco Barberini, causedthe chapel to be rebuilt, and commissioned Pietro da Cortonato do the work . The artist thr ew himself whole- heartedly intoit, and became a devotee of the Saint . He called the C hurchhis daughter ; he erected the subterranean chapel of St .

M artina at his own cost, painted an altar- piece with the storyof her triumph over the idols , and at his death bequeathedhis whole fortune to the church, SS . M artin and Luca

,in

which the artist was buried . O ur picture is a version,on a

reduced scale, of the altar - piece . O ther versions are in variousforeign galleries— the Louvre, the Pitti at F lorence, and theSciarra Palace at Rome .

227 . T h e A dora t ion o f th e M a g i .

NIC O LAS PO USSIN (F rench : 1594 S ee 101.

O h the left the M adonna , seated, with the infant Christ inher lap , and St . Joseph in front of them

,the three kings and

others in adoration ; behind them an antique building in ruins,with a wooden hut built into it . In the background

,on the

right,the attendants of the kings with horses and camels blue

sky with g rey clouds . A composition of nineteen figures .

Canvas : 4 ft. 2 in . x 4 ft . 4 % in .

This subject,which the F lorentine and F lemish painters

treated with much gorgeous embellishment,is here rendered by

Poussin with simplicity and almost severity, though the pointsof essential symbolism in the legendary conception are retained .

The scene is laid in a stable which has been built amid the ruinsof a Roman temple— a symbol of the triumph of Chr istianityover paganism . The manifestation is made alike to Jews

'(the

Shepherds) and Gentiles (the M agi). O ne of the latter is, asalways

,black ; the Christian dispensation including all people

and races .

14 4

O ur picture is a replica, or perhaps an ancient copy, of theoriginal in the L ouvre (of larger size), which was painted byPoussin at Rome in 1653 for M . de M onroy , and was eng ravedby Ant . M org hen and by Avice . O ur version is probably theone which was sold in the collection of Sir Joshua Reynolds in1795 for 500 gu ineas

'

. and in that of H. Phillips, 1798, for270 guineas .

2 28 . V irg in w it h th e In fa nt C h r ist a n d S t . J ohn .

After ANDREA DEL SARTO (F lorentine : 1487

Andrea del Sarto was born at F lorence . In documents, his

full name is given as being Andrea d’Ag nolo di F rancesco diLuca di Paolo del M igliore . His father Agnolo , a tailor (sarto),placed him at first as an apprentice with a goldsmith ; but hesoon entered the studio of Gian Barile, a mediocre painter, whorecommended him as a pupil to Piero di C osimo in 1498. A. del

Sarto then studied the works of M asaccio at the Brancaccichapel

,the cartoons of L eonardo and M ichael Angelo

,and

educated himself under the influence of F ra Bartolomeo . Heworked at first as an independent master with F rancia Big io.

In 1512 he married Lucretia del F ede,whose portrait can be

recognised in his later pictures of the M adonna . In 1518 hewas at Paris in the service of King F rancois I .

,but had re

turned again to F lorence in 1519,where he died of the plague,

Jannary 22,1531. Being very popular and appreciated , he

executed a great number of painting s , especially pictures of theM adonna . His pupils were F rancesco Salviati

, Giorgio Vasari,Andrea Squaz ella , Giacomo da Pontormo . and Nannoccio.

Domenico F uligo , M arco Antonio,F rancia Bigio were his

imitators and assisted him at his works .

The pictures in our Gallery (this and No . 257) are copies.In his original work there is that peculiar softness

,harmony

and delicacy of colouring which the Italians call morbidez z a.

”

The characteristic of his art all is silver- grey,placid and

perfect ”— and the pathos of his life are familiar to all whoknow their Browning .

The Virgin seated , holding the infant C hrist on her lap ; onthe right, the infant St . John , with the cross ; his head andleft shoulder are alone visible . The M adonna is dressed in 8

pink garment and blue- green mantle,grey sky in the back

ground . O utline nimbi round the heads . The fig ure of theVirgin is three- quarter - length, less than life- size . Panel : 2 ft8§ ih . x 2 ft . 11} in .

This picture is an ancient copy,by an unknown scholar, after

the pictures No . 1146 in the Uffiz i at F orence . and No . 388 in the

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14 6

stands on the ground and Clasps his mother around the neck.

He wears a short yellow tuni c . O u the left St . J ohn , lookingtowards the M adonna . A dark foliaged backg i ound . Panel :10 in . x 72 in .

2 3 1. B oys in 3 L and s ca p e .

VENETIAN SCHO O L .

Two boys in the foreground near a large vase ~and a Hermes ;a group of four others behind in a meadow in the distance ahill ; blue sky. C anvas : 8 in . x 1 ft . g in .

An exquisite pictu1e and painted by N . Poussin(Denning A pleasing and attractive sketch, painte d in themanner of Schiavone (Richter).

2 3 2 . S t . Pe t e r an d S t . I‘ran c is .

LO DO VIC O CARRAC C I (Bolognese : 1555

See 162 .

Two whole- length fig ures standing opposite each other ;St . Peter on the left , with the key ; St . F rancis on the right

,

looking with devotion at the crucifix in his arms . Hills and

t rees in the distance, and blue sky . C opper : 9 in . x 7 in .

O f glowing colour and good impasto ; deep in tones , andof smooth forms . Painte d under the influence of Schedonea nd C orreggio (Richter).

2 3 3 . A L ocksm ith .

RIBERA (Neapolitan : 1588

Jnsepe de Ribera , called Spagnoletto, was born at Jativa(now San F elipe), near Valencia, in Spain . After re ceivinge arly artistic direction from F . Ribalta . he went to Rome ,whe i e he studied under C aravaggio . When twenty ) eai s ofa g e he went to Parma , to study the Works of C on e g g io . butsoon gave up the imitation of that maste i ’ s style . In Napleshe m

'

ar1iad the daughter of a pictu1e - dealei,through whom his

pictures soon became famous . The Spanish Viceroys of Naples,C onte de M ontc1ey and J uan d’Austria

,and also the Pope,

conferred honours upon him He was elected a member of theRoman Academy of St . Luke in -Is died at Naples .

Although a Spania1d by bii th, Ribe1a , as follower of C al avag g io, must still be 1eg arded as belonging to the Naturalistie School , which ba

o

d its seat a t Naples and which stoodin opposition to the School of Bologna . He mostly represents

14 7

the martyrdoms of sa ints , and old men as anchorites . He

combined forcible colour with a free handling of the brush .

HIS light 1s generally glaring .

Three - quarter - length fig ure , life - size,turned to the right

,

the face seen in full ; brown felt hat, brown leather doublet,reddish brown sleeves ; a lock in his left, a key in his righthand ; on his back a knapsack ; brownish background . C anvas :4 ft . 3L m . x 3 ft . as in .

F ormerly ascribed to C aravaggio,but the effects of light

as well as the modelling,especially of the hands

,clearly show

that this picture was painted by Ribera (Richter).

2 3 4 . T h e N u rs in g of J u p it e r .

NIC O LAS PO USSIN (F rench : 1594 S ee 101.

In the centre of the foreground a satyr,holding the horns

of the goat Amalthaea suckling J upiter,who lies in the lap

of a nymph in a blue drapery ; another nymph , standing behindher

,co llects wild honey from a tree ; on the right, a fountain

nymph,reclining

,and holding an urn ; before her, a boy ; on

the left,goats

,near a lake 5 a hill and blue mountains behind ;

blue sky with grey clouds . C anvas : 3 ft . Ii ih . x 3 ft . loe in .

Inscribed,N .P.

— Engraved by Soyer . Reproduced in Denio ’sPoussin

, p . 131.

The scenery of the picture is intended to represent the islandof C rete , where , according to the Greek myth , Jupiter wasreared by the nymphs

,Adrastea and Ida . Adrastea lulled

Thee,

” says C allimachus in the Hymn to J apitar ,in a golden

cradle Thou suckedst the full teat of the goat Amalthaea , andmoreover atest sweet honey (a verse which may be comparedw ith the passage in Isaiah : Butter and honey

.

shall he eatPoussin ’ s representation of this myth in our picture 13 one ofh is most admired works ; conspicuous for its beauty of designand harmonious colouring . The composition may have beent aken from Giulio Romano (engraving by Bari): The littleJupiter,

” says Hazlitt, is beautifully conceived and expressed ; and the dignity and ascendancy given to the

.

goatsin the picture is wonderfully happy . They have a very 1

_n:1pos

ing air of gravity indeed,and seem to be by prescr1pt1on grand

caterers and wet- nurses of the state ’ of Heaven !” Ruskm

cites the nymph pressing the honey as one of the master ’s mostrefined fig ures

and refers to the background ,111 contrast with

that in Sir Joshua ’s Holy F amily (No . 78 the Nat1onal

Gallery), as showing the value in ideal compos1t10ns of spe01fic

detail : Sir Joshua ’s, owing to the utter neglect of all botan ical detail , has lost every atom of ideal character, and reminds

27930

14 8

us of nothing but an English fashionable flower- garden,- the

formal pedestal adding considerably to the effect . Poussln’s,

in which every vine leaf is drawn with consummate sk111 anduntiring diligence

,produces not only a tree g roup of the

o

most

perfect grace and beauty, but one which, in 1te pure and Simpletruth, belongs to every ag e of nature, and adapts 1tself to thehistory of all time (M odem Painters, vol . i ii . , vol.The picture is No . 208 in Smith’ s C atalogue, where 1t is

erroneously desorbed as The Nurture of Bacchus .

” It wasformerly in the possession of M . Blonde l de Gag ny , by whomit was sold in 1776 for francs .

2 35 . T h e C reat ion of E ve .

NUVOLONE (M ilanese : 1607

C arlo F rancesco Nuvolone , sometimes called Pamfilo, born atM ilan , was a son of the painter Pamfilo Nuvolone , a C remoneseartist

,who gave him his first instruction . Nuvolone painted at

first in the manner of his father, and of other C remonese artists,under the influence of C amillo Procaccini (1545 takingmore especially the works of Giulio C esare for his model . At alater period he combined his style with the ideals of Guido Reni,to which he owes his popular name of Guido della Lombardia .

He settled at M ilan, where numerous painting s by him are to befound . Nuvolone had a particular style of his own,

the beautiesof which lie in the light and colour , not in the drawing . Hehas been called the M ilanese M urillo .

Eve is represented as before she received sight ; the C reator,clad in violet dress and blue mantle , takes her by the arm . Hisleft arm is uplifted . Adam lies asleep in the front . A lion iscrouching on the left . In the centre a dog and a sheep . In thebackground on the right are an elephant

,a horse

,a bull

,and

other animals . C anvas ; 5 ft . 10% ih . x 6 ft . 3 in .

F ormerly in the C ollection of the Duke of Alva,at the sale of

whose pictures about 1820) it was bought by Peter C arryTupper

,Esq .

, then C onsul at Valencia . Presented to the

Gallery in 1845 by the late M artin F arquhar Tupper,Esq .

,as

representative of his father ’s family . It was then ascribed toC amillo Procaccini Dr . Richter gave it to Nuvolone.

23 6 . T h e T rium ph of D av id .

NIC O LAS PO USSIN (F rench : 1594 S ee 101.

In the foreg rounu women and children. as spectators ; thetriumphal process1on passes from the right to the left in front

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150

lining,fastened by a jewel at the throat . She is looking down ;

a nimbus around her head . Three— quarter— length fig ure , lifesize ; dark background . C anvas : 3 ft . 11 ih . x 3 ft . 25 ia .

Engraved by R . C ockburn .

This is a beautiful picture and has always been muchesteemed (Denning). Until 1880 ascribed to Guercino

,

Gennari ’s master ; but,

”said Dr . Richter, the treatment of

lights and shadows is in the style adopted by this pupil .”

F or

a note on the subject, see No . 2 .

2 3 8 . R in a ld o a nd A rm ida .

NIC O LAS PO USSIN (F rench : 1594 S ee 101.

In the foreground on the right , Rinaldo, wearing an armouredbreast—plate and shoulder - pieces

,lies asleep

,resting partly on

his shield,which lies under his left arm his helmet and sword

are by his side . Armida,clad in blue and white drapery

,bends

over him ; in her right hand she holds a dagger,which C upid

restrains her from using . Trunks of large trees are behind,

a lso a river and hills . Evening sky . C anvas : 2 ft. 71} ih . x3 ft . 6 in .

— Engraved by J Audran .

A scene from Tasso ’s J erusalcm Delivered, canto xvn .

Rinaldo, lulled to sleep on the border of the O rontes,is

'

discovered by Armida . She p repares to take revenge for theloss of the prisoners whom the warrior has snatched from her .But so lovely does she find her sleeping enemy that she cannotkill him . L ove holds her hand to prevent the fatal blow

,

and wounds her heart instead : E di nemica ella, dis enfn-e

amante .

The picture (Smith’s C atalogue

,No . 286) was painted about

the year 1637 for Ie S ieur Stella (afterwards in the collectionof M . de Bois F ranc), to whom Poussin, in sending the picture,wrote : Je l’ai peint de la maniere que vous verrez

,d’autant

que le su'

et est de’

soi mol , a la difference de celui de M onsieurde la Vri iere, qui est d

’une maniere plus severe .

”

2 39 . T h e M a rr ia g e of S t . C a th e r in e .

Scho

S

ol of PAO LO VERONESE (Venetian : 1528cc 159.

The Virgin enthroned with the nude infant C hrist in herlap ; on the left, St . C atherine

,kneeling

,in a white silk drew

and brown mantle ; an angel kneeling behind her with theemblem of St . C atherine ’s martyrdom . A ‘ cherub with a palmfloating above . O u the right St . Joseph sitting on steps.

C anvas : 3 ft . 7% ih . x 2 ft . 94 ih .

The mystical marriage of St . C atherine of Alexandria is avery familiar subject in Italian pictures . The saint here wears

151

a nuptlal robe p f white satin and a crown . The Virgin holdsher left hand in

fi

het own, and the infant Saviour places Hishand upon It in token of espousal . This picture is No . 40

in Desenfans’C atalogue

, attributed to Paolo Veronese .

2 4 0. T h e F lig h t into E g yp t .

NIC O LAS PO USSIN (F rench : 1594 S ee 101.

O u the left, the Virgin, with the infant Christ, who is lookingup at a vision of four infant angels carrying a cross

,is about

to be lifted into a boat by St . Joseph ; a ferryman and the assare in the boat ; under the vision, dark clouds ; building s beyondthe river , a hilly landscape ; on the right a town wall , an_

obe1isk,and a pyramid . C anvas : 3 ft . 8 in . x 3 ft . 1 in .

— Engravedbv Bartolozzi .Hazlitt , after describing some ofPoussin ’ s pictures of classical

myt hology, continues : The F lig ht into Eg ypt instantly takesthe tone of Scripture- history . This is strange

, but so it is .All things are possible to a high imagination . All things

,

about which we have a feeling, may be expressed by truegenius .

” The picture was sold to M r . Desenfans in 1801 for160 guineas . He identifies it in his C atalogue (No . 53) witha representation of the subject which is recorded as havingbeen painted by N . Poussin in 1659 or 1661 for M adame deM ontmor (afterwards de Chantelou). Desenfans, in describingthe picture

,calls attention to the appropriateness of all the

detail . O n the opposite side of the river we easily distinguish Egypt, by its burnt and barren soil, and by its ruin sand py ramlds. A group of angels carrying a cross are hoveringon the clouds at the moment that St . Joseph lifts from theground the infant whose profile is only seen ; his head is elevated towards heaven , and his looks are fixed on the crosswhich appears to have riveted his attention . WhenM r . Gavin Hamilton, who had passed the best part of 1118 li fein collecting for the most celebrated cabinets

.

in Europe, sawand examined this picture , he was so pleased W ith the colouringthat he exclaimed it was pure gold and si lver .

’Desenfans

goes on to talk half in pity,half in anger , of those who found

Poussin ’ s art too severe .

” Such persons are more pleasedwith pictures which resemble the glare of chm a

‘

or the g audycolours of a fan , and we ought not to be .

surpn sed at it for ,notwithstanding the acknowledged superlor itv of wm e overmilk

,a child prefers milk to wine .

S t . F ranc is of A ss is i; S t . Anthon y of

P a dua .

RAPHAEL (Italian : 1483

O f Ra phael Sanzio, or Santi, the most famous of all painters ,it has been said that no renown was ever so unsullied by

152

reproach,so justified by merit, so confirmed by concurrent

opinion,so established by time .

” His strong power ofa ssimilation

,fused by innate love of beauty, led to a Width of

range and catholicity of taste which have contributed to hisalmost universal popularity . He was born at Urbino , the sonof Giovanni S anti, a painter and poet . His father died whenRaphael was only eleven , and it is believed that Timoteo Vitiwas his first master . He then went to Perugia , and studiedunder Perugino , Whose manner he quickly assimilated . In1504 he went to F lorence

,where

,with some Visits elsewhere to

execute commiss'

ibns,he remained till 1508 . By that time

his work was celebrated from one end of Italy to another,and in 1508 Pope Julius II . invited him to Rome

,where the

greater part of the rest of his life was spent . His mainemployment under J ulius was the decoration of the Vaticanw ith his famous frescoes and arabesques . The work wasc ontinued under Leo X .

,who succeeded (1513) Julius, and he

was further commissioned to prepare a series of desig ns fortapestries which were to be executed in F landers and hungin the S istine C hapel . These designs are the C artoons ofRaphael,

”now in the Victoria and Albert M useum . In 1514

he was appointed architect of St . Peter ’s,and in the following

year director of the excavations among the ruins of ancientRome . He lived a painter among princes

,and a prince among

painters— courted by all , but also beloved by all . His school ,consisting ,

” says Vasarl of some fifty painters, all men ofability and distinction, continued in such unity and concordthat all harsh feelings and evil dispositions became subduedand disappeared at “the sight of him .

”An attack of fever

,

contracted , it is said , among the excavations, terminated hiscrowded life at the age of 37 . The body of “ the divinepainter lay in state for three days in the Vatican

,and was

buried with great solemnities in the Pantheon .

Three periods are to be distinguished in Raphael’ s style :

(1) The“ Perugian , down to 1504 . A typical work of this

period is the “ Sposalizio ” at M ilan . (2) The F lorentine,1504 — 1508 . To this period belong the famous AnsideiM adonna , in the National Gallery

,and the somewhat similar

a ltar- piece of which the little panels in the Dulwich Galleryonce formed part . (3) The Roman , 1508- 1520; the period ofthe frescoes and the cartoons .

The Saint holds a small cross in the right hand ;both hands are placed on a red book . O u his breast

,the

marks of the wound in O ur Lord ’s side,the Stigmata

,which

prove the fig ure to be of St . F rancis of Assisi. Dark back

g round . Panel : 95 in . x 64 in .

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154

vain. Expert opinion had undergone one of the revulsions to

which it is subject,and the National Gallery refused it . The

price asked was then Ultimately it was bought bythe late M r . Pierpont M organ (at the price . 1t i s said, of

who for several years lent it to the National Gallerv.

It is now with his other pictures in New York .

The predella pictures passed into the possession of QueenC hristina, and were afte rwards in the O rleans Gallery,D esenfans buying o

'ur pieces when that Galle rv was dispersed.

O i the predella panels (C — G)~

(c .) is No . 241.

C hrist on the M ount of O lives kneeling , and turned tothe right . An angel descending towards Him ; in the foreground , the three disciples sleeping . In the Burdett- C outtscollection .

(E .) C hrist bearing the C ross , followed by two men on horseback

,and accompanied by an executioner and two soldiers

on the right,the Virgin fainting St . John and three women

near her . In the collection of Sir “ ’ illiam M iles, of LeighC ourt, near Bristol .

The Pieta. C hrist dead, lying on the knees of Hismother

,adored by St . John and M arv M agdalene . In Mrs.

Dawson’ s possession .

(c .) is No . 243 , St . Anthony of Padua . the patron saint ofthe convent for whom the altar- piece was painted .

2 4 2 . S t . C a th erin e of S ie -na .

CARLO DO LC I (F lorentine : 1616

C arlo Dolci was born at F lorence . His father Andrea Dolci,a tailor

,died when C arlo was four years of age . His mother

Ag nese M arinari, gave him a religious education,and placed

him in the studio of the painter Jacopo Vig nali . In the year1648 he became a member of the Accademia del Disegno . Heonly once left F lorence, and that was to g o to Innsbruck, in theTyrol

,to paint a portrait

,by order of the Grand Duke of

Tuscany,at the court of the Archduke F erdinand C arl of

Austria . He was of a very timorous nature . and given to

melancholy .

C arlo Dolci painted chiefly Saints, fig ures, and portraits . Hispictures are executed with assiduity and care . His types showa lively taste for beauty

,but his conception is sentimental

effeminate , conventional, and devoid of energy,although doubt

less intended to express deep religious devotion . Among st hispupils were : O norio M arinari

,Alessandro Lomi

, BartolomeoM ancini . His daughter Agnese, marrie d to Stefano di CarloL omi

,imitated him cleverlv.

155

Head of a young nun in adoration,turned to the left . She

wears the white veil and black dress of the O rder of St .

Domimc a crown of thorns on her head ; the eyes cast down atear bedews her cheek . The features are those of a portrait .

Panel : 95 in . x in .— Princess Victoria Series

,1.

F ormerly described as a M ater Dolorosa .

” Whether C arloDolci meant to represent St . C atherine of S iena (see No . 252)or merely to embody in a lovely face the sweet affliction of aDominican nun , must remain doubtful . However that may be ,the picture , executed with the greatest care , is generally considered a chef d

’oe'u/vre of the artist

,and it has received a great

deal of sympathetic attention from many visitors to the D111

wich Gallerv though others have agreed with Hazlitt thatthe expression has too great a mixture of'

piety and pauperismin it

,

” and is not altogether spiritual .”

2 4 3 . S ee N o . 2 4 1 .

2 4 4 . H ora t iu s Goc le s D efend in g R om e .

LE BRUN (F rench : 1619 S ee 202 .

In the foreground,the river - god Tiber 3 opposite him ,

C oclesfighting ; the goddess M inerva hovers over him with a laurelwreath in her right hand

,an ensign in her left ; C upid with

the torch near her ; she floats over the bridge , part of which isbeing demolished by Romans behind her . In the background , onthe right

,a Roman town gate on the left, in the distance, blue

mountains evening sky . C anvas : 3 ft . 114 in . x 5 ft . 6% in .

The picture was painted by L e Brun at Rome when he visitedthat city in the company of Nicolas Poussin about 1644 ; thearchitectural parts of the picture show an exact study of Romanantiquities .

2 4 5 . C a t t le n e a r a R ive r .

C UYP (Dutch : 1620 S ee 4

O n the right, a spot of meadow by the side of a river. Tjive

cows lying down,and a horse standing ; a young

'

oak dividesthis group from the second of the cows— one standing, red , theother lying down ; four sheep , and a woman tending them . She

wears a blue dress with white sleeves . In the middle d1stanceare seen two men ; rocks behind . O n the left, a boat on theriver

. Bright , calm , sunny sky. S igned A . C uyp .

” C anvas :

3 ft . x 3 ft . 10% in .

Unusually splendid in its harmony ; . C uyp s plcture

,No . 822 in

the National Gallery, is of a Simi lar tone of colour .

.

The

Dulwich picture was bought by Bourg ems from the collecti on of

156

R. Hulse,Esq . ,

in 1806, for 225 guineas . Ruskin points out

that the beauty of the general effect is accompanied by somesolecisms in detail . Thus

,while the fig ures on the right are

walking in the most precious light,and those just beyond them

in the distance leave a furlong or two of pure visible sunbeamsbetween us and them,

the cows in the centre are entirelydeprived

,poor things

,of both light and air .

” And again :The post at the end of the bank on the left gives numerousradiating reflections or shadows,

” though the sun is not aptto cast half— a- dozen shadows at the same time, neither is waterusually disposed to reflect one line in six directions .

” Ruskinassumes accordingly that the shadows of the post are a picturedealer ’s improvement, and that only the one cast by the shipis C uyp

’s .

”M r . Denning (a former Keeper of the Gallery), in

noting and endorsing these latte r criticisms,makes no doubt

that the radiating reflections were from the brush of Sir F .

Bourgeo is,at all events much later than C uyp .

2 4 6 . V ir g in and C h ild .

After C O RREGGIO (Parmese : 1494

C orreggio is the name of a small town near M antua . It hadduring the 15th and 16th centuries, its own sovereign ; andseveral painters

,e .g .

,Lorenzo C osta

, of F errara , sojournedthere . It was the birthplace of Antonio Allegri

,Who was after

wards called by its name . He was the son of a prosperous merchant

,and received a good education . His early works are

painted in the style of the F errarese school . After executingsome commissions in his native town , he settled in Parma(1518 His frescoes in that town are amongst his mostfamous works ; conspicuous, among other characteristics fordaring and skilful foreshortening . The works of his secondperiod are conspicuous also by their masterly treatment of lightand shadow ; the altar - piece called La Notte,

”now in the

Dresden Gallery, is regarded as his masterpiece in this respect.In 1530 he returned to his native town , and there he died offever . He was buried in the family vault in the F ranciscanC onvent, with the simple inscription

,M aestro Antonio

Allegri, Depintore .

” He is one of the most distinctive . as alsoone of the greatest and most famous , of painters . The phrase,“ the C orreg iosity of C orreggio,

” is as old as Sterne . The qualitythus indicated is

,on the side of conception

,a way of looking

at the world in a single mood of sensuous joy and , on theside of execution

,a subtle gradation of colours . The result is

a sidelong grace and exquisite softness .

The Virgin,in red dress , holds the Child upon her lap , who

looks and reaches towards the left , whilst his mother is putting

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158

A very fine picture . The colouring, the breadth of lighta nd shadow

,and the expression of the counte nances , all are

exquisitely painted (Denning). At different times in thehistory of the Ge ller the picture had been attributed toTintoretto

,to an ilngnown master ,” and to Giovanni Battista.

~d a Paggi (1554 of Ge noa, a pupil of L . C ambiaso.

Dr . Richter took it to be a late work of C ambiaso himself.Ah exact copy of this picture, painted by W . Etty, R .A . , was

in Lord Northbrook’s collection . A replica in the M unro~collection was attributed to Paul Veronese .

2 4 9 . Ph ilip IV . of S p a in .

VELAZQUEZ (Spanish : 1599 S ee 152.

Thr ee - quarter - length fig ure , life - size ; turned to the left ;red doublet

,with silver embroidery

,white silk sleeves and white

fiat collar ; the left arm on his sword ; one hand holding a blackhat ; in his right hand his staff . Greyish background . C anvas :4 ft . 25 in . x 3 ft . 1% in .

— Engraved by C . C arter , in theM aga z in e of Art, vol . 15, p . 65 . Also in J usti ’ s Velazquez ,p . 310. Princess Victoria Series, i .

O ne of the numerous portraits by Velazquez of Phi lip (born1605

,became King 1621, died O ne of the most finished

works of the master : clear and tender,like the finest

M etsu,

” savs Burger ; a masterpiece in colour and distinction .

”

O ur picture appears to be the portrait which Velez uez

painted at F raga, when he accompanied the King , as describedby Palomino

,during the campaign of 164 4 . The colouring agrees

( except in the case of the hat) with Palomino’ s description of

Philip ’ s costume in the portrait of that year a scarlet goldembroidered doublet and hose, a smooth leather collar, 3. shortcommander ’ s baton of smooth wood , awhite hat with red plume .

”

This is the only known portrait of him in red or scarlet costume ;and the K ing ’s apparent age in this picture would agree withthe date

,as he was born in 1605 . Some interesting accounts

have been found bearing on the portrait . The carpente r PedroC olomo had first to prepare an easel and also to put a windowin the C ourt painter ’ s room . During the three sittings

,reeds

had to be spread on the ground and the carpenter had lastlyto make a case and send the picture forthwith to M adrid.

The K ing was kept amused during the sittings by his dwarf.F rom the figure itself it is evident that it was taken far

from the atmosphere of the Alcazar . It is freer than those tallfig ures in black , which are perpetually receiving despatches,and which are the incarnation of unrelenting monotony

,of the

weariness of etiquet The King wears the dress in which heusually appeared before his army as commander- in - chief .

159

The picture was still in the palace at M adrid when Palominowrote under Philip V . ,

but before the middle of the 18th century it had already found its way to Paris . It probably passedfrom Bouchardon ’ s estate to the Tronchin collection

,and thence

(1798) to Desenfans , who valued it for insurance in 1804 at£200. S ee J usti ’ s Vela z quez , pp . 305, 311, where he gives thehisto ry also of a second examplar (then in the Lyne— Stephenscollection), which he describes as an old but carefully executedcopyRecently, discovery was made at Vienna of another version

which was pronounced by a Spanish expert to be the originalpainting

,the Dulwich picture being : according to him ,

a copyor a replica The rival picture was sold to an Americangentleman . and is now in New York : and no living person hasseen the two portraits to gether .

250. C h r is t on th e Gro s s .

F LEM ISH SCHOOL (l 6th C entury).

In the centre of the foreground,the Cross, with the dead

body of C hr ist on it . M ary M agdalene embraces the foot ofthe C ross near it, her ointment—vase and a skull ; on the right ,St. John on the left

,the Virgin in adoration both standing .

In the background , soldiers retiring , and a view of Jerusalem ,

with many buildings in the F lemish style . Dark sky . Panel :3 ft . 11 in . x 2 ft . 105} in . ; elliptical top .

Bequeathed to the Gallery in December, 1875, by GeorgeWebster

,Esq .

,M .D . (for sixty years a resident at Dulwich).

Painted by an unknown F lemish artist in the manner ofsuch masters as F ranz F loris (1517 4 1570) and others, whoworked in the style of the Italian Renaissance in F landers .This picture has erroneously been ascribed to M emlinc . It hasbeen much re - touched (Richte r).

2 51. T h e Holy F am ily .

Afte r ANDREA DEL SARTO (F lorentine : 1487S ee 228.

O h the right , the M adonna seated on the ground ; on herknee

,the infant C hrist turned towards St . John,

who bendsdown to him from the lap of his mother Elizabeth, sittingbehind on the left . O u the rig hth behind the M adonna, St .

Joseph;leaning his head on his left hand . M ountains in the

distance,with a ruined building on the left . Blue sky . The

fig uresare life- siz e . Panel : 4 ft . 8 in . x 3 ft . 6 ln .

An ancient copy ,with the fig ure of St . Joseph added , of the

original. No . 81 in the Pitti Gallery, F lorence— one of the most

beautiful works of the master . The execution of the St . Joseph,

160

different in style, recalls the manner of Andrea del Sarto ’spupil

, Giorg io Vasari of Arezzo (1511 the biog rapher ofthe Italian artists . Vasari describes the original picture, andadds a story about it : Andrea painted a p icture of O ur Ladyfor the illustrious O ttaviano de’ M edici . Seated on the earththe M adonna is enjoying the sports of the infant ChristEvery part of this painting is executed with a power andknowledge of art

,a beauty of design, and a careful delicacy

of finish,which render it a work of indescribable excellence.

When the picture was completed, Andrea took it to M esserO ttaviano ; but the city of F lorence being at that time besiegedand surrounded on all sides by its enemies, O ttaviano, occupiedwith other matters

,excused himself and

,thanking the artist

in the most friendly manner, told him that he might disposeof the work as he best could . But Andrea carried the picture back to his house

,and notwithstanding all the applications

that he rece ived for it,which were many, would never part

with the painting to anyone . But when the siege was over,

and the M edici had returned to F lorence, he once more tookthe picture to M esser O ttaviano, who then received it mostgladly

,and

,thanking Andrea very kindly

,paid him double

the price of his work (Bohn’s ed.

,

An admirable picture,

” says Hazlitt of our version,and

only inferior to Raphael . It has delicacy,force

,thought

,and

feeling . What lacks it “ then , to be equal to Raphael? Wehardly know,

unless it be a certain fineness and freedom andglowing animation . The execution is more timid and laboured.

It looks like a picture (an exquisite one, indeed), but Raphael’s

looks like the divine reality itself .

” Haz litt’s criticism will

recall to many visitors the comparison with Raphael whichBrowning, in his study of Andrea del Sarto (called theF aultless put into the mouth of the painter himself.O ur version was formerly in the C olonna collection ,

and wasa favourite of Sir Joshua Reynolds . Desenfans (No . 9 in hisC atalogue) adds that Louis XV . endeavoured unsuccessfully topurchase it through his Ambassador in Rome .

252 . S t . C a th er ine of S iena .

SAC CHI (Roman : 1599

Andrea Sacchi, born at ROme, received his early instruction

from his father Benedetto Sacchi,and afterwards from

Albano . C ardinal Antonio Barberini was his protector andfrienci , under Pope Urban VIII . Later on he visited the

gi inmpal towns of North Italy, and imitated C orreggio afteris return to Rome, where he died . His works are verynumerous in Rome . His scheme of colour is forcible

,the

expression of his fig ures lively, and the arrangement of his

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1762

F ontano and -Bahtolommeo Passerotti , under the g uidance z of

his cousin L odovico , and worked in competition with hisbrother Annibale . He then gave himself up to a more generalstudy of art and science

,especially of engraving , under the

direction of Domenico Tibaldi , architect and engraver atBologna .

and of C ornelius C ort at Venice, where he alsocame under the influence of Tintoretto and Paolo Veronese.

He studied the works of C orreggio at Parma . F rom 1589 hepainted at Bologna, and was a teacher at the Academy foundedby Lodovico (306 No . At Rome he worked for a shorttime at

'

the Palazzo F arnese, and then went to Parma to enterthe service of the Duke R-anuccio I . F arnese . He died there,in the C apuchin C onvent, whither he had retired before hisdeath . Agostino is better known by his engravings than byhis paintings ; these are very rare . His masterpiece,

“ TheC ommunion of St . J erome

,

” is in the Picture Gallery atBologna .

The Saint, assisted by monks , is lying at the foot of analtar

,before which a grey- bearded priest holds the paten and

Host,ready to administer Holy C ommunion to the Saint ;

behind the altar the picture of a M adonna enthroned withthe infant C hrist . The whole composition consists of ten

fig ures . C anvas : 2 ft . 13 in . x 1 ft . 94 in .

Very careful in execution the heads very expressive . Note,

for inst ance, the monk (nearest to the spectator) kneeling withclasped hands ; and the face of the priest, looking down onthe dying man ’s upturned face . A genuine and remarkablework of this rare master . F ormerly ascribed successively toAnnibale and Lodovico C arracci .

2 5 6 . T h e V irg in w ith th e In fa nt S av iou r .

UM BRIAN SCHO O L (15th— 16th C entury).The Virgin, a three- quarter- length fig ure , her face turned to

the right ; 10W crimson dress,a bluish- green mantle

,violet

headdress . She holds the infant C hrist standing on her laphis hands are on his 'mother

’s neck

,whilst his face is turned

towards the spectator. A landscape in the background. Blue

sky with clouds . Panel : 2 ft . % _

in . x 1 ft . 5 in .

The design and the character of the composition in thispretty , but very rouch re - touched

,picture

,suggest the pmbrian

School . At one t ime ascribed to L . da Vinci or his School .

2 57 . M a ry M a g d a le n e .

C IGNANI (Bolognese : 1628Qai lo, son of Poinpomo C ig nan i , was born at Bologna . He

was of . noble fami ly , and studied painting under Giovanni

Battista C airo , and F rancesco Albani , and developed his“

powerby studying the works of C orreggio and the C arracci . He

lived as an independent artist,first in Bologna , then for a

short time in Leghorn ; afterwards for three years in Rome ,and again in Bolog na, whence he was called to Parma by theDuke Ranuccio F arnese, and knighted . Afterwards C ig nanipainted in Bologna numerous pictures for Italian and foreignpotenta

'

te s, e .g . . L ouis XIV .

, and was also patronised byPope C lement XL , after whom the newly- founded Academy ,

of which C ig nani was the head , was called C lementine .

”

In the year 1686 he began the fresco representing the Assumption of the Virgin

,in the cupola of the Duomo (S . C roce) at

F orli , near Ravenna , Which was finished in the year 1706 . He

died at F orli .C arlo C ig nani may be considered the last classical painter

of the Bolognese School . His compositions are elegant, hiscolouring attractive

,the design accurate ; his pictures are

mostly of a cool tone . Amongst his numerous pupils theprincipal are F erdinando Bibiena

,Venture. Lamberti, C arlo

Ricci, Giuseppe M aria C respi, M arc Antonio F ranceschini .

Half— length fig ure , life- size,seen in profile to the left ;

brown hair hang ing loosely down her shoulders . Whitedrapery and reddish mantle . Both arms bare . The hands claspa skull placed on a book

,from which the Saint reads . Dark

background . C anvas : C ircular , 3 ft . 2 in . diameter .

F or the subject , see the note on No . 154 .

258. Portra it of a Y ou ng M an .

PIERO DI C O SIM O (F lorentine : 1462

Piero was born in F lorence , the son of a jeweller , Pietro diLorenzo ; he was called di C osimo after his godfather andmaster in painting

,C osimo Roselli . Until 1485 he worked as

a pupil of Roselli, in the S istine C hapel at Rome, and afterwards at F lorence . F ra Bartolommeo and M ariotto Albertinelliwere his companions . That he was highly .

respected as apainter is shown by the fact that he was invited, in the year1503 , to take part in the consultation about the erection ofM ichelangelo’ s David .

” The . statue is introduced in thebackground of a portrait by Piero in the National Gallery

(No . His personal peculiarities , h1s tastes. h1s mode oflife are fam iliar to all who have re ad George Eliot

’s Romola,where Vasari ’ s amusing anecdotes are worked in .

The head turned somewhat to the left, hands not visible ;brown long hair ; reddish brown draw with g reyish blue sleeves .

27930

164

A tower on the left in the distance . Blue sky . Panel1 ft . 7g in . x 1 ft . 4 in .

Very decisive in its design . The hair painted With thegreatest care

,but the colours not well preserved . At one

time the picture was attributed to L eonardo da Vinel . Dr.

Waagen called it an excellent picture of Boltrafi'

io .

”M r.

Sparkes (1876) said it looks like a F lorentine p icture of thefifteenth century ,

” and Dr . Richter (1880) claimed it as“ a

very characteristic work of Piero di C osimo .

” It is interestingto notice the background in this piece of F lorentine portraitureof the 15th century .

,To place the portrait in a landscape

was a frequent, indeed almost'

the common,practice

,and the

convention survived,though

'

with variations , for a long time.

Presently the advantage of introducing an object of locallydark colour behind the head was perceived

,and a background

of a curtain or other drapery was introduced ; but a piece ofit was drawn back , so as still to display landscape ; or if thebackground were a room

,a window was shown open for the

same purpose . Examples of these varieties of treatment inItalian portraits may be seen in the National Gallery . F or

remarks on various conventions , as seen in our Gallery,compare No . 576 .

259 . Hea d of th e M a d onn a .

School of ALBANI (Bolognese : 1578 S ee 583

The face turned to the left,red garment

,blue mantle

,and

white headdress . The left hand on her bosom ; the right notvisible . C anvas : 2 ft . 1} in . x 1 ft . 63} in .

Albani’s manner is here to be recognised in the choice of thecolours, and in the reddish tint of the flesh tones . At one

'

time attributed to Andrea Sacchi ; and to C arlo M aratti byHaz litt who greatly admired the picture . It has great “

beauty , he wrote , great elegance,great expression

,and

great brilliancy of execution one of the most perfectpictures in the collection .

”

260. V enu s G a th e r in g A p p le s in th e G ar d en ofth e He s p e -rid e -s .

ITAL IAN SCHO O L (17th C entury).

Venus, undraped and turned to the right , stands before atree , gathering apples ; behind her C upid holding up a bluedrapery . A palace, trees, and fountain in the background .

C loudy sky . C anvas : 1 ft . 6} ih . x 1 ft . 24} in .

F ormerly ascribed to Domenichino, but different in stylefrom the works of that master (Richter).

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166.

of John uttering his prophecies is most admirable, and h is

body most nobly painted . His mouth is painted with peculiarbeauty and elegance

,open . Saw

‘

some capital Vandykes , anda capital Nativity , small (about 2% ft.) by Ann . C arracci, aglorious picture some good landscapes by Both , Berghem , andone of Ruysdael in particular ; a room full of C uyp

’s, another

of Nic . Poussin’ s , neither of which I admired very much.

”

The glorious Nativity does not seem to have descended toour Gallery . If M r . Hunter expressed at the time his failureto admire the Poussins

,M r . Desenfans might have had

something to say to him (see under No .

2 6 3 . T h e As sum p t ion of th e V irg in .

NIC O LAS PO USSIN (F rench : 1594 See 101.

Bushes in the foreground ; in the middle distance a mountaintown with many towers ; before it a waterfall ; steep rocks inthe background ; above, dark clouds , on which the Virgin isseated with outstretched arms

,wearing blue garment

,red

mantle,white headdress . Panel : 1 ft . 7 in . x 1 ft . 2% in.

Engraved by R . C ockburn .

A beautiful poetical landscape with the Virgin carried upon clouds tinged with gold . A small picture

,noble and pure

in feeling, p owerful and clear in colouring”(Waagen).

“ Abeautifully

'

finished landscape of a mountain town,away among

the Apennine or Tyrolean hills ; domes , towers , and picturesquebuildings form a charming group . The blue distance beneaththe

.Virgin and beyond the nearer hills is most delicately

painted (Sparkes).

2 6 4 . T h e T h re e G ra ce s .

RUBENS (F lemish : 1577 See 1.

C lasping each other, and with only a veil around them,the

Three Graces begin a dance , one of them holding up a tambourine . In the background , bushes , and a circular temple.Grisaille on panel : 1 ft . 3} in . x 1 ft . 3} in .

— »Princess VictoriaSeries

,ii .

Rubens seems to have been inspired for this composition byRaphael ’s representation of the same subject

,in the r Duc

d’Aumale

’s colection ; so that we have the Three Graces

a l’Italicnnc at C hantilly , and a la F lafna fndc at Dulwich.

2 6 5 . T he E ntom bm ent of C h r is t .

ANNIBALE CARRACCI (Bolognese : 1560— 1609),S ee _ 230.

Intf the foreground , three men carrying the body of Christinto a pave i on the _

1eft, La young man with a candle ; ,on

,_

tlle

16 7

right, a woman sitting on the ground lamenting.In the

distance, two women helping the fainting M adonna . Rocksand dark sky in the background

. C anvas : 1 ft . 6% in . x1 ft . 23 ih .

This fine picture , ascribed by Dr . Richter to Annibale,had

formerly been g iven to L odovico C arracci . The fig ureof

Christ recalls M ichelangelo ’s Pieta in St . Peter ’s at Rome .

26 6 . S t . B a rb a ra .

C opy after TITIAN (Venetian : 1477 S ee 198 .

Turned to the right, the head'

seen in profile ; fair hair fallingdown on he r ne ck ; low black bodice ; arms in sleeves the lefthand on the turret, her distinctive emblem (see No .

-Darkbackground . Panel : 132 in . x Si in .

Ah old copy , with very slight variations, of the life - sizefig ure of St . C atherine of Alexandria introduced by Titian inhis large altar- piece La M adonna di San Niccolb,

” painted in1523 ; now in the Pinacoteca of the Vatican at Rome .

Until1880, the p icture had been attributed to ‘Parmigia’no

.

26 7 . J ud ith w ith th e H e a d of H e lo te -

rn e s .

After C . ALLO RI (F lorentine : 1577

C ristofano Allori was born at F lorence,the son of a painter

,

Alessandro Allori , who also wrote a treatise on anatomy .

C ristofano was a pupil of his'

father,and of Santi di Tito— both

followers of M ichelangelo . C ristofano,however

,soon joined

Lodovico C ardi da C igoli and Gregorio Pagani,who

,in opposi

tion to the M ichelangelesque style,laid stress on the importance

of studies from models and on colour . While scrupulously conscientious in the pursu it of his art, he was at the same timequite a man of the world in society

,and

,moreover

,a poet in

the burlesque style of Bernini . He entered a brotherhood,but

only remained there a short time . In the later part of_

his lifehe lived with M ez z afirra

,a courtesan . He died at F lorence .

C ristofano Allori is a less important artist than his fatherAlessandro and his uncle Agnolo di C osimo , called Bronzino .

He made several clever copies of C orreg g io’s M agdalen lying

on the ground . He painted but few pictures, and those chieflyportraits

,of small size, on copper .

Judith,a sword in her right hand , in her left the head of

Holofernes turned to the left . She is clothed in a yellow damaskdress a crimson and blue mantle, white sleeves ; a white stripedscarf

i

around her waist . O h the rig ht, the - servant of Judith,

168

with a white headdress . - Dai:k background . Three- quarterlength fig ures . C opper : 115 in . x asin .

The original of this picture,life- siz e, in the Pitti Gallery

at F lorence, No . 96 , is generally considered the painter’ s master

piece . The head of Holofernes is that of the painter , who (weare told) permitted his beard to grow for this purpose . Thefine head of Judith is a portrait of M ez z afirra and that of theservant

,of her mother . Whence

,say some, Allori painted the

subject as an allegory to indicate the torture he constantlyexperienced from the capricious pride of the daughter and thegreedy rapacity of the mother .

” According to Baldinucci, thepicture was a commission from the C ardinal Alessandro Primo .

A smaller copy by the hand of the master is in the Gallery ofthe Ufiiz i at F lorence, and others are in the Palaz zo C orsini,F lorence , the Palazzo C onestabile, Perugia, and the BelvedereGallery, Vienna . The copy before us was attributed in thefirst C atalogue of the Gallery to Sebastien Bohrdon (seeNo .

2 6 8 . S t . S eb a s tia n .

After GUIDO RENI (Bolognese : 1575 S ee 204 .

Nearly whole- length fig ure , life- size,facing the spectator ;

white drapery round his hips ; his hands behind his back tied toa tree

,his head lifted upwards ; an arrow near his left hip ;

on the right , in the distance, four soldiers ; a barren landscape ;dark sky . C anvas : 5 ft . 6 in . x 4 ft . 3 in .

— Princess VictoriaSeries

,ii .

In this picture,the influence of Guercino, says Dr . Waa en , is

evident . It is no longer attribute d to Guido Reni himsel inthe imperfect modelling of the fig ure and in the strong contrastof light and shadow, which is wanting in harmony, the handlingof a pupil is perceptible (Richter). Guido was fond of thesubject and frequently repeated it . M rs . J ameson found thepresent picture admirable

,free and executed with more

power than is usual with him .

”C harles Kingsley in Alton

Locke describes the effect which it had on the unsophisticatedtailor and poet

Timidly, but eagerly, I went up to the picture, and stoodentranced before it . All the world knows the picture

,and all

the world knows, too , the defects of the master , though in thisinstance he seems to have risen above himself

,by a sudden

inspiration, into that true naturalness which is the highestexpression of the spiritual . But the very defects of the picture,its exaggeration, its theatricality, were especially calculated tocatch the eye of a boy awaking out of the very narrow dulness of Puritanism . The breadth and vastness of light and

shade upon those manly limbs, so grand and yet so delicate,

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170

2 71. C hris t a s S aviour of th e W or ld .

SCHO O L O F C O LO GNE (German : 15th C entury).

Seen in full face . Blessing with the right hand, the leftcarrying a globe

,the symbol of the world greenish tunic, red

mantle,lined with '

g reen ,and fas tened by a gold brooch . Dark

background . Panel : 105 ih . x 85 in .

Strange as it may seem ,this picture was at one time attri

buted to L eonardo da Vinci , It is clear, said Dr . Richter,from the design and colouring

,as well as from the general con

ception of the picture, that it is the work of a Northern artist .

The features of Chr ist, the tone of the colours, and the singularglassy look of the eyes

,are quite in the style of the School of

C ologne under the influence of M aster Stephen

2 72 . T h e Infan t C h rist a s th e G ood S h e p h erd .

After M URILLO (Spanish : 1618 S ee 187.

The infant Christ, about five years of age, stands in front,the face turned heavenwards his left hand is raised and holdsa shepherd ’ s crook ; his right on the head of a sheep ; red dress ;two sheep looking up ; a tree on the left ; blue sky . C anvas1 ft . 55 in . x 1 ft .

This is a copy after the original picture which is in the colleetion of Baron L ionel Rothschild at Paris

,and in which the

fig ures are life- size . Another copy,of the dimens ions of the

original,and painted by Grimou

,is No . 59 in the Bridgewater

House C ollection . As a painter of children,says Stirling

(iii . , M urillo is'

the Titian or Rubens of Spain . Heappears to have studied them with peculiar delight

,noting their

ways and their graces in the unconscious models so abundantlysupplied by the jocund poverty of Andalusia . These sketchesfrom common life are worked up by M urillo in his religiouspictures with consummate skill , and with a refinement thatdetracts nothing from the reality of nature . O f this the St.J oh'n. fondling 0, Lamb

,now in our National Gallery, and the

Good Shepherd, a lovely auburn- haired boy,looking up to

heaven with holy rapture , may be cited as charming examples .

2 73 . E urop a R id in g on th e B u ll .

C opy after TITIAN (Venetian : 1477 S ee 198.

O u be right, the bull with a garland of flowers round hishead ; uropa sits on the back of the beast

,holding with her

left hand one of his horns ; she is dressed in a white garment ;a red drapery in her left hand on the left

, Eros clinging toa dolphin

,disporting along in the course of the bull . Beyond,

171

on'the distant shore , women and cattle ; above , two amorinl .

Blue'

sky With clouds . C anvas : 1 ft . 6 in . x 1 ft. 95 in .

This is a small copy of the original which passed in 1896

from the collection of the Earl of Darnley at C obham Hall intothat of M rs. J Gardner at Boston

,U .S .A. There is another

,

and better , copy of the same. size as ours in the Wallace colleetion (probably by a Spanish artist). The orig inal picture , one

of the most notable productions of the master ’ s later time,was

sent in 1562 to King Philip II . of Spain .

O ur picture was used by Ruskin to illustrate his thesis thataerial truth was sometimes and necessarily

,sacrificed by the

old masters in order to secure richness and solemnity of tone .

In the exquisite and inimitable little bit of colour,the

Europa in the Dulwich Gallery,the blue of the dark promontory

on the left is thoroughly absurd and impossible,and the warm

tones of the clouds equally so,unless it were sunset ; but the

blue especially, because it" is nearer than several points of land

which are equally in shadow,and yet are rendered in warm

grey . But the whole value and tone of the picture Would bedestroyed if this blue were altered (M odern Pictures, vol . i .

,

pt . sec . i i ch . F or the subject,see No . 212 .

274 . Ho ly f am ily .

CARLO M ARATTI (Roman : 1625— 1713)

M aratti,nicknamed C arluccio delle M adonne from the

numerous M adonna pictures he painted,was born at C amerano

,

near Ancona . He went to Rome in 1636 , and was for ten yearsin the studio of Andrea S acchi (see No . but was speciallyinfluenced by Annibale C arracci and 'Domeni‘chino . He thenreturned to his native land

,and settled finally in Rome in

1650.“

Six Popes gave him commissions for important works .

He also painted in other great towns in Italy .

M aratti,s'

ays Sir Joshua Reynolds,knew and practised all

the rules of art,and from a composition of Raffaelle

,C aracci

,

and"

Guido made up a style of which the only fault was thatit had no manifest defects and no striking beauties Bydiligence he made the most of what he had ; but there wasundoubtedly a heaviness about him which extended itself

,

uniformly,to his invention

,expression

,drawing

,colouring,

and the general effect of his pictures . He never equalled anyof his patterns

'

in any one thing, and he added little of hisown .

”

In the centre,the M adonna seate d , in a white dress and

blue mantle . O n her lap the infant C hrist embracing St . Johna; lamb stands near her . To the left

,St . J oseph seated

,with

hisjrig htfhan

'

d onf the cradle. Behind , St . Eliz abeth Zacharias

172

standing,holding an Open book ; infant angels above . Blue

sky and architecture in the background . C anvas : 1 ft . 6} in.

x 1 ft . 25 in .

2 75 . T wo Infan t An g e ls .

School of M URILLO (Spanish : 1618 See 187.

Two infant angels,floating on clouds and contemplating the

C rown of Thorns,which lies below on the right. C anvas :

85 in . x 105 in .

2 76 . T h e A dora t ion of th e M a g i.

School of M URILLO (Spanish : 1618 S ee 187.

O n the le ft, the Virgin , seated , with the C hild in her lap ;behind her

, St . J oseph, standing ; on the right, the kings inadoration ; one in a yellowish mantle, kneeling ; another, in ared mantle

,standing ; they are followed by others — in all

, elevenfig ures . M ountains in the background ; dark sky . C anvas :1 ft . 1 in . x 10 in .

Probably taken from a large composition .

2 77 . Portra it of a B oy .

JUAN DE PAREJA (Spanish : 1606

Juan de Pareja was born at Seville . His parents belong edto the class of slaves then numerous in Andalusia . It is notknown whether he came into the possession of Velazquez bypurchase or inheritance but he accompanied him to M adridin 1623 , and remained in his service until he died . He soonacquired an acquaintance with the implements of art

,and an

ambition to use them . He watched the proceedings of hismaste r and privately copied his works

,and as he accompanied

him on his journeys to Italy, he had opportunities of becomingacquainted with the works of other great artists . His naturewas so reserved that he had reached the age of forty- five yearsbefore his maste r knew that he painted at all . O nce WhenPhilip IV . visited the studio of Velazquez

,the King’s attention

was drawn to a painting done by Pareja,which so pleased the

King that he gave him his liberty,though he remained with

his master until his death His portrait,painted by

Velazquez,is in the collect ion of Lord Radnor .

The boy , about five years of age, is seen in profile , turnedto the left, life- siz e ; long black hair , falling down on his

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2174

'half— length -fig u-

_

re , turned to the right, and looking towardsthe spectator life -siz e . Brown backg round. C anvas, Circular :1 ft . 75, ih . in diameter .

At one time ascribed to Guercino .

2 81. L a M a donn a d e l R os a r io .

M UR ILLO (Spanish : 1 618 S ee 187.

The M adonna sits enthroned on clouds ; pink dress , darkblue mantle

,yellow veil ; on her lap the infant C hrist holding

a rosary ; four infant angels floating on clouds below ; yellowlight behind the M adonna . C anvas : 6 ft . 55 in . x 4 ft. 2 in.

— Engraved by Groser also in mezzotint by Say. PrincessVictoria Series, ii .When the Virgin or C hild holds the rosary, the picture is

called a M adonna del Rosario, and was painted for the

Dominicans,whose founder instituted the Rosary . Some

spectators (M rs. Jameson , for instance) have found M urillo’s

M adonna in this picture deficient in elevated religiousfeeling ” ; but it was admired by Tennyson . In noticing theword - picture in Tennyson’ s Palace of Art Edward F itz geraldapg ended this personal note to the - line sat smiling babe inarm I remember A. T . admiring the abstracted look of

a M urillo M adonna at Dulwich the eyes of which are on you,but seem ‘ looking at something beyond

,beyond the Actual

into Abstraction .

’ This has been noticed of some great men ;it is the trance of the S eer .

”

Desenfans valued this picture for insurance in 1804 at

2 82 . T h e W om an t ak en in A du lt ery .

GUERC INO (Bolognese : 1591

Guercino (the Squintling ) is the name given to GiovanniF rancesco Barbieri from an accident that distorted his righteye in babyhood . He was born at C ento

,a small town in the

province'

of Bologna . His father was a poor woodman,who

,

supplying the neighbourhood with faggots,took Guercino With

him to mind the cart . These constant visits to Bologna gavethe l

_ad many opportunities of cultivating his love of

'

art.

Amongst other painters with whom he studied was B . Gennari(No . F rom 1615 to 1617 he was at Bologna ; in 1618he visited Venice ; in 1620 he painted at F errara for theC ardinal J acopo S erra, and received through his influence theti tle of C avaliere (Knight). In the following year he

'

was

summoned to Rome by the C ardinal Alessandro Ludovisi, whobecame Pope under the name of Gregory XV . (1621Guercino -returned to C ento aft er the Pope ’ s death .

KingJam

‘

es 1. of England , and Louis XIII . of F iiance,invited him

175

in vain to their C ourts , as he preferred to stay in Italy . Heworked at Reggio in 1624

, at Piacenza in 1626 , and finallysettled in Bologna in 1642 .

Guercino though not a pupil of the C arracci,seems to

have. been influenced by their principles,as his fig ures have a

certain calm , statuesque pose . But in colouring he appearsrather to have taken the realism of C aravaggio for his model .It is forcible and often harmonious in violet tones with stronglights and deep shadows . He bestowed particular care on theroundness of the human form . His compositions are clever

,

and sometimes show genuine sentiment . Browning,it may be

remembered , made a poem out of The Guardian Ang el ,picture'

at F ano, for dear Gue rcino ’s fame smee hedid not work thus earnestly at all times .

”

O n the right the accuser,an old man in a brown coat

,

gesticulates with his fing ers. O pposite to him is Christ,pointing to the woman, who stands on the left

,and is seen

in profile . She is held by a soldier,and St . Peter looks at

Christ over her shoulder . Background a_wall

,and some blue

sky to the right. The fig ures are half- length,life- size.

C anvas : 3 ft s 15 in . x 3 ft . 11 in .

A fine and very characteristic work of the master,highly

finished and painted with much care . The contriteexpression of the woman , with her folded hands and eyes‘ bowed down with penetrative shame ’ is exceedingly fineand touching the attitude of the accuser is also most expressive, but the head of the Saviour a failure (M rs . Jameson).

28 3 . T heA d ora t ion of th e S h e p h erd s .

DO M ENICHINO (Bolognese : 1581

Domenico Zampieri , called Il Domenichino, was born atBologna . His father, a shoemaker , h ad at first destined himfor the study of science , but, yielding to his son

’s wishes, senthim to the studio of D ionysius C alvaert, a F lemish artist,who had settled at Bologna . It was there that he made theacquaintance of Guido Reni, and they both entered the schoolof the C arracci

,where Domenichino became an intimate friend

of Albani . In Parma he studied the works of C orreggio ; inRome

,whither he was called by Albani , he aided Annibale

C arracci in the fresco paintings in the Palazzo F arnese . His

frescoes at Grottaferrata , near Rome 1 and his most importantoil— painting

,the C ommunion of St . J erome ,

” now in theVatican

,painted about 1607, excited the Jealousy of Guido Rem ,

Lanfranco,and others, on account of which he returned to

Bologna on April 18, 1612 ; but a month later he was againcalled to Rome to execute new works . He afterwards married

176

at Bologna . When C ardinal Ludovisi was made Pope in theyear 1620, under the name of Gregory XV . , he receivedfresh orders

,and was appointed architect of the Apostolic

C hamber . Afte r the death of the Pope (1623) he was calledto Naples, in order to decorate the C hapel of St. Januarius.

He was there exposed to the intrigues of the painters belonging to the naturalistic school , and died , it is said, throughci son .pDomenichino was perhaps the ablest painter of the School of

the C arracci . In their lifetime and during the 18th centurythose painters were extolled to the skies (see above, p .

Domenichino,in particular

,was credited with “ the same

wand which belongs to the poetical enchanters .

” Ruskin withclang our of emphasis dismissed him as an art weedcausing his friends , M r . and M rs. Browning, to wonder howhe could blaspheme so against a great artist .

”Later criticism,

While not endorsing the raptures of the 18th century,credits

Domenichino with genu ine ability . O f his most pleasing work,

the D iana and Nymphs ,” in the Borghese Gallery at Rome,

M orelli said that it was a charming picture worthy of apurer period of art : full of cheerful animation and naive,delightful details .

”

In the centre,the manger

,with the infant C hrist behind it,

his mother kneeling, uncovering the C hild ; near her, threeangels in adoration . In the foreground

,on the right, four

shepherds kneeling ; two others entering the doorway ; beforethe manger , two boys, one offering a dove . O n the left

,a man

standing and playing on a bagpipe . In the background,St . Joseph giving a bundle of hay to an ass . A wall behind ;on it three infant angels holding a scroll and singing. Acomposition of eighteen fig ures . C anvas : 4 ft . 75 in . x3 ft . 85 in .

This is a very good example of Domenichino cleverly composed

,carefully drawn, and full of expression . The principal

object is the infant Christ, and the light of the whole picturecomes from Him . The faces of the little angels bendingclosely over the C hild are pretty

,and their loving adoration is

well expressed . Among other fig ures, special attention may becalled

"

to the old man , kneeling, who screens his eyes fromthe miraculous light ; and to the fine head of St . Joseph .

284 . He ad of M ary M a g da len.

School of GUIDO RENI (Bolognese : 1575 See 204 .

The face seen in full, the eyes turned upwards ; a blue mantle,red dress, and brown head- dress ; dark- grey backgroundC anvas : C ircular

,1 ft. 7 in . diameter ; originally oval .

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178

pictures . He is said to have studied afterwards at Venice . Hesettled at Rome

,and there created a new style of his own .

M arried to a Roman lady,he very often took her as a model for

his pictures . O ccasionally he imitated Annibale C arracci andGuido Reni , espec ially in the character of his heads , but inge neral his style may be called an independent eclecticism . Healso occupied himself with chemical problems for mixing colours.His pu pils were Giovanni C eschini and Giovanni Battista Rossi,called Gobbino . Turchi

’s pictures were este emed for the noble

expression of his portraits and the ruddy tone in his colouring .

His subjects were , Scriptural, historical, and es ecially mytholo

g ical . Turchi’s pictures are very numerous at erone , and are

also found in the galleries of Dresden , Paris, M adrid , and elsewhere .

O n the right the M adonna, on an elevated seat, violet dress,blue mantle . She bends forward , holding on her lap the infantC hrist

,who is in the act of blessing . Ah angel stands behind

her,another before her

,holding a candle . O pposite her a

Venetian Procurator kneels in adoration . He is dressed in ascarlet and ermine robe of state . Behind him is LorenzoGiustiniani in a grey coat . Near him an atte ndant fig ure bearing a processional cross . Two angels are floating over the scene,one carrying a lamp . Grey background . Black marble :arched top

,1 ft . 7 in . x 95 in .

San Lorenzo Giustiniani , of Venice, was born in 1380. Hebecame distinguished in his retirement for his indefatigable careof the p‘

oor,for his penances, and his mortification . By Pope

Eugenius IV . he was created Bishop of C astello,and afterwards

first patriarch of Venice . He died in 1455 . The peoplebelieved that the

'

Republic had been saved from plague,war

,

and famine by his prayers and interce ssion . He was beatifie ‘

d

by C lement VII . in 1524 , but not canonised until 1690, by adecree di Alexander V] II .

, a Venetian . In Turchi’s picture,therefore

,his head is not surrounded by a nimbus . A contem

poraneous portrait of him , by Gentile Bell ini , is in the Academyat Venice . His portrait has been painted also by C arpaccio , andby Pondenone in his masterpiece, the

“ Glory of the Saint,”

which is also in the Academy of Venice .

Waagen mentions our picture under the name of Turchi,giving

,however, an incorrect description of it . According to

him it was formerly called P. Veronese , an Adoration of theKings .”

288 . T h e D esc ent from th e Gros s .

School of VAN DYCK (F lemish : See 81.

In the centre, the Cross . Two men , on ladders, let down thebody of C hrist, which St. John , who wears a green tunic and

179

red mantle, receives . O u the left, the Virgin faints in the lap ofM ary M agdalene, who demonstrates her agony by uplifted andoutstretched arms . O n the right

,a fig ure in brown mantle

,

seated on the ground . Dark background,with bits of blue sky

cherubs’heads round the C ross . (It has been stated by M rs .

Jameson and others that this picture is dated 1619 ; but thenumber 2619 in the

‘

right corner is evidently a collector’ s mark .)Panel : 1 ft . 105 in . x 1 ft . 43 ih .

Delicate ly executed ; but not well preserved .

289 . Holy F am ily.

BUGIARDINI (F lorentine : 1475

Giuliano di Piero di S imone Bugiardini was born at F lorence .

He studied the antique in the M edici Gardens,where he became

acquainted with M ichelangelo . With him he entered the studioof Domenico Ghirlandajo . Afterwards M ichelangelo employedhim at his fresco-

paintin s in the S istine Chapel He

also assisted M arie tte bertinelli . During the political disturbances in F lorence

,he probably lived at Bologna, where

numerous pictures painted by him are preserved . In the year1526 he was again in F lorence, where M ichelangelo became hispatron . He died in F lorence, and was buried in the C hurchSta . M aria Novella . Bugiardini often worked after thesketches of other great painters , as F ra Bartolommeo and

M ichelangelo . His own original pictures, which are often attri

buted to other artists , are mostly representations of M adonnasand Holy F amilies .

The Virg in ,seated on the ground

,suckles the Child, who sits

on her lap . O u the left , St . John bearing a cross . O n the right,

St . Joseph sleeping, with his head resting on his hand . Arock and bushes in the background . O utline nimbi round theheads . Panel : 2 ft. 85 in . x 2 ft . 2 in .

This p icture was sent to M r . Desenfans by M . Lo Brunfriim Paris in 1790 as a Sassoferrato . The picture has beenalmost entirely re- painted, so that little of the original workcan be seen . It was attributed by Dr. Richter (1880) toBugiardini under the influence of F ra Bartolommeo .

290. Portra it of an O ld L a dy .

School of RUBENS (F lemish : 1577 S ee 1.

F ull - length fig ure of a lady sitting in an arm- chair, facing

the spectator , life - size ; black dress trimmed with fur, whiterufl’ black cap , a prayer - book in her right hand, a handkerchief

180:

in her left ; columns and a red curtain in the backg round .

C anvas : 5 ft . 65 in . x 3 ft . 45 ih .

Supposed to represent the mother of Rubens , M aria Pypeling

,by whom

,as he lost his father early, the painter was

brought up ,and whom he never ceased to regard with tender

ness and respect . He left home in 1600, and did not see heragain

,as she died in 1608 during his absence in Italy . Proofs

of the identification of the portrait are, however , wanting .

M r . Denning, in examining the picture , noted that on thecurtain in the background a shield containing a coat of armshas been oblite rated .

” The execution ,” said Dr. Richter

,

is too simple and not spirited enough for Rubens .

” Thepicture was a favourite with Holman Hunt DulwichGallery ,

” he writes in his autobiography , was one of myhaunts . There I observed that an early portrait of his motherby Rubens had surprisingly the characteristics of care andhumility .

” How grand and dig nified she is , yet how perfectly natural ! how exquisite ly true

,her calm

,quiet smile

and her kindly , honest eyes ! how wonderfully drawn andpainted are her hands (Bentley

’s M iscellany, vol . 10, p .

291. C harle s K em b le .

H. P. BRIGGS , R .A. (English : 1791

Henry Peronnet Briggs was born in Walworth . In 1811 heentered the schools of the Royal Academy

,where he began to

exhibit in 1814 . He painted historical subjects ; but from thedate of his election as R .A. he exhibited mostly portraits .

Head to the left ; face nearly full ; dark robe, white collar .

C anvas : 2 ft . 55 in . x 2 ft . 1 in .

C harles Kemble, 1775— 1854 , the distinguished actor ; youngest

brother of John Kemble (No . 111) and M rs . S iddons (No .

Tall and with a full share of the Kemble beauty.he was

eminently picturesque in tragic characters .

” He was the fatherof F anny Kemble, actress and writer , and of Adelaide Kemble(afterwards M rs. Sartoris), singer and write r .

This portraitwas presented to the Gallery by George Bartley

,the actor .

292 . S t . V e ron ica .

CARLO DO LC I (F lorentine : 1616 S ee 242.

Half- length fig ure , life- size, seen in front ; red dress . bluemantle, brown scarf . Round the head a nimbus

; dark'

background . C anvas : 2 ft . 7 in . x 2 ft . 15 ia .

,oval

.

Saint Veronica, according to the leg end ,was a noble lady

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182

other fig ures standing behind . At the back, on the right, awall ; on the

'

left,blue sky . C anvas : 1 ft . 65 ih . x 1 ft. 95 in.

As fine a picture,” says Hazlitt

,as need be painted— full

of character,of life

,and pleasing colour . It is rich and. not

gross .

” It is a sketch or study for, or a small copy (with somevariations) from,

the large picture by Jordaens formerly atDiisseldorf, and now in the M unich Gallery (No. Sir

J oshua Reynolds, in his note s on the Diisseldorf Gallery, speaksof the picture as well painted

,and adds the remarks quoted

above . The satyr opens his eyes and separates his hands inastonishment

,as he sees the boor warming his hand by holding

the hot dish and blow upon his spoonful of porridge . Thesubject

,usually called Blowing hot and cold

,

” is from La

F ontaine ’ s fable of The Satyr and the Traveller

Pour se sauver de la pluieEntre uh passant morfonduD ’

abord avec son haleineIl se réchauffe les doigts :Puis Sur le mets qu ’on lui donne,Dé licat

,il souffle aussi .

La satyre s ’en étonneNotre h6te a quoi bon ceci?L ’un refroidit mon potage ;

L ’autre réchauffe ma main .

’

Vous pouvez,’ dit le sauvage

,

Reprendre votre chemin .

’

294 . L ands cap e a nd C a t t le .

SmSr . F . BO URGEO IS , R .A. (English : 1756

A ee 6 .

A winding river ; three cows and a calf stand in the water,others coming down a bank towards it . Across the wate r, onthe left, a clump of dark trees ; on the right , fields and low hills.Grey sky,with storm clouds . C anvas : 2 ft . 95 in . x 4 ft. 85 ih .

295 . A Y oung M an D raw in g .

VENETIAN SCHO O L (16th C entury).

A youth, three—quarter - lo g th fig ure , life- size sitting in achair and holding a port olio and paper

,on which he is

drawing . His head is seen in front ; violet dress and whitesleeves, black hair . dark background . C anvas : 3 ft. x2 ft . 35 in .

F ormerly ascribed to Salvator Rosa . Broadly painted .

with dark colours , by an unknown artist of the latter part ofthe sixteenth century,

'

infiuenced by Tintoretto and PalmaGiovane (Richter).

183

296 . A R id ing S ch oo l in th e O p en A ir.

C UYP (Dutch : 1620 S ee 4 .

O n.the right,

‘

four gentlemen on horseback ; before them ,

a white horse With a rider in a red coat . O u the left,a horse

being trained on a circular path,and other fig ures . An old

castle near a river . trees , and a hill form the background.

Panel : 1 ft . 25 in . x 1 ft . 75 ih .

An early picture , strong in colour , and well preserved .This

appears to be the same picture that was formerly in theC ollection of

'

M . van Sling elandt ; sold in 1785 for 470 florims(Smith

’s C atalogue,No .

297 . L ands ca p e w ith C a tt le .

P. J DE LO UTHERBO URG,R .A. (English : 1740

O i Loutherbourg some particular account may here begiven ,* for it was in his studio that S ir F rancis Bourgeoisstudied painting and acquired the taste for art which culminated in his foundation of the Dulwich Gallery (306 above ,p . Loutherbourg was moreover

‘

a remarkable man,of

versatile talent, and led a full and various life . He was bornat F ulda in Hesse -Nassau , the son of a Pole who was courtpainter at Darmstadt . The boy was sent to Paris in his teenswhere he entered the studio of the battle- painter

,F ranqois

C asanova (sec No . Loutherbourg assisted his master,

and at the age of. 22 began exhibiting on his own account inthe Salon . His pictures

,of landscapes and battles

,were

loudly applauded by D iderot, and in 1767 he was elected amember of the F rench Academy . He travelled in Switzerland

,

Germany, and Italy, and in 1771 he came to England , wherehe was naturalised and continued to reside for' the remainderof his life . He began exhibiting at the Academy in 1772

,

and became an Associate in 1780, and Academician in 1781.

But painting was only'one side of Loutherbourg

’

s talent .

He had great mechanical aptitude , and shortly after hisarrival in England he was engaged by Garrick as superin

tendent of scenery and machinery at Drury Lane . In theGarrick M SS . at the Victoria and Albert M useum there aredocuments which give many curious and interesting detailsabout this engagement . Loutherbourg ,

. says. M r . Dobson,

made many valuable alterations in the i llumination of thestage

,then very inadequate

,for even sunk footlights

,With

In the preparation of this account,M r. Austin “

Dobso_

n’

s art icle in theNational‘ Review,

Jannary, 1912, hasbeen consulted correcting in some detailsthe Dictionary of National Biog raphy.

“

184

their ineffectual ‘fires,’ were of very recent date . He got f

'

ridof the 01d uniform background

,and by a skilful use of per

Spective managed to give a better idea of distance . He isalso credited with originating the set- scene,

’ or built—uppicture

,and he put an end to glaring anachronisms of

costume .

” Loutherbourg was a pioneer also in another sort.He was the inventor of moving pictures .

” In ' 1782 he

opened an exhibition which he called the Eidophusik'

on.

”

This was an ingenious system of painted scenes, which, by aclever dispositioii of lights, coloured gauz es and the like,imitated atmospheric effects at difierent times of the day,with music to accompany the movements of the pictures . Thenovel exhibition drew the tOWn ,

and Loutherbourg’s brethren

of the brush were among st its most enthusiastic admirers .Reynolds praised it warmly, and Gainsborough for a timecould talk of nothing else (see No . Loutherbourg

’s next

adventures were in the region of mysticism . He had made theacquaintance of the notorious mountebank , C ount de C agliostro.

He dabbled in M esmer ’s animal magnetism .

” He pursuedthe philosopher’s stone . He and his wife set themselves up as

F aith Healers . Loutherbourg , the painter , wrote HoraceWalpole to Lady O ssory, in July

,1789, is turned an

inspired physician,and has three thousand patients . His

sovereign panacea is barley water . I believe it is as efficaciousas mesmerism .

” His cures became celebrated , until, on asignal failure, a fickle mob smashed the windows of the F aithHealer in Hammersmith Terrace . Loutherbourg was on

friendly terms, too, with Richard Brothers, the Prophet ”

and Pr ince of the Hebrews,” whose ill-a dvised prediction

of the death of George III . , coupled with his own pretensionsto the succession, led to his incarceration as a treasonablelunatic .

” There is no reason to suppose that Loutherbourgwas insincere ; the broken windows were but a passing incidenthe was popular and respected , and the K ing sometimes visitedhim at Hammersmith . F or some years after 1783 Loutherbourg ’s pictures were principally of English landscape . Uponthe outbreak of the F rench war in ‘1793 , he resumed practiceas a battle painter . Some of his principal works in that kindmay be seen in the Painted Hall at Greenwich . An inordi

nate epitaph in C hiswick C hurchyard closes thus

Here, Loutherbourg , repose thy laurel’d head ;

While art is cherished thou can’ st ne ’er be dead .

Salvator, Poussin, C laude, thy skill combines,And beaute ous nature lives in thy designs .

M ore sober criticism finds that nature is what is deficient inhis desig ns . Trusting to his ready memory

," says Redg rave,

he needed or sought little reference to the great teacherNature ; hence though his drawing is good , his colouring is

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186

tree s,cottages , and a church in the background . Dark sky

to the right ; sunset to the left . C anvas : 1 ft . 105 ih . x2 ft . 75 in .

— Eiig raved by R . C ockburn .

A characteristic work of the master .

300. A S e a p ort : S unris e .

C . J . VERNET (F rench : 1714

C laude J oseph Vernet was born at Avignon . He received hisprimary instruction from his father

,Antoine Vernet

,a clever

artisan , Who painted decorations, and who sent his son by way ofM arseilles to Rome

,in order to enable him to make serious

studies . O u his sea- voyage, he resolved to become a marinepainte r

;for which purpose

,in 1732

,he entered the studio of

Bernardino F erg ioni, a marine painter in Rome . He visited,in

company with Pannini . and Solimena, the ruins and environs ofRome for the purpose of study . In 1753

,being recalled by M . de

M arigny, he returned to Paris , and was admitted as a memberof the Royal Academy in the same year . By order of Louis XV .

he painted a series of the Ports de F rance ,” a work which

occupied him for nine years . He died at Paris,December 3,

1789. Horace Vernet,the celebrated modern F rench painter,

was his grandson . His earliest landscapes show the influence ofSalvator Rosa . The pictures of his developed style are not ofa less distinguished colour than those by the Dutch landscapepainters , or those by C laude . He liked to introduce numerousfig ures .

A composition of a rock , in the middle of the foregroundwhich overhangs a river . In the left corner fig ures warmthemselves at a fire

,a tower on the same side . O u the right

men are fishing . S igned , J Vernet,

'

1767 . C anvas2 ft . 25 in . x 3 ft . 3 in .

C ompanion picture to No . 306 .

301 . F un era l Proce s s ion of W h it e r r ia rs .

SIRS’

P. F . BO URGEO IS , R.A. (British : 17561 cc 6 .

The background is mountainous ; in the middle distance a

lake is seen ; clouds rest on the hills . The procession comes outfrom a beech- wood on the right . The first part reaches theleft margin of the canvas and is led by three boys with candles

,

followed by one with a crucifix ; then a friar with a book,chanting ; then four other friars carrying the bier

.on which

the dead body is placed . O ther friars follow . C anvas : 4 ft.

4 ih . x 6 ft . 9 ln .

187

No. 179 in Desenfans’ C atalogue ; one of the pictures whichBourg eois was commissioned to paint for the King of Poland .

302 . S amue l L in ley,

T . GAINSBO RO UGH,R .A . (English : 1727

S ec 66 .

A three - quarter face of a young man, with powdered dark“

hair, black necktie, and pigtail, white shirt- front,and blue

coat ; a fine earnest face . C anvas : 2 ft . 5 in . x 2 ft .—Princess

Victoria Series, i i . ; The Linleys of Bath, p . 146 .

This beautiful portrait is of Samuel,son of Thomas L inley

(No . born 1760. He was brought up to music,but took

to the sea, and sailed as a midshipman with C aptain Welsingham in the Thunderer . Gainsborough painted him in his blueuniform before he left home in a few hours ,

” says oneaccount ; in one sitting of 48 minutes, s ays tradition in theL inley family

,less credibly . The lad is so like his sister

Elizabeth that if he had acted Sebastian to her Viola themistake of O livia would have appeared inevitable . F everpresently broke out on the Thunderer, and Samuel L inleycaught it. The ship put into Portsmouth to land the sick ;Samuel was taken home, and there afte r a few days he died,at the age of 18. The beautiful boy was tended in his illnessby a beautiful girl— Emma Hart, then domestic servant ofM rs. L inley

,afterwards

,as L ady Hamilton , famous on

Romney’s canvases and in the story of Nelson . (See The

Linleys of Bath, p .

303 . L andscap e w ith an A q u e d uct .

ITAL IAN SCHOOL (17th C entury).

In the fore round a steep grey rock‘

; be fore it a doorway,and a footpat with three fig ures on it . O n the right, in thebackground

,an aqueduct and a mountain ; clear sky, with

clouds . C anvas : 1 ft . 6 ih . x 1 ft . 5 in .

Probably a companion picture to No . 305 . Both were at onetime ascribed to Guillaume C ourto is, or C orte se (1621who was an imitator of J ean C ourteois, a painter of battle806 1108

304 . T he Princes s V ict o ria .

S . P. DENNING (English : 1787

Stephen Pointz Denning was'

a miniature painter . He wasalso employed to make drawings for engravers . The drawingfor the e ngraving of Sir David Wilkie ’s picture, C helsea

188

Pensioners receiving the news of the Battle of Waterloo,”was

made“

by'

him, as also several of M ulready’s most popular works.

He was keeper of the pictures in the Dulwich Gallery from 1821until his death .

F ull—Ieng th fig ure standing, large black hat with feathers,black velvet pelisse

,sable fur round the neck and crossed over

the chest,grey gloves

,one of which is held in the right hand ;

black shoes . Background,landscape and blue sky, With clouds.

Panel : 11 ih . x 85 in .— Engraved by M essrs . Dowdeswell .

A portrait of her late M ajesty, Queen Victoria, at the age

of four .

‘

She was then living with her mother, the Duchess ofKent

,in Kensington Palace

,and might often be seen walking

in Kensing ton Gardens . M r . Denning had doubtless made hissketch on such an occasion . The little girl is somewhatbunched up in not very becoming clothes . She was brought

up very simply . F or the summer the little Princess,” we are

told,

f ‘ had two muslin dresses and two plain gingham frocks,which wbre altered according to her growth .

” This popularpicture— which gives its name to the Princess VictoriaS eries — was bought by the C ollege in 1891 for £30.

305 . A C as t le and a. W at erfa ll .

ITAL IAN SCHOOL (17th C entury).

In the foreground on the right a rocky bank with a castle ;a stream rushes out from under a wall trees g row in the river

’s

gorge . In the distance, on the left, a village on a hill ; twofig ures in the foregr ound ; evening sky . C anvas : 1 ft. 6 in. x1 ft. 15 ih .

S ee No .-303 .

306 . A S e a p ort : S uns et .

C fJ . VERNET (F rench : 1714 See

A composition of water and ships ; a town on the right,women in the left foreground . S igned

,J Vernet,

C anvas : 2 ft . 25 in . x 3 ft. 3 ih .

C ompanion picture to No . 300.

307 . G irls a t W ork .

J . B . S . CHARD IN (F rench : 1699

Jean Baptiste S imeon Chardin , a native of Paris , receivedinstruction only in copying pictures

,but sooo attracted attention

by his still— life and genre pieces— devoid ot'

affectation, and 1D0‘

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190

309 . G ath e rin g G rap e s n e a r an A rch .

After C LAUDE (F rench : 1600 See 53.

O n the right a large Roman arch ,with reliefs ; before it trees,

covered with Vines ; close to it some fig ures, gathering grapes ;on the left

,a river ; behind it hills with towers . Evening sky.

C anvas : 1 ft . 75 in . x 2 ft . in .

At one time ascribed to Herman Swanevelt . M r . Denningrecords that Turner admired this picture greatly and attributedit to C laude .

3 10. A F ria r K ne e lin g b e fore a C ro ss .

Sm P. F . BOURGEOIS , R .A. (English : 1756

S ec 6 .

The kneeling fig ure is on a mountain side . An arm of thecross stands out on the left edge of the picture . Panel : 6 in.

x 4} in . arched top .

3 11. S old ie rs (a S k et ch ) .

SIR P. F . BO URGEO IS,R.A. (English : 1756

See 6 .

An oficer in white trousers, green coat , hat and feathers, hissword in his left hand with his right he points the way onwardto a soldier

,who climbs up the bank on which his officer stands.

Panel : 6 in . x in . ; arched top .

3 12 . A R ip os o ” in a L an ds ca p e .

C LAUDE (F rench : 1600 See 53.

In the foreground the side of a hill covered with trees , at thefoot of which the M adonna is seated ; the infant Christ,towhoman angel offers flowers, on her lap ; St . J oseph seated near . Abridge in the middle distance

,flat landscape and the sea with

mountains in the distance . Blue sky,with a few clouds.

C anvas : 1 ft . 3 in . x 1 ft . 7} in .

A graceful rendering of a subject which was much in favourwith the later painte rs ; the rest on the journey to Egypt, or atthe close of it . The Holy F amily

,it is related

,rested after

their long travels in the village of M atarea,beyond the city of

Hermopolis, and took up their residence in a grove of sycamores.

This subject presented in its accessories a romantic and pastoral1character which recommended it to the Venetians and to thelandscape- painters of the 17th century . The ministry of angelswas an incident frequently introduced . The original version of

191

this picture belonged , says M rs . Jameson,to the Empress

J osephine , and is now in the possession of the Emperor ofRussia .

313 . A C h ild w ith h is G u a rd ia n A n g e l .

F RENCH SCHO O L .

In the centreJan angel coming down

,and taking the arm of a

naked child , who looks towards heaven, to which also the angelpoints with his right hand . A sea- shore forms the background .

Blue sky . C anvas : 3 ft . 3% in . x 2 ft . 5i in .

Painted in imitation of Guido Reni .

3 14 . S t . Pe t e r in Praye r .

TENIERS THE ELDER (F lemish : 1582 S ee 14 .

O u the left, a large rocky cave, where St . Peter , in brownmantle

,is kneeling before a crucifiX ' before him books and two

keys ; on the right,a cock near a waterfall . Signed

D . Tenier (the letters T . D . and E are contracted). Panel :1 ft . x 1 ft . g in .

A tradition much propagated in F landers,says that the

Apostle,whenever he heard a cock crow

,used to shed tears for

his denial of C hrist . F ormerly described as representing alandscape with a hermit . In these two companion pictures(Nos. 314 and the influence of the early F lemish Schoolof landscape- painters, as

,for instance

,Paulus Bril , is to be

noticed . This picture shows no trace of the younger Teniers ’

influence . Teniers is here still independent of the style of hisson (Richter).

3 15 . V iew on th e M a a s , D ort in th e B a ckg round .

CUYP (Dutch : 1620 S ee 4 .

In the foreground,large burdocks, goats , sheep and cows,

two boys,and a woman milking a cow . In the background , a

view of Dort . C lear sky , with clouds on the right . Signed“ A. C uyp .

” C anvas : 2 ft . in . x 2 ft . 75 in .

316 . M rs . M ood ey an d h e r C h ildren .

T . GAINSBO RO UGH,R .A. (English : 1727

S ee 66 .

The lady,walking towards the spectator , is in a low- cut

satin dress,with a long blue silk jacket, a pehsseu and a

gauz e veil (fastened at her breast), which floats behmd = her

192

left shoulder . Her hair is dressed high and powdered . She“

looks towards the right ; her face is thus seen in slight threequarter . She holds a younger child on her right arm, andleads with her left hand the elder child , blue- eyed and fairhairecl . The children are bare- headed , and wear_ pink sashesover white muslin dresses, and red boots . Trees come ratherclose to the fig ure and the edge of the picture on the left ; onthe right

,a glade or stretch of meadow land runs into the

picture,with a clump of trees

,and a grey distance . The sky

is grey and cloudy . C anvas : 7 ft . 7} in . x 4 ft . l lé ih ;-Princess Victoria Series , ii .In this beautiful picture, Gainsborough shows the mother

and chifdren returning from a woodland ramble . There arewild plants in the foreground ; and the girl has her lap fullof flowers, one of Which she has placed in her sash. Thepicture was presented to the Gallery by C aptain M oodey, sonof the lady portrayed in it . The remarkable thing aboutthis splendid gift [made about 1835] is that no record can befound as to who C aptain M oodey was, or why he chose to handover so valuable a picture to the Dulwich Gallery (Young

’s

,

History of Dulwich Colleg e) : see,however , above, p .

the gift followed the acquisition of the L inley family portraits,

and one good deed often calls forth another . The M oodeys are

an ancient O rkney family , who have held land since 1460 (seeNisbett’s System ofHeraldry, 1742 . app . , p .

3 17 . L ands cap e .

ENGL ISH SCHO O L (18th C entury).

Two peasants, a man and a woman, drive their cattle

towards a ford in a mountain stream,on the distant side of

which a woman is seen tending goats . The open country,pro

bably the C ampagna'

, stretches away into the distance . In thefront, on the right, are rocks and a temple, and a large bare tree .

Warm- coloured summer sky . C anvas : 2 ft . 101. in . x 2 ft. g in.

At one time ascribed to Zuccarrelli (see No . 17

3 18 . M rs . S id d ons as th e T ra g ic M us e .

Sm JO SHUA REYNO LDS, (English : 1723

S ee 102.

She sits in an arm- chair, in front view,and looks up towards

the left . O ne arm rests on a chair ; the other, the left, restson the chair- arm, by the elbow only, the hand is raised, asif li stening to some inspiring voice ; head and hair wreathedin pearls . An amber- brown dress

,with the bodice hung round

with pearls , sits loosely at the shoulders . The white sleeves ofthe underdress are ‘ seen beneath . A dark—olive velvet cloak

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194

study,and practice so matured her great powers that when

Garrick re—e ngaged her in 1782 her success at Drury Lane wastriumphant . In the following year she appeared in severalShakespearian characters . It was at this time (1783- 4) thatshe sat to Reynolds . M rs . Jameson , who could speak frompersonal knowledge of the famous tragedy ueen , pronouncedthe picture to be the most faithful, as wel as the sublimest,portrait ever painted . When she sat for the portrait, Mrs.

S iddons was in her 28th year, in the"

prime of her gloriousbeauty

,and in the full blaze of her popularity, honoured in

her profession,and honouring it by the union of moral and

personal dignity,of genius and virtue . How admirable,

how worthy of all gratitude and praise, the feeling and tasteof the painter who

,when he undertook to convey to after

times the portrait of such a woman , that here the.

ideal wastrue . It is the apotheosis of her genius and her beauty ;Painted for the universe and posterity . We can stand beforeit, and feel in the presence of that grand creature of whomwe have heard and read and dreamed ; the impression is notlowered nor enfeebled by the commonplaces of ordinary dressor ordinary life

,nor falsified nor confined by the scenic

trappings of any one characte r . In one respect, as anothercritic has noticed

,the observance of the fashions of the time

helps the general effect of the picture The greatest of allReynolds

’s achievements in portraiture was the portrait of

M rs . S iddons, as Tragedy , on her cloudy throne . In thisinstance

,the strange and ugly fashion in Which the hair at

that period was dressed , rather aids than impedes the sentiment . The whole mass moves horrent from the brow as ifstanding on end ; the dark eyebrows rise under it in slightcorrugation , and the springs of imagination are moved .

‘ Scafiolds, still sheets of water , divers woes,’ the collapse of

power,the eclipse of nations

,terror . and the immenmty of

human sorrow , pass in twilight procession as we look, andhaunt us when we turn away . (Smetham ’

s L iterary Works,

p .

There are many anecdotes with regard to the compositionand general conception of this famous picture . M r . Russell(author of the History of M oder n Eu rope) had in 1783 , theyear before that in which M rs . S iddons sat

,printed a poetical

tribute to her entitled The Trag ic M use,and this may have

suggested the subject to Reynolds . According to M rs . Jameson,M rs . S iddons used to describe Sir Joshma as taking her by thehand and leading her up to the platform with the words,Ascend your undisputed throne and graciously bestow upon

me some idea of the Tragic M use .

" Whereupon ,she said

,I

walked up the steps, and instantly seated myself in the attitudein which the Tragic M use now appears .” He r account

,as

recorded by M r . Phillips . is different . The pose in the picture

195

was, she said , the production of pure accident . Sir Joshmahad begun the head and fig ure in a different view ; but whilehe was occupied in the preparation of some colour

,she changed

her position to look at a picture hanging on the wall of theroom . When he again looked at her

,and saw the action she

had assumed , he requested her not’

to move ; and thus arosethe beautiful and expressive fig ure we now see in the picture .

”

The two stories may be reconciled if we suppose that the attiL

tude was the same as regards the arms,but that the turn of

the head and body was afterwards changed,as described to

M r . Phillips . O nce, when looking at the picture at GrosvenorHouse, M rs . S iddons told the Rev . J ohn Sandford that SirJoshua intended to work considerably more on the face . Whenhe to ld her this, on her rising from her last sitting , she answeredthat she thought it could not be improved . O n his showingher the finished picture

,he said he had taken her advice

,and

had not touched the face since she last sat for it .

M rs . S iddons might naturally suppose that she alone suggested the pose, and

‘ the courtly Sir J oshua would assuredlyhave said nothing to the contrary . To the student of art

,

however, it is obvious that the composition was inspired byM ichaelangelo . Sir J oshua ’s admiration for that masterappears throughout his Discourses, and at the end of themhe said : I should desire that the last words which I shouldpronounce in the Academy

,and from this place

,might be the

name of that truly divine man .

” The Tragic M use is oneof the very rare instances in which Sir Joshma himself attemptedthe M ichaelang elesque . The conception of the picture wassuggested

,it cannot be doubted

,by the Isaiah ; the upraised

arm is that of the Prophet, and the two attendant fig ures provethat Reynolds was thinking of the S istine C hapel . Thesefig ures are called by some Pity and Terror , and by others Pityand Remorse

,but are more like Remorse and C rime . O ne

bears a bowl,the other the dagger of tragedy

,types of secret

and open violence and there is nothing of pity in the expression or action of either . Sir Joshua painted the head of oneof these fig ures from his own ,

and the study is in the possessmnof M r . W . M ayor .

3 19 . V iew of th e H a rb our of G enoa .

School of C . J VERNET (F rench : 1714 S ee 300.

O n the ri ht, steep rocks with a_

high gate jxin ’ the forground

,fig

'

u

gres,

mostly occupied W ith fishing ; in the baciground

,a lighthouse ; an English frigate on the left . Bright

cloudy sky. C anvas : 3 ft . 6 in . x 4 ft .

27930

196

3 20. T h e L in ley .S iste rs — M rs . S h e ridan and

M rs . T icke ll.

T . GAINSBO RO UGH,R .A. (English : 1727

See 66 .

M rs. Tickell sits on a bank, dressed in a yellowish ochrecoloured dress, out low in front, with sleeves to the elbow . Herbushy dark hair is dressed out from her head . She looks outfrom the picture directly at the spectator , with keen, dark,intelligent eyes . She holds a music- book in her lap ; her righthand is about to turn over a page ; her left holds the edge ofthe book nearest to her .

M rs. Sheridan stands half behind her sister. She is dressedin a light blue silk dress

,fashioned like her sister ’ s, with

a dark blue velvet band and buckle around her waist . Sheleans with her left elbow on the head of a long guitar , or lute ;her right hand crosses the other at the wrist, and falls over it.She looks away towards the left, and a little upwards . Acopse of hazel—wood is the background ; this becomes a bed eon a bank at the t0p of a steep slope of meadow ,

in the middIedistance. C anvas : 6 ft . Si in . x 5 ft .

— Engraved by Haward.

Princess Victoria Series, i.This - famous and beautiful picture shows us Elizabeth and

M ary L inley,the elder daughters of Thomas L inley

,of Bath

(No. by whom they were trained for the concert- room.

There is a tradition that the music,shown in the picture, is

the score and words of a Song of Spring writte n by M r.

Tickell (music by L inley), which was once celebrated owmg tothe wonderful singing of the L inley siste rs .

The elder siste r , Elizabeth Ann (1754 used to stand atthe a p

— room door with a basket selling tickets When onlya girl of nine . She was lovely, g entle, and good , and her Petname was The M aid of Bath .

” Later she gained a highreputation

,not only in Bath

,but in O xford and London

,by

her singing in oratorios and other high- class music,and she

was a favourite everywhere . She was an acknowledged que enof beauty

,and was surrounded by admirers . Her romantic

adventures,culminating in her marriage

,in 1772

,with the

great Sheridan,may be read in M iss Black ’ s The Linleys of

Bath and M r . S iebel ’s biography of Sheridan . O ne of theadventures supplied the subject of F oote’ s “ M aid of Bath3. C omedietta,

” played in 1770. Her praises have been wellcelebrated by her great—grandson , Lord Dufferin

It is evident from the universal testimony of all who knewher

,that there has seldom lived a sweeter

,gentler, more

tender or lovable human being . Dr. Parr said she was quitecelestial . ’ A friend of Rogers , the poet , wrote : M iss Linleyhad a voice as of the cherub choir . She took my daughter

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198

the time ; famous as the author of a satire or squib, calledAnticipation,

" an imaginary debate in the House of C ommons the Epistle of F ox in town to John Townshend andother jeuwd

’esp

'rit also of a very successful comic opera, The

C arnival of Venice,” and an operatic version of The Gentle

Shepherd .

” He was made a C ommissioner of Stamps, chieflyby favour of Brumme]

,Lord North’s private secretary

,and

father of the famous Beau .

Gainsborough had symbolised the L inley sisters by flowers ;the bank on which M rs . Tickell sits has a primrose plant in fullblossom, and at the feet of M rs . Sheridan a violet may be seen ;whilst the light on the faces of the sisters irradiates the grovearound them . The picture is painted in the maste r ’s mostdelicate manner : let the hand move softly— itself as a spirit ;for this is L ife

,of which it touches the imag ery.

” The sistersboth died young . M rs . Tichell fell into a decline, and died inher 30th year, and M rs. Sheridan wrote this epitaph uponher :

You who have mourned the sister of your Heart,The dear companion of your youthful years,

Pass not regardless . Drop , ere you depart,O h this sad spot your tributary tears .

F or here the sweetest friend for ever lies,The best

,the kindest

,lovely and beloved

,

Whose cheerful spirit brightened in her eyesAnd graced those virtues which her life approved .

F ive years later M rs . Sheridan also fell into a. decline, anddied at the age of 38. The outward beauty that seems butthe natural expression of her exquisite personality remained tothe end . You never saw anything so interesting as hercountenance,

’ wrote M rs . C anning,even with death depicted

in it,it is still love]

The picture was eposited in the Dulwich Gallery by WilliamL inley in 1822

,and formally presented in 1831.

321 . W int er.

TENIERS THE ELDER (F lemish : 1582 See 14 .

A peasant in brown coat and brown slouched hat,holding a

stick over his shoulder ; walks in a stooping position to theright snow lies on the ground and on the cottag es in the background . Dark grey sky . S igned D . with T . inside) F .

C anvas : 2 ft . 2 in . x 1 ft. 41 in .

This and No . 341 Autumn formed part of a series of theF our Seasons, which was No . 96 in Desenfans’s C atalogue of1802 . C ompare the series by the younger Teniers in theNational Gallery, Nos. 857- 860.

199

322 . f lowers E ncirclin g'

a R e lie f.

DANIEL SEGHERS (F lemish : 1590

Seghers, the greatest of the F lemish painters of flowers, wasthe son of a silk merchant at Antwerp . After the early deathof his father, his mother M argareta van Geel

,a Protestant ,

tookO

him away with her to Holland and brought him up in herreligion . He began to study painting when only about fifteenyears of age ; in 1609 his mother returned with him to Antwerp,where Daniel entered the studio of Jan Brueghel (VelvetBrueghel). In 1611 he was admitted as a master into theGuild of St . Luke . In 1614 he returned to the Roman C atholicreligion , and in the month of December of that same year heentered at M echlin the novitiate of the S ociety of Jesuits .

During his novitiate he abandoned painting , but on the conclusion of it he obtained leave to visit Rome, and resumed hisartistic studies . O n his return

,many princes sought his works

,

and his C onvent grew rich by meeting their wishes . Thepainter and the Jesuit combined to produce pieces in a peculiargenre of which our picture is an example- garlands and bordersof flowers, or fruit , surrounding Holy F amilies or otherreligious groups . M any pieces of this sort were painted forJesuit colleges and chapels . Rubens , C ornelius Schut,Quellinus and others , painted fig ures in the centre of his garlands . Seghers himself cultivated the flowers that served as hismodels . Their brilliant tints have lost nothing of theirfreshness .

In the centre an oval relief , encircled by a broad rococo frame,representing the Virg in and C hild with St . Elizabeth in

adoration ; on the frame , four groups of flowers, as hyacinths,jonquils

,tulips

,jasmine

,roses, mallows, pinks , snowdrops,

tuberoses,hellebore

,ivy

,and iris . S igned Daniel Seghers,

Soctis . J esu .

” C anvas : 3 ft . 1% in . x 2 ft . 3% in .

An important work of the master the colours veryforcible and delicate in tone, the fig ures probably by ErasmusQuellinus (1607 pupil of his father the sculptor Erasmushe worked at Antwerp . A very admirable pi cture of

_

thismaster,

’ says Waagen, so justly celebrated in his own times,whose red roses still flourish in their original beauty, whi le thoseof the later pa inters have more or less changed .

”

323 . M ary M a g da lene in a. Gave .

TENIERS THE. ELDER (F lemish : 1582 S ee. 14 .

In the foreground , a. large cave ; on the right, a waterfall ;in the centre , at brook near it a hare and a heron ; on the left

200

M ag dalene seated, holding a crucifix in her left hand ; near herare books

,a crane

,a scourge

,some cabbages , and turnips.

View of mountains in the backg round . Evening sky . Signedand dated : D . Tonier, IV .

,Panel : 1 ft . x 1 ft. 8g ih .

[C ompanion picture to No.

3 24 . catt le in a L andsc ap e .

After PAUL PO TTER (Dutch : 1625

Paul Potter,born at Enkhuizen, received his first instruction

from his father, Pieter Simonsz Potter, a landscape- painter .

His family is said to have settled at Amsterdam in 1631. In164 6 he was received into the Guild of St . Luke at Delft, andin 1649 into that at the Hague . At De lft he lived in a housewhich belonged to the painter Jan van Goyen . He there marriedAdriana Balckeneynde in 1650. He went to Amsterdam inM ay, 1652, where he died, when only twenty- eight years of age .

Potter was the greatest Dutch animal painter . He rendersdetails with great care

,and is most true to nature in his repre~

sentation of cattle and landscape.

A dark cow standing near a tree one lying down to the left ;a church in the distance ; clear evening sky . Panel : 7 in. xih .2

This is probably the picture which Bourgeois bought at theBryan sale in 1798 for 15 guineas .

3 25 . L an ds ca p e w ith C a ttle an d F ig ures .

Sm P. F . BO URGEO IS , R .A. (English : 1756See 6 .

A rising ound in the centre,with cattle on the top and at

the foot ; a arge tree on the right and a boy with two dogs ; awinding stream on the left . Evening effect in the sky.

C anvas : 3 ft . 3% ih . x 4 ft . 1 ih .

3 2 6 . S e ap ort w ith O rienta l F ig u res .

J LINGELBACH (Dutch : 1625 See 55.

In the foreground, numerous fig ures in O riental costumes ; inthe centre 9. horseman with a quiver full of arrows on the left,a statue of Neptune on the right

,a man sitting ; at his feet a

globe, a cross, and some papers . In the background,a light

house and ships on the left, Roman ruins ; cloudy sky . Signed

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33 1. T h om a s L inl ey , th e Y ou n g e r .

T .

gAINSBO RO UGH

,R .A. (English : 1727

cc 66 .

Three- quarter of a young man,dressed in a red coat

,white

necktie ; black cocked hat under his arm . C anvas : 2 ft . 55; in .

x 2 ft . ih .— Princess Victoria Series

,ii . ; The Linleys of

Bath, p . 144 .

Thomas, the younger , was a son of Thomas L inley (No .

and endowed with all the distinction of appearance characteristic of the family . He was born in 1756

,and under his

father ’ s instruction became an “ infant prodigy ” in performing upon the Violin . He play ed in public at the ag e

'

of

eight,and when twelve he composed six Violin solos . In 1770

he went to study at F lorence and there made the acquaintanceof M ozart who said that he was a true genius and felt that

,

had he lived,he would have been one of the greatest orna

ments of the musical world .

”O u his return to England in

1773 he became leader of the orchestra and solo player at hisfather ’s concerts in Bath

,and afterwards at the Drury L ane

O ratorios , His own musical compositions won much praise .

In 1778,when he was 22

,he was drowned through the

capsizing of a boat . while on a visit to the Duke of Ancasterat Grimsthorpe . M rs . Sheridan wrote some graceful versesto his memory

,entitled O u my brother ’ s Violin .

”Does it

still exist,that violin? Was it among the many musical

instruments of different kinds that used to hang upon thewalls of O zias L inley

’s room at Dulwich? (Linleys of Bath,

p .

3 32 . F ig u re s w ith S h e e p a t 3. W e ll .

Ascribed to GERARD VAN HERP (F lemish : b . about

O f the life of Gerard van Herp,or Harp , nothing is known .

He is supposed to have been a pupil of Rubens . His picturesare generally of small size

,and mostly represent the li fe of

country people in the interior of their houses . He occasmnallypainted religious subjects .

O n the right, a woman with a basket of apples ; near her,a girl asking for fruit ; a boy hiding himself behind her and

204

eating an apple ; be fore him a dog . O u the left, a well, twopeasants

,sheep

,goats

,and a cow . A cottage and a flat

landscape in the distance ; cloudy sky . Panel : 1 ft. 10} in . x2 ft . 4kin .

— Engraved by R . C ockburn .

This picture was in the early C atalogues of the Galletyascribed to the brothers Le Nain (see No . In 1876 it wasascribed to Gerard van Herp . Dr . Richter , in 1880, acceptedthis attribution

,describing the picture as Probably an early

work of the master,without brilliancy in the colouring, but

careful in execution .

” It has, however, been pointed out, insupport of the original attribution

,that the composition and

colour are in many respects based upon those of a picture by LoNain in the Hunterian M useum ,

Glasgow (see the BurlingtonF ine Arts C lub ’s C atalogue of 1910, p .

3 33 . B a ttl e S cene (a S ke tch).

Sm JO SHUA REYNO LDS,P.R.A. (English : 1723

S ee 102 .

An officer in armour, bareheaded, and mounted on a greyprancing horse . Ah appearance of a battle in the background .

C loudy sky . C anvas : 2 ft . 6% in . x 2 ft .

33 4 . C a tt le an d S h e ep .

After PAUL PO TTER (Dutch : 1625 S ee 324 .

Three oxen and a sheep on the left . O ne c x rubbing himselfagainst a tree ; opposite him ,

a sheep lying on the ground ;another ox lying on the ground a third in the centre of theforeground, standing behind with his back turned to thespectator ; in the distance on the right a village ; stormy sky.

Panel : 1 it . 2} in. x 1 ft. 87} in .

The signature Paulus Potter te .

’ on this picture is not

genuine . A clever imitation of this artist (Richter).

336 . V iew on th e S ea - sh ore .

SmSP.

g. BO URGEO IS , R .A. (English : 1756

6 6

C liffs on the right ; in the foreground , a man, in a redcoat, on horseback ; another on foot . near a prancing horse .

View of the sea , with a sa iling boat, on the left . C loudy sky.

C anvas : 3 ft . 3 ih . x 4 ft. 5} in.

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206

sheep , and a donkey occupy the middle of the foreground ;they drink f1om a stream which comes to the edge of thepicture . P1 0minent among them is a white cow ; a man anda dog look after the herd ; a mounte d fig ure is in the middledistance . Tw’o beech- stems are on the right . C anvas :2 ft . 21 in . x 3 .ft . 2 ih .

3 40. R ive r S cen e by M oonlig ht .

After AART VAN DER NEER (Dutch : 1619

Aart van der Nee1 was born at Amsterdam , Where he chicflyworked, and where he is said to have died . His picturesgenerally l epresent the effects of moonlight , sometimes conflag rations by night, winter and summer landscapes in eveninglight . His moonlight landscapes are always rendered in thesame peculiarly attractive manner ; the deep shadows are ofunequalled clearness .

The river occupies the centre of the picture ; houses on eitherside in the distance ; a church on the left, ove1 it a full moon.

In front a fisherman and a wayfarer . C loudy sky . SignedA. and V . (in monogram) D . and N . (in

C anvas : 1 ft . 101. ih . x 2 ft . 5 in .

The original of this picture Was in the Duke of Sutherland’scollection at Stafford House .

3 4 1. Au tumn .

TENIERS THE ELDER . (F lemish : 1582'8 6 6 14 .

An innkeeper, with vine- leaves round his head , stands smilingbefore his inn ; a jug in his left hand , and holding up a wineglass with his right ; before him three casks : a vineyard andtrees in the distance . Blue sky with light clouds .

yC anvas

2 ft . 2 in . x 1 ft . 4 2} in .

This and No . 321 are companion pictures .

3 4 2 . A M an Hold ing a. H ors e .

Sm P. F . B

'

O URGEO IS , R .A. (English : 1756

S ee 6 .

A spirited sketch ; 3 . man in the dress of a cavalier holding a

prancing'horse . C anVas : S in . x 6 111.

3 4 3 . A C ow .

DUTCH SCHO O L .

A brown cow trotting from ri c ht to left and turni11 her head .

A tree, dark hedge,and blue digtance . Panel : 75 in .

gx 5 in .

At one time ascrlbed to Paul Potter . A piece cut out of alarger plcture : a fine study (Denning).

3 4 4 . T ob it and th e An g e l .

2“

BO URGEO IS , R .A. (English : 17566 6

The angel , in white , presses on with the young Tobit, in red ,who carries a fish in his left hand . D ark sky and distance ;thinly painted on dark oak . Panel C ircular

, in .diameter

.

3 4 5 . A G irl w ith a Hu rdy - g‘

u rdy .

F RENCH SCHO O L .

A whole- length fig ure , with a galanty- show at her back,play

ing a burdy- gurdy and standing at a doorway . Dark background . Panel : x 83 111 .

A slight sketch,the colours of deep tones . At one time

ascribed to Chardin (see No .

34 6 . T h om a s S t oth a rd , R .A .

JOHN WO O D (English : 1801

Wood,born in London

,the son of an artist

,entered the

schools of the Royal Academy in 1819. He first exhibited at theAcademy in 1824

,and in the following year gained the gold

medal for his picture of Joseph Expounding the Dreams of theChief Butler and Baker . This

,and other works in 1834 and

1836,gained him a great reputation . Subsequently , however , he

was unable to maintain the position he had achieved by hisfirst success . He painted portraits, but his art degenerated,with failing health .

Three— quarter - length fig ure , life size , apparently aboutseventy - five years of ag e , seated in an arm - cha-ir . The r1g ht

hand,in which is held a pair of spectacles , rests on a large book ,

lying open on a table . Red curtains and books 011 shelves formthe background . C anvas : 4 ft . 3 in

.x 3 ft . 3 1n .

— Presentedto the Gallery by M iss Elizabeth Wood , sister of the artlst .

Stothard (1755— 1834 ) was famous both as a painter (some ofhis best works are in the National Gallery) and yet more as a

208

book- illustrator . M o re than of his designs Were engravedthey are collected in the Print Room of the British M useum.

Turner called him the Giotto of Eng land Ruskin, the

F ra Angelico of England .

” He was elected R.A. in 1794, and

in 1812 was appointed L ibrarian of the Academy, an 00109which he held until his death . O ur portrait of him in old agesomewhat recalls a description given of him . by a fellowAcademician (Redgrave) : The venerable artist has left anadditional picture in our minds

,when in his last years

,deaf and

feeble, he was occupied in his evening duties as L ibrarian atthe Royal Academy . There

,bending over some book of prints

,

with many unconscious sighs and moans, his unsteady hand wasunable to pou’r out the cup of tea in which he found a solace

,

yet even then,retiring into the recess of the window,

he would,

from time to time,occupy his pencil for a few moments, in the

realization of some thought, in a slight but still elegant andgraceful sketch .

”

3 4 7 . A S k irm ish of C avalry .

PIETER SNAYERS (F lemish : b. 1593, d. after

Born at Antwe rp , S11ayers become a pupil of SebastianVranex

,and was admitted a member into the Guild 'oi St . Luke

in 1612 . In 1628,the Stadholder , Archduke Albert, summoned

him as a court - painter to Brussels, where he also was admittedas a member into the Guild of Painters . He is mentioned as

still living in the year 1669. Snayers owes his celebrity to hisbattle- pieces

,which are mostly scenes of the Thirty Years’ war.

He occasionally painted hunting- pieces and stilI- life. Hispictures , although hasty in execution and of a somewhat hardand variegated colouring

,still deserve appreciation

,because of

their broad and pictorial treatment . Van der M eulen was hispupfl .

O u the right, a river, near which numerous soldiers on horseback are fighting with swords and pistols ; further back are othergroups of fig hting men ; bushes and trees in the background.

Blue sky and light clouds . Signed, F . el Pinter .

” C anvas :2 ft. 5 in . x 3 ft. 551m

3 4 8. L ands cap e w ith C a ttle and F ig ure s .

C UYP (Dutch : 1620 See 4.

A low sandy place, with patches of marshy grass ; on the left,a mound, on which two goats browse ; three shepherds and sheepin the middle round ; on the right, three cows . A flat marshydistance , andsear, cool sky ; some clouds to the rig ht . Signed,

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210

snifie .

'

No . 185 in Cartwright’ s C atalogue .

“A great pietatof fouls and a Rabett and a hare, a very long large pece,C anvas : 3 ft . 4 % in . x 4 ft . 10 ih .

3 52 . O ur S aviou r and S t . J ohn th e Bap t ist as

C h ildr en .

After VAN DYCK . S ee 81.

No . 99 in C artwright ’s C atalogue . O ur Saviour and John,after Vandik, C anvas : 2 ft . 54 in . x 2 ft . 1, in .

A copy,after Van Dyck , from the picture in the Royal

C ollection .

3 53 . Proces s ion of M a rine D e itie s .

ARTIST UNKNOWN.

No . 176 in C artwright’s C atalogue . Two naked women, anould man with a long whit beard and red mantel] , a dogeand a Tritan, a large pictur on a bord , Panel : 2 ft . fin.

x 2 ft . 7 in .

3 54 . Portra its , in an m lema t ical Picture .

Ascribed to LUCAS DE HEERE (F lemish : 1534

L ucas de Heere,artist

,a rchaeologist

,and poet

,was born at

Ghent, the son of J an de Heere, sculptor and architect, andAnna, a miniaturist . He was a pupil of F rans F loris atAntwerp , and was presently employed at F ontainebleau in

making designs for tapestries . He was much in. England .

In 1554 he painted the portrait of Queen M ary (Society ofAntiquaries) ; in 1569, the allegorical portrait of Que en Elizabeth (Hampton C ourt). He died in Paris .

There is an hiatus in the C artwright C atalogues (Nos. 186209) and it is not known whether the picture came fromCartWright or from Alleyn . Panel : 2 ft . 7§ in . x 3 ft . 4} in .

*

The pic ture is in a black frame,and contains the portraits

of a gentleman and lady, three- quarters length . He has abeard, a small ruff, and a ring on his forefing er ; she is in aclose dress, a small ruff, close head- dress

,with r ings on the

The following description of the picture was taken by Dr. Carver,(Catalogue of the Cartwrig ht Collectio n, etc., 1890) chicfly from M anningand Bra

’

s Surrey Vol. 11I., p. but with a few additions and correc

tions. t has not.

een found possible to obtain any further explanation ofits subJect and clevwes.

”

211

middle and little fing er of the right hand and on the littlefinger of the left hand . Between them is a tomb , below whichhes a corpse , naked , except a cloth round the middle . The

head of the corpse rests on a sheaf of corn,and ears of corn

lie beneath the body . O u the tomb is a skull, on which t eststhe gentleman‘s left hand and the lady ’ s right . Above is a

burning candle in a candlestick , on each side of which is a woolpack and a brass or metal vase filled with flowers.

O ver the gentleman are arms, 1 and 4 . Gm ; a fess engrailedbetween three boars ’ heads couped O r ; 2 and 3 Se . threelions rampant A-rg . O ver all a crescent O r for a second son .

O n the tomb . by his side, the arms of F rance and Englandquarterly .

O ver the lady, in the upper part of the picture , arms in sixquarterings : 1. Sa . a lion rampant Arg . [Williams] 2 . Sespears’ heads A'rg . 3 . A-

rg . a chevron between threefleurs de lis se . ixwell, 4 . Afrg . three chevrons Gu

of Glamorgan 5 . Arg . a lion rampant 80 .

Lloyd, 6 . same as 1.

O n the tomb , by her side , arms , harry nebuly So . and Arg .

a chief Gu. a lion passant 0T .

O ver the gentleman ’ s head, O ver the lady’ s head ,aetatis suae 47 aetatis 28

O ver the hands, W . I . Behowlde ower ende .

” I. I.

Under them,on the face of the tomb,

The worde of GodHathe knit vs twayne

And D eath shall vsDevide ag ayne .

”

O n one side of the tomb , ANO on the other , 1560.

The candle stands between these words, Thus consumythe

ovr tyme .

”

O u each wool- pack is a merchant’ s mark . 011 one an0 I.

O n the other , X .

”

O n each wool- pack is written, Good . Lemster. p . deall.

The wool in and near Leominster , commonly called LemsterO re , is most estimable; it has been frequently sold for thirtyshillings a stone . M r . Drayton thus writes of the wool

Where lives the man so dull , on Britain’ s farthest shore ,

To whom did never sound the name of Lemster O re?That with the silk- worm ’ s web for smallness doth compare ,Wherein the winder shows his workmanship so rare :As doth the fleece excel and mocks her looser clew ;As neatly bottom

’d up as Nature forth it drew .

”

(Ah Account of Leominster and its Vicinity, by John-Price,

Ludlow

212

At the bottom of the picture, Lyve to dye a nd dye to

etarhally.

”

Round the frame in gold letters, beginning at the top

When we are deade and in owr graves ,And all owre bones are rottvn,

By this shall we rememberd be ,When we shulde be forg ottvn .

3 55 . S t ill L ife .

ARTIST UNKNOWN.

.A herring and a loaf on a dish ; a knife lying across thedish ; a glass, and a R-benish beer jug with a cover . Panel1 ft .

'

23 in . x 115} ih .

356 . A C omp any of Hors e S old ie rs .

Ascribed to BRUEGHEL (d.

Peter Brueghel (or Breughel), the E lder , called also Peterthe Droll, was born in the v1llag e of Brueghel, near Breda, theson of a peasant . He became a

.

member of the Guild atAntwerp in 1551. He painted village merry- makings, alsowild landscapes with banditti ; he had travelled in the Alps .

No . 28 in C artwright’s C atalogue . A11 ould pictur on abord , with soulders on horseback, done by Bruegel,Panel : 1 ft . 85} ih . x 1 ft . 4 ih .

3 57 . D ead G am e.

ARTIST UNKNOWN.

No . 67 in C artwright’ s C atalogue, A hare hanging upon ahuh and 2 birds on a Table, C anvas 2 ft . 81 ih . x 2 itThis is a picture of greater artistic merit than belongs to most

of C artwright’s . It is possibly by Jan F yt (F lemish : 1611

358 .

i

A B a g p ip er and a G irl .

ARTIST UNKNOWN.

No . 175 in C artwright’s C atalogue,A pictur of a bagpiper,

and_

a man co rting his lass, on a large bord , Panel :2 ft . 17} in . x 2 ft . 75 in .

3 59 . S e a - p iece .

C ASTRO .

Several sea- pieces in the C artwright Collection are ascribedtoC astro .

” Nothing 18 known of a marine- painter so named ;

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2 14

her.

” The engraved portrait is the portrait or, moreprobably

,fancy picture

,inscribed P. L illy inv.

, which isinserted in some copies of Lovelace’ s Lucasta . The only portraitin our Gallery in which any resemblan ce can be detected to theengraving after L illy is the present one ; but differences are moremarked t han res emblances, and C artwright ; who in his catalogue identifies several portraits of the L ovelace group , gives noname to this picture .

3 6 3 . R icha rd L ove lace .

ARTIST UNKNOWN.

Three - quarter face. In armour, a pink scarf over his rightshoulder

“ held to the breast by the outspread hand . C anvas ;2 ft . 55 in . x 2 ft. 1 in . No . 100 in C artwright

’ s C atalogue,when it is described as C olonel Louliss his pictur, in armour3 quarters clouth .

— Engraved by C lamp, for Harding’s

Biog raphical MPortrait of the poet and cavalier (1618 son of SirWilliam Love lace (No . He was educated at Charterhouseand Gloucester Hall

,O xford . He served in the Scottish expedi

tions,1639 and 1640

,and rose to the rank of C olonel in the

Royal Army . He presented to the House of C ommons theKentish Petition in favour of the King was committed tothe Gate House, and there wrote the song , To Althea fromPrison Stone walls do not a prison make,

”etc ). After

the surrender of O xford he formed a regiment for the service ofLouis XIV .,

was wounded at Dunkirk, and on his return (1648)was again imprisoned . In prison he collected and revised hispoems

, prefixing to them the title Lucasta (Lux C aste)who may have been an imaginary personage

,though Wood

identified her with a certain Lucy Sacheverell , who upona stray report that Lovelace was dead of his woundreceived at Dunkirk, soon after married .

”(S ee also Nos. 862,

Lovelace was released at the end of 1649 ; but havingconsumed his whole patrimony in useless attempts to serve

his sovereign, he grew very melancholy (which brought him atlength into a consumption), became very poor in body and purse,was the object of charity

,went in ragged cloaths (whereas when

he was in his glory he wore cloth of gold and silver) and mostlylodged in obscure and dirty place s .

” He died in a mean lodginghouse

,and was buried in St . Bride’ s C hurch, F leet - street .

O ur portrait goes," says Lovelace’s biographer in the

National Dictionar'

y ,”to justify Aubrey ’ s description of him

as a handsome man but proud .

” As a youth at O xford hewas accounted , says Anthony 5. Wood, the most amiable andbeautiful person that ever eye beheld

,a person also of innate

modesty, virtue and courtly deportment, which made him then,but especially after

,when he retired to the g reat city, mGCh

215

admired ani adored by the female sex .

” In our portrait the

face is oval ; the hair, worn cavalier fashion, long , is of a darkbrown colour and falls down in abundant masses , while themoustachios are small and thin . The small

,well- formed mouth

is perhaps a trifle voluptuous , but is nevertheless eu g estive offirmness of character . The eyes are large and darE, and thewell- arched and delicately pencilled eyebrows are unusually farape rt i the general expression of the face is singularly sweetand Winning . The head is small

,well formed and aristocratic

(Gentleman’s M ag a z ine,

The authorship of this celebrated portrait is as yet undetermined . Its air of poetical romance is

_ ,says M r . C oll ins Baker ,

clearly Dobsonesque yet it is too flat to be the work of WilliamDobson (seeNo . The colour is not Dobson’ s . The hand

,

moreover, is not Dobsonian, be ing fatter, shorter, and lessdefinitely Van Dyckian .

” M r . Baker proceeds , in the style of

M r. Berenson , to ascribe our portrait, together with some otherselsewhere

, to an Amico di Guglielmo or an Alunno di Dobson ,whom he names conj ecturally F . How (see Lely and the Stuart

Painters, vol. i i . , pp . 99

In C artwri ht ’s C atalogue there are enumerated eight portraits of the oir

'

elaces or their connexions ;'

including , that is ,Althea (No . 378) and Lord Lovelace of Hurley (No.

These are all in the Gallery except one, which has disappeared(No . 182 in C artwright’ s C atalogue, described by him as M y

Lady Louless with a little monkey in her armes on a clouth tothe knees The pedigree of the other Lovelaces whoseportraits are in the Gallery is as follows

Will iam Lovelace, of Bethersden .

Selj eant SirW . Lovelace (No .

ISir William Loielace , Thomas Lovelace (No .

of Bethersden (No .

SirWilliam Lovelace, of Woolwwh (No .

Richard Loveiace (No .

It is not known how William C artwright came to be possessedof the Lovelace family portraits or what information he hadabout them

;but inasmuch as some of them were left by W111

to the poet by his mother , it is only reasonable to suppose thatC artwright obtained them from him or his representative . Ifthis be se , Cartwright

’s identifications may be accepted as

certainly correct, so far as they go .

21-6

3 6 4 . T h omas L ove lace .

ARTIST UNKNOWN.

Yellow doublet,ruff

,black cloak

,with a double gold thread

through it ; gloved hands across the doublet . Inscnbed“ Thomas Lovelace, 1588, aetatis suae Panel : 2 ft . 6 in.

x 1 ft . 114 in . No . 180 in C artwrig ht’ s C atalog ue, Thomas

Louless,his pictur, with a bare lip , on a bourd, 108 .

Portrait of the younger son of Serjeant Lovelace (No.

1563 - 1591 ; pilgrim to Rome, 1583 .

3 6 5 . S ir W illiam L ove la c e ( of W oo lw ich ).

ARTIST UNKNOWN

Three- quarter face . Dark complexion,with moustache and

imperial,lace collar

,amber- coloured scarf across the armour

over the right shoulder . Panel : 2 ft . 15 in . x 1 ft . 94 ih .

No . 179 in C artwright ’s C atalogue, Loullass, his father, in

black armor and a red scarfe,on a bourd (price effaced).

Portrait of Richard L ovelace’ s father . Sir William Lovelace(of Wdolwich), 1584 1628, was the son of Sir William (oiBethersden), whose portrait is No . 367 . He served brave] inthe Low C ountries under Sir Horace Vere

,was knighted

,

byJ ames I . and was killed a t the siege of Grolle in

Holland .

3 6 6 . E lijah R a is ing th e W idow ’s S on .

ARTIST UNKNOWN.

A bearded fig ure stoops down , with o utstretched arms, overthe nude body of a young child . The fig ures are larger thanlife . C anvas : 5 ft. 2% in . x 3 ft. 7% in .

3 6 7 . S ir W illiam L ovela ce (of B eth e rsden) .

ARTIST UNKNOWN.

F ull - face, right hand in belt, left hand on sword hilt . Panel :3 ft. 5} in . x 2 ft . 7—2 in . No . 165 in C artwright’ s C atalogue,Sr. Will . Loulass on a bord to ye knees with a chan of gould

about his neck,in a rufl

'

e and truncke heus,

Portrait of the son of Serjeant Lovelace (No . the poet’sg randfather , 1561— 1629 ; knighted by Queen Eliz abeth, 1599a,correspondent of Sir Dudley -ri_ed at Bethersden,October 12, 1629

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218

3 70. C a lvin .

ARTIST UNKNOWN.

The face is gaunt ; the lean right hand rests on a book.

Inscribed C alvin,

C anvas : 1 ft . 1} ih . x 10§ in.

Portrait of the famous Reformer (1509 C alvin wasof middle stature his complexion was somewhat pallid anddark ; his eyes, to the latest clear and lustrous, bespoke theacumen of his genius . He was sparing in his food and simplein his dress (Dr . Alexander).

3 71. F a rm stead w ith S h e ep - s h e a rin g .

G . C O LO NIA.

There are several pictures in C artwright’s collection by anartist G . C olonia , of whom nothing is known . There are

,how.

ever, three known painters of the same surname : — AdamLouisa de C olonia , a landscape painter, born at Antwei p 1574 ,died 1651. Adam de C olonia, his son, also a landscape painter,born at Rotterdam 1634 , died in London 1685. Hendi ikAdrian C olonia . son of Adam , born 1668, died in L ondon 1701.

No . 83 in C artw'

right’ s C atalogue,

A gre at large pictur,with a great haus

,an ould man sheering a Sheep

,with Sheepe

and Gotee in it, and a woman milking a gote, with 2 oxen,and a cart of com e

, S ig ned , G. Colonia .

” C anvas3 ft. 3 in . x 4 ft .

’

9% ih .

This picture is in the manner of Bassano : see No . 386 .

3 72 . S erje ant L ove la ce .

ARTIST UNKNOWN.

He holds in his right hand a slip of parchment or small document ; in his left, his gloves . Date inscribed

,Ah . Dni. 1576 .

Coat of arms on left upper corner,with motto Virtute

duce .

” Panel : 2 ft. 2 in . x 1 ft. 84 in . No . 181 in Cartwright’s C atalogue, Sargent Loulass in his red Robes on aherd , with his cot of armes, 103 .

”

Portrait of Sir William Lovelace (the p soet’ great- g rand

father) admitted at Gi ay’ s Inn

,1548 ; oalled to the Bar, 1551;

associated with the Earl of Pembroke and Bishop Jewel in aC ommission fol the Establishment of Religion

,1559 ; made

Sergeant—at- law ,1561 ; M .P. for C anterbury 111 1562 and again

in 1572 ; died 1577 ; buried in the nave of C anterbury C athedral!

373 . L ord L ove la ce .

ARTIST UNKNOWN.

Head to the left handsome and refined . He wears a red andblack mantle over a white shirt . No . 121 in C artwright ’sC atalogue, M y Lord Louless in a red mantell

,3 - quarters

clouth . C anvas : 2 ft . 5% in . x 2 ft . 1 in .

This portrait was stated by D r . C arver to be of John,second

Baron Lovelace of Hurley (born 1616,succeeded 1634 , died

to whose wife Anne (daughter of Thomas Wentworth ,Earl of C leveland) Richard L ovelace dedicate d his Lucasta .

The Dictionary of National Biog raphy, on the other , hand,

takes our portrait to be of John,the third Baron (1638

famous . says Ashmole, as an active zealot against James II .

and very instrumental in the revolution,a prodigal of his large

paternal estate .

” He was famous also for his excesses,and

used every morning ,” it is said

,to drink a quart of

brandy .

” O ur portrait,if it be of him

,and not of his father

,

represents him full of youthful vivacity . John,the third

Baron, was educated at Wadham ,O xford

,where there is a

portrait of him in midde age (by L arcon). Some resemblancemay be traced therein to our picture ; especially in the roundeyes

,the curious tip of the no se

,and the rounded chin . M ore

over our portrait,to j udge by the dress

,cannot be much earlier

than 1660— a date which increases the probability that it isa portrait of the third Lord . F urthermore

,C artwright ’s

description is M y L ord Loulass that is,presumably

,the

Lord at the time being . In 1662 he married M artha,daughter

of Sir Edmond Pye , Who was presumably M y Lady Lovelace,”

No . 182 in C artwright’ s C atalogue (not in our Gallery).

374 . Port ra it : He a d of a M a n .

JO HN GREENHILL (English : 164 4

Greenhill,the most distinguished of L ely

’s pupils

,was born

at Salisbury . His first painting was a portrait of his paternaluncle

,J ames Abbot of Salisbury . In 1662 he migrated to

London and became the pupil of Sir Peter L ely , whose methodand style he closely imitated . The Duke of York in ourGallery (No . 4 16) is obviously a L ely study . When about 20or 21

,being a very forward and ingenious young man ,

” saysVertue

,he copied so close ly Van Dyck

’s Killigrew with a

dog that his work was mistaken for the original . Greenhillmarried early

,and for a time worked industriously at his art .

But he fell into irregular habits , and died at the age of 32from the effects of a fall in L ong Acre , as he was returningfrom the Vine Tavern in a state of intoxication . He was buriedin St . Giles

’s- in - the- F ields . He left a widow and family, to

whom Sir P. Lely gave an annuity . John Locke wrote verses

220

in his praise ; and M rs . Aphra Behn, the dramatist and uhovelist,

lamented his e arly death in a fulsome panegyric .

”

Three of Greenhill ’ s C rayons , formerly in C artwright’s posses

sion,and numbered in his C atalogue 17, 18, and 19, are not

now extant,and probably never reached the C ollege . Cart

wright gave £2 for one of them, and £3 for each of the others,and they were couered with glass .

” There is an interestingportrait of Greenhill in crayon by his master , Sir Peter Lely,in the collection of the British M useum .

The head,full of character

,is painted in an oval ; long beard.

No . 117 in C artwright ’s C atalogue, A man with a balld headin a gilt frame

,in 3 - quarters clouth

,don by Grinhil-l,

S igned J . G .

” C anvas : 2 ft . in . x 2 ft . 5 in .

This head of'

an old man has much merit,” wrote Lysons in

his Environs ofLondon,1792 . M r . C ollins Baker sug g ests that

the head is probably a copy of some Italian painting (StuartPortra itPainters, vol. p .

3 75 . S ir M art in I‘rob ish er .

ARTIST UNKNOWN.

No . 174 in C artwright’s C atalogue, Sr . M artin F urbusherspictur in a whit dublet and a great Ruff with a gould chaine,

Half - length beard and moustache, dark coat with whitedoublet, broad Elizabethan lace w it and gold chain . C anvas2 ft . 8} in . x 1 ft . 113 in .

M artin F robisher (or F orbisher), the distinguished navalcaptain and explorer

,born near Doncaster He com

manded several expeditions for the discover of a north-westpassage to C athay and the Indies

,

” and m e important additions to the existing knowledge of the Arctic regions . Hereceived a

%3ld chain from the Queen ’s hands in token of her

approval . ith Drake and Hawkins he took a prominent partunder Lord Howard in the repulse of the Spanish Armada, 1588,having under his command the Triumph

,

” the largest ship inthe English fleet, and was knighted by the L ord High Admiralfor his valour . He fell at the capture of the fort of C rozon,near Brest

,from the Spaniards

,when in command of the

squadron sent by Elizabeth to support Henry IV . of F rance,1594 .

3 76 . L andsca p e .

RO BERT STREATER (English : 1624

Streater , serjeant- painter to C harles enjoyed in his daya great reputation both for his landscapes and historical and

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222

Lucasta by Le ly be a portrait,she was certainly not

Althea,”

as there is no resemblance between the presentpicture and L ely

’s . O thers have supg osed that, after the loss of

Lucasta ,Lovelace consoled himse lf by marrying Althea. But

all this is unsupported conjecture . C artwright’ s identificationof

,our picture as Althea may, however , reasonably be accepted.

3 79 . Portra it : Head of a G irl .

ISAAC F ULLER (English : 1606

F uller is said to have studied painting in Paris, where“ he

quir ed some skill and robustness of style . Unluckily he wastoo fond of the tavern to become a great painte r, and his talentswere dissi ated in ignoble indulgences . In L ondon he wasmuch emp eyed in decorative painting, especially in taverns,no doubt earning his entertainment thereby (Diet. Nat.

Hé lived for some time at O xford,painting

,among,

other works,an altar - piece for M agdalen C ollege

,on which

Addison wrote a Latin poem . His port rait , by himself, is inthe Bodleian .

No . 110 in C artwright’ s C atalogue,“ A girls head doun by

F uller in a blue bodys , £5 . The dress is now green ; a whitetucker and a neck handkerchief . C anvas : 1 ft. 4 ia . x1 ft. 21 in .

— Reproduced in Lely and the S tuart PortraitPa/inters

,vol. i. , p . 128.

3 80. H ead of a W om an .

R . BURBAGE (English : 1567

Richard Burbage, more famous as an actor, though also a

skilful painter , is believed to have been born in 1567, in Shoreditch . He was actively engaged in his profession forfive years, as appears from the joint petition of his brother,widow , and son , to L ord Pembroke in 1635. They speak of himas Richard Burbage, who for thirty—five yeeres paines, cost,labour, made meanes to leave his wife and children some

estate, out of whose estate see many of other players theirfamilies have beene mayntained.

” His father,James Burb

also an actor, and a prominent member of the company of 9

Earl of Leicester (R . Dudley), is noted as having built (1576)the first regular Playhouse in London

,which continued to

be called distinctively The Theatre .

”Richard Burbage was

one of the original actors in Tarleton ’s Seven Deadly Sins

(1588 : see No . In 1594 he acted with Kempe (the famous

223

comedian) and Shakespeare before Queen Elizabeth at Greenwich Palace

.

twoe severall comedies or inte rludes at Christmas time . In the licence granted by J ames I . (1603) to Lawrence F letcher , ?Villiam Shakespeare

,and others

,to perform

comediesa tragedies , histories, interludes, moralles, pastoralles,

stage- plal es, &c ., &c .

, the name of Burbage is included,stand

111g next in the list to that of Shakespeare . He continued tobe closely associated with Shakespeare until the retirement ofthe latter from the stage, and was a member with him of theChamberlain" s , which in 1603 became the King ’ s C ompany

,and

which actecl at the Globe and the Blackfriars Theatres . He

took the principal part in the tragedies and histories of Shakespeare, and in most, if not in all of these parts , was the originalactor . His name, with those of Shakespeare, Sly (No .

and F ield (No . is included in the L ist of the PrincipalActors in all these Playes ,

” which is prefixed to the F olioShakespeare of 1623 . To judge from those faint echoes ofopinion which are an actor ’s only memorial

,he was among the

greate st of English tragedians,and at least had this inestim

able advantage over Betterton and Garrick,that the author

was at hand to offer criticism and counsel .” His impersonations of Hamlet and R ichard III . seem to have been especiallyadmired by his contemporaries . The single piece of gossipconcerning Shakespeare, which was set down on paper duringhis residence in L ondon and has survived

,concerns Burbage

also . It is just such an anecdote as young law studentsmight be expected to tell of a popular actor - manager . TheDiary of J ohn M anningham ,

barrister - at- law,tells

,under the

year 1601,how

,once upon a time

,a C ity dame

,infatuated

with Burbage in the part of Richard III .

,made an assignation

with him . Shakespeare,overbearing their conversation

,was

beforehand with Burbage . Then message being brought thatRichard the Third was at the door

, Shakespeare caused returnto be made that William the C onqueror was before Richardthe Third

_

’

(Professor Raleigh’ s Shakespeare , p . The

only professional'

friends mentioned by Shakespeare in his W111are his fellows John Heming e , Richard Burbage, and HenryC ondell

,who receive 263 . 8d. apiece to buy them rings .

(Heming e and C ondell were subsequently the editors of thefirst collected edition of Shakespeare ’s plays .)

M oreover , the two theatres which were most closely connectedwith Shakespeare — the Blackfriars and the Globe — were botherected by Burbage , The Blackfriars

.

Theatre was constructed by him about 1597 by the conversmn of an old

.

mans10n

bought by his father for this purpose just before h1s death ,

and the Globe in 1599— 1600, partly with mate rial brought fromthe Theatre in Shoreditch . In the petition to Lord Pembrokequoted above

,it is stated that the father of us, C uthbert

Richard Burbage was the first builder of Playhouses, bui lt

224

the Theatre at'

g reat cost that after his death we bethoughtus of a ltering theme

,at like expense built the Globe to

ourselves we joined those deserving men Shakespeare and

others partners in the profits of that they call the housewhile for the Blackfriars

,

”(they say) that is our inherit;

ance,” having been purchased and made into a playhouse by

their father with great charge and troble ,’ and that after

it had been occupied for a time by the Queen’s M aestie ’s

C hildren of the C happell (F ield and others), they placed init thee players which were Hening s, C ondall , Shakespeare,

”

&c . Burbag e’s great reputation as an actor is curiously illus

trated in an old play called The Return from Parnassus,

”

which was publicly acted by the students of St . John’s C ollege,

C ambridge,about 1602 . He is there introduced by name with

Kempe,the comedian, instructing two C ambridge students

Philomnsus and Studioso— how to act .

Burbage was famous also as a painter . M iddleton’s epitaphbears the heading O n the death of that great master in hisart and quality, painting and playing , R . Burbage .

” Thereare records of payments made to him for painting heraldicdevices

,&c . F or his portrait . see No . 395 .

A girl ’s or young woman ’s head , the size of life, looking downtowards the left of the picture ; dark green bodice with redsleeves . C anvas : 1 ft . 8 in . x 1 ft . 4 % in .

This picture has been commonly identified with No . 103 in

C artwright’s C atalogue, which is thus described A womanshead on a bord

,d im by M r . Burbig e , ye Actor . It has

been objected that this picture is on canvas , while the headpainted“ by Burbage was on panel (bord). If C artwright’sC atalogue could not err, the identification must be given up.

But Lysons (in the Environs of London) mentions as still atthe C ollege in his time, 1792 , the head of a woman

,by Bur

badg e, the actor, in chiaro- obscuro,

” a description which so farwould apply to this picture . It seems permissible

,therefore,

to attribute a slip to C artwright’s C atalogue,and still to hold

this picture to be a veritable work by Burbage ,

3 81. Prin ces s M a ry of O ran g e .

ARTIST UNKNOWN.

In full face with small curls on the forehead,a pearl neck

lace , full sleeves of blue satin, jewelled bodice . No . 118 inC artwright’ s C atalogue

, Quenne M ary in blue, 3 quarterclouth C anvas : 2 ft . 2g in . x 1 ft. 95 in .

Portrait of the Princess M ary (1631 eldest daughterof Charles I. married (164 1) C ount William of Nassau

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226

A Godby eachortation b-

y occasion of the late judg ement ofGod shewed at Pa/r'ris Garden Given to all estates fortheir instruction concerning the keeping of the Sabbath day.

Nat was one of the C hildren of the Chapel (afterwards theC hildren of the Queen

’ s Revels and acted with t hem inBen Jonson ’

s C ynthia ’ s Revels Poetasterand The S ilent Woman He took the part of Bussyd’Ambois in C hapman’ s popular play (about and in the

new edition of the play, published in 1641, he is spoken of asthe actor Whose action first did give it name .

” About 1613he was the leader of a new company formed to act under themanagement of Henslowe and M eade at the Paris Garden,Where the old Bear Garden had just been adapted for theatricalperformances

,and he entered into a formal agreement with

the two managers on behalf of the C ompany of Players.(Dulwich C ollege M uniments, No. Ben J onson , in hisBartholomew F air

,

” acted by the L ady Elizabeth ’ s C ompany,1614 , bears a remarkable testimony to the eminence both ofF ield and of Burbage at this time : Which is your Burbagenow? What mean you by that , sir? Your best actor ;your F ield .

” Nat was afterwards a member of the King’sC ompany, and on the death of Burbage (1619) he became theleading actor of his company, and succeeded to many of theparts formerly taken by his yet more distinguished predecessor.His name appears in the list of the principal players inShakespeare ’s Plays (see No . and he was also one of theoriginal actors in several of the plays of Beaumont andF letcher .

F ield was an author as well as an actor . Some stanzaswritten by him are prefixed to F letcher ’s F aithfulShepherdess, and he was associated with M assinger in theauthorship of The F atal Dowry .

” He wrote a play calledWoman’ s a Weathercock,

” and shortly afterwards another'

c alled Amends for L adies . O f his ability as a writer ofvigorous English prose, we have a ve ry interesting evidence inhis Remonstrance,

” addressed to the Rev. M r . Sutton againsth is denunciations of the stage . He appears to have retiredfrom the stage about 1623, and to have died 1632—3 (F ebruary).F ield, though already a distinguished actor and writer , appearsto have been in narrow circumstances during the time of hisc onnection with Henslowe . In a letter to Henslowe preservedamongst the C ollege M SS .

, he asks on behalf of himself,

Daborne , and M assmg er, for a loan of £5 out of £10 still tobe rece lved for the play,

” without which sum they cannotbe bayled, nor he himself play any more

,which (he says)

Wi ll loose you XXL ere the end of next weacke .

”Daborne

and M assinger add letters in support of his appeal,the former

promismg that the money shall be abayted out of the moneyremayns for the play of M r . F letcher and ours (1613

227

3 86 . L ands cap e : S umme r .

C opy after BASSANO (Venetian : 1510J acopo da Ponte is commonly called II Bassano

,from his

native town near Venice . He loved,

” says ‘

M r . Berenson,

to paint the real country . He was in fact the first modernlandscape painter .

No. 69 in C artwright ’s C atalogue . A great larg pictur ofSumer . Ah ould man and a boy shering sheep, a cart of corn,and 2 Repers, 2 women and a boy at diner .

After Bassan .

C anvas : 3 ft . 24} in . x 4 ft. 10 in .

3 87. Portra it o f M rs . C artw ri g ht .

JO HN GREENHILL (English : S ee 374 .

No . 116 in C artwrig ht’ s C atalog ue . M y last wife

’s pictur ,in black vaile on her head

, 3 quarters clouth. C anvas :2 ft. 5} in . x 1 ft . 11} in .

This portrait, of which C artwright does not give the artist, isattributed by M r . C ollins Baker to Greenhill (see StuartPortrait Painters, vol. i i . , pp . 8, 10a ,

3 88 . M rs . C artwrig h t’s S ist e r .

ARTIST UNKNOWN .

White tippet, pointed hat, with a white cap underneath .

Inscribed, A98 . 65 anno DO . No . 120 in C artwright’ sC atalogue . M y last wife

’s sister, in a black frame, 3 quartr,clouth, a book in her hand and in a hatt . C anvas :2 ft. 7; in . x 1 ft . 11% in .

3 89. Portra it of a L a dy.

ARTIST UNKNOWN .

The lady,almost in full face, is seated ; she wears an

embroidered dress, lace ruff, lace round the top of the dressand sleeve ; pearl bracelet on right arm, and g love in lefthand . No. 97 in C artwr ight’ s C atalogue . A pictur of awoman in an Imbrodred goun ; and in a ruff on a bord to yeknee . Panel : 3 ft . 9 in . x 2 ft . 9 in .

This picture was formerly supposed to be a portrait e itherof Queen Eliz abeth of England , or of Princess Elizabeth, Queenof Bohemia (see No . Neither of these suppositions canbe sustained on a comparison of this picture w ith undoubtedportraits of the two Elizabeths . There is an inscription of the

27930 P 2

228

name E liz abeth on the left- hand lower corner , but that isin a modern handwriting , and without authority .

3 90. T om B ond .

ARTIST UNKNOWN.

No . 148 in C artwright’s C atalogue . Tom Bonds pictur,an Actour in a band rought with Imbrodery bat ed neck on a

bord,very ould . Panel : 1 ft . 31 in . x 11{ in.

Tom Bond was an actor of the time of C harles 1. He wasa member of the Prince ’ s C ompany in 1632, when he played inShackerley M armion ’s C omedy, Holland ’s Leaguer .

391.

“W illiam S ly.

ARTIST UNKNOWN.

A massive head, turned to the right full of character . The

identification of this portrait with No . 109 in C artwright’sC atalogue is traditional only, and is not free from doubt . The

description of No . 109 is M r . S ly ’ s pictur ye Actour .

The picture is on canvas, stretched on panel : 1 ft . 3% in. x1 ft. 5 in . At the back of the picture is some old writing(not, however , by C artwrig ht) which

“ appears to read byDobson

,

” with the number Thi s number may he

intended to refer to C artwright’ s C atalogue, but (if so) thedescription cannot be traced

,as it was contained in one of the

missing pages .Will iam Sly (Slia or Slee) was an actor of high reputation

amongst the contemporaries of Shakespeare . He is first mentioned as one of the actors in the second part of Tarleton

’s

Seven Deadly S ins,” in which Burbage and probably Alleyn

acted, not later than 1588. (In the Platt of the SecoundParts of the S even Deadlie Sinns, R. Burbage, W. Sly, andNed are named as actors in the piece . Tarleton diedIn 1594 Sly was a member of the L ord Admiral

’ s C ompany,to which Alleyn also belonged

,andwhichwas under the manage

ment of Henslowe— in whose Diary is the following entrySowld unto William S ley the 11 of O ctobe r 1594 , a J ewel!

of g owld seat with a whitts safer for VIIIs. to be payed afterKIId. a weacke ; and in the Inventory of all the aparell

of the Lord Admiralle ’s men we find Perowes sowtwhich Wm . S ley were .

”Sly afterwards joined the Lord Cham

berlam ’s C ompany, and acted with Shakespeare and Burbage

in the first representation of Every M an in his Humour ”

and Sejanus and with Burbage in “ EveryM an out of h is Humour and “ The F ox ” (1605)His name is included in the licence of James I. and in

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230

It was of Elizabeth that Sir Henry Wotton wrote his wellknown lines

You meaner beauties of the night,That poorly satisfy our eyes

M ore by your number than your light ,You common people of the skiesWhat a re you when the moon shall rise?

393 . W illiam C artwrig h t .

JO HN GREENHIIJL (English : 1644 See 374 .

No 234 in C artwright’ s C atalogue, M y pictur in a blackdress with a great doge (price effaced). C anvas : 3 ft . 44; in.

x 2 ft . 9; in .— Princess Victoria Series, i.

William C artwright (died one of the benefactors of theDulwich Gallery, was an actor who, during the C ivil War and

the C ommonwealth,became a booksell er at the Turnstile in

Holborn . He re- published Heywood’ s Apology for Actors(about altering the title to The Actors’ Vindication,and introducing a passage in which he spoke of Alleyn (thendead) as having erected a 0011 e at Dulwich for poor people,and for education of youth .

” n the original edition (1612)Heywood had spoken of Alleyn as still living, but , apparently,as having ce ased to act . Among so many dead (Tarleton, Sly,Kemp

,and others) let me not forget one yet alive, in his time

the'

most worthy famous M aister Edward Alleyn .

” After theRestoration

, C artwright resumed his old profsession .

As an actor he seems to have had a high reputation . He tookthe part of Brabantio in O thello ,” and of F alstaff in Part I.

of Henry also of C orbaccio in the F ox, of M orosein the S ilent Woman,

” and of Sir Epicure M ammo’

n in theAlchemist of Ben Jonson

,and acted in the 0orlu of

Granada and other plays of Dryden . He was a member ofthe King ’ s C ompany, under Killigrew,

after the Restoration,and of the company formed by the union of the King’s and theDuke’ s C ompanies in 1682, and had a share in the profits of theperformances at his M ajesty’ s Theatre (Drury L ane). F rancisJohnson (in the J oint and S everal Answers, quoted in theintroduction to this C atalogue) says that he was employed ashis (C artwright

’ s) servant, to look after his affaires in theirM aies’ playhouse, and to receive his allowance out of the profitsof the said

'

playhouse, hee being one of the players there.

It is probable that C artwright retired soon after the union of thetwo companies . He died in or near L incoln’s Inn , leaving toDulwich C olleg e; as aforesaid (p . his books, pictures, &c.

William C artwrig ht has generally been supposed to have beena son of the Will iam C artwright (No . also an actor, whowas a personal friend and frequent guest of Alleyn between 1617

231

and 1622 . If this be the fact,it would explain his Bequest to

Alleyn’

s C ollege . O n the other hand,if we may judge from

C artwright’

s mode of describing the members of his family inhis C atalogue, it seems unlikely that he would have describedhis father as O ld M r . C artwright (see No . 400) without noteof the relationship . S ee also note on No . 411.

C artwright in his C atalogue does not give the name of theartist of his portrait ' but it is described in Lysons’ Environsof London

.

(1792) as a good picture by Greenhill,

” and theascription is now generally accepted . M r . C ollins Baker takesit for an early work , and like the portrait of Greenhill by himself, to show the painter ’ s individual style

,as distinguished

from his im itation of L ely (see StuartPortraitPainters, vol . iii .pp . 8, 9, 10a ,

12,

3 94 . T h e D uk e of E xe t e r .

ARTIST UNKNOWN

Thr ee - quarter face on a gold background ; long brown hair ;black cap and dress . No . 101 in C artwright’ s C atalogue

,Ye

Earle of Exitors head : ye ground of it gould . Pane l1 ft . 2 in . x 11 in .

This portrait,however, cannot be that of any Earl of Exeter ,

the first who bore this title be ing Thomas C ecil,er . in 1605

,

a date undoubtedly much too late for the picture . It is probably a portrait of Henry Holland

,last Duke of Exeter

,who

died 14 73 . He was the grandson of John , Earl of Huntingdonand Duke of Exeter (half—brother of Richard II . and brotherin- law of Henry Who was deprived of his dukedom on theaccession of Henry and beheaded in 1400. His father

,J ohn ,

Earl of Huntingdon,the Huntington mentioned in Shake

speare ’s Henry V . (act v .

,sc . distinguished himself in the

F rench wars and was in great favour with the K ing, but wasnot restored to the dukedom till 1443 . (The title of Duke oF

Exeter had been borne meanwhile, 14 16 - 24,by Thomas Beau

fort,son of John of Gaunt— the Uncle Exeter of Shake

peare ’ s Henry V.,and the Exeter of Part I. of Henry VI .)

Henry Holland succeeded to the dukedom in 1446 . He wasdescended in the same degree as Henry VI . (that of greatgrandson) from J ohn of Gaunt, and married Anne, sister of

Edward IV .

,and was thus

,like his grandfather , closely related

to the heads of the two rival Houses, by blood to the one , bymarriage to the other . In the Wars of the Roses he was oneof the most staunch and devoted supporters of the House ofLancaster .

After the battle of Towton , he accompanied theking and queen in their flight to Scotland . He was left fordead on the field of Barnet , 1471, but recovered and was con

veyed to sanctuary at'Westminster ; He died mysteriously in

1473 . He was found dead ,” writes Holinshed, in the sea

232

between Dover and C alais , but how he came there the certaintiec ould not be knowne .

” Upon the shore of Dover is thea ccount given in Baker’ s C hronicle,

” where we also read that,

a fter the fatal defeat of Barnet, though he had married KingEdward ’ s sister

,he yet grew to so g reat misery that, passing

over into F landers,I there saw him (saith C omm ines) running

'

bare- legged after the Duke of Burgundy’s train , begging hisbread for God’ s sake .

He is the Exeter of Part III . of Hemy VI., and is

a ddressed as C ousin of Exeter by Henry (act i . , se .

3 95 . R ich a rd B urb a g e .

Ascribed to RICHARD BURBAGE (1567 See 380.

No . 105 in C artwright’ s C atalogue : M r . Burbig his head, asmall closet pece . 5s.

” C anvas : 12 in . x 10% in .— Engraved

in Sylvester Harding ’s Shakespeare Illustrated, 1793 .

This portrait is traditionally ascribed to Burbag e as thepainte r

,but C artwright, it will be observed, does not do so.

In personal appearance Burbage is said to have be en short andstout . The queen

’s remark in the last scene of Hamlet fata nd scant o

’ breath — has been explained as an allusion toBurbage .

3 96 . T h e D u ch e ss of S u ffolk .

ARTIST UNKNOWN.

No . 96 in C artwright’s C atalogue : Ye Duchiss of Sufiouck,

o n a board in a white goun imbrothred with pearls— to theknee . Panel : 3 ft . 5% in . x 2 ft . 6% in .

Probably F rances, the daughter of C harles Brandon, Dukeof Suffolk, and of M ary, daughter of Henry VII. and widowof Louis XII . of F rance . She married Henry Grey, M arquiso f Dorset (created Duke of Suffolk, and was the motherof Lady Jane Grey . She died in 1559.

397 . He a d of a D octor .

ARTIST UNKNOWN.

No. 107 in C artwright’ s C atalogue : A Doctor’ s head witha velvet cap , a grey beard . Panel : 1 ft. 4 § in. x1 ft. 1} in .

3 98 . L a nds cap e : W int e r .

C opy after BASSANO . See 386 .

No. 80 in.

0artwright’s C atalog ue : A g reat large pictor of

Winter clevmg of wood, 3 bucher dressing a hoge, a woman

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234

covers an under- dress of dark blue . C anvas : 1 ft . 85 in . x1 ft . 4 § in .

4 02 . A M an Prownin g .

ARTIST UNKNOWN.

L arger than life ; the face looking downwards towards theleft, of dark complexion , with a moustache. C anvas : 1- ft. 7 in.

x 1 ft . 153 in .

403 . A N ig h t S cene .

After RUBENS . See 1.

An old woman with a candle is shading her eyes from thelight . A boy behind her on the left lights a candle at the oneshe holds in her right hand . C anvas : 1 ft . 5 in . x 1 ft. 2g ia .

Presented by the Rev. John Vane , Second F ellow of DulwichC ollege

,1818— 1830.

4 04 . He a d of a W om an .

ARTIST UNKNOWN.

The head is painted in an ellipse ; the left shoulder bare ; apendant hangs by a ribbon from her neck . No . 119 in C artwright’ s C atalogue : A woman in a green mantell, a chainof pearle on her head on a bord . Panel : 1 ft. 10% in . x1 ft . 5% in .

4 05 . Port ra it of a M an .

ARTIST UNKNOWN.

A man in the costume of the time of C harles I. C anvas2 ft . 22» in . x 1 ft 105 in .

4 06 . S t ill L ife .

ARTIST UNKNOWN.

No. 87 in C artwright’s C atalogue . A long pictur withflowers, a lobster ; an oring, a glass of Rinish wine, a lemoncut, a chinia dish with grapes and appells in it

,a chinia

bason full of straberrys.

” C anvas : 2 ft . 1 ih . x 3 ft . 62 in .

4 07 . A M an with a. J u g .

ARTIST UNKNOWN.

No . 71 in C artwright’ s C atalogue . A Soulder with a jug ein his hand, Looking in it, a lofe of bread by him C anvas :2 ft. 1} in . x 1 ft. 10 ih .

235

4 08 . S u s anna an d th e E lders .

ARTIST UNKNOWN .

The figure faces to the right,is seated close to a fountain in

an underdress . She draws a slate- coloured drapery across herfrom an architectural projection beyond . The two e ldersadvance from behind out of a cave , the nearer one touches herelbow and accosts her . No . 123 in C artwright’ s C atalogue .

“Shusana and ye 2 E lders

,a closet pece . C anvas :

1 ft . 2 in . x 1 ft . M in .

4 09 . T h e Ho ly F am ily .

After BARO C C IO (Umbrian : 1526

F ederigo Barocci, or Baroccio , was a native of Urbino .

In 1548 he went to Rome,and devoted himself to studying the

works of Raphael . He then returned to Urbino , again VisitingRome in 1560, when he was employed in the Vatican . Whilethere he was nearly poisoned , by some rival it was supposed,and during the later years of his long life he was partlyincapacitated from work . Baroc

'

cio is usually accounted the

best of the M annerists . He continued the style ofC orreggio .

No . 145 in C artwright ’s C atalogue . Joseph and M ary andour S aviour and St . J ohn with a bird in his hand . £2 103 .

Panel : 1 ft . 10 in . x 1 ft . 5g in .

This is an indifferent copy after a well- known picture now inthe National Gallery (No . 29)— La M adonna del Gatto , O ur

Lady of the C at .

”

4 10. S t . J erom e .

ARTIST UNKNOWN .

No . 91 in C artwright ’ s C atalogue . St . Jerem in redleaning on his hand

,three - quarters clouth . C anvas :

2 ft . 212 in . x 2 ft . if in .

This is one of the better of C artwright ’ s pictures , and wasnoticed by early writers on the pictures at , Dulwich C ollege

(see above, p . The writer in the Gentleman ’s M aga z ine,

there quoted,says that the holy man ’ s countenance expresses

at once all the severity that is produced by a detestation"

of

immorality,with all the composure and secret Joy that piety

occasions .

236

4 11. Y oung M r. C a rtwrig h t .”

ARTIST UNKNO WN.

A dark young man,dressed in a buff cloth jerkin, the

s leeves slashed at the elbow ; over it a lace collar . No . 169

in C artwright’s C atalogue. Young M r. C artwright . Actour.

15s.

” C anvas : 2 ft . 2} in . x 1 ft . 11 in .

It has been conjectured that Young M r . C artwright wasthe same person as the donor of these pictures (No . The

identification,however , is very doubtful . If the tradition be

c orrect that this is the picture numbered 169 in C artwright’ sC ata log ue, and described as Young M r . C artwrig ht,

” stillthe type of face is so clearly difierent from that in No . 393

that the two portraits cannot be taken to represent the samep erson at different periods of life. But, yet more, C artwrightwho, in the same C atalogue, describes No. 393 as M yPicture,would scarcely have described another portrait of himself as

Young M r . C artwrigh without further note or explanation . In fact, the relationship of O ld M r . C artwrig hand Young M r . C artwright to the donor William C artwright remains undetermined . O ld M r . C artwright(No . 400) may, however, be safely assumed to have been thefather of Young M r . C artwright (No . There seemslittle doubt that this is the picture mentioned by Lysons as

C artwright the younger,in a Vandyke dress .

”

4 13 . L andscap e : S p rin g .

C opy after BASSANO . See 386 .

No. 70 in C artwright’s C ata logue : A greate Large pictur

o f ye Spring , in it 2 gotos, a man and a woman milking them,

a man with 2 greyhounds, a Spannell and a hare on hisshoulder, and a man with a tube . Don after Bassan .

C anvas : 4 ft . 104 ih . x 3 ft . 3 in .

4 13 . Heads of T wo R us t ics .

ARTIST UNKNOWN.

Two life- siz e heads , well ainted. No. 172 in C artwright’s

C atalogue : A he foole wit a candell,and a shee fools with

a moustrap, a L ong L arge pictur. C anvas : 2 ft . in.

x 2 ft. 11} in.

4 14 . C harles 1 .

C opy after VAN DYCK . See 81.

No. 94 in C artwright’ s C ata log ue : Kinge C harles ye first,in a slashed doublet and a rufl’e , a larg pece to ye knees .

C anvas : 3 ft . 2% ih . x 2 ft. 8} in .

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238

The young Prince himself was fond of manly sports . No . 836

in the Stuart Exhibition, 1889, was an engraved portrait ofPrince Henry, lent by M r Alfred M orrison Soulde byC ompton Holland over against the Exchange at the signe ofthe Globe . The attitude with lance and other ac cessori es isthe same

,exce pt that the background of the engraving is a

t ilting- yard with fig ures. He is a particular lover of horses,”

wrote the F rench Ambassador of the Prince in 1606 , andwhat belongs to them

,but is not fond of hunting . He plays

willingly enough at tennis,and at another Scots diversion

very like mall . He studies two hours, and employs the restof his time in tossing the pike, or leaping, or shooting withthe bow

,or throwing the bar

,or vaulting, or some other exer

c ise of that kind .

”

This p01trait is placed for the pi esent in the school hall ofAlleyn ’ s School . It is l eferi ed to in more than one of theearly notices of pictures at Dulwich C ollege : see above, p . vi.

4 18. Portra it of th e A rt is t .

JOHN GREENHILL (English : See 374 .

The painter is standing towards the right, but turns hishead to regard the spectator . He has brown hair which fallsover his forehead . He wears a red jacket with collar andruthes

,and a yellow cloak . With his right hand . he holds a

paper to which he 1s pointing with his left . Dark background.

No . 95 in C artwright’s C atalogue : G1eenhill’s pictur to yeknees in r ,ead dun by himselfs . £5 . C anvas : 3 ft . 55 in . x2 ft . 81 in .

— Engraved in Wornum ’s edition of Walpole’sAnecdotes of Painting . Reproduced in L ely and the StuartPortrait Painters, 6 .

This attractive portrait shows the painter as a young man,and may well have been painted when he was about 20 or 21and had been copying Van Dyck (see the biographical noticeof Greenhill

,under No .

4 19 . A lexander N ow e ll.

ARTIST UNKNOWN.

O ne of Alleyn ’ s series of portraits ; head to the right ; whiteruff ; black g oWn . C anvas : 1 it . 1§ in . x 101 in .

Aii eminent reforming D ivine,1507- 1601. Head M aster of

Westminster School (where he is said to have introduced thestudy of Terence) 1543, and Pi ebendary of Westminster ; wasdeprived of his mastership and stall on the acce ssion of M aryand fled to Germany ; on M ary

’ s death he returned to Eng land ;was Dean of St . Paul’s 1561. Was in great favour with Elizabeth before whom he frequently preached . In 1581, with the

239

Dean offiVindsor (M ay), he held a conference with C ampionthe Jesult, then confined in the Tower . F ellow of Brase noseC ollege, O xford elected Principal of the C ollege in 1595 ; butresigned after a few months on account of his g reat age . Heendowed M iddleton School, L ancashire, and founded thirteenScholarships at Brasenose C ollege . He was the author of theC atechism known as Nowell ’ s C atechism

,

” which was approved by the L ower House of C onvocation 1562, and afterwards published in several forms (longer and shorter) in Latin,Greek, and English . Nowell was a skilful ang ler, as well asa learned divine . In the portrait of him at Brasenose C ollegehis fishing rods and tackle are introduced . Speaking of hisnarrow escape from the hands of Bonner

,F uller says

,in allu

sion to Nowell ’s favourite pursuit : It happened in the firstof Q . M ary he was fishing upon the Thames . But whilst Nowelwas catching of fishes Bonner was catching of Newel.

4 20. Archb ish op L au d .

ARTIST UNKNO WN .

No. 56 in C artwright’ s C atalog ue, Buship Land’ s pictur, in

black and whit,a small cloSit pece . Panel : 85

'

in . x61 in .

William Laud,born at Reading , 1573, Bishop of St . David ’s

,

1621,of London

,1628, and Archbishop of C anterbury

,1633 .

Impeached by the Long Parliament for High Treason, 1640.

Beheaded 1645 .

4 21. M art in L u th e r ( 14 8 3

ARTIST UNKNOWN.

Head to the left ; in red and black ; his left hand on abook . C anvas : 1 ft . 14 in . x 10§ in .

4 22 . L ands cap e : A utum n .

C opy a fter BASSANO . See 386 .

No . 79 in C artwr ight’ s C atalogue, A great L arge pictur of

Autumn ; in it on treading grappes in a tub, 2 oxon drawinga C arte, a young man and a mayd gathering g raps of the vm es

,

a spannel,and a woman taking up 2 baskets of g rapps, and a

man pouring out g rapps out of a basket . After Bassan .

C anvas : 3 ft . 3 ih . x 4 ft . 10 ih .

4 23 . R'

ch ard Pe rk ins .l

ARTIST UNKNOWN.

Head to the right ; long grey hair, grey moustache and imperial black gown . No. 166 in C artwright

’ s C atalogue, M r .

240

pirkines ye actour in a 3 - quarts clouth . C anvas : 2 ft.33; in . x 2 ft . 3; in .

Richard Perkins was a popular and successful actor in thereigns of James I. and C harles I . In 1602 he was acting underHenslowe

’s management, by whom he was employed to make

purchases for the company . O u September 4,1602, Henslowe

lent unto Richard Perckyns , to bye things for ThomésHewode [i.e. Heywood’ s] playe, and for other purposes, XV3 . ;and again on M arch 12 , when he rid with the C ompany toplaye in the countrey, in Bedey monys , in some of X3 .

” In1609Perkins was included in a Pate nt of James I. licensing theservantes to our most deerely beloved wiefe Que en Anne

t. e .,the company known till 1603 as the Earl of Worcester’s

Players,acting under Henslowe ’s manag emen to use and

exercise the arte and facultys of playing e comedies, tra edies,&c.

,as well for the recreacion of our loving e subjectes as or our

solace and pleasure , when wee shall thinke good to see them.

”

In 1622, as a member of the Revels C ompany, late comediansof Queen Anne, dece ased ,

” he was named with six others in 9.

Warrant for a Privy Seal to license them to bring up childrenin the qualitie and exercise of playing comedies, histories, &c.,

to be called by the name of the C hildren of the Revels .” O nthe revival of M arlowe ’s Jew of M alta by HeywoodPerkins took the leading part of Barabas, formerly presented (to quote Heywood

’ s words) by so unimitable an

actor as M aster Alleyn .

” After the suppression of stage plays,1647, Perkins is said to have retired to a house in C lerkenwell ..and to have died there before the Restoration .

4 24 . K in g C h ar les II .

Ascrébedto JO HN GREENHILL (English : 1644

cc 3 4 .

No . 76 in C artwright’ s C atalogue : K ing C harles ye Second,on 3- quarters clouth . C anvas : 2 ft . 6 ih . x 2 ft . 1 ih .

This portrait closely resembles one of the same subj ect in theNational Portrait Gallery (No . 531) Which is attributed to‘

Greenhill . The attribution , however , is doubtful . The N.P.Gportrait is by M r . C ollins Baker ascribed to John M ichaelWright (1625

4 25. ?oultry.

ARTIST UNKNOWN .

No. 75 in C artwright ’ s C atalogue : A henne and 5 chickensC anvas : 2 ft . 1 ih . x 2 ft . 7 ih .

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24 2

4 30. M ich a e l D rayton .

ARTIST UNKNOWN.

Bust ; dark dress with falling collar ; head crowned withlaurel . Inscribed Ano 1628 . No . 108 in C artwright

’s

C atalogue : M ickell Darayton ye poet . 153 . C anvas1 ft . 9% in . x 1 ft. 41 in .

M ichael Drayton was born at Hartshill in Warwickshire,1563 ; wrote

“the Polyolbion,

” the first part of which wasd edicated to Henry, Prince of Wales (No. The Barons’

Wars,

” Nymphidia,’ and other poems . The Polyolbion

was A chorog raphicall description of all the Tracts, Rivers,mountains

,F orests , and other Parts of Great Britain .

D igested into a Poem .

” He was also a dramatist of con

siderable repute in his time, and wrote several plays for thecompany of actors under Henslowe ’s management

,1598- 1602.

Brayton’ s name occurs frequently in Henslowe’s D iary. Under

d ate January 21, 1598, there is a receipt for forty shillingsin part of W li

. for the playe of Willm Long beerd.

” This receiptis in Brayton ’s own handwriting , and signed M ic Drayton .

”

Among the other plays mentioned in the Diary and writtenfor Henslowe either wholly or in part by Drayton are Owenteder (i. c. O wen Tudor), and C arnowlle Wollsey (C ardinalWolsey). Drayton, who was a friend of Shakespeare , is oftenstated to have been Poet- laureate

,but does not appear to

have had any claim to be so styled. In person Drayton wassmall , and in one of his poems he speaks of his swart and

melancholy face .

” He was regarded by his contemporariesas a model of virtue and F uller (ih his Worthies of Eng land)says of him : He was a pious poet

,his conscience having

a lways the command of his fancy, very temperate in his life ,

slow of speech, and inoffensive in company. He changed hislaurel for a crown of glory anno 1631, and is buried inWestminster Abbey .

”

4 3 1. T h e I‘l ig‘h t in t o E g yp t .

G . C O LO NIA . See 371.

No. 82 in C artwright ’s C atalogue : Joseph and M ary andO ur Saviour , J oseph L eading an Asse, and our Lady and ourS aver on it. S igned C olonia .

” C anvas : 2 ft . 31 in.

x 1 ft . 6% in .

4 3 2 . C hr ist in C h a rg e of th e S o ld iers .

ARTIST UNKNOWN

The Saviour ’s head is at the right edge of the picture . O ne

soldier has his forefing er in the knot of the rope that 18

24 3

around hisprisoner’s neck No . 111 in C artwright’s C atalogue :

O ur Savmur and 2 Soulders . C anvas : 1 ft . 11 ia .

x 1 ft . I‘

lé in .

4 3 3 . I‘ru it w ith a B ird .

ARTIST UNKNOWN .

No . 86 in.

C artwright’ s C atalogue : “ A long pictur of fruitand a bi rd 1n 1t . C anvas : 1 ft . 8—2 in . x 3 ft . 63 in .

The fruit is arranged in a festoon,and the piece is a

companion to No . 350.

4 3 4 . E cc e Hom o .

C opy after C O RREGGIO . S ee 246 .

No . 164 in C artwright’ s C atalogue : O ur Saviour with acrown of thorns, 2 solders, and one in a red habet, with aLong heard , a L arge pece to ye knees . C anvas : 3 ft .

1 in . x 2 ft . 6g in .

This is very nearly a copy (a poor one) of the picture byC orreggio now in the National Gallery (No .

4 35 . A n E as t e rn E n c am pm ent .

ARTIST UNKNOWN .

A woman fe eds two children,an old woman in white looks

on, a date palm in the right corner,three men in the left

,

pastures and cornfields in the landscape beyond the fig ures .

No . 124 in C artwright ’ s C atalogue . A C ompany of J epseys,103 . C anvas : 1 ft . 1 in . x 1 ft . 6 in .

4 36 . S e a - p ie c e .

C ASTRO . See 359.

An English frigate is at anchor on the left . In the rightcorner a galley is seen alongside a wharf with people about it ;a smaller galley to the left, a distant town and a stretch ofshore to right distance . No . 216 in C artwright’s C atalogue :“ A Sea Seift of a calme with ships and a wharfe . C astros .

C anvas : 2 ft . 1 in . x 2 ft . 6 in .

4 3 7 . S e a — p ie c e .

C ASTRO . S ee 359.

A frigate on left,a distant town and church towards the

r ight edge of the picture . a wharf with two sai ling boats,

27930

24 4

crews, and' passengers ’about - the shore . S igned ,

“ C astro .

”

C anvas : 2'

ft . 6 in .

'

x 2 ft . 1 ia .

It is difficult to identify this picture with any of thosedescribed by C artwright, though it corresponds in some particulars with more than one .

438. T h om a s C la rk .

ARTIST UNKNOWN.

S ide view of figure , hea'

d ‘turned to front ; full wig, whitecravat

,pale green and red drapery over right shoulder .

C anvas,oval : 2 ft . 5% in . x 2 ft . in .

C lark was F ourth F ellow of Dulwich C ollege , 1714— 5 . Theportrait is placed in the Board Room of the C ollege .

4 39 . M is s C lark .

ARTIST UNKNOWN.

The lady,whose head is turned to the left, wears a reii and

white dress . C anvas oval : 2 ft . 51 in . x 2 ft .

The Queen Anne dress and g eneral resemblance in the

character of the head to that of Thomas C lark above, givesupport to the tradition that it is a portrait of his sister.

The portrait is placed in the Board Room of the C ollege .

4 4 0. J os e p h A llen .

GEORGE RO MNEY (English : 1734

Romney,whb is ranked with Reynolds and Gainsborough

among the greatest of English portr'

ait- painters, was born atDalton - in - F urness, where his father was

'

a builder and cabinetmaker . He was apprenticed to the latter trade

,in which,

as also in wood— carving , he acquired some skill . He had anearly notion oi " mechanics and a love of art . In 1755 he wasstill in the workshop

,but soon after falling in the way of an

itinerant artist,an unprincipled fellow

,he became his pupil,

continuing with him for about two years . Suffering from fever,he was nursed by a young girl

,with whom in 1756 he contracted

a hasty marriage . He soon after left his young wife andrambled about the northern counties

,painting portraits . Thus

employed,he managed to save £100, and , giving £70 to his

unof‘r'

ending wife, who was now burthened with two children,he abandoned his family to seek his fortune in the metropolis.He arrived in L ondon in 1762, and rapidly established himselfin public favour . In 1773 he dete rmined to visit Italy.

Arrived at Rome,he separated himself from the company of

his countrymen studying there, and l ed a recluse l ife . Hereturned to London in 1775

,and settled himself in a large

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24 6

that by the statutes of the F ounder both the mastership and

the wardenship of the C ollege were confined to persons of thename of Alleyn or Allen .

4 4 1. J am es Allen.

ARTIST UNKNOWN.

He is painted as a whole- leng th in the M aster ’ s official gown ;the right hand gloved

,resting on the hip, holds the second

glove, both white . The left hand rests on a plinth , and holdsa roll inscribed in Gothic letters :

Sussex andWig orn [Worcester]

ss Rotulus Jaochi Allen .

O n the right side of the fig ure is the monogram J A., 42,

At the back of the canvas, Th1s for The RightHonourable my Lady Pitsligo,

” with the monogram J A.

”

C anvas : 7 ft. 10 ih . x 4 ft . 9% in .

James Allen was Warden of Dulwich C ollege from 1712 to

1721 ; and M aster , 1721 ; died , 1746 . He founded and endoweda school in Dulwich for the instruct ing poor boys to read andpoor girls to read and sew .

” This school was restricted by Act ofParliament (1857) to g irls , and is now known as JamesAl len ’s Girls ’ School .” F rom his sig natures in the C olleg ebooks and other documents, it appears that he spelt his nameAlleyn while Warden

,but adopted the spelhng Allen

after he became M aste r . There are other portraits of him in

the C ollection (Nos. 495, an inscription of the frameof one of them records that he was six fee t High . Skilful asa Ske eter , a Jumper, Athletic and Humane .

”

This portrait is placed in the Board Room of the C olleg e .

4 4 2 . R ev. W illiam R og ers .

A. S . C O PE , R .A. (English : b.

M r . Arthur Stockdale C ope,son of 0. W . C ope

,R.A.

,was

born in L ondon . He was primarily taught by his father , andthis continued during his course as a student at the Ro

yalsAcademy, after which he travelled and studied abroad . In

early artistic career he , like many of his able contemporaries,owed much to the work and personal influence and stimulus ofJohn Pattie

,R .A.

Three- quarter- Ieng th fig ure , seated in an arm - chair ; darkunder-coat and vest, dark grey overcoat, dark necktie ; then ght hand rests on the handle of a walking - stick . Bound

24 7

books and papers on a table on the right ; in the left cornerbooks and documents . S igned A. S . Cope and dated 1894 .

Canvas : 4 ft. 14 in . x 3 ft .15 in .

The Rev. Will iam Rogers (b . 1819, d . 1896) was one of the

Governors of Dulwich C ollege for thirty- nine years,and for the

greater part of that time was their C hairman,in which capacity

he may almost be called the Second F ounder of the C ollege. He

was educated at Eton and Balliol,and rowed for O xford against

C ambmdg e in 1840. He was ordained in 1843,and in 1845

became incumbent of St . Thomas, C harterhouse .

In this district

, which he named C ostermong ria , he worked for 18 years,establishing a net—work of schools . He had hosts of friends

,

whom he used , as he said , eternally to dun for his publicwork . In 1863 he was presented with the living of St . Botolph

,

Bishopsgate , and henceforth devote d himself with unfailingzeal to the promotion of middle class education

.The C owper

Street M iddle C lass Schools and the Bishopsgate Institute are

among his foundations . His advocacy of secular education insuch institutions gained him the sobriquet of Hang theologyRogers .

” In 1857 he was appointed a Governor of DulwichCollege , and in 1862 he was elected C hairman , a post which heheld till his death . The reconstruction of Alleyn ’s charity .

and the new C ollege,owed much to his direction . He was a

man of marked individuality,and of equally marked physiog

nomy. His geniality and humour made him one of the mostpopular men of his time . He was a memorable man

,

” saidLord Rosebery at a meeting in Bishopsgate in 1911, and Iat any rate shall always do all I can to keep his memory greenamong men . He was the most true and broad- minded C hristianI have ever known

,the most true and broad- minded man

,the

most true and broad—minded philanthropist .” Upon his 75thbirthday a presentation of his portrait by M r . C ope and a giftof plate were made to him by his grateful and affectionatefriends at the M ansion House in the presence of the PrimeM inister

,the L ord C hancellor , the Lord Chief J ustice, and

other distinguished friends . The portrait was,afte r his death

,

presented to Dulwich C ollege by his siste r . It 1s placed ln the

Board Room of the C ollege .

4 4 3 . E dw a rd A lleyn .

ARTIST UNKNOWN

Whole length in long gown and hat, a ruff around the neck .

white wristbands,gloves in left hand . A curtain across the

top corner to the left . C anvas : 6 ft . 8 ih . x 3 ft . 85 ln .— The ~

head is given in Princess Victoria Series , 1.

Though by an unknown artist and a g ood.

deal restored, thisis,from its subject

,one of the most interesting p1ctures m the

Gallery . It is a portrait of the F ounder of Dulw1ch C ollege,

24 8

Edward Alleyn (1566 actor and theatrical manager mthe days of Queen Elizabeth . He was ,

”said F uller ,

“the

Roscius of our age,so acting to the life that he made any

part. (e specially a majestick one) _

to become him .

” And thisportrait represents him (as

'

Sir G . Warner observes in hisadmirable biography in the National Dictionary) as a man ofdignity and presence, outwardly well q ualified to sustain thetragic characters in which he is said to have most excelled .

”

F or an appreciation of the portrait by an early visitor to theC ollege; see above, p . vi.

Alleyn married (1592) Jane Woodward (see No .

daughter of Philip Henslowe, the theatrical proprietor andmanager

,whose

'

D iary and Account Book , containing manyentries of great interest in reference to the drama, is preserved among the C ollege M SS . In 1623, having lost his wifeAlleyn married C onstance, daughter of the ce lebrated Dr.

Donne . He died November 25,1626 . The date of his

'

death

given on the u

present tombstone in the C ollege C hapel,“ the

21st day of is certainly incorrect,as is proved by several

contemporary records in the C ollege books and documents . The

true date,however

,appears in the L atin inscription in the

entrance porch of the old C ollege, VIIo C al : Decbris,” i.a. ,

November 25th.Alleyn is one of the few members of his profession who have

been known to accumulate a fortune,though his proprietorship

of a Bear Garden, where bears, bulls , lions and other'

animalswere baited

,no doubt added to his wealth . This source of

profit was not, however , repugnant to the ideas and manner ofhis time

,and Alleyn ’s character was one of singular amiability,

piety and benevolence . And,however acquired

,his wealth was

well bestowed . He began buying land in the neighbourhood ofDulwich in '1605, and

’ in 1613 (two years after the foundation ofthe

,

C harterhouse) he began to found the C ollege of God’sGift .

’ The Chapel 'was consecrated September 1,1616, the

L etters Patent,

for the foundation of the C ollege were grantedon

'

J une'

21,1619 (which is now kept at the C ollege as F ounder

’sDay). The C ollege was formally opened September 13 , 1619(see below , p .

The C ollege of God ’s Gift has,after some vicissitudes,

grown and developed into the great C haritable Trust which.

now contains and. administers the Public School with its 680boys

,the Lower School for Boys (known as the Alleyn School)

almost as numerous , the James Allen’ s School with its 360

irls , and various other institutions , such as Almshouses, aburch, playground, a garden ,

-c .

, &c .,and last . but not least,

the Dulwich Picture Gallery .

TU'

nder the portrait a large framed tablet was formerly suspended, with the following i

'nscription : With a view to handdown to posterity the pious memory of Edward ~ Alleyn,

‘

ESqu

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250

face is shaven,with the exception of a moustache and pointed

beard . C anvas : 1 ft . 11} in . x 1 ft . 5% in .

This picture was at one time ascribed to Paul van Somer(1576 a painter of Antwerp, who came to England about1606 . Walpole mentions that Bacon sat to him (see No .

The great essayist,philosopher

,and L ord C hancellor has

some association 'with Dulwich,for he was present at the solemn

foundation of the C ollege on September 13, 1619. His portraits differ beyond What may be considered a fair allowancefor the varying skill of the artist, or the natural changes whichtime wrought upon his person ; but none of them contradict thedescription given by one who knew him well, That he had aspacious forehead and piercing eye, looking upward as a soulin sublime contemplation

,a countenance worthy of one who was

to set free captive philosophy .

’ He had,” says Aubrey,

a delicate,lively hazel oie ; Dr . Harvey told me it was like the

eie of a viper .

”

This portrait was given to Dulwich C ollege by M iss Love,fulfilment of the wishes of her late brother, Admiral HenryO manney Love, The following history, written on theback of the picture

,lacks confirmation

,so far as it relates to

Bacon ’ s movements In 1618 he was made L ord Chancellorof England by James I .

,and about the year 1621 he fell into

disgrace,and was banished from the C ourt . He was concealed

at the house of a family named Andrew (with whom there hadbeen an intermarriage, as appears by his pedigree), in GarrettLane

,Wandsworth . After he regained his full liberty he pre

sented his preservers with this portrait of himself, as a recognitien of their kindness . The last of the Andrew family was adaughter

,who married M r. John Acworth their grandchild

was the late M rs . Sedgwick, who, being the eldest descendant,became possessed of both portrait and pedigree . By the willof M arian Sedgwick, eldest daughte r of the above- named AnnBlag rave Sedgwick (who died on Jannary 16 , 1860, aged eightyyears), the portrait and pedigree came into the possession ofher first- cousin , Admiral Love of Yarmouth , Isle ofWigh

4 4 6 . T he T ribut e M oney .

T . F . HO DGKINS (English : died

M r. Hodgkins, by whom this picture (after Rembrandt) waspres

elnted in 1894 , was C urator of the Gallery from 1864 to his

deat

The scene is laid in a temple . Christ stands in the centre of agroup of eleven fig ures, two of whom are seated ; a richly-cladfig ure on the left offers Him 9. coin . Several other fig ures are

251

in the background , on a raised floor . C anvas : 2 ft . in . x

2 ft . 9sm .

4 4 7 . J ohn A llen .

C opy after LANDSEER (English : 1802

Sir Edwin L andseer , R .A., the chief modern painter of the

dog, belonged to a family of artists,and began to exhibit at

the Royal Academy when he was 13 . At the age of 24 , he waselected at that of 28

,R .A. His pictures of animals

had in their day a great success . In 1850 he was knighted ;in 1867 his L ions were placed in Trafalgar - square . He wasgiven a public funeral in St . Paul’ s . F rom time to time hepainted portraits, generally for personal friends .

Dre ssed in a white waistcoat,a blue coat ; seated reading

at a table, in a high- backed chair,which is covered with red

stuff ; armour in the background on the left . C anvas :1 ft . 6 in . x 2 ft .

J ohn Allen, M .D . (1771 brings two very different,

institutions into connection his lines were laid in pleasantplaces, a larg e portion of his life being divided betweenDulwich C ollege and Holland House . He was born at Redford

,

near Edinburgh was educated in that city,and in 1791 became

M .D . of Edinburgh University . He stood,” according to

the te stimony of Lord Brougham, far at the head of all hiscontemporaries as a student of the sciences connected withthe healing art ; but also cultivated most successfully all thebranche s of intellectual philosophy

,and was eminent in that

famous school of metaphysics for his extensive learning andhis unrivalled power of subtle reasoning .

” He was closelyassociated with Brougham,

Jeffroy,and Sydney Smith

,and

was one of the e arly contributors to the Edinburg h Review,

for which he wrote a large number of articles, chiefly on subjeeta connected with the British C onstitution , and with F renchand Spanish history . He published a treatise entitled An

Inquiry into the Rise and Progress of the Royal Prerogativein England

,

” and other works . M any of his letters on the

politics of the day (1800— 29) may be found in W illiam Young ’ sHistory of Dulwich C olleg e . In 1801 L ord Holland (HenryF ox

, the 3rd L ord) had sought the services of a clever youngScotch medical man to accompany him on his travels . Allenwas recommended for the post, and this was the beginning of

a close and confidential friendship with Lord and LadyHolland . Allen was Warden of Dulwich C ollege, 1811— 20, and

M aste r from 1820 to his death ; and when not officially in

residence at Dulwich, he was a constant inmate of Holland

252

House . According to C harles Greville, Allen’s residence at

Dulwich was severely restricted , as his patrons grudged everyabsence from Holland House . Lord Holland treated himwith uniform consideration

,affect ion and amenity ; Lady

Holland worried,bullied

,flattered and cajoled him by turns.

He was a mixture of pride,humility and independence he was

disinterested,warm- hearted

,and choleric, very liberal in his

political,still more in his religious opinions, in fact, a

universal sceptic . He used to be called ‘ L ady Holland’sAtheist .

’ He was the oracle of Holland House on all literarysubjects

,and in e irery discussion some reference was sure to be

made to Allen for information,upon which he neve r was at

fault. Also he was steeped in the history and tradition ofthe Whigs

,and assisted the owner of the great Whig house in

the preparation of his speeches . Allen sat at the bottom ofthe table and carved

,went out with the family to dinner

parties,and had a room of his own , still known by his name, in

the house.

” M acaulay has recorded his vast informationand great conversational powers and Byron, in his D iary(December 13 , speaks of Allen— Lord Holland ’ s Allenthe best informed and one of the ablest men I know— a perfectM ag liabecchi, a devourer , a Helluo of books , and an

'

observerof men .

” Amongst the points characteristic both of the

Italian and of the English savant, Byron may have intended toinclude irritability of temper and impatience of contradic

tion .

”L ord Brougham

,when mentioning these peculiarities

,

adds : His ” (Allen’ s) feelings were warm

,and his nature

kind and affectionate . No man was a more steady or sincerefriend , and his enmity, though fierce , was placable .

” Allenbequeathed a collection of Italian and Spanish books toDulwich C ollege, and his journals and diaries to L ord Holland

’sson, General C harles Richard F ox ,

the numismatist . It wasGeneral F ox who presented this portrait to our Gallery . It isa copy of the original (painted by Landseer for Lady Holland),which is now in the National Portrait Gallery (No . The

copy is placed in the Board Room of the C ollege .

44 8 . J ohn R ead in g .

ARTIST UNKNOWN.

Grey wig , white neckcloth and brown coat . Painted in anoval .

'

C anvas :,

2 ft. 6 ih . x 2 ft . l’

in .

Portrait of the acting organist of Dulwich C ollege, 17004 1703.

John Reading, born 1677, was a musician of high reputation inhis time. He was one of the children of the C hapel Royalunder Dr. John Blow , and remained in the choir of the Chapeluntil 1700, when he came to Dulwich C olleg e . It appears fromthe Register of the C ollegiates that he was org anist

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4 50. H arve s t in g .

After RUBENS (F lemish : See 1.

Six boys, four with wings, are cutting and carrying corn ;one stands on the left with a large hat ; trees on the right ;the cornfield on the left . A flat landscape beyond . C loudysky . Panel : 1 ft. 74 in . x 2 ft . 7% in .

The original is in the Earl of Radnor’s collection . O urpicture seems to have been painted from a print (Bolswert

’s)

reversed as the cupids are reaping with their left hands .

4 51. V enus W e e p in g ove r A d on is .

School of RUBENS (F lemish : 1577 See 1.

The body of Adonis lies stretched out on the ground ; Venuskneels near his head on the left . An attendant woman dressesthe wounded limb ; two others behind weeping ; C upid walksaway from the group . O u the right two boar- hounds . Treesand grey sky in the background . Panel : 1 ft . 6% in . x 2 ft.

115 in

Adonis , whom Venus in vain endeavoured to detain fromthe chase (see No . 209) has been killed and

She looks upon his lips,and they are pale

She takes him by the hand,and that is cold ;

She Whispers in his ears a heavy tale,

As if they heard the woeful words she told.

This picture,which may be the one described by Desenfans

(No . 92 111 h1s C atalogue), was formerly ascribed to VanDyck ; but the composition is precisely that of the greatpicture of Rubens , now in M r . Hope ’s collection (M rs.

J ameson).

4 52 . B a cch a na ls .

F . ZUC C ARELL I, R .A. (Italian : 1702 S ee 175.

A sketch .— O u the left, Bacchus, seated on the ground ; a

female satyr pours out wine for him ; a satyr girl on the left5 1de of Bacchus, near whom a boy is occupied with a goat ;two other boys on trees on the right, two Bacchantes and satyrsdancing in a meadow ; a satyr boy playing the flute ; trees inthe

l

b

l

ack

ground ; blue sky with light clouds . C anvas : 1 ft . 1§ in.x t . 4 m .

255

4 53 . D ian a. an d E n dym ion .

JO HN WO O D (English : 1801 See 346 .

Endymion is lying asleep , nude, with the exce tion of anan1mal’s skin across the loins ; two dogs , also as ee crouchnear him ; above his head float two winged boys (amorini),one bearing the torch of Hymen ; D iana, clad in a diaphanousrobe, 18 descending, and is stepping out from a bright sphererepresenting the moon ; a ram is on the left

,shepherd ’ s crook

and metal horn in the foreground . C anvas : 4 ft . 14, in.x

3 ft. 3,

in .

Presented by Thomas Gray,Esq .

,1897 .

4 54 . T h e O rph ans .

JOHN woon (English : 1801 See 346 .

Two g irls,' bare— footed , stand on a rocky height

.The elder

,

in a dark dress, is looking pathetically upward ; the younger ,who has her hands crossed on her breast

,is clad in a short

red garment. D istant view of a village on the right dark sky.

C anvas : 4 ft . 8 in . x 3 ft . 3%‘

in .

Presented by M iss S . Wyatt Gray, 1897 .

4 55 . Abrah am , S a rah , an d Ha g ar .

FRANS PO UR-BUS,THE YOUNGER (F lemish : 1569

F ourbus , son of the elder painter of the same names, wasborn at Antwerp , and by 1591 was a master in the Guild ofSt. Luke . In 1600 he entered the service of the Duke ofM antua . In 1609 he settled in Paris as Painter to the Queen .

He was most distinguished as a portraitr painter, but there aremany religious pictures by him in the churches of Paris .

Abraham is seate d on the right he takes the hand of Hagar,

who is standing on the left, one foot placed on the carvedwoodwork end of a couch . Sarah

,who is in the centre

,has

her left hand on the shoulder of Abraham,and leans forward

to speak to him . A carved stone fig ure on the right. Panel :11} ih . x 7g in .

Presente d by J ohn Watts, Esq .

,1894 .

4 56 . M rs . T h om as L in l ey .

1

O ZIAS HUM PHRY ,R .A . (English : 1742

Humphry was a native of Honiton, and for some time practised as a miniaturist at Bath . He lodged there with the

256

L inley family, and from him O zias L inley is supposed to havederived his C hristian name . Eliza Anne (afterwards M rs.

Sheridan) was in: her ninth year when Humphry settled inBath . She knew all the songs in The Beg g ar

’s O pera, &c.

,

and there she would sing so sweetly that many a day,at the

young painter ’ s solicitation , she chanted them,seated at the

foot of his easel,looking up to him , u nconscious of her heavenly

features (Nolleke’ns and his Times vol . ii ., p . Pre

sentlyHumphry settled in London ,where he received encouragement from Reynolds

,and his miniatures met with much success .

After a disappointment in love (see No . he went to Italyin 1773 with his friend

,Romney . He remained in Italy till

1777 studying oil- painting,and on his return to England he

painted life - size portraits in oil . In 1779 he was elected A.R.A.

In 1785 he went to India , and painted many portraits (mostlyminia tures) of princes and nabobs . Returning to England in1788

,he continued miniature - painting with success

,and in

1791 was elected R .A. His eyesight began to fail . and he tookto the less minute manner of crayon drawings, till in 1797 hissight completely failed . He excelled ,

” says Redgrave,in

sweetness of colour and in expression , and both in miniature andin crayons he displayed the greatest taste and was deemed thehead of his profession for many years .

” He was a friend andadmirer of William Blake . He was, as already said , a fellowcountryman of Sir J oshua’s , and in the last years

’ of thePresident ’s life

,Humphry u sed to visit him and read the

newspaper to him .

Three— quarter fig ure , seated ; white cap, white drapery fromthe neck ; dark brown dress, b ut low ; red drapery over eacharm , part of right hand seen . C anvas : 2 ft . 6 in . x 2 ft . 1 in .

— Princess Victoria Series , ii The L inleys of Bath, p . 312 .

A portrait of M ary J ohnson,married (1752) to Thomas

L inley (see No . She died in 1820,aged 91, and was

buried in the churchyard of St . Paul ’s, C ovent Garden , in

which church a tablet to her memory may still be seen . Shewas the mother of twelve children

,including E lizabeth and

M ary (M rs . Sheridan and M rs . Tichell, No . ThomasSamuel (No . M aria (No . O zias (No .

and William (No . Her children seem,however

,alike in

disposition and in looks,to have been Linleys rather than

Johnsons . She was said to have been a kind,friendly woman

in her youth and reckoned beautiful — a cautious statementby one who knew her only in lateryears . O ur portrait is ratherin keeping with the character of her as drawn by the historianof The Linleys of Bath— domineering and violent—tempered,neither delicate nor refined

,but possessed with a stern sense

of d uty, bustling and energetic . Her strong sense and business

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258

b athing ; four Amorini scattered about . L arge trees in the fore-and background . C anvas : 1 ft . IL; in . x 2 ft .

_

5 in .

The subject is taken from O vid’s M etamorphoses. An ancientc opy after the original by Albani in the Turin Gallery ; eu

g raved in La Reale Galleria. di Torino illustrate, do, Robertod’Az eg lio (Torino , vol . 1 tav . xxi . , pp . 134 - 137 .

4 59. R e lig ion in th e D es ert

SIR P. F . BO URGEO IS , R .A. (English : 1756

See 6 .

A female fig ure in white drapery reclines , with extended: arms

, on a sea- shore . The water is breaking; among boulders:and rocks on the left . C liffs rise above her head on the right.

A cup and crown of thorns are on the sand by her side . Ad ark , nearly black sky . C anvas : 3 ft . Hin . x 3 ft . Hg in .

4 6 0. L an ds cap e w ith F ig u re s .

Sm P. F . BO URGEO IS, R .A. iEng lish : 1756S ee 6 .

A cavalier in a red jacket,mounted on a grey horse, rides

into the p icture on the left . A soldier in helmet , breast - plate,a nd cuisses, with yellow leg covering s , holds a white flag witha red corner

,and converses with the horseman . A soldier lies

on the ground ; a buckler is beside him . A blasted beach—treeon the right behind

,a dark hi ll and cloudy

,humid sky

, With apeep of blue distance . C anvas : 2 ft . in . x 2 ft . 5% in .

SIR P. F . BO URGEO IS , R .A. (English : 1756

See 6 .

Two girls are reading under the shade of large trees, thet runks of three of which are close to them . Behind them aresheep , and in front is the sheep - do-

g . A young man is on theleft, lying face downwards , his head on his hands , his elbowson the ground he looks up to the girls’ faces . A lar e treet runk occupies the left foreg round . A blue- grey sky . anvas :

1 ft. 5 ih . x 2 ft . 6 in .

4 6 2 . L an d s ca p e w ith C attle .

813

51) F . BO URGEO IS , R .A. (English : 17566 6 6 .

Two cotvs ; one, a red cow,is lying down

,while another, some

what to the right, is grazing . A bank of earth,a pool

,and a

259

clump of trees, with a cloudy white sky, make up the composition . C anvas : 1 ft . 9 in . x 1 ft . 5 in .

4 6 3 . A. S ke t ch .

SmAS

P.

5BO URGEO IS ,

R .A . (English : 1756'ec

Troopers are crossing a bridge . An officer rides after themhe wears a red coat, and rides a grey horse . Grey sky.

C anvas : 1 ft. 2% in . x 2 ft . 1g ih .

4 6 4 . H is O wn P or t ra it .

SIR

S

P. F . BO URGEO IS,R .A. (English : 1756

6 6 6 .

Three—quarter view, looking towards the right, painted in agrey key ; white cravat ,brown coat . A painted oyal squareframe . C anvas : 1 ft . in . x 1 ft . 7% in .

This portrait, by hims elf, of the F ounder of the Gallery, waspresented in 1866 by the executors of Sir F elix Agar . F or abiographical notice, see the introduction

, p . xi .

4 6 5 , 4 6 6 . His O wn P o rt ra it .

Sm P. F . BOURGEOIS,R .A. (English : 1756

S ee 6 .

C opies by Bourgeois of the portra it of himself by Sir WilliamBeechey (No . C anvas : 2 ft . 6 in . x 2 ft . and 2 ft . 6 in .

x 2 ft . in . O ne of the copies (46 5) is in the Gallery ; theother (466) in the Board Room at the C ollege .

4 6 7 . W ill iam T e l l.

Sm P. F . BO URGEO IS,R.A. (English : 1756

S ee 6

O u the left,three soldiers in mot ions one of them places the

apple on the head of the boy,who stands facing towards the

right,Where his fathe r kne els on one knee in

'

the middle distance .

Tell looks angrily towards Gessler , who, mounted on a prancingblack horse

,gallops a cross the middle of the picture . A woman

on her knees,with claspe d hands, pleads in vain for mercy to

her child . Behind Tell the ground sinks down to the margin of

a lake,near which a group of three men standing and four other

smaller fig ures are seen . The distant shore is mountainous,

with a town to the right . A boa t is on the water . The sky

27930

260

is stormy and unnaturally black with clouds . C anvas : 2 ft6 in . x 3 ft . 75 in .

This picture is placed in the School Hall of Alleyn ’ s School .

4 6 8 . V enu s and C up id .

C opy after C O RREGGIO (Parmese : 1494See 246 .

Venus stands in front,and holds an arrow in her le ft hand ;

her right hand is on a red drapery . C upid on the right,

standing and ' turned to the left , reads from a paper ; twodove s on the ground on the left . Trees in the backgroundPanel : 1 ft . 7g in . x 105 in .

An old copy, reduced , of part of the picture , M ercury instructing C upid in the presence of Venus , painted in

C orreg g io’s later period for the Duke of M antua

,now in the

National Gallery (No . In this copy M ercury is wanting,and the figure of C upid is reversed . The two doves have beenadded by the copyist . Probably pa inted in the School oi

“

C arracci .

4 6 9 . L and s cap e w ith S h ep h e rd s an d S h e e p .

ARTIST UNKNOWN.

O n the right, two shepherds, one standing , the other lyingon the ground . A river occupies the Width of the middledistance . Greyish sky . Panel : 2 ft . 45 in . x 1 ft. 6 in.

A pasticcio, painted in imitation of A. C uyp by a lateartist (Richter).

4 70. T h e E ntran ce ot’

a Pa la c e .

DIRK VAN DEELEN (Dutch : 1605— 1671)D ink van Deelen was born at Heusden (or at Alkmaar).He lived at Arnemuyden , in Z eeland

, Where he was madeburgomaster of the town in his later years

. He was thricemarried : He was much esteemed in his lifetime as a painterof architectural and perspective views . His ictures represent the interior and exterior of palaces in e Renaissancestyle . Although of great merit

,they are nevertheless some

what hard and metallic, and the colour often appears wantingin harmonywhen compared with later masters, who treated thesaine subJects. The fig ures in his pictures are generallypainted

.by Le Duc

, D irk Hals, Pieter C odde, van Harp»

Anthems Palamedesz , Phil . Wouwerman ,and Boeyermans.

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262

1807 and of Trowse with L akenham , 1815. L ike other membersof. the L inley family he was a musician , and had as his musicmaster at Bath Sir William Herschel, afterwards famous as anastronomer . In 1816 O zias resigned his benefice to becomejunior fellow

,with the . post of organist, at Dulwich C ollege.

He held that position till his death in 1831, and it is to hisconnection with the C ollege that the Gallery owes some of itsprincipal treasures (see above, p . xvii). The Reverend O ziasheld strong views on some controverted subjects of theology,and expressed his views on all subjects with equal vig our '

andfrankness . As a country clergyman he was famous for absenceof mind

,and his brother- in - law

, Sheridan, used to amusehimself and his company by relating or inventing cases inpoint . In reading the Bible

,O zias would sometimes laugh at

what seemed to him funny, and at other time cry with emotionat what was sonorous . O u taking up his residence at Dulwich,he used to light his study—fire with his sermons . The C ommonRoom of the C ollege must have been anything but dull in hisday . He would be quarrelsome one day, and as good friendswith everybody as ever the next day . He would enliven hiscolleagues with personal abuse at one time

,with a dramatic

recitation or a song at another,with his racy peculiarities at

all times . He never opened a newspaper ; he had regular daysfor reading and re - reading his favourites among the classicsand the divines ; his novels were Tom J ones and Gil Blas ; andone of his recorded sentiments is to the efie ct that one glassof port after twelve is worth a dozen before . Wh en one of

his colleagues preached at him in chapel and he was askedhow he had liked the discourse

,he replied that he had not

heard it, as he was reading Robinson Crusoe . O ne would liketo have been present when the Rev. O zias L inley met theReverend Sydney Smith at dinner at Dulwich .

4 75 . M is s M ar ia L in ley .

Sm T . LAWRENCE , P.R .A. (1769 See 178.

A white low dress, blue ribbon in her hair , bow and sash ofthe same, and a narrow strip of the same colour passing overher shoulders and under her dress . C rayon, e lliptical :1 ft . x 95 in .

— Reproduced in The Linleys of Bath, p . 152.

Portrait of M iss M aria L inley,younger sister of Elizabeth

Ann (M rs. Sheridan) and M ary (M rs. Tichell) (see No .

Her voice was considered to be equal to that of Elizabeth’s,and her contemporaries called her beautiful . The face ismost attractive, full of intelligence , character and spirit, butwithout that trag ic quality that belongs to Elizabeth

’s andto Samuel ’s .

”She died at Bath '

of a fever in 1784,21 years

of ag e. In her delirium shortly before her death she sat up

263

in her bed and sang : ‘ I know that myRedeemer liveth,

’ with allthe beauty of v01ce and expression that marked her singingwhen in good health (The Linleys of Bath, pp . 153,

Any Spectator who.

is surprised at seeing the name of'

Lawrence assocmted W ith this picture should remember that itwas made when the painter was a very young boy

.

4 76 . N oe l D e s e n fans .

W'

ILLIAM OWEN,R .A. (English : 1769

W . O wen was the son of a bookseller at Ludlow,in Shropshire

,

and educated at the Grammar School there . He was sent to ,

London in 1786 and placed under C atton . He attracted theattention of S ir Joshua Reynolds

,became a student of the

Academy in 1791, and exhibited his first portraits in the following year . His portraits were faithful likenesses of his sitters

,

and usually very skilfully painted . He occasionally paintedg enre pictures but they lacked the harmony and characterof his other work . He was elected Associate in 1804

,and

Academician in 1806 . In 1810 he was appointed portraitpainter to the Prince of Wales

,who in 1813 conferred on him

the title of Principal Portrait—Painter to the Prince Regent ,and added to it the offer of a knighthood

,which O wen declined .

He painted many of the most eminent men of the day ; someof his portraits are in the National Portrait Gallery . Towardsthe end of his life

,his health failed . He married a M iss L eaf

in 1798, by whom he had one son . He first resided in C oventryStree t

,and had a painting - room in L eicester Square . F inally

he removed to Bruton Street, where he died from an overdoseof opium .

Three- quarter view to the left ; white cravat, shirt ruffles,hair rather short and thin . C anvas : 2 ft . 5 in . x 2 ft .

This picture is traditionally called a portrait of M r . NoelDesenfans

,but it is difficult to reconcile the features and

general appearance with the certainly authentic portrait of himby Northcote (No .

4 77 . T h e N u rtu re of B a cch u s .

After N PO USSIN (F rench : 1594 S ee 101.

In the centre,Bacchus, as a boy, sitting drinking wine, out

of a tazza, which a satyr presents to him :.

another supportshis back a nymph stands behind . O h the rlg ht ,

a cupid, witha goat on the left

,two boys embracm g each other trees and

264

a' river in the background ; dark cloudy sky . C anvas2 ft . 4 } in . x 8 ft. in .

Sold from the collection of M . M ariette i n 1775 for £92(Smith

’s C atalogue; No . It. is a replica or a copy of thepicture No . 39 in the National Gallery .

The picture,” says Hazlitt,

‘f makes one thirsty to lookat it— the colouring even is dry as dust . The fig ure of theinfant Bacchus se ems as if he would drink up a vintage— hedrinks with his mouth

,his hands

,his belly

,and his whole body.

Gargantua was nothing to him .

”

4 78 . T h e An g e ls A p p e a rin g to Ab rah am .

After N . PO USSIN (F rench : 1594 See 101.

In the centre, the three angels standing robed in tunics ;on the left, Abraham kneeling ; two buildings in the background . Sarah stands at an open door hilly landscape on theright . Dark sky . C anvas : 2 ft . in . x 2 ft . 10 in .

4 79 . A M oun ta in ou s L an ds ca p e .

After N. PO USSIN (F rench : 1594 S ee 101.

Steep rocks sloping to the left, and overgrown with bushes ;high trees ; a piece of water , where a fig ure is stoo ing to

drink . Two other fig ures behind ; a distant view on t e left ;cloudy sky . C anvas : 1 ft . 7 in . x 2 ft . 7 in .

- Engraved byBaudet .

C onsidered by M rs . J ameson to be the original,which was

painted about the year 1650 for M . Passart . The Ge nius ofantiquity might wander here,

” says Hazlitt,of this landscape,

and feel itself at home . The large leaves are wet and heavywith dew

,and the eye dwells under the shade of melancholy

thoughts .

’

4 80. f ish erm en n ea r 3 . R ocky G a teway .

After N . PO USSIN (F rench : 1594 See 101.

In the foreground two men fishing near a pool ; beyond, ag ateway formed by rocks, and overgrown with bushes ; bluemountains in the distance ; cloudy evening sky . C anvas1 ft . 7 in . x 2 ft . 1% ih .

4 81. V enus an d M ercu ry in a W ood .

After N . PO USSIN (F rench : 1594 See 101.

O n the right, Venus, undraped , recling ing , roses in het lefthand, a blue drapery on the ground ; near her M ercury sitting .

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266

the ground that he was a foreign prince . Beaufort, however,recovered the loss of influence this promotion cost him, andraised men and money

,with the King

’ s permission, to act

against the Hussites in Bohemia . This force was employed“

ultimately against the King’s enemies in F rance,where Joan

of Arc had raised the siege of O rleans , and was conveyingC harles to be crowned at Rheims . O n account of this diversionof the contingent raised for the C hurch’ s uses, it was believed

“

that the C ardinal died of remorse, and this is the view of Shakespeare

,Henry VI . , part ii act 3

See how the pangs of death do make him grin !L ord C ardinal

,if thou think’

st on heaven’ s bliss ,Hold up thy hand

,make signal of thy hope .

He dies, and makes no sign - 0 God,forgive him !

But there is good ground for distrusting this belief, as a witnessof his death gives details that he called the clergy of hiscathedral to his house

,caused requiems to be chanted for his.

departing soul,ordered his will to be read aloud and some

corrections to be made in it,and finally took a solemn farewell

of his friends . He died April 11, 14 48 .

The picture is one of the few in which Reynolds succeededin giving a touch of the terrible . He assisted himself, inreproducing Shakespeare ’ s minute ly awful delineation, by agrinning coalheaver who sat to him . O ur sketch greatly impre ssed M aster C live Newcome . I like to read about SirJ oshua Reynolds best : I think he is the best gentleman of

”

all. M y l would’nt I like to paint a picture like Lord Heath

field in the National Gallery ! Wouldn ’t I just? I think Iwould sooner have done that

,than have fought at Gibraltar .

And those Three Graces— oh,aren ’t they graceful ! And that

C ardinal Beaufort at Dulwich l— it frightens me so, I daren’t

look at it (The Newcomes, ch . xii).

4 8 4 . V enus .

VENETIAN SCHO O L (16th C entury)

Venus , undraped , lying on a v iolet cushion ; red curtains oneach side of her head ; C upid with a dart in his hand bends.

over Venus ; on the rig ht, a terrace with a balustrade andcolumns a landscape beyond . C anvas : 3 ft . 4 in .

'

x 6 . ft. 1 in.

Ascribed by Desenfans to Titian,and valued by him for in

surance at £800. Painted in imitation of Titian ’s Venus,now in the gallery at Darmstadt

,by an artist belonging to the

School of Bassano and Tintoretto (Richter). The picture isone of those mentioned by C harles Kingsley in the chapter ofAlton Locke, called Dulwich Gallery He had turnedaside to some picture of a Venus which caught my eye also, but

267

which, I remember now, only raised in me a shudder and"

a

blush, and a fancy that the clergymen must be really as bad as.my

.

mother.

had taught me to believe,if they could allow in

their galleries pictures of undressed women . I have learnt to.

Vlew such' thing s differently now,thank God,

” etc .

4 85 . J u p ite r a nd A n t iop e .

FRANCO IS VERWILT (D utch : b. 1598, d. after

Born at Rotterdam , Verwilt at first perfected himself as a

landscape- painter under C ornelius Dubois,and afterwards

under Poelenburg . He was still living in the year 1669. Verylittle is known of his life or works . That he painted portraits.besides landscapes is proved by the fact that in the M useum at

Amsterdam a larg e life- size portrait of the son of the

Lieutenant- Admiral Aart van Nes bears the signature F .

Verwilt,1669.

O n the right, the nymph undraped , and C upid, both sleeping ;a blue and a white drapery on the ground ; Jupiter standsbehind

,laughing ; rocks, bushes , and trees in the background ;

blue sky . S igned,

F . V . Wilt .

” Panel : 1 ft . 3% in . x 1 ft .

6 ih .

Painted in imitation of Poelenburg , joo whomait was at one

time ascribed . Pictures with signatures by Verwilt are

exceedingly rare .

4 86 . L an dscap e w ith H ors e s .

ENGLISH SCHO O L

Two horses , a brown and a grey, stand with their headsacross each other . A peasant woman, basket on arm, looks atthem . A bank of dark trees is behind . A town in the distance,and a mountain . All rather dark . Blue sky . C anvas : 1 ft .

1—2 in . x 1 ft . 64 in .

At one time attributed to Zuccarelli (see No .

4 87 . M a s s a cre of th e Innocen ts .

ENGL ISH SCHO O L .

A fragment of a large composition, showing only the shoulder ,arms

,and head of a woman, turned away from the spectator ,

and the head of a child , looking up to the woman , and

apparently running towards her for shelter .

.

A drapery is

around the woman ’s waist ; otherwise she is uncovered .

C anvas .on panel : 2 ft . 5} in . square .

268

4 88 . A h E q ue s trian Portra it .

ENGLISH SCHO O L .

A general officer with g olds embroidered cocked hat and redc oat

,leather breeches and military boots, sits a brown horse,

and pi ances f1om right to left . A whitish dog in the fowground . A lake and bank of t1ees form a low h01iz on for thefig ure Sto1my and cloudy sky, blue on the right. C anvas :4 ft . 25 in . x 3 ft . 4 in .

O nce ascribed to Sir Joshua Reynolds .

4 89 . T h e Pr in ce Pr im at e of Po land .

F RENCH SCHO O L .

F ace,three- quarte rs towards the left . The hair is powdered .

“Fears a crimson— red cape,with bands round his throat . An

order is carried by a broad blue ribbon , above which a red crossis sustained by a golden cord . In pastel , on paper : 1 ft . 113 in .

x 1 ft . 75 111 .

Portrait of M ichael Poniatowski (1736 a brother ofS tanislaus (see It was through friendship with thisbrother that Noel Desenfans came into connection with KingStanislaus . S ee the Introduction . p . viii .

4 90. S tan is lau s , K in g of Po land .

F RENCH SCHO O L .

A fine,handsome. shaven face ; his dark eyes and eyebrows

contrast with his powdered ha ir . He wears a dull red coat andrutfled shirt ; a broad blue ribbon passes over his left shoulder ;011 his left b1east a blue order of a double cross

,with silver rays .

In pastel, on pape1 : 1 ft . 11% ih . x 1 ft . 75 in .- Princess

Victor1a Sei ies, i.Stanislaus Augustus Poniatowski (1732- 1798) won the favour

of the Grand Duchess C atherine who succeeded to the throne ofRussia by the assassination of her husband

,1762 . Through

her influence Stanislaus was chosen King of Poland,1764 .

F or his subsequent career and its connection with the DulwichGallery, see the Introduction

, above , p . ix . C arlyle(F riedrich, vol. vii .) gives a characteristic account ofStanislausWarsaw

,Septen1ber — Stanislaus Poniatowski, by

what management of an Imperial C athe1ine upon an anarchicnation w aders shall 1mag ine , ad libitum,

was elected,what they

call Elected, King of Poland . A question rises hereAt or abolit what date did this glorious Poniatowski becomelove1 of the G1and Duchess, and then become ex— lover? Nobody will say

,or perhaps can? Ritter Williams (that

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270

if he had been appointed Prime M inister inste ad of C onsulG eneral, the unfortunate monarch would probably have closedhis days in happier circumstances .” This portrait is p resumably the one which S tanislaus in the days of misfortunesent to M r . Desenfans with the following letter

As the oificial connection which subsisted between youand me seems to be at an end, and I have no hopes of everseeing you

,I think it my interest to W ish you farewell ;

and this truly from the bottom of my heart,in Which you

will retain your place until my death ; and I h0pe we shallmeet where righteous souls and good hearts, according to mybelief

,W ill be united together . All etiquette and ceremonious

custom is now totally interrupted between us, at least as tomyself ; I shall never have the trouble again of observingdiplomatic rules

,but I shall always confess that I love and

honour your King and your nation ! This is what I desireyou to tell them . I wish also that you may always preservea remembrance and affection towards your friend . S ince Icannot converse with you in person my portrait may nowand then make you think of STANISLAUS AUGUSTUS REX .

”

(M emoir of Desenfans in the M onthly M irror, December,

-4 91. A F am ily a t a G rave .

Sm P. F . BO URGEO IS , R.A. (English : 1756

S ee 6 .

O n the right a g entleman is kneeling and caressing a littlechild on the grave a. youth is lying

,whom a young girl

,with

an infant at her back, is trying to console ; another child standsat the foot of the grave . Two gravediggers are on the left ;a tombstone and large tree s are on the right . C anvas : 4 ft .

- 8 in . x 3 ft . 9 in . Engraved by J ohn 0 borne .

Purchased by the Governors of Dulwic C ollege,1888 .

4 92 . S am s on D e s troy in g th e L ion .

F . HO DGKINS (English : died See 446 .

O u the left large trees, and a distant view of buildings andmountams on the n g ht ; near the centre, S amson slaying thehon . Panel : 3 ft . as in . x 1 ft . g in .

4 93 . S amson D e st roying th e Ph ilis t in e s .

T . F . HODGKINS (English : died S ee 446 .

In the centre, Samson breaking a stone column,which is

“ falling over towards h1m ; near him a man flying in terror ;

richly- dressed people and beav masses of masonry are fallingto the paved floor below . 11 the right

,two fig ures are

e scaping by a stone stairway ; a view of a. landscape is 011

e1the1° s1de . Panel : 3 ft . 3 3 in . x 1 ft . 5 ia .

These two pictures (492, 493) were pa inted by T . F .

Hodgkins (after Titian), for many years Keeper of the DulwichGallery ; presented by him, 1892 .

[4 94 - 5 4 7 . The pictures bearing these numbers belong edfor the most part to the Alleyn and Cartwrig ht C ollections.]

4 94 . T h e D uke of M a rlb orou g h .

ARTIST UNKNOWN.

F igure turned to the right ; head full face . He holds abaton , and wears the collar and badge of 21. Knight of theGarte r . C anvas : 2 ft . 6 in . x 2 ft . 1 ia .

John C hurchill, the great General and Statesman, firstDuke of M arlborough, was the son of Sir Winston C hurchill,a devoted C avalier , and was born at Ashe, in Devonshire, 1650.

He received his early education at St . Paul ’s School . He

highly distinguished himself in the auxiliary force sent byCharles II . to aid Louis XIV . in the war against Holland ,1672— 1677, and was publicly thanked by the F rench monarchfor his services ; but won his brilliant reputation as a generalin the war of the Spanish Succession , against the F rench ;gained the victories of Blenheim

, 1704 ; Ramilies , 1706 ;O udenarde, 1708 ; M alplaquet, 1709. He was created BaronC hurchill in the Scotch Peerage by C harles II . , and in theEnglish Peerage by James II . , Earl of M arlborough byWilliam III . ,

and Duke of M arlborough by Queen Anne, 1702 .

Was disgraced , and dismissed from all his offices, 1712 ; butrestored by George I. ,

1714 . He died 1722.

4 95 . J am es A llen .

ARTIST UNKNOWN.

The fig ure , which is three-

q uarter length, stands with theleft hand on the hip ; the right gloved hand holds the otherglove ; a dark coat . C anvas : 3 ft. 4} in . x 4 ft . 15> in .

In the Hall at J ames Allen ’ s Girls’ School. F or an accountof J ames Allen, see No . 4 4 1. O u the frame of. this pictureis the inscription there quoted .

4 96 . J am e s A llen .

ARTIST UNKNOWN.

A fuIl- length fig ure in the official gown of the M aster of theC ollege

,placed with the right hand on the hip the left rests

272

on the corner of a table covered with a dark blue cloth.

Under the gown is seen a brown, wide- skirted coat, with goldembroidery

,ruffles , and lace cravat . A roll in the left lower

corner is inscribed :

s . The roll of James Allen of the vacationafter Trinity term and of M ichaelmasterm followmg . Anno 1737 .

At the back of the canvas, J . Allen , A3 54,

“

1757 , G.G.G.

C anvas : 7 ft. 9 in . x 4 ft . 10 in .

In the Board Room at the C ollege .

4 97 . R ev. A . J . C a rver, D J ) .

S . M . F ISHER (English : born

M r . S . M elton F isher was Gold M edallist and TravellingStudent of the Royal Academy, 1882 ; formerly a pupil inDulwich C ollege and a student in the C ollege Art School . Helived for some years ‘

at Venice, and there painted manyVenetian subjects . He is represented at the Tate Galleryby a picture In Re alms of F ancy,

” No . 1678) bought in1898 by the Chantrey Bequest .

Three-

quarter length standing, facing the spectator ; inblack g own and doctor

’ s hood ; the hands are holding the

gown . S igned , S . M elton F isher ,” and dated 1882 . C anvas

4 ih . x 3 ft . 1 in .

The portrait of a former M aster of Dulwich C ollege, theRev Al fred James C arver (1826 He was the son of theRev. James C arver and was born at King’ s Lynn educated at.

St . Paul ’s School scholar of Trinity C ollege, C ambridge, 1845 ;Bell University Scholar, 1846 ; graduated , first class in classics,and a senior optime in mathematics

,1849 ; classical lecturer

and fellow of Queen’ s C ollege, C ambridge, 1850. In the sameyear

'he was ordained . Sur- master of St . Paul’ s,1852— 8 . In

1858 he was appointed M aster of Alleyn ’s C ollege of God’sGift, a post which he held till 1883 . An Act of Parliamentpassed in 1857 had sanctioned a new scheme for the extensionof Alleyn ’s F oundation on the - educational side. and underDr . C arve r’ s mastership two schools were developed . C arver’senergy created Dulwich C ollege, and made it one of the greatPublic Schools of England .

” The lower school,for middle4

class secondary education , named Alleyn ’ s School also greatly

grospered under. his supervision . In 1882 the schools became1st1'1

'

10t, under separate masters , and in 1883 C arver retired .

In 1861 the Arch bishop of C anterbury made him D .D . of

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274

and expressive face, full, strong, and melodious voice, capable

of any intonation,and an original concept1on of her author.

501. Hea d of a W om an .

ARTIST UNKNOWN.

Painted within a shield- like oval ; a.

white underd ress, andover left shoulder

,a drapery of shot 811k. The n ght shoulder

is bare;a curl hangs ot er it . C anvas : 1 ft. 6§ 111. x 1 ft. 3 m.

502 . Portra it of a C lerg ym an .

ARTIST UNKNOWN (early 18th C entury).

L ife size, full length ; in wig, robes, and bands . C anvas7 ft . 3 in . x 4 ft . 2

'

in .

The features bear considerable resemblance to some of thecontemporary portraits of Dr . Henry S acheverell (1674

— 1724)the foolish pe rson who preached

'

a foohsh sermon agamet theprinciples of the Revolution which provoked his impeachmentby the House of C ommons, 1709 (see M acaulay

’ s Essays).

503 . Noe l D es en fan s a s a Y oun g M an .

ARTIST UNKNOWN.

Small full- length of a young man, in white vest and breeches,grey- green coat in a garden, his left arm on

‘a pedestal, holdi'

ng a book in his hand ; on the pedestal , a bust of F enelon ;on the right

,a fountain

,arbour , &c . C anvas : 1 ft . 6% in. x

1 ft . 3 in .

This picture represents M r. Desenfans as a young man (bornthough he looks younger in it than he was at the time

of the incident to which the picture refers , In 1777 hewrote a vindication of

‘

F enelon which excited some noticeat the time . Lord Chesterfield in one of his Letters

had made some severe strictures upon a letter : of F enelon’ s,published in the correspondence of M adame de M aintenon whohad consulted the Abbe “

as to'

the propriety of her relationswith Louis XIV . Desenfans thereupon wrote a pamphletdefending F enelon

’ s memory from Lord Chesterfield’s attack(A Letter from M onsieur Desenfans to M rs. M ontag e ,

trans

la ted by‘

M rs. Griffith : London : T . C adell,1777) F or this

vindic’

atmn of the great French writer Besonians received a

letter of thanks on behalf of the A'

cadémie des Belles Le ttres ofParis (Lett're de M onsieur Thomas de l

’Académie F r'

dnpoise ti.

M onsieur D esenfa/ns. Pour semi? a la défense de F éneltmeontre M ilord Chesterfield; Londres , Lord Chesterfield

’s

attack is'

Symbolized in the picture by the serpent on the

275

pedestal ; M r . Desenfans stands beside the bust of F enelon asg uardian, while an angel descends

'

with a wreath (this latte r1nc1dent 1s om ltted in the eng raving).

The picture was formerly described as Portrait of a Youngman w1th a bust of M ilton,

” and the donor was saidto be unknown (Dr . C arver’ s C atalogue

, No .The

engraving which now hangs beside the picture led to its identificatmn . It was doubtless one of the Desenfans Bourgeoispictures . The engraving, which appears to be a free renderingof the picture, bears the name of Gwin (an artist otherwiseunknown) as the author of the design and the initials J T .

as the eng raver . The e ngraving is d escribed in J ChalonerSmith ’ s British M ez z otinto Portraits (No . 52 in the list ofanonymous eng ravings).

504 . He ad of a. M an .

ARTIST UNKNOWN.

A gentleman of the time of George II . or III . A full,soft

looking face, with a large wig . C anvas : 2 ft . 4 in . x 2 ft.

505 . Adam an d E ve in th e G ard en.

ARTIST UNKNOWN .

Eve is on the rig ht, and reaches across to Adam,offering

him an apple The tree,with the serpent clinging to it

,is

between them . Panel : 3 ft . 6 in . x 2 ft . 115 in .

Probably a F lemish picture .

506 . T h e TH '

oly F am i ly .

ARTl ST UNKNO WN .

The composition is constructed on a base of three steps,on

which is a pedestal ; on this the Child stands . A plinth and

column on the left . M ary, in red and blue dress, holds theC hild ; while St . Joseph stands behind . No . 211 in C artwright ’ sC atalogue : Joseph and M ary and O ur Saviour on a clouth

pasted on bourd . C anvas : 1 ft }, in . x 9 1n .

507 . T h e T ran sfig u ra t ion .

C opy after RAPHAEL (1483 S ee 24 1.

In Christie and'

M a-n'

son’s C atalogue (1796) this copy was

stated to be visibly’ the hand of Julio Romano . It is more

probably by Pierino del Vaga (1500 who was recommendedby Giulio Romano to Raphael . He became one of Raphael ’ sassistants

,and executed many Biblical subjects from the

27930

276

master’s designs . In 1527 Pierino left Rome for Genoa, wherehe decorated the' ‘

Doria Palace . Towards the end of his life hereturned to Rome . C anvas : 12 ft . 41» in . x 8 ft . Si in .

This picture was purchased at M r .

’

Van der Gucht’s sale onM arch 11, 1796 , by Thomas M ills , Esq .

,of SaxhamHall, Sussex,

for the sum of £42, and was presented by him to the C ollege.

It is an accurate,

and yet spirited copy of1the orig inal , and

p erhaps one of the most valuable copies in this country . Ithangs in the C ollege C hapel .The original picture (in the Gallery of the Vatican at Rome)is one of the best known of “

R aphael’ s works . It is an example

of the profound symbolism which the master introduced in manyof his later works , combined with the dramatic effect characteristic of the Roman Period .

” The picture attained additional fame from being h1s last work, being,

left unfinished,

at

his death . When his body lay in state, the Transfigurationwas placed . over the coffin , and the picture was carried inprocession at his funeral .

508 . T h e M a g da le n .

ARTIST UNKNOWN.

The fig ure sits towards the left , the head is turned up to theright

,nude to the waist . the right hand extended , the left on

the breast . C anvas : 4 ft . 21 m . x 4 ft . 8 in .

A well—painted picture,probably of the F lemish School .

509 . A W in g e d N u d e F ig ure .

ARTIST UNKNOWN.

No . 163 in C artwrig ht’ s C atalogue : An Angeli a F lying.

Panel . 1 ft . 10§ in . x 1 ft : 57} ih .

5 10. F lora and C up id .

ARTIST”

UNKNOWN.

A half- nude fig ure , seated , holds a garland across her lap ;with her left hand she dresses a drapery to her side . C upid, inblue drapery , offers her a wreath . The fig ures are three- quarterlength . C anvas : 3 ft . 5} in . x 4 ft .

511 . V enu s an d Adon is w ith S atyrs .

ARTIST UNKNOWN .

'

No . 151 in C artwright’s C atalog ue : Venus and Adonis and2 Sayters . 011 picking out a Thorne out of his tout .

Panel : I ft . 1% in : x 9} in .

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278

5 18 . S ea - p iece .

ARTIST UNKNOWN.

Rough water , a M editerranean coast in the background ; afrigate is running for the land ; near the coast is a small bark ;a boat is in the right corner . No. 213 in C artwrlght

’s

C atalogue : A small Sea Seift, a closit pece . C anvas1 ft . 1 in . x 1 ft . 85 1m

5 19 . L and s cap e w ith a Pond .

ARTIST UNKNOWN.

Ducks and drakes on a pond ; the principal one is white ;other birds are flying and swimming about ; the margm of thepond on the right has rushes growing on it . C anvas :1 ft . 52 in . x 1 ft . 92 in .

520. F ru it .

ARTIST UNKNOWN.

No . 237 in C artwright’ s C atalogue : “ A pictur of fruts

round in form of a sheeld . C anvas : 2 ft . 5 m . x2 ft . 1 in .

52 1- 53 6 . ?ortra its o f K in g s of E ng lan d .

ARTIST UNKNOWN.

These are reproductions by a very inferior craftsman of theconventional portraits . They have no artistic value, butpossess some interest from their association with the F ounder .

He seems to have been in the habit of buying his pictures inthe gross . Thus

,on November 10, 1620, he bought fourteen

heads (Christ, O ur L ady, and Twelve Apostles) at a noble apiece .

” And so, when he had decided to found the C ollege, he

seems to have turned his thoughts to art for schoo and toHave acquired this collection of portraits as an aid to historicalstudy . Entries in his diary (1618 and 1620) show that hebought at various times a complete set of Heads of EnglishSovereigns from William I. to James I . ,

together with theBlack Prince and Anne Boleyn— 26 in all . They cost him£8 13s. 4d. O f the 26 , only 17 remain in possession of theC ollege (Nos. 521- 536 and

521. WILLIAM TEE C ONQUEROR . 1066— 1087. Panel1 ft . 10% in . x 1 ft . 45} in .

522 . WILLIAM RUF US . 1087— 1100. Panel : 1 ft. 105. in .

x 1 ft . 44 in .

523 . HENRY I. 1100— 1135 . Panel : 1 ft . 105 ih . x1 ft . in .

279

HENRY II . 1154— 1189. Panel : 1 ft . 10% in . x1 ft . 4 in .

RICHARD I. 1189— 1199 . Panel : 1 ft. ih . x1 ft . 4 % in .

J OHN . 1199— 1216 . Panel : 1 ft . x 1 ft. 44 111.EDWARD I . 1272— 1307. Panel : 1 ft . in . x

1 ft . 43 in .

HENRY IV . 1399— 1413 . Panel : 1 ft . 11 ih . x1 ft . 6 in .

HENRY VI . 14 22— 1461. Panel : 1 ft . 10% in . x1 ft . 54 in .

EDWARD V . 1483 . Panel : 1 ft . 10% ih . x 1 ft . 6 in .

. R10n.m1) III . 1483— 1485 . Panel : 1 ft . 10% in . x1 ft . 5% in .

HENRY VII . 1485— 1509. Panel : 1 ft . 95 in . x1 ft . 4 in .

HENRY VIII . 1509— 1547 . Panel : 1 ft . 11 in x1 ft . 6 in .

ANNE BOLEYN . 1533— 1536 . Panel : 1 ft . 105 in .

x 1 ft . 4 § in .

EDWARD VI . 154 7— 1553 . Panel : 1 ft . 11 in . x1 ft . 6 in .

M ARY . 1553 - 1558 . Panel : 1 ft . 10§ in . x 1 ft . 2

53 7 - 5 4 5 . H e a d s of th e S ib y ls .

ARTIST UNKNO WN .

These are, if possible, more destitute of artistic merit than ,

the heads of the Kings and Queens but Alleyn no doubt hopedthat the contemplation of the oracles of old would inspire thestudious youth of his F oundation . In his diary of November3, 1620, there is the following entry : I chayn

d (changed) my12 owld Sybls for 12 newe and gave 40d. a pece to boot toM r. Gibbkin ,

so pd . £2 03 . O f the twelve,nine remain

in possession of the C ollege .

S IBILLA E GIPTIA. C anvas : 2 ft . x 1 ft . 53 ih .

S IBILLA GAM EA (SAM IA). C aucas : 1 ft . 114 in . x1 ft . es in .

SmILLA C UM ANA. Panel : 1 ft . 104 in . x 1 ft . in .

S IBILLA C UM EA . C anvas : 2 ft . 1 in . x 1 ft . 6 in .

S IBILLA DELPHICA. , PaneI: 1 ft . 105 in . x 1 ft . 44 in .

S IBILLA EUROPA . Panel : 1 ft . 10% in . x 1 ft . 44 in .

S IBILLA HELLESPO NTICA. Panel : 1 ft . 105 in . x1 ft . 4% in .

SIBILLA PERS ICA . Panel : 1 ft . 10% in . x 1 ft . 411 in .

SIBILLA TIBURT INA . C anvas : 1 ft . 10% in . x 1 ft. 5 in .

280

5 4 6 , 5 4 7 . Pie ty and L ib era lity .”

ARTIST UNKNOWN

O u the left panel, Pietas (so inscribed), a female fig urein yellow drapery and a white wimple . In her left hand sheholds up a. flaming altar, and with the down- stretched righthand she clasps the neck of a storkO n the right panel,

“ Liberalitis (so inscribea); a femalefig ure in a green dress with a scarf across the body ; her lefthand raised

,her right hand down— ih each hand a. cornucopia .

F rom that in her left hand issue fruits and flowers ; from the

other,coins , books, spoons , pens, shoes , and various other

articles of dress and ornament] Two panels with semicirculartops : 5 ft . x 2 ft .

These fig ures are painted on panels of the mante lpiece nowin the L ibrary of the C ollege . The mantelpiece was construcmdfrom materia ls which had formed part of the Queen’ s Stg teBarge (probably the Barge formerly used by Queen Elizabeth).It was originally erected in the Grea t C hamber or AuditRoom over the Hall, but was afterwards transferred to theL ibrary . Thence it was removed in 1870 to the New C ollegebuildings, where it was again erected as a mantelpiece in theL ibrary . The fig ures of Piety and L iberality were probablypart of the decorations of the Barge, .but Alleyn does note xpressly refer to them .

The entries in Alleyn ’s Diary with respect to the mantelpieoea re an follows

Dec. 19, 1618, bought off mathewe all ye Upp .

pt . of]?ye quens barge £2 2 6

July 16 , 1619, for J oyners work about ye C himneypeces of ye barge

for stuff to add to the bargestuff (items given amount Iing to 113 . 11d.) £2 9 5

I22 W. work ehout yegreatchamber chimney pece £1 17 6 J

S ept . 4 , 16193 pd goodman Gardyner for paintingye 5 chimneys 2 chimney peces ye 4figures of ye Seasones

for C ollers oyle size £1 6 2for 32} days work wt dyett

Lodging att 16d. p .

£3 9 6

dyam £2 3 4

[54 6 - 554 . The pictures bearing these numbers are recentacqmsztwns, and are mostly pla ced in Alleyn

’s School.]

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282

550. Q u e en V ictor ia .

C opy,af/ter PRO FESSO R VO N ANGELI .

Professor H. von Angeli,born 1840; after studying at Vienna

and ' Diisseldorf,settled at . M unich as. an h istorical painte r,

1859 — 62 . He then . moved to Vienna, and came into highfayog r as portraitf-painter to the C ourts of Austria, Germany,Great Britain

,and Russia .

Half- length ; standing, facing the spectator . C anvas4 ft . x 3 ft . 3 1n

This picture fl painted after the full- length portrait in theRoyalicollecl

tion at Windsor— is placed in the Hall of Alleyn’s

school . It was acquired by subscription of friends, boys, and‘

masters in

551.

'

E dwa rd A lleyn .

C opy after an UNKNOWN ARTIST . See 443 .

A copy (canvas : 4 ft . 7 in . x 3‘

ft . 2 reduced in scale,by M r . W. Bright M orris of the original picture

,No . 443 in

the Dulwich Gallery . The copy was presented by M r . HenryYates Thompson to Alleyn’ s School, and is placed there in theSchool Hall .

552 . T h e R ev. J . H . S m ith .

SYDNEY H. WHITE .

Three- quarter length . He wears a black gown ; is seated;turned to the right ; left hand resting on a table red draperybehind . C anvas : 3 ft . 8 in . x 2 ft . 9 in .

In the School Hall of Alleyn’ s School . Bought by subscriptions of friends, boys , and masters in 1902 . M r . Smith, M asterof Alleyn’ s School for 27 years

,was born in L eiceste r in 1836 ,

and educated at the Grammar School there . He graduated"

in Honours at London U niversity,1867 . He became Tutor

and Science Lecturer at St . M ark’ s C ollege, C helsea , and sub

sequently Senior C urate at under the

Rev. William Rogers (see No .

‘

In 1875 he was appointed“

to the Headmastership of the L ower S chool of Dulwich C ollege(now Alleyn

’ s School), and occupied that post until 1902, when'

he retired into private life .

553 . T h e R ev. A . J . C arver, D J ) .

E . HASTAIN.

Half— length ; seated ; in gown and hood ; the left hand holdsa book . C anvas : 2 ft . 8 ih . x 2 ft . 2 in.

283

Presented to Alleyn ’ s (Boys) School by W . M iller . Both thedonor

o

and the artist were O ld Boys of the School . F or a biographical notice of C anon C arver

,see No . 497 . Hé was the

last M aster of Dulwich C ollege who was -responsible also forthe teaching in the Lower School . Placed in the Entrance Hallof the School .

554 . S ir P . I ‘ . B ou r g e ois , R .A .

Sm WILI7

4 IAM BEECHEY, R .A. (English : 1753

S ee 1

Seated on a red chair ; in blue coat with brass buttons .

Ivory : 43 in . x 3 in .

This miniature was presented to the Gallery by the Rev.

C anon C arver .

[5 55 - 59 3 . The pictures bearing these numbers were theGift of an Anonymous Donor

,1911 ]

555 . Nym p h s a t a F oun t a in .

Sm PETER LELY (Dutch : 1618

Lely was the son of J ohan van der F aes,who was born in

a house which had a fl y for its sign : hence the adopted nameby which both father and son were known . The painter isbelieved to have been born in a Village near Utrecht his fatherwas a captain of foot in the service of the States General.The boy, having shown early aptitude for painting , was sentto the studio of F ranz de Grebber at Haarlem

,and there

obtained some reputation for his portraits . In 1641 he cameover to England

,in the train of William

,Prince of O range

who was married in M ay of that year to M ary, daughter of

C harle s I . B e first painted landscapes with fig ures, butfound more encouragement in portraiture . Lely

’s portraits

of the prince and princess obtained him much employment .which continued under the C ommonwealth . It was L elywho was commanded to paint C romwell warts and all . ”

O u the Restoration , he became painter to C harles II . ;

his pictures of the frail beauties of the C ourt may beseen at Hampton C ourt, and there are many also in the

National Portra it Gallery— with their rich curls,their fu ll

lips,

the sleepy eye that spoke the melting soul .” Lely’s

vog ue as a portrait—painter was now great everybody who wasanybody desired to be painted by him , and Pepys m h1s Bzurygives us many glimpses of L ely as a mighty

.proud man and

full of state .

” To M r . L illy’ s , the great painter, who cameforth to us ; but believing that I come to bespeak a picture

,he

284

prevented it'

by telling us that he should not be at leisure thesethree weeks .” Lely was knighted in 1680. He is buried inSt . Paul’ s

, C ovent Garden . Van Dyck had died in the yearof Lely

’s coming to England

,and it was on that master that

he modelled style admitting into it, however, an affectationand mannerism due to the fashion of a later time .

O n the right,the fountain below which four more or less

undraped women lie in a group ; of the two most in the foreground

,one is turned towards the spectator

,and has some blue

drapery the other turns her back,O u the left

,higher up

another nymph reclines . S igned, PL fe .

” and dated “ 1670.

C anvas : 4 ft. ih . x 4 ft . 73} ih .

This picture was bought some y ears ago from a dealer inParis .

556 . Portra it of a D oc t or of M e d ic in e .

PIETER NASON (Dutch : 1612

Nason,born at Amsterdam or the Hague

,is believed to

'

havebeen a pupil of Jan van Ravesteyn . In 1639 he was a masterin the Painters ’ Guild at the Hague . In about 1662 he came[to England for a year or two . In 1666 he worked in Berlin,and for the rest of his life at the Hague .

Half- length ; facing the spectator . He has long j ig ht curlyhair and small moustache . He wears a black gown, with lacecollar and cuffs . His left hand rests on a book which, with askull

,is on a table in front of him . S igned , and dated 1668.

C anvas : 2 ft . 103; in . x 2 ft . 2} in .— Princess Victoria

Series, iii .M r . C ollins Baker , comparing this picture with one by Nason

(also dated 1663) of the Earl of Shaftesbury , finds in both ofthem a suggestion of M aes . Their striking

'

characteristic,

18

the atmospheric quality . The flesh is blond and pallidwith a subtle silvery quality . The hair in each is painted ratherminutely

,With especial attention to the silken , gleaming nature

of the curls (see Lely and the S tuartPortraitPainters, vol.p .

5 57 . A B raw l in a. G ua rd - ro om .

SEBASTIEN BO URDO N (F rench : 1616

Bourdon was born at M ontpellier , the son of a painter uponglass . At the age of seven he was taken by an ‘

uncle to Paris,

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veldt at Delft , and he was afterwards much influenced by thestyle of Rubeils In 1610 he was 1eceived into the Painters’tGuild at the Hague He came over to England a few yearslater

,and was continuously employed as C ourt painter till 1630

,

when he returned to Holland .

The lady,seated in a rocky Iandscape , wea1s a grey g1een

g own with a blue shawl ; her l ight hand holds the shawl overhe1 bosom,

the' left is on he1 lap . C anVas : 4 ft . g in . x3 ft . 3i in .

5 60. Portra it : a L a dy in B lu e .

D . M YTENS (Dutch : 1590 See 559.

TheO

lady, seated in a 1ocky landscape, is dressed in blue ; she.

holds in he1 left hand a spray of white Jasmine . C anvas : 4 ft.

g in . x 3 ft . 3 45- 111 .

5 6 1. L ord E g rem on t .

R . WILSO N RNA, (English : 1714 See 171.

Lord Egremont,in middle age

,stands

,in full wig and pee1 ’s

nobes, facing .the spectator . His gloved left hand rests on a table,

on which is his coronet . C anvas : 4 ft . 1% 1n . x 3 ft . 3g m .

Wilson began his professional career, as already stated, as ap ortrait- painter . The present portrait is of 811 C harlesWyndham, who s ucceeded to the Earldom of Egremont 111 1750,a nd as Wilson was in Italy from 1749 to 1756

,our picture must

be assigned to about the lattei year . Cha1]es, second Earl ofEg i emont (1710 was a prominent Statesman of his time .

His son,the third Earl

,was a patron of Arts and the friend

of Turner .

5 6 2 . Portra it G roup of a F ish in g Pa rty .

WILLIAM HO G‘ARTH (English : 1697

Hogarth, painter and engraver , was bo1n in Smithfield, andwas buried in C hiswick churchyal d . Gal rick ’ s epitaph isins01 ibed on his monument :

F ar ,ewell g l eat Pa intei of M ankind !Who 1each

’d the noblest point of Al t,

Whose pictui’

d M orals ‘ charm ‘

the M indAnd through the Eye cen ect the Heal t

His pictured m01als must, ho11eve1 , be sought elsewhel e thana t Dulwich— ih the eno ra1 1110 s 01 in the c i ig inal pictul es at

287

the National Gallery (“ M arriage 5. la M ode ”1, and in the

S oane M useum A Rake’ s ‘

Progress and the ElectionS eri es). The examples of his work in our Gallery show himin a different ve1n , as a portrait- painter . He was apprenticedas a youth to a silver - plate engraver

,and afterwards obtained

work as a book- illustrator . He studied‘

painting'

in the Schoolof Sir J ames Thornhill , serjeant— painter to the King , and in1729 he married Thornhill’s daughter clandestinely .

“He settledin lodgings in South L ambeth ; and , as he tells as

,commenced

painter of small conversation pieces, from twelve to fifteeninches high . This , being a novelty , succeeded for a few years .

”

The picture before us is an example in that sort . Hogarthpainted larger portraits occasionally in later years . In 1732

his Harlot’ s Progress was engraved,and in the following

year he moved to L eicester Square . In 1757 he was appointedserjeant- painter .

A pond or lake surrounded by trees . O u the right a youngwoman elegantly attired is seated

,fishing ,

O n the groundbeside her , an older woman with a small girl , who is playingwith her mother ’ s fishing — rod . O n the left

,a gentleman

,in a

blue coat,seated . In the middle distance, a lady in a punt ;

the old puntsman seems to find the task arduous . C anvas1 ft. 9g in . x 1 ft . 6% in .

- Princess Victoria Series , i ii .This little piece— which has much of Hog arth

’s skill and

more than his usual charm was exhibited at the WinterExhibition of the Royal Academy, 1908. It is doubtless aportrait g roup .

5 6 3. Ab rah am C ow ley .

Sm PETER LELY (Dutch : 1618 S ee 555 .

The poet,in the character of a shepherd boy, holds a flute .

Half- length ; face nearly in profile , turned to the left, withflowing hair . L andscape background . C anvas : 2 ft . 11} in . x2 ft. 5i

' in .~ — Pri~ncess Victoria Series, iii .

Abraham C owley the poet,and the painter

Peter L ely were born in the same year, and as L ely did notcome to England till 1641, C owley may be supposed to havebeen about twenty- three years old when this beauti ful portraitwas painted . He had already published his first pieces andwas soon to leave Trinity College, C ambridge , that nurseryOi poets

,for O xford

,whither his friend C rashaw had preceded

him. O ur portrait was once in the Strawberry H111collection ,

and Horace Walpole said of it that it had“ a pastoral s1mphclty .

and beauty quite characteristicl”M rs. Jameson ,

1n her accountO i the Peel collection , mentions an exquisite enamel made

288

from the picture by Zincke : this was bought at the S trawberryHill sale by,

M r . Holford . F or another portrait of C owley,

see No . 574 . The present picture was in the Lovibonde sale,

1776,and was bought by Sir Robert Peel from Strawberry

Hill,in 1842

,for 10guineas, and was one of the Peel heirloom

(The Dictionary of Natiom l Biography mentions it erroneouslyas being in the National Gallery). At the sale of the Peelheirlooms it fetched 670 guineas . There is a duplicate (orcopy) in existence, in which the colour of the mantle is chang edto blue .

56 4 . Port ra it of a G ent lem an in B lack .

C O RNELIUS J O HNSO N (Eni sh : 1593— 1662 See 80

'

The gentleman,in black and white lace collar and cuffs,

stands against a blue grey background . He has a keen shrewd”face ; full curly black hair . C anvas : 2 ft . 111 in . x 2 ft . 31 in.

This portrait (bought some years ago from M essrs . P. and D.

Colnaghi) was once signed and dated , but the signature , whichwas in th in white on the dark ground ,was unfortunately washedoff by the picture- cleaner .

5 65 . L o rd S om e rs .

JOHN RILEY (English : 1646

Riley, born in London, was one of the sons of J ohn Riley,the elder

,Lancaster Herald and Keeper of the Records in the

Tower of L ondon . J ohn Riley,the young er , studied painting

under Isaac F uller (No . 379) and Gerard Soest (No . andby about 1670 was in independent practice . He was a forciblestraightforward painter

,and in his best works shows inter

pretative insight . His own disposition was singularly modestand difiident ; but on Sir Peter L ely

’s death

,Wi ll iam Chiflinch

was persuaded to sit to him , and the success of that portraitprocured him the patronage of the C ourt (see No . Hepainted an excellent portrait of C harles who is said to havediscouraged the bashful artist by exclaiming Is this like me?Then ‘odd ’s fish I’m an ugly fellow .

”

F ace slightly to the left blue eyes ; thick lips ; grey gown.

C anvas : 2 ft . 21m. x 2 ft .4} in .

John, L ord Somers (165 1 the famous Whig statesman,

was the son oi,a country attorney and was born at Whiteladies

near Worcester . He was educated at the Worcester C athedralSchool and at Trinity C ollege , O xford ; became Solicitor—Generalin 1689 ; L ord-Keeper 1693 ; and L ord C hancellor of Eng land,

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290

M r . Jervas and at about this time the poet wrote hisEpistle to M r . Jervas

,with Dryden’ s translation of F resnoy

’s

Art of Painting

This verse be thine, my friend , nor thou refuseThis from no venal or ungrateful muse .

Whether thy hand strike out some free design,“ ’here life awakes

,and dawns at every line,

O r blend in beauteous tints the oolour’d mass,And from the canvas call the mimic faceRead these instructive leaves, in which conspireF resnoy

’s close art and Dryden ’s native fire

And reading wish,like theirs

,our fate and fame,

So mix ’d our studies,and so join

’d our name .

The painter ’s fame,it must be feared , did not keep step with

the poet ’s . Jervas became,indeed

,principal painter to

George I .

, in succession to Kneller, was continued in the cihoeby George II .

,and continued for many years to enjoy much

popularity as a portrait- painter both in this country and inIreland . But later generations have not endorsed the verdictof some of his contemporaries . Kneller

,on hearing that

J erves had set up a carriage and four remarked Ah, mineC ot

, if his horses do not draw better than he does, he willnever get to his journey ’s end .

” And,at a later time

,Hor

Walpole dismissed his pictures as of a light, flimsy kind offan - painting, as large as life .

” Several of his works are inthe National Portrait Gallery the best , of the Duchess ofQueensbery.

The lady stands towards the left,turning her head back to the

right . She wears a white turban ; blue velvet cloak, trimmedwith ermine

,over a red tunic and grey skirt . Her right hand

is extended,pointing with the left

,she holds back her cloak.

O pen background to the left, with tents in a field. C oat ofarms in the top right—hand corner . C anvas : 4 ft. 1 ia . x3 ft . 3 ih .

A portrait of Dorothy , sister of the famous Sir RichardWalpole

,married 1713 to Charles , second Viscount Townshend

(1671

56 8 . W illiam C h ifiinch .

GERARD SO ES’I‘

(died

This painter is supposed to have been,like Sir Peter Lely,

a native of Soest, near Utrecht . He came over to London in

291

about.

1644 and obtained employment as a portrait- painter . He

dled “ 1 1681, at the age, it is said , of neare 80 yeares .

”

Soest,

_

says M r . Collins Baker , is an unequal painter . As acolourist and master of paint he ranks well below Sir Peter .

In h1s best portraits his characterisation and hna originaldesign

_ p1ace him next L ely, as far as L ely’s contemporary

competitors are concerned

The sitter is turned to the left,but the head is inclined

,

so as to face'

the spectator reddish face ; brown cloak , open atthe neck ; plain dark background . C anvas : 2 ft . 5% 111 . x2 ft . 1 in .

‘Villiam Chiffinch (1602 Backstairs C hifiinch,

” wascloset- keeper to Charles II .

,and is a familiar character in

diaries , memoirs , and lampoons of the time He was,

” sayshis biographer , in the National Dictionary, a time— server anda libertine

,wasteful

,unscrupulous

,open to bribery and flattery,

ingratiating himself into the confidence of courtiers and mistresses

,delighting in intrigue of every kind .

” Let us hope thathe was not

,in fact

,so black as he was painted or rather that

he was no worse than his painted portraits suggest, for in thisand in other pictures his countenance hardly suggests a servile,insinuating fellow .

This portrait is attributed by its donor to Soest, but by M r .

C ollins Baker to Soest’ s pupil , J ohn Riley (No . M r .

Baker believes it to be one of several versions of the famousportrait which the latter painter made of C hifiinch . ,Thecolour of this curiously individual portrait is still Soest- like,

”

but the mental temper of the head is typical of Riley ’s mostindividual expression (L ely and the S tuart Portrait Painters,vol . ii .

, p . O ur portrait is certainly very similar to that ofChiflinch by Riley in the National Portrait Gallery (No .

56 9 . N a than ie l L e e .

ARTIST UNKNOWN.

The face,slightly turned to the right, has a wild expression ;

long brown curly hair ; the shirt is open at the neck a wall inthe background

,with cloudy sky on the left . C anvas : 1 ft .

11 in . x 1 ft . 7 in .

Nathaniel Lee (1653 actor and dramatist, was educatedat \Vestminster School and Trinity C ollege, C ambridge, anddrew the plots of his tragedies mainly from classi cal hi story .

He collaborated with Dryden, and his own plays long kept the

T 2

292

stage . But he was a drunkard ; he lost his reason . and from1684 to 1689 was confined in Bethlehem .

There in a den removed from human eyes ,Possest with muse, the brainsick poet lies .

Nearly a century has passed since any of L ee ’s tragedies wererevived

,but at least one line from his most famous play lives

(though often misquoted) in the mouths of men : WhenGreeks joined Greeks then was the tug of war . In the

Garrick C lub there is a portrait of Lee by William Dobson ; itwas engraved in the M onthly M irror where Dobson’swas described as the only portrait that exists, or thatprobably was ever taken — a statement which now requirescorrection . The present picture was bought in London severalyears ago of M essrs . P. and D . C olnaghi as an UnknownPortrait .

570.“ L ord C arlis le a nd h is S is te r

S ta GODF REY KNELLER (1646

F ew painters in any age have won such celebrity andreceived so much adulation as were Knelle r ’ s . He stood highin the favour of five successive British Sovereigns . Tenreigning sovereigns in all sat to him for their portraits . Heamassed a large fortune . He has a monument in WestminsterAbbey . Dryden wrote a poem to him declaring that naturewas obedient to thy will

,

”that Prometheus would think thy

noble work warm enough without his fire ,” and that Time

To future ag es shall your fame convey And give morebeauties than he takes away . Pope, not to be outdone,composed an epitaph for the Abbey

,dec laring that Kneller

was by Heaven, and not a master taught,” and that L iving ,

great Nature 'fear’d he might outvie Her works ; and , dying,

fears herself may die .

” Posterity has not be en on the sideof the poets , but Kneller

’ s works (which may best be studiedat Hampton C ourt) rank with Laly ’s

,and the best of them

are excellent .

S ir Godfrey Kneller, whose original name was GottfriedKniller, was born at Lubeck, the son of a portrait- painter.He studied

‘

at Amsterdam under F erdinand B01,with perhaps

and occasional lesson from Rembrandt also,and afterwards in

Venice and Rome . He came to England in 1675 ; paintedCharles II .

,and obtained so much work that he was able to

take a large house in the Piazza at C ovent Garden . He waspainting J ames II .

_

when the K ing received news of thelanding of the Prince of O range ; by whom he was presentlyknighted Queen Anne confirmed

,

him in the post of

principal painter to the C ourt . George I . made him'

a

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294

Lely and the S tuart Portrait Painters, vol. i. , p . Itcomes from the M nisz ech collection in Paris .

5 72 . Portra it of a G ent lem an .

ADRIAN HANNEMAN (Dutch : cifrc . 1601

Hanneman was born at The Hague, and in 1619 was admittedto the Painter ’ s Guild there as a pupil of A. van Ravesteyn.

He was in England for 16 years during the reign of Charles 1.

He returned to The Hague about 1640, where he enjoyed

high repute,being appointed director of the Painters ’ Guild .

O f all the scholars of Van Dyck ,” says Vertue, Hanneman,

in airs,of head

,dress

,hands

,silks, &c . , comes nearest the

master .

He is dressed in black, with a large white collar ; sharp,refined features head to the right ; long light—brown hair .

S igned and dated 1655 . C anvas : 2 ft . 712: in . x 2 ft .— Repro

duced in L ely and the Stuart Portrait Painters, vol . i. , p . 88.

This fine portrait is deeply under Van Dyck’s influence,

though fifteen years later than Hanneman’s English residence .

The proportion of the head (the brows set low in relation tothe tall top of the head) is characteristic of Hanneman . Thepaint is very thinly laid on

,in the Vandyckian manner , the

curls and features are drawn with brownish outline .

”(Stuart

Portrait Painters, p . The picture comes from the Dycecollection .

5 73 . A u b rey d e V e r e .

Attributed'

to SAM UEL C OOPER (English : 1609

C ooper is the most eminent miniature painter of the EnglishS chool . His works in that sort have a grace, beauty andfinish which cause them to be much sought after by collectors .He was born in London ,

and was instructed in the art by hisuncle

,John Hoskins . He lived in the then fashionable

Henrietta- street,C ovent Garden . There are many glimpses of

him in the diary of Pepys who was persuaded to haveC ooper draw my wife s picture, which, though it cost me £30,yet will I have it done . To M r . C ooper ’s house to see someof his work ; which is all in little , but so excellent as, thoughI must confess I do think the colouring of the flesh to be a littleforced , yet the painting is so extraordinary as I do neverexpect to see the like again .

” To C ooper ’s ; and there findmy wife sitting ; and here he do work finely, though I fear itW111 not be so like as I expected ; but now I understand his

295

great skill in musick , his playing and setting to the F renchlute most excellently and he speaks F rench

,and indeed is an

excellent man .

The portrait shows a handsome face,with regular features

,

slightly turned to the left ; long light brown curly hair ; inarmour with red drapery . C anvas : 2 ft . 4% in . x 1 ft . 111 in .

“ The noblest subject in England,says M acaulay

,and

indeed, as Englishmen loved to say, the noblest subject inEurope was Aubrey de Vere

,twentieth and last of the 'old

Earls of O xford . He derived his title,through an uninter

rupted male descent, from a time when the families of Howardand Seymour were still obscure

,when the Nevilles and Percies

enjoyed only a provincial celebrity, and when even the greatname of Plantagenet had not yet been heard l in England .

” Hewas a man,

” adds M acaulay, of loose morals,but of in

offensive temper and of courtly manners . Born in 1626 , hesucceeded to the title in 1632 ; was brought up in F riesland,and was an officer in the Dutch service till 1648 ; was imprisoned as a Royalist ; an envoy to recall C harles II . ; colonelof the O xford Blues afterwards joined the Prince ofO range, and acted with the Whig lords ; died 1703 . Thepicture was one of the Townshend heirlooms .

574 . Ab rah am C ow ley .

M ARY BEALE (English : 1632

M rs . Beale was born in Suffolk, the daughter of the Rev . JC radock

,Vicar of Walton—on- Thames . She married C harles

Beale,who had an appointment under the Board of Green

C loth,and was interested in the manufacture of painters ’

colours. She and her husband kept elaborate diaries, which

contain many notes of experiments with colours, canvases, &c .

Curious particulars of technical interest will be found in M r .

C ollins Baker ’s Stuart Portrait Painters . It is believed thatM rs. Beale received her early instruction in painting fromRobert Walker . She was a copyist of S ir Peter Lely, whowas supposed to be attached to her , and a main part of herprofessional business Was to turn out copies after that master.

But she had a large practice on her own account as a portraitpainter

,being especially in demand with the clergy . Her

pictures,with some few exceptions

,are commonplace . She had

amiable manners,and was of a most estimable character ; the

diaries reveal the pleasant trait that a regular percentage ofher professional earnings was devoted to charitable purposes .

She had some repute among her contemporaries as a poet .

296

Head turned to the right ; long brown hair ; shirt open atthe neck ; brown cloak ; painted in an oval . C anvas : 2 it. 5i~ ia .

x 2 ft . in .

M rs . Beale,though she wrote verses herself and inspired

them in others , has not dealt very poetically with the poe t here.

It is ‘

of curious interest to compare Lely’s portrait of Cowley

as a youth with this,taken presuman some 20 years late r

(No . The features,the hair , even the garb remain in

keeping,but all the poetry has gone . M r . C ollins Baker lays

all the blame on the artist : The portrait is perfectly i1a

Ieavened by any sentiment or emotion . F or all we couldextract from it she might have been painting a young grocerinstead of a poet of some grace and scholarship .

” But he wasnot by this time so very young . Even poets sometimes growup sleek and lose their air of rapture ; we have a poet

’s wordfor it that bards have been known more fat than bard beseems . Still, when every allowance has thus been made, onemust regret that M rs . Beale had not the art divinely throughall hindrance to find more of the poetic ideal in her sitter .

575 . Portra it of a L a dy .

M ICHAEL DAHL (c . 1659

A native of Stockholm,Dahl travelled and studied in F rance

and Italy . In 1688 he settled in England,where he had already

resided for two years (1682 His vogue as a portrait-Painterwas almost as great as that of Kneller

,whom he outlived by

20 years . He was much patronized by the C ourt and nobility.

M any of his works are to be seen at Greenwich Hospital,Hampton C ourt

,and the National Portrait Gallery . They are

competent and rather mechanical . revealing little charm inmanner or insight into character .

The lady stands by a balustrade,with a pillar behind . Her

light brown hair is brushed high from the forehead . She wearsa light blue gown , cut low in the neck . Her right hand holdsa fold of the gown ; the left rests on the balustrade , on whichare placed some gathered flowers . C anvas : 4 ft. 2 in. x3 ft . 334 ia .

576 . Portra it of a G ent leman .

M ICHAEL DAHL (C . 1659 S ec 575.

The gentleman, who has a somewhat heavy countenance,wears a yellow robe with g old buttons his right hand folds ii;

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298

velvet coats,and white satin waistcoats .

” Hudson’ s own estimate of the value of his teaching to Reynolds seems to havebe en different ; for when Reynolds returned from Italy Withthe new touch that was to distinguish him from his predecessors

,

Hudson ’ s remark was : You don ’t paint so well, Reynolds,as when you left England .

” But though Hudson was notReynolds, he was often a painter of considerable skill . It issaid that he relied for his draperies first upon Vanhaaken

‘

andafterwards upon Roth . Hudson was a native of Devonshire.He was a pupil of J onathan Richardson

,whose daughte r he

married . He lived for many years in Great Queen Street ;and in later life built himself a villa at Twickenham . He wasa collector of pictures and drawings, and was esteemed a goodcritic in such matters

,though his judgment was not impec

cable,as a story told on another page (No . 593) will show .

Late in life, Hudson married a second wife, M rs . F iennes

,to

whom he bequeathed his villa .

The lady,who has dark hair

,stands facing the spectator .

She wears a light blue satin gown, very tightly laced . Her

right hand is extended ; her left, with long tapering fing ers, ison her gown . There is a curta in of rich red in the backg roundon the left . S igned

,and dated 1750. C anvas : 4 ft . 1} in. x

3 ft . 344 in .

579 . Portra it of a G en t lem an .

THO M AS HUDSO N (English : S ee 578

The young gentleman,who has a pleasant smiling face, wears

a brown coat with gold buttons,and a white waistcoat richly

embroidered with gold . He holds a cocked hat under his leftarm

,and the hand is partly tucked in under his waistcoat .

Dark background . S igned, and dated 1750. C anvas :4 ft Ii in . x 3 ft. 31 ih .

The interest in Hudson ’s pictures,says Smetham,

wasdistributed with great impartiality over the cocked hat

,the

ruffles, the broad- sleeved coat,the waistcoat, and the face.

While one is standing before pictures of that school, the facecannot well be overlooked , but when away from them the

'

facecannot easily be recalled . And yet the face was not so badlypainted . While the conception and relation of such picturesare depressing, the execution is often good . It is a long roadwhich the uneducated young artist has to ass before he can mixoil- colours, and set eyes, nose, lip in its p ace as well as Hudsondid (LiteraryWorks, p .

299

580. Port ra it o f a G ent lem an .

WILLIAM HO GARTH (English : S ee 562 .

The gentleman is middle- aged,with a plain but ruddy and

pleasant countenance . He wears a light red coat the right armrests on a table . S igned

,and dated 174 1. C anvas : 2 ft : 57} in .

x 2 ft . 5 in .

58 1. Po rt ra it of a L a dy in W h it e .

JOHAN VANDERBANK (English : 1694

Vanderbank was born in England,and is buried in M aryle

bone C hurch . He enjoyed considerable reputation as a portraitpainter , and in 1724 opened a drawing academy in rivalry withthat of Sir James Thornhill .

The lady stands,turned to the left ; she has brown hair which

falls in ringlets over her neck . She has a red shawl on herright arm

,and her hand rests on a bunch of flowers . Her

gown is of White satin . L andscape background . Signed ,J ohn Vanderbank F ecit dated 1756 . C anvas : 4 ft . 1 in .

x 3 ft . as in .

582 . E liz a, an d M ary D avid s on .

TILLY KETTLE (English : 1740

Kettle,whose portraits have sometimes been mistaken for the

work of Sir J oshua Reynolds,was born in L ondon

,the son of

a house—painter . He began to exhibit in London in 1761. In1770 he went to India

,where he made a considerable fortune by

painting portraits of nabobs . In 1777 he returned to England,

and married . The lady of his choice, a daughter of JamesPayne

,the architect

,was being courted at the time by another

artist,O zias Humphry, but she

,poor girl, was obliged by

her father ’s shuffling , sordid and dirty conduct, to marry TillyKettle

,the portrait - painter

,who practise d his art in O ld Bond

st .

”(Nollekens and his Times, ii . , Kettle, however , pre

sently became bankrupt, and retired to Dublin . In 1786 hestarted overland for India to retrieve his fortunes, but he wastaken ill near Aleppo and died there . In the National PortraitGallery there is a portrait by him of Warren Hastings .

The scene is in a wood . The elder girl, in white and yellow ,

is seated the younger,in red

,kneels on the ground beside her

sister . C anvas : 4 ft . 1-g in . x 3 ft . 35 in .

_

The ladies were the daughters of an Indi an Judge .

300

583 . Portra it of a L a dy .

TILLY KE TTLE (English : 1740 S ee 582.

The lady ’s head— painted in an oval— is turned to the right .

She has dark hair . She wears black lace over a grey gown ; awhite and violet head - dress ; a pearl drop ear- ring . Signed .

C anvas : 2 ft . in . x 2 ft . in .

584 . S ir W illiam J on e s .

SIM O N DU BO IS (died

It is uncertain whether this painter was of F lemish or ofDutch origin . He first made a reputation at Rome as a painterof battle- pieces in the style of Wouwerman . That is said tohave been 25 years before he came to England , where he presently changed to face painting

,

” and executed many neatand curious portraits .” The years of his activity in thiscountry are 1685 to 1708 . He enjoyed the patronage of LordSomers (see No . and had a large and lucrative practice .

He worked for Vandevelde, whose daughter he married .

Bust- portrait, painted in an oval, full face . He wearsbands and a black gown ; hair in long dark curls ; reddishbrown background . S igned . C anvas : 2 ft . 5 in . x 2 ft.

Reproduced in Lely and the Stuart Portrait Painters, vol . ii . ,p . 66 .

This and its companion (585) are, says M r . Baker C ollins inthat book , among the most individual portraits of their period .

The modelling of both is conspicuously solid ; the heads seem tojut out from their backgrounds . Probably the square abruptform of the nose tips is characteristic of Du Bois .Sir William J ones (1631- 1682) was Solicitor- General, 1678,

and Attorney- General, 1675 . He directed the prosecution ofthe victims of the Titus O ates ’ s plot in 1678

,but resigned office

in 1679 and became a pronounced enemy of the C ourt . Heentered Parliament in 1680, and took a leading part in securingthe passage of the Exclusion Bill . His action was severelycriticised by the C ourt wits , and Dryden introduced him intoAbsalom and Achitophel as

Bull— faced Jonas, who could statutes drawTo mean rebellion , and make treason law.

He is described by Burnet as honest and wise,though sour

tempered .

”

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302

possession of the painter ’s grand - daughter (the baby portrayed)until her death . The companion picture of the artist’s twosons (described above by L eslie) went to America .

587 . M rs . M orla -nd .

RO BERT M ULLER.

M uller painted also a portrait of M orland , which, engravedby W . 0. Edwards, appears in vol . , ii . of Allan C unningham

’sL ives of the M ost Eminent British Painters . The do waspainted by H. B. Chalon (1770 animal painter theDuchess of York , the Prince Regent, and William IV .

She sits with head facing the spectator ; her hair falls incurls on her shoulders she wears a white gown, and holdsa brown pug dog in her lap . C anvas : 2 ft . 5§ in . x 2 ft . in.

This is a portrait of the W ife of George M orland , thepainter . In 1786 , in his 23rd year , he married Anne Ward(Nancy), the sister of his friend , William Ward, the engraver(who presently married M orland

’ s sister, M aria), and of James

Ward, R.A.

“ M rs . M orland was ,” says J .

'

T . Smith,“ a

beautiful girl and of the most exemplary conduct .

” M orland’sirregular habits were a sore trial to her

,but though at the end

she was living by herself in the most private manner at herlodgings in Winchester- row

,Paddington

,

” she was stillattached to him , and the news of his death in a spunginghouse (1804) affected her so powerfully that in two days shedied of a broken heart . They were both buried in

'

the samegrave in St. James ’ s burial- ground

,Hampstead- road .

”

(Nollekens and his Times, vol . ii . , p .

588 . Port ra it of a L a dy a nd G ent lem an .

T . GAINSBOROUGH, R .A. (English : 1727 See 66 .

The lady, in a yellow gown and blue hat, sits under a tree ;she holds a paper in her left hand . The gentleman

,in red

waistcoat and blue velvet coat and knee breeches,leans against

a stile beside her . C anves : 2 ft . in . x 2 ft . 1g in .

A very early work, belonging perhaps to the time of histeens, when, says his biographer

,he hired rooms in

Hatton Garden , where he commenced painting landscapes, andportraits in a small size . The former he sold to picturede alers at their own terms ; for the latter , his price was fromthree to five guineas (F ulcher , p . 31)— three, perhaps, for asingle portrait, five for a double . There is a portrait by him inthe National Portrait Gallery (J ohn Kirby and his wife

,

No . 1421) which is in the same style as this one .

303

589 . Portra it of a D ivine .

JO HN HOF F NER,R .A. (English : 1758

Hoppnen succeeded to much of the popularity enjoyed asportrai t- painters by Reynolds and Romney

,and in him

Lawrence found a serious competitor . M y most powerfulcompetitor ,

”wrote Lawrence in 1810

,he whom only , (to my

friends) I have acknowledged as my rival is,I fear

,sinking to

the grave . Hoppner’s partraits may be said to stand half

way between those of Reynolds and L awrence : the mostdaring plagi ar i st of Reynolds, he has been called

,and the

boldest rival of L awrence .

” He was born in Whitechapel,of

German parents, and was a choir - boy in the C hapel Royal .His artistic talent was brought to the notice of George III . ,

who made him a small allowance to enable him to study painting . He obtained prizes and medals at the Royal Academy

,and

in 1780 began to exhibit there . He resided at 18 C harles Street ,St . James ’ s Square

,close to C arlton House . Patronised by the

Prince of Wales (whose portrait by the painter may be seen inthe Wallace C ollection), he soon beca

'me fashionable among thebeauties of C arlton House and in the great world . Thefactions of Reynolds and Romney seemed revived

,

” says AllanC unningham , in those of Hoppner and L awrence,

” the Whigladies making a point of sitting to Hoppner, as the Tory ladiesto L awrence . In 1792 Hoppner was elected A.R .A. and in1795 R .A. He remained popular to the last . He was ahandsome man of courtly manners ; a man also of wide cultureand information , and something of a poet ; he published in1805 a volume of translations in verse of Eastern Tales.

An old man in clerical gown , with a stout, red face, turnedslightly to the right ; plain background . C anvas : 2 ft . 5 -3m . x2 ft . in .

590. W ill iam Ha yley .

GEO RGE ROM NEY (English : 1734 S ee 440.

The poet,whose face is earnest and refined

, rests his head onhis right hand

,which in its turn rests on a large folio book

blue coat ; reddish background . C anvas : 2 ft . 5 -3; ih . x 2 ft .

Hayley (1745 author of The“

Triumphs of Temper andother poems popularly successful , begins

'

hIS life of Romney byexpatiating on his own felicity ln hay ing preserveel for thefourth part of a century a confidential intercourse with one ofthe most singular and interesting mortals who ever enlivened

304

and embellished human life, &c &e and ends with an

epitaph :

What off’ring s, Romney, to thy grave are due?Verse like thy pencil exquisitely true .

Thou on lost friends could ’ st such a life bestow,

That all their virtues on thy canvas glow .

Romney ’s fine portrait commemorates what was Hayley’sgreatest virtue — his gift for friendship . Everything aboutthat man ,

” wrote Southey, is good except his poetry .

” Thepoetry is forgotten

,but Hayley is remembered as the friend of

William Blake, of C owPer, of Southey , and of Romney . Thispicture was bought from M essrs . P. and D . C olnag hi.

591. Portra it of a G en t lem an .

THO M AS BEACH (English : 1738

This portrait- painter was born at M ilton Abbas, Dorsetshire,and in 1760 became a pu il of Sir Joshma Reynolds . He praetised for many years at ath . He was a member of the Incorporated Society of Artists , and exhibited also at the RoyalAcademy .

Bust portrait, painted in an oval ; dark background . The

g entleman , who is middle- aged , is seated, turned a little to theleft ; the face seen nearly full . He wears a white neckcloth,and a yellow coat with white buttons . S igned , and dated 1785 .

C anvas : 2ft . 5g in . x 2 ft . g in .

592 . S ir Har ry V an e .

WILLIAM DO BSO N (English : 1610

Dobson was the first English painter (says Redgrave), if weexcept Sir Nathaniel Bacon

,who distinguished himself in

portrait and history . It is said that Vandyck remarked apicture by Dobson in a sh0p window in L ondon

,sought out

the artist whom he found in a garret,employed him in his

own studio , and introduced him to the notice of the King .

Dobson was the son of a gentleman in good position but ofsquandered fortune, and had been apprenticed to RobertPeake, a portrait painter and picture dea ler . O n the deathof Vandyck , Dobson was appointed serjeant- painter toC harles I. He is sometimes called the English Vandyck,

”

and C harles , with whom he stood in high favour , even calledhim “ the English Tintoret He accompanied the King to

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“

1 1"

'

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1

like Rembrandt— here he was right; and that no one coulddeceive him

,and that he could always discover an imitation :of

Rembrandt directly he saw it maintained that hewas wrong .

” To prove his point,Wilson sketched a landscape

,

and palmed it off upon a dealer . Hudson bought it, ,andshowed it about to his friends as a rare Rembrandt . Wilsontold this to Hogarth , who e xclaimed D — n it, let 118 exposethe fat headed fellow .

” A supper - party was arranged, to whichHudsonWas invited , and before the cold sirloin was carriedin 'I stuck it full of skewers charged - with impressions of myetching .

” And what'

did Hogarth say? Wilson’ was asked .

He ! an impudent dog '

! he did nothing but laugh - the'

wholeevening . Hudson never forgave m e . The anecdote is perhapsworth introducing into a catalogue to show that artists , and not

only critic'

s or compilers,are sometimes at fault in their

ascriptions

The lady stands to the left, but turns her head to face thespectator . She wears a rustic hat, and a white g own with

'

an

embroidered lace shawl . She carries a basket o f che'

rrles, and

is holding a bunch of them in her'

right hand “

; over her left armhang s a re ticule . Signed , and dated 1753 . C anvas : 2 ft . 11% in .

x 2 ft . Si in‘

.

594 . He ad of a R ound .

Said to be after VELAZQUEZ . See 152.

L ife- size, head to the right . C anvas : 102 ln . x 1 ft. 13 ih .

This picture,

“ ascribed as above,was bequeathed to the

Gallery by Lady C olin C ampbell in 1912 in memory of her father,Edmond M aghlin Blood ; Esq .

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C O NTENTS O F SHO W- CASES IN THE GALLERY .

Inthe principal show- case (is Room VII various articles areexhibited which haw l

'

vf( -r( 'ncv to the foundation of the C ollegeor of the Gallery

Seal ring of Edwa rd .1/Ieyn .— This is the ring of Edward

Alleyn, ofo

Dq ich, in the county of Surrey, Esquire ,bequeathed

by 1118 Wi ll dated the 13th day of November, 1626 ,

to theC orporation of God's Gift

,of which he was the F ounder . S ee

No . 443 .

A pag e of Alleyn’s Diary in. facsimile .

— O u September 13,1619, the C ollege of God ’ s Gift was founded , and there was anInauguration D inner . In the page of his diary here shown infacsimile . Alleyn d( ‘sv l'ihefl the ceremony , mentions the principalvisitors , and details the items of expenditure .

Ia'

ngravwl portraits of lf'

v'

ancis Bacon, of Lord Arundel, wad.

of Im'

ya .

'

l ones .

-so are e xhibited , as portraits of the threemost distinguished visitors who were present at the F oundationof the C ollege . Bacon

,the Lord C hancellor (see No .

Lord Arundel,the art collector

,whom Horace Walpole styled

“ the father of virtnr in England and Inigo J ones, the

famous architect .

M edal belong ing {u S ir Pe ter F ra ncis Bourg eois.— O n the

i2th of April , 1791, a Royal license was issued to Peter F rancisBourgeois , Esquire , Royal Academician , to accept the knighthood and medal conferred on him by Stanislaus Augustus ,King of Poland . The medal

,M erentihus,

” and ribbon ofthe F ounder of the Gallery a re here shown .

In the same case,Denning ’s portrait of the Princess Victoria

(sea No . 304) is shown .

In another show- case is a portrait of another of the F oundersof the Gallery

Aa engraved portrait of M in M aware} M ow is,afterwards

M frs. Ih 'senfans.

— The portrait was painted by.

sir J oshuaReynolds in 1757 . It was sold at C olonel M orris ’s sale atC hi‘istie

’s M arch 1873 ,

for £110 53 . to M essrs . Agnew ; andagain at John Heugh’ s sale , M arch 17 ,

1877, for the same priceto M r. C owan . No later record of the picture 1s known . Itwas eng ravw] by G . H. Every in 1865 .

Elsewhere in show- cases arc exhibits of various interest inconnection with picture s in the Gallery : such as C laude ’s

27930 U 2

308

C ampo Vaccino (No . and Velaz quez’s

“ Philip IV.

(No .

There is also exhibited one of the dinner plates belong ing tothe silver service bequeathed to the College by M rs. Desenfans

(see below, p .

In the M ausoleum attached to the Gallery, besides the coffinsof M r . and M rs . Desenfans and Sir F rancis Bourgeois, thereare portrait- busts of D esenfans and Bourg eois— the work ofC . Prosperi .

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310.

barrel and an oblong tray are also worthy of careful preservation.

The silver dinner plates are pretty .

”

S ee also the terms of M rs. D esenfans’ Will ; below , p . 320.

Caudle Cup with two circular handles of Charles I . period .

L arge plain Silver Tankard, date 1761, engraved with the

following inscription,“

Three pieces of Plate g iven by EdwardM atthias and Thomas Alleyn, were exchang ed in part paymentfor “thisSilver D inner Plate, date 1729, eng raved with the followinginscription, “

Donum J ocobi Wall, Gent .

”

L arg e Silver Waiter with shell border, date 1762, eng ravedwith the following inscription, The Gift of Wi lliam Allen,Esqre M aster to Dulwich C olleg e,Larg e plain beaded Silver Waiter, date 1775 .

Silver Waiter with g adroon edg e, date 1824 .

Small Silver Waiter with beaded edg e, date 1777 .

Small oblong Silver Tray with beaded, pierced, festoon and

mask border, date 1775 .

Silver C ruet F rame, date 1806 .

Small Silver C ruet F rame, date 1806 .

Plain Silver Cup on square foot, date 1762.

A . ditto, date 1762 .

Silver M ustard Pot, date 1790.

'Set of four plain Silver Salt C ellars, date 1757.

Two ditto, pdd dates and 1771.

Plain Silver M uffineer, date 1762 .

F iddle pattern Silver Soup Ladle, date 1810.

Plain Silver Soup L adle, date 1809 .

F our F iddle pattern Silver Gravy Spoons, date 1810.

Six dozen plain Silver Table F orks, various dates.Ten plain Silver Dessert F orks, date 1791.

Three dozen Thread and Shell pattern Silver Dessert F orks,various dates.

Two dozen F iddle pattern Silver Table Spoons, date 1810.

E ig hteen plain pattern Silver Table Spoons, various dates.Twenty- one F iddle pattern Silver Dessert Spoons, date 1810.

Six plain Silver Dessert,spoons

,various dates

.

Twenty- two F iddle pattern Si lver Tea Spoons, date 1810.

Eight Silver Salt Spoons, various dates .

Three Silver Sug ar Sifters, various dates .

O ne plain Silver M ustard Spoon,date 1806 .

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F our F iddle pattern Silver Sauce L adles, date 1808.

O ne Si lver F 1sh Slice,date 1840.

O ne F iddle pattern Silver Butter Knife, date 1810.

O ne Si lver M arrow Spoon, date 1755 .

O ne Si lver Skewer,date 174 1.

O ne pair plain Silver Sug ar Tong s, date 1805 .

O ne Si lverWine F unnel , date 1792 .

Pierced Si lver Bread Basket, date 1773 . (M rs . Desenfans.)Twenty- three Sl lver D inner Plates, with beaded and threadededge, date 1788 . Probably a gift or bequest from M rs . Desenfans .

[M r . Young in his account of the C ollege plate says : ‘fThereare also two dozen silver dinner plates

,hall mark 1788

engraved with the arms apparently of a foreign nobleman.

M rsaDesenfans’

s Will (below, p . 320) speaks of 36 silver platesbearing the arms of he r hq and . It seems probable

,

” continnes M r . Young , that in reality the C ollege only receivedthe

.

two dozen above mentioned , although it is certainlycuri ous that , if so

, no record has been made that one dozenplates were missing . It should be added that the C olleg e ofArms state that M r . Desenfans had no title in England tobear arms at all (History of Du lwich C olleg e , vol. i .

,

p . 4 43) The arms on the 23 plates are those of theF rench family of C alonne , and the silver service doubtlessbelong ed to Charles Alexandre de C alonne, the F rench statesman(1734 He was born at Douai, where M r . De senfans alsowas born, and was educated (see above, p . He was chiefminister to L ouis XVI . , 1783 - 7, and C arlyle devotes a chapter inhis F rench Revolution to C ontroller C alonne ” —

“

A man ofsuch ‘ facility ’ withal . To observe him in the pleasure- vortexof .SO 01ety, which none partakes of with more g usto, you mig htask, when does he work ? And yet his work is never behinde

hand ; above all, the fruit of his work ; ready money . T ruly aman

,of incredible facility ; facile action, facile elocution, facile

thoug ht : how in mild suasion, philosophic depth sparkles upfrom him ,

as mere wit and lambent sprig htliness ; and in herM ajesty

’ s Soirées, with the weig ht of a world lying on him, heis the delig ht of men and women ! F arewell , thoufacile, sang uine C ontroller -General , with thy li g ht, rash hand,thy suasive mouth of g old ; worse men there have been, andbetter but to thee also was allotted a task— of raising the wind,and the winds ; and thou hast done it . M .

,de C alonne failed topersuade the Notables to agree to his schemes of finanmal reorg anisation fell according ly into disg race with the C ourt ; wasended ; took refug e in Eng land ; joined the Bourbon party, andexpended his substance in their cause . We at Dulwich havereason to be thankful that M . de C alonne ’

s powers of persuaswnfailed in another quarter . There was a time when he beg g edhis friend M r . Desenfans to return to F rance and enter theKing

’ s service . M r . Desenfans rudently remained in London ;and

,thanks to him

, M . de Ca onne’ s silver—plate is now theproperty of D ulwich C ollege , and many of M . de C alonne ’spictures now hang on the walls of the Dulwwh Gallery ]

312

APPENDIX A.

Ex'rm c'rs FROM CATALOGUES or M a . DESENFANS .

The following are Extracts from the Preface to the Catalogueof 1786 which is mentioned in the Introduction (above, p .

Not more than half a century ag o, the sale of so costly acollection as the present would, in all probability, have beenattended with an immense loss to the person who should haveformed it at anything l ike the ex ense it has cost its presentpossessor ; for, thoug h there were t en in Eng land connoisseurswho purchased pictures of value, their number was butexceeding ly small .

“ Indeed, a taste for this sublime art, however coveted by theEng lish at any time, did not efiectually develop itself until thereig n of Henry VIII . In that of Charles I . it prevailed moreg enerally ; the celebrated Rubens and Vandyck were then enriching this country with the chef d

’

oeuvres of their art . By theseand other patronag es of that monarch, who possessed himself ahig h taste for the arts, that taste became disseminated throug hthe country ; and thoug h afterwards it was exceeding ly dampedby the misfortunes that overwhelmed both the Prince and thepeople, it was never totally exting uish ed. Perhaps it owes, insome deg ree, its preservation to the disposition for foreig n travel,which

'

is certainly meritorious in any people, and hath in more'

modern times very strong ly attached itself to those of conditionin Britain, who, if they did not make collections abroad, yetacquired there a taste for the art which was sufi cient to retainsome character to their country .

“ But we now live in the reig n of George III . , by whose accession to the throne this and all the other arts acq uired new vig ourand new lustre. The young monarch declared him self theirfriend ; and soon g ave them the most striking proof of his royalprotection by founding that superb Academy which in so fewyears has acquired a splendour that will remain an immortalmonument of the g lory of his reig n ; for thoug h the wise economyof His M ajesty has set proper limits to an otherwise unboundedmunificence of mind, he has always shown that he considers thatmunificence indispensable to those improvements which are theg reatest ornaments of an ag e, and do the g reatest honour to thehuman mind and according ly the arts have invariably obtainedit from his hand .

The whole king dom hath caug ht the ardour of his royalexample . This love of the arts now animates every part of it.

Not in the metropolis alone ; not in the larg er c ities of theking dom ; not in the nobleman

’ s mansion only, do we meet with

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314

knowled e of a picture. And as the se seldom possess less eon.

fidence t an those who have more real skill , they will sometimes,to show their importance, turn their backs on a work whichfeasts the judg e

’

5 eye, and bestow the most extravag ant .

encomiums ou . the mere daubing s of the canvas .

How many, then, are the disadvantag es to which a valuablepicture is exposed at a public sale ! It must strug g le with envy,malice, and ig norance— r with the dealer whose interest often leadshim to depreciate what is not his own— with the parsimoniouscollector, who, while he wishes ar

o

dently to possess .a picture, runsit down with the view of buying it at a cheaper rate ; and, lastly,with the mere bung lers in the art, who, being incapable of ixrerit»in themselves, will suffer none in any other pencil than theirown.

If the art were not better protected by a difi'erent spirit inother characters, hard indeed would be its lyot . But, where thereis true wisdom and judgment, there is always candour in

proportion .

”

The copy of the C atalog ue in the Dulwich Gallery has, asalready stated (p a .price written opposite each picture,apparently fo1 the g uidance of those who so ld the pictures .

These are interesting , as showing how differently some of the oldmasters wei s appreciated then, as compared with the pi ssenttime.

The following are a few specimens ; the desci iptions aregenerally vag ue, and the dimensions g iven include the frame,so that it is impossible to say with certainty which, if any, ofthese 4 20 pictures are now in the Dulwich Gallery :

3 . d.

Sampson and Delilah. ByRubens . 1 S it. 2 ih . x8 ft. 9 in,. 1000 .0 0

View of his castle, in which he has introducedhimself and family . Teniers2 315 0 0

Spanish Peasants . 5 ft . x 6 ft . 3 in . By M urillo3 26D itto , Companion 1"

A Landscape and F igures . 4 ft . x 5 ft. 3 in .

By Wilson4 30 0 0

The original cartoon repi esenting King Honi ydelivé1ing the Charter to the Surg eonBarbersC ompany of London 7 ft . x 10 ft . 6 ih .

0 0

Holbein 105 0 0

AView in Venice . By C analetti . 3 ft . 10 in . x5 ft. 9 in. 5 5 0

A View near Rome . By C laude de Lorraine .

2 ft. 6 1n . x 3 ft . 3 in . 200 0 0

A View of Tivoli . By Berchem . 4 ft . 5 in . x4 ft . 1 in . 315 0 0

Hercules and the C entaur . By Le Brun .

3 ft . 9 ih . x 4 ft. 10 111. 210 0 0

1 This 18 robab ly No. 127. 9 Possib ly No. 95.Probab yNos. 222 and Possibly No. 171.

315

Jacub stealing Esau's Blessing . By Rembrandt .

6 ft. x 50 0 0Russell, Earl ofBedford. ByVanDyck. 3 ft. l in. x

2 ft. 7 in.

AShipwreck. ByVernet , 4 ft . 10111. x 5 it. 2} ins .

A Calm, with a yacht, on board of which isCharles II . , coming to Eng land on his re

storation, conducted by a Dutch F leet. ByVanderveldt 5 ft . 1 in . x 6 ft . 9 300 0 0

Scene in a Play . By Watteau . 2 ft. 10 in x3 ft. 4 in . 8 8 0

Battle between Persians and Turks . By DeLoutherbour i 5 ft . 7 in . x 7 ft. 10 ih .

Landscape, wit Goats . By Paul°

Potter .

1 ft . 6 in . x 1 ft. 9 1n . 8 0 0M adonna and Child, with J oseph, Elizabeth,

andAng els . ByLeonardo da Vinci . 1 ft . 10in .

v

1 ft . 7 in . 25 0 0The well - known subject of the Shark . By Copley .

3 ft . 8 1n . x a ft. l in . 40 0 0Landscape, with C attle and F ig ures . ByBourgeois.

4 ft. 3 in . x 5 ft . 30 0 0‘

A Seaport, with St. Ursula . The history of thcEleven Thousand Virg ins g oing to the HolyLand . O ut of the Palace of Barbarini . ByC laude L orraine . 5 ft. 2 ih . x 6 ft. 5 in. 2500 O 0

1802 .

The Descriptive Catalog ue of 1802, referred to in the Introduction (p . is in two volumes . Vol . I. contains the Italian,Venetian, Spanish, and F rench Schools ; Vol . II . contains theGerman, F lemish, Dutch, and Eng lish Schools. Then follow theconditions of sale, and an index to the C atalogue of 188 pictures .The Introduction commences thusIt was in 1790, immediately after the F rench Revolution at

that epoch, when the emigrant nobility broug ht into Eng landtheir most precious efi'

ects to be disposed of, that StamslausAug ustus sent here a Commission for purchasing a collectionof pictures, in order to add some to those his M ajesty was alreadypossessed of, and to present the difl

‘

erent artists in Poland with theother p art, as models and specimens of paintm g ; for His M a

'

estyhaving a most refined taste of the fine arts, was fond of t em,

and had at heart their rise and prog ress in his country . Inconsequence

,it was recommended to us to act with such caution

as to purchase none but orig inals, and the fine pictures of thedifierent Schools, when we should meet with them, at a liberalbut not extravag ant price, and it is on that principle that theyhave all been gradually purchased, both at puhko sales and byrivets contract . As his Polish M ajesty was particularlyesirous of possessing none but pure pictures, we were also

316

instructed, to prevent any damag e, not to have them cleaned,which, as the Vi sitors of the Exhibition will see, has been punctually observed, with the exception of a few which, after they wereboug ht, were found to have been painted upon, althou h we hadused the best of our knowledg e ag ainst purchasing sue F ortu

nately, they had been so without necessity, and are now anornament to the C ollection.

The public affairs of Poland were much derang ed, and theEmpress of Russia, as well as the King of Prussia, had alreadyinvaded the Polish territories, when this C ollection, tho

’ faradvanced, was yet far from being completed . However, we wenton in our pursuit, to render it worthy of a Sovereig n, ,

or, at allchance, of an Exhibition, and it was with that view that wecontinued to make our purchases to the very last spring , when itwas expected that the late King of Poland

’ s family would send forthe C abinet, at which time some of our friends, being desirous tosee it before the exportation, saw about half of the pictures, asthey could not be all shown for want of room, &c . , &c .

But previous to that epoch, and soon after his M ajesty’ s

demise, we applied to the British Government for their protection,and interference on our behalf with Paul, the Emperor of Russia,that as principal possessor of the Polish estates, and bound, ofcourse, to discharge their and the late Kin ’

s debts, his Imp erialM ajesty would be pleased to take the Col eetion, and reimbursewhat it had cost, or to defray the expenses of a public sale byauction, and us of our losses, if an were sustained . As soon asLord Grenville, then Secretary of tate for F oreign Afiairs, hadperused our memorial and the difi

‘

erent letters of his PolishM ajesty ’ s Prime M inister on the subject of this C ollection, hisLordship sent them to Lord Whitworth, at St. Petersburg , but,unfortunately, the harmony which till then had subsisted betweenthat C ourt and the C ourt of London was on its decline, and soonafter his Excellency returned home .

However, on the accession of Alexander to the Imperial throne,we renewed our application, and requested Lord Whitworth toremit to us our papers, in order to lay before his Imperial M ajestythe proofs of our just claim but his Lordship answered,

that afterhis departure from St. Petersburg the archive had been destroyed,to prevent its falling into the hands of the Russian Government,at that time inimical to this country, and he was afraid all ourpapers had shared the same fate .

However, his -Lordship was so kind as to write to Russia forfurther enquiries, but last September we received the followingletter, which put an end to our expectations, and made us thendetermine to submit the pictures to the public

The enclosed will confirm to on what I had apprehended concerning thefate of your papers. I hope the oouments with which I furnished you willin some deg ree compensate their loss.

Your most obedient humble Servant,

Stoneland, Sept. 4, 1801.

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The letter of'

Sir F rancis Bourg eois, dated Jannary 1810,beg ins with apolog ies for his intrusion , and g oes on thus :

The late M r . Desenfans having been pleased to bequeath to mehis truly valuable collection of pictures, unfettered by any condition or restraint whatever but having frequently intimated thathe should feel much g ratified, if, at

“

any future period, thatcollection were to be made more conducive to the advancement of aScience to which his anxious views and unremitting labours hadbeen invariably directed, than the collection would be, if it wereto be disposed of and consequently divided among individuals ;I have always considered this Intimation to be as oblig atory onme

,as if it had [been] formally made a condition of his Bequest ;

and therefore feeling more deeply impressed by the flatterinoconfidence thus reposed in me than even by the unboundedliberality displayed towards me, I am most anxiously desirous offulfilling the wishes of my departed F riend to their fullest extent .

It is then, with these views that I take the liberty of requesting yop r Grace

’ s assistance in completing my present intentions,which are to“ bequeath the whole of the late M r. Desenfans

’

collec

tion, with the additions which I have made thereto, in suchmanner that the same, supported by F unds which I mean toappropriate for that purpose, may be gratuitously 0 en, undercertain reg ulations, to Artists as well as to the Public and thus

s form , not on ly '

a Source of Professional Improvement, butalso an object of national Exhibition, creditable to thisKing dom and hig hly honourable to the memory and Talents ofmy much- lamented and Esteemed F riend but as the Interest Ipossess in my two Houses in Portland Road, and the adjoin ingHouse in Charlotte St . (which are amply sufficient and well calculated for the purpose), is only for the remainder of a term of97 years, commencing from 25th M arch 1777, subject to a reservedrent of l 6s. per ann. , I am extremely desirous of purchasin g thereversion in fee of and in these three Houses expectant upon theDetermination of the said Term (and which Reversion, I understand, is at present vested in your Grace), in order that I mayeffectually complete my intentions, which, in case of any unforsseen Impediment occurring in this respect , I must, howeverunwilling ly, endeavour to fulfil by purchasing a freeholdelsewhere, &c., &c : , &c .

”

The Duke’ s reply was as follows

Welbeck : J any 4 , 1810.— Sir ,

— I have always understood thatI have not the power of selling the reversion of my estate in M arybone . But of that I am not sure . But at all events, I should notthink it adviseable to exert the power even if I have it , and therefore I em afraid I must conclude by expressing my reg ret that itwill not be in my power to comply with your request.

—I have thehonor to be, Sir , Your most obedient servant SCOTT PORTLAND .

F rancis Bourg eois , Esq .

”

"

319

APPENDIX D .

EXTRACT FROM SIR P. F . BO URGo s’

s WILL .

Dated December 20, 1810.

And as to my collection of pictures it is my desire that in casemy F ri end and Executrix M arg aret Desenfans should survive me,my collection of pictures shall remain in the same situation inwhich they shall be found at the time of my decease . And afterthe decease of the said M arg aret Desenfans, I g ive and bequeath .

all my collection of pictures, frames, and prints, now in mydwelling house in Charlotte Street, tog ether with the furniture,ornaments, plate , china, clocks, and other eflects now being in mythree leasehold houses in Charlotte Street and Portland Road, untothe M aster, Warden, and F ellows of Dulwich C olleg e, and theirsuccessors for ever . And it is my desire that the same may bethere kept and preserved for the inspection of the public uponsuch terms pecuniary or otherwise at such times in the year, ordays in the week as the said M aster , Warden, and F ellows of theColleg e for ,the time being , may think proper . And the better toenable the said M aster, Warden , and F ellows, and their successorsto keep , preserve , and maintain such collection of pictures,furniture, and other O rnaments for such public inspection , Ihereby direct my then remaining Executors and Trustees to investthe sum of T en thousand

'ponnds sterling in such separate F undor F unds as they shall consider most productive; in the name ofthe M aster, Warden , and F ellows of Dulwich C olleg e in trust, whoshall have power out of th

'e interest, dividends, and profits accruingfrom such trust fund to pay the salaries and wag es of all suchofficers and servants as the said M aster, &c . , may think expedientfor the proper maintenance and preservation of my collection ofpictures

, &c . ,it being my express W ill and desire that the sum of

Ten thousand pounds last bequeathed , and the interest therefromaccruing shall be a perpetual fund for the purposes aforesaid, and

for no other . And I also g ive and bequeath to the M aster , Warden,

and F el lows of Dulwich C olleg e, or their successors , the furthersum of Two thousand pounds sterling for the repairing , improving ,

and beautifying the west wing and g allery of the C olleg e, for’ the

reception of the pictures , furniture, and other effects hereinbeforementioned

, and as to all the residue of my personal estate, I herebyg ive and bequeath the same after the decease of the said M arg aretDesenfans unto the M aster, Wardens , and F ellows of DulwichC olleg e, for the repairing , rebuilding , adding to , and beautifyingtheir present chapel , and other parts of the sa1d C olleg e .

”

320

APPENDIX E .

Exrm cr m om M as . Dssnnmns’ WILL .

F irst I desire that my remains be deposited together with thoseof my late dear husband Noel J oseph Desenfans, Esquire, and ofmy late dear friend Sir Peter F ranc1s Bourg eois in the mausoleumattached to the Gallery of Dulwich C olleg e 1n the county of Surreyin the manner and according to the directions expressed in thelast Will of my said dear friend Sir Peter F rancis Bourg eois . Andwhereas it was the intention of Sir F rancis Bourg eois tothat the President and Academicians of the Royal Academy ofArts should be invested with the power of ascertaining from timeto time that the collection of pictures, frames and prints bequeathedby him to the M aster, &c . , of Dulwich C olleg e was properly preserved and kept, and for that purpose that the President and

Academicians should be requested to visit the collection once inevery year on St. Luke ’ s day, and g ive their 0 inion as to thestate and preservation of the same and that on t eir annual visita dinner be g iven to them in the g allery at Dulwich Colleg e . Nowapproving as I do , of the propriety of such annual visitation and

belng desirous of carrying into effect the intention of my saiddear friend, I g ive and bequeath the sum of F ive hundred poundsto the said M aster, Warden, and F ellows of Dulwich C olleg e, upontrust to invest the same in Government or real securities at interestand apply the interest to arise therefrom for ever, towards theentertainment of the President and Academicians, and in orderthat the said annual dinner may be .pro erly and suitably g ivenI do hereby bequeath the following articihs to the M aster, &c . , ofDulwich C olleg e which I direct shall be preserved by them and

never be used on any other occasion for any other purpose whatsoever, viz . , three dozen of silver plates with the arms of NoelJ oseph Desenfans E squire eng raved on them, a silver bread basketwith ditto, four dozen of silver forks eng raved with his crest, onedozen of

.

silver spoons ditto, six salt spoons ditto,a larg e silver

waiter, two small ditto, three dozen of ivory- handled knives, theb lades steel and plated, a complete dinner service of china dishes,a dessert service of five pieces, with two dozen of lates, a larg emahog any dining - table, with table cloth, four plate bottle- stands,with decanters and g lasses, a mahog any press, with shelves anddrawers, to be placed in an anteroom containing the above articles .I also bequeath unto the M aster, &c . , of Dulwich Colleg e thefollowing articles, which I direct shall be placed and preservedwith the collection of pictures in the g allery of the C olleg e, viz . ,

two statuettes one of Noel J oseph Desenfans Es uire, and one ofSir Peter F rancis Bourg eois by Westmacott, a so a and ten chairscovered with g reen velvet, two commodes with drawers inlaid withbrass and tortoise- shell, two ebony tables with g ilt leg s, an inlaidcommode drawer, a mahog any side table with a cistern under it,a F rench clock standing on a marble slab, two marble vases, fivechina ditto. ten ornaments in bronze, twelve cane—bottomed stools,

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322

INDEX 1.

ALPHABETICAL L IST O F

PAINTERS

(WITH THE SUBJECTS O F WORKS BY THEM .)

The biog raphical notice of a painter, represented by more than one

work, will be found under thegicture which bears the earliest

number— e .g .ALBANI under 5here the words See also occur, followed by numerals, thereference is to pictures so numbered which have at one time oranother been ascribed to the painter named .

ALBANI, FRANCESCO.

HEAD or MADO NNA School of A.) 259SALMACIS AND HER APHRO DITUS (after A.) 4 58VIRGIN, CHILD, AND ST . JO SEPH (after A.) 58

ALLEGRI. See CORREGGIO .

ALLORI, CHRISTO FANO .

JUDITH AND HO LO PHERNES (after A.)

ANGELI, PRO FESSORVON.

QUEEN VICTO RIA (copy)

Arrowhea Josh 800 6 9 .

323

BAKHUIZEN, LUDOLF .

BO ATS IN A STO RM

BARBIERI. See GUERCINO .

BAROCCIO .

HO LY FAM ILY (after B.)See also 2 1.

BASSANO, (JACOPO DA PONTE), copies afterAUTUMKT

SPRINGSUMMERWINTER

BEACH . THOMAS.

PO RTRAIT O F A GENTLEMAN

BEALE, MRS. MARY.

ABRAHAM COWLEY

BEECHEY, SIRWILLIAM ,R.A.

BO URGEO IS , SIB. P. F . , portraitA M INIATURE O F BO URGEO ISC O PIES O F PO RTRAITS O F HIMKEMBLE, JOHN PHILIPPYBUS, C . S .

BELUCCI, ANTONIO.

s'r. SEBASTIAN WITH FAITH AND CHARITY

BERCHEM , NICOLAS.

FARRIER AND PEASANTSLAUNDRESS, near RuinsLE M IDI (Roman F ountain)LE SO IR (Travelling Peasants)PEASANTS F O RDING A STREARO AD THRO UGH A WO O D

BERGEN, DIRKVAN.

M ONUM ENTS IN A PARK

BERRETINO .See CORTONA.

97930

1301s, SIM ON DU.

SIR WILLIAM JONESLADY JONES

BOIS, WILLEM DU.

VIEW IN THE RHINE C O UNTRY

BO L, CORNELIUS.

VIEW O N THE THAMES, LO NDO N

BOLOGNESE SCHOOL.

ST. CECILIA PLAYING ON THE O RGANSALVATO R MUNDI

BORSSOM , ABRAHAM VAN.

LANDSCAPE WITH CATTLE

BOTH, JAN.

BANKS O F ‘ A BROOKITALIAN LANDSCAPESM O UNTAIN PATHRO AD NEAR A

BOURDON, SEBASTIEN.

BRAWL IN A GUARD RO O M

See also 188 , 2 6 7 .

BOURGEOIS, SIR P. F .,RA

C O PIES O F HIS PORTRAIT BY BEECHEY 4 6 5 , 4 66CUPIDFAM ILY AT A GRAVEFRIAR KNEELINGFUNERAL PRO CESSIO I‘T

"

O F WHITE FRIARSHIS O WN PO RTRAIT "

1004 913103014 64

LANDSCAPES WITH CATTLE 13 5 , 294 , 3'

a5 , 4 62LANDSCAPE WITH F IGURESMAN HO LDING A HORSERELIGION IN THESACRIF ICE O F IPHIGENIASKETCHESSO LDIERSTIGER HUNTTO BIT AND THE ANGELVIEWS O N THE SEA SHOREWILLIAM TELL

4 6034 24 5914 9

4 6 1, 4 63311

34 4

see, 335467

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CARRACOI, ANNIBALEENTO MBMENT O F CHRIST .

MAGDALENE IN C O NTEMPLATIO N (after C .)VIRGIN,

INFANT CHRIST AND ST . JOHN880 61180 2 , 16 2 , 18 4 , 253 , 255 .

011111111001, LODOVICO.

FRANCISCAN M O NK IN PRAYERPIETA (School)s'r. PETER AND ST FRANC ISSee 4 180 255 , 26 5

CASANOVA, FRANCESCO.

FERRY BO AT

CASTRO.

SEA- PIECES 3 59, 3 6 1, 4 28 , 4 3 6 , 4 37, 517

CHALON, H. B.See 597 .

CHARDIN, J . B. 8.

GIRLS AT WORKSee also 3 4 5 .

CIGNANI, CARLO.

M ARY MAGDALENE

CLAUDE GELLfinLE LORRAIN .

CLASSICAL SEAPO RT, SUNSETEMBARKATIO N or s

'r. PAULA

GATHERING GRAPES (after 0 )JAC O B WITH LABAN .

LANDSCAPE WITH F IGURES (School of c.)MERCURY AND ARGUS (School of c.)mposoRO M E, CAM PO VACC INo (School of c.)

COLOGNE. SCHO OL O F .

SALVATO R MUNDI

COLONIA, e.

FARM STEAD AND SHEEP SHEARINGF LIGHT INTO EGYPT

327

COOPER, SAMUEL .

AUBREY DE vans

COPE, A. 80,R‘A°

REV. WILLIAM RO GERS

COQUES.See 15 3 .

CORREGGIO.

ECCE HO M O (poor copy)VENUS AND C UPID (old copy)VIRGIN AND CHILD (old cop

y

y)

CORTONA, P. BERRETINI DA.

RO MAN EMPEROR REWARDING HIS SO LDIERSST. MARTINA AND THE IDO LSSee also 3 8 .

00811110.PIERO DI.PORTRAIT or A YO UNG MAN

COURTOIS, GUILLAUME.See 303 , 305 .

CRESPI. See 307 .

CUYP, ALBERT .

CATTLE AND F IGURES NEAR A RIVER WITHM O UNTAINS

CATTLE NEAR A RIVERCATTLE NEAR A RIVER (larg e picture)CATTLE NEAR THE MAAS, DO RT IN THEDISTANCE

COWS AND SHEEPEVENING RIDE NEAR A RIVERF ISHING O N THELANDSCAPE WITH CATTLELANDSCAPE WITH CATTLE AND F IGURESRIDING SCHO O L IN THE O PEN AIRROAD NEAR ATWO HO RSESVIEW O N A PLAINVIEW O N THE MAAS, DO RT IN THE DIS

TANCEWHITE HO RSE IN A RIDING SCHOOL .

12122 6

328

DAHL, MICHAEL.

PO RTRAIT O F A GENTLEMANPO RTRAIT O F A LADY

DEELEN, DIRKVAN.

ENTRANCE TO A PALACE

DENNING, S. P.

PRINCESS VICTO RIA

DOBSON, WILLIAM .

SIR HARRY VANESee also 391.

DOES, J'ACOB VAN DER.See 3 30.

110101, CARLO .

MATER DO LORO SA (copy).ST. CATHERINE O F SIENAST. VERO NICASee also 2 4 .

DOMENICHINOADORATIO N O F THE SHEPHERDSSee also 260.

DOU, GERARD.

LADY PLAYING O N THE VIRGINALSSee also 50, 191.

DUGHET. See POUSSIN, G.

DUJARDIN, KAREL.

PEASANTS AND WHITE HO RSESM ITH SHO EING AH 0XWO MAN WITH COWS ( School of D .)See also 3 30

,4 71.

BUSART, CORNELIUS.

O LD BUILDING AND F IGURES

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330

GAINSBOROUGH, THOMAS, R-A

LADY AND GENTLEMAN 588LINLEY

,ELIZABETH AND (M rs. 320

Sheridan and M rs. Ticheli).LINLEY SAM UELLINLEY , THO M AS (theLINLEY : THOMAS (the young er)LO UTHERBO URG,

P. J DE,R .A.

M O O DEY, M rs. and Children

GELLEE.See CLAUDE.

GENNARI, BENEDETTO .

s'r. CECILIA

GERMAN SCHO O L.

CHRIST WITH EM BLEM S O F THE PASSIONPO RTRAIT O F AN O LD MAN

GHAERAEDTS, MARC .

KING JAMES I.

GIORGIONE,See 84 .

GREENHILL, JOHN.

WIL LIAM CARTWRIGHT 393MRS . WILLIAM CARTWRIGHT (the first wife) ” 399

(the 387CHARLESDUKE O F YORK (JAM ES 4 16HIM SELF 4 18MAN’

S HEAD 374

GRIM OU. ALEXIS.

PO RTRAIT O F A

GUERCINO .

WO MAN TAKEN IN ADULTERY1908 a lso 237 , 280

331

GUIDO RENIDEATH O F LUCRETIAEURO PA AND THE BULL (after G.)HEAD O F MARY M AGDALENE (School of G.)ST . JO HN PREACHING IN THE WILDERNESS .

ST. SEBASTIAN (after G.)See d so 2 7 , 129 , 160.

HANNEMAN, A.

PO RTRAIT O F A GENTLEMAN

HASTAIN, E.

REV. A. J . CARVER, D.D .

HEERE, LUCAS DE.

PO RTRAITS emblematic picture

HERP, GERARD VAN.

F IGURES WITH SHEEP AT A WELL

HEYDE, JAN VANDER.

CHURCHES AND TOWN WALL

HIGHMORE, J O SEPH.

A LADY IN BLUE

HOBBEMA.

WO O DY LANDSCAPE WITH WATER- M ILL

See a lso 9 , 118 .

HODGKINS, T. F .

SAM SO N AND THE LIO NSAM SO N AND THE PHILISTINESTRIBUTE M O NEY

HOGARTH,WILLIAM .

PO RTRAITS O F A F ISHING PARTYPO RTRAIT O F A GENTLEMAN

HO LBI‘HN.See 15 1 .

332

Honrnossr, GERARD.

PO RTRAIT O F A LADY

HOPPNER, JOHN,R.A.

PO RTRAIT O F A DIVINE

HUDSON, THOMAS .

PO RTRAIT DE A GENTLEMANPO RTRAIT O F A LADY

HUMPHRY, oz iA_

s_,R.A.

MRS. THO MAS LINLEY

HUYSMANS, JACOB.

HEAD O F A WO MAN

HUYSUM , JAN VAN.

F LOWERSFRUITVASE WITH F LOWERS (tulipsVASE WITH F LOWERS (tuberoses 8m.)

ITALIAN SCHO OL.

CASTLE AND WATERFALLCUPID O N A BED

F IGURES O N BANK O F AHEAD O F AN O LD MANINFANT ST. JOHNLANDSCAPE WITH AQUEDUCTPO RTRAIT O F A YO UNG LADYST. FRANC ISST . JERO M ES'l‘

. JERO M E KNEELING IN PRAYERST. LAWRENCE IN ADO RATIO NST . SEBASTIANVENUS GATHERING APPLES

JANSSENS.See JOHNSON.

JERVAS, CHARLES.

DO RO THY LADY TOWNSHEND ¥O Q

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334

LELY, SIR PETER.

ABRAHAM COWLEY AS A YO UTHNYMPHS AT A F O UNTAIN

LEONARDO DAVINCI. See 256 , 258 , 271.

LINGELBACH, JAN.

BLACKSM ITH’

S SHOP AT RO MESEAPORT WITH O RIENTAL F IGURES

LOUTHERBOURG, P. J . ,R A

LANDSCAPE WITHLANDSCAPE WITH CATTLE AND F IGURES

MARATTI, CARLO.

HO LY FAM ILY893 also 188 , 259 .

MEMLINC.See 250

M IEL, JAN.

ITALIAN C O URTYARDLANDSCAPE WITH F IGURES

MOLA, P. F .

HAGAR AND ISHMAELRIPO SOSee also 4 1, 75 .

M ONAMY, PETER.

A CALM

MORALES.See 6 2 .

M ORRIS,W. BRIGHT.

corms BY 54 9 , 551

MULLER, ROBERT.

’

MRS. M ORLAND

335

MURILLO .

ADO RATIO N O F THE MAGI (School of M )IMMACULATE C O NCEPTIO N"

INFANT CHRIST AS GO O D SHEPHERD (after M.

INFANT CHRIST SLEEPING (School of M .

INFANT ST JO HNWITH LAMB (School ofMADO NNA DEL RO SARIOSPANISH F LO WER GIRLSPANISH PEASANT BOYS AND NEGRO BO Y

SPANISH PEAS ANT BOYSTWO INFANT ANGELS (School O f M .)See also 6 9 , 185 .

MYTENS, DANIEL.

LADIES IN BLUE 559 , 560

NAIN,LE.

MUSICIANSSee also 3 3 2 .

NASON,PIETER.

PO RTRAIT O F A DO CTO R

NEEF F S, PIETER.

CATHEDRAL INTERIO R

NEER,AART VANDER.

RIVER SCENE BY M O O NLIGHT (after N.)

NORTHCOTE, JAMES, R.A.

SIR P. F .

NO EL DESENFANS

NUVOLONE, c. F .

CREATIO N O F EVE

OMMEGANCK,B. P.

A BULL

om}, J OHN, R .A.

HIS OWN PO RTRAIT

336

O STADE, ADRIAN VAN.

BOO RS MAKING M ERRY

C O TTAGE INTERIO RMANWO MAN WITH JUGr

O STADE, ISAAC VAN.See 16 .

OWEN,WILLIAM,R.A.

NO EL DESENFANS

PAGGI, GIOV. BATTISTADU.See 2 4 8

PAREJA, JUAN DE.

PO RTRAIT O F A

PARMIGIANO .See 2 6 6 .

POELENBURG,CORNELIS VAN.

SATYR AND NYM PH DANC ING

POTTER, PAUL.

CATTLE AND SHEEP (after P.)CATTLE IN A LANDSCAPE (afterP.)See also 6 4 . 13 3 , 3 4 3 .

F O URBUS, F , ,the young er .

ABRAHAM,SARAH AND

POUSSIN, GASPAR .

CASTLE IN A WO O DDESTRUCTIO N O F NIO BE

'

S CHILDRENRO CK NEAR A PLAIN (School of P.)VILLAGE NEAR A LAKE (Sch001 0f P.)See also 13 .

POUSSIN, NICOLAS.

ABRAHAM AND THE ANGELS (after P.)ADO RATIO N O F THEASSUMPTIO N O F THE VIRGINF ISHERM EN AND GATE (afterF LIGHT INTO

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338

mccx, SEBASTIANO.

FAL L O F THE REBEL ANGELSRESURRECTION O F CHRISTSee also 12 1.

RIGAUD, HYACINTHE .

BO ILEAU ( School of R.)LO UIS XIV. (School of R.)RACINE (School of R.)

RILEY, JOHN.

LORD SO MERSSee also 56 8 .

ROMEYN,WILLEM .

CLASSICAL LANDSCAPELANDSCAPE WITH

ROMNEY, GEORGE.

J O SEPH ALLENWILLIAM HAYLEY

ROSA SALVATOR.

ENTO M BMENT O F CHRISTM O UNTAINO US LANDSCAPE (School of R.

POOL WITH FRIARS F ISHINGSO LDIERS880 0180 286 , 295

RUBENS, SIR PETER PAUL.

CUPID (after R.

EVENING LANDSCAPE (after R )F O UR SAINTS (School of R.)HARVESTING (after R )HELEN F O URM ENTLANDSCAPE WITH SHEPHERD AND

.

F LOCK(after R.

NIGHT SCENE (after R.)PO RTRAIT O F A LADYPO RTRAIT O F AN O LD LADY (School of R.)RO MAN SO LDIER WITH TROPHY (School of R.)ST. BARBARA F LEEING FRO M HER FATHERSAINT BLESSING THE SICK (after R.)SHEPHERD AND SHEPHERDESS (School of E )

"

THE THREE GRACES (Grisaille)

339

RUBENS, SIRPETER PAUL— ctml .

VENUS AND CUPID (School ofVENUS, M ARS AND CUPIDVENUS WEEPING O VER ADO NIS (School ofVIRGIN AND CHILD (after R )WO M EN WITH A C O RNUC O PIASee also 127 , 173 .

RUYSDAEL, JAGOBCANAL WITH A BRIDGE (School ofEDGE O F A WO O DLANDSCAPE WITH WINDM ILLSWATERFALLSee also 150.

RUYSDAEL, SALOMON.

RO AD NEAR C O TTAGE (School of R.)

SACCHI, ANDREA.

ST. CATHERINE O F SIENASee also 259 , 2 79 .

SAENREDAM , PIETER.

CATHEDRAL INTERIO R

SAF TLEVEN, HERMAN.

VIEW ox THE RHINE

SANDERS, GEORGE.

ARCHIBALD HO PE

SARTO, ANDREA DEL.

HO LY FAM ILY (ancient copy) 2 51

VIRGIN, CHILD AND ST . JO HN (ancient 228

SASSOFERRATO .See 289

SCHALKEN, GODFRIED.

CERES AT THE O LD WO MAN’S CO TTAGE

27930

'

340

SCHEDONE, BARTOLOMEO.

HO LY FAM ILY (School ofSee also 21.

SEGHERs, DANIEL.

F LOWERS ENCIRCLING A RELIEF

SLINGELAND, PIETER.

BO Y WITH BO TTLE AND BLRD’

S

See also 55.

SNAYERS, PIETER.

SKIRM ISH O F CAVALRY

SOEST, GERARD.

WILLIAM

SOMER, PAUL VON.

FRANCIS BAC ON (copy)888 a l80 4 4 5 .

SPAGNOLETTO .See RIBERA.

SPANISH SCHOOL.

CHRIST BEARING THE CROSSCRUCIF IXION O F ST . PETERM EETING O F JAC O B AND RACHELST. ANTHONY O F PADUA

STREATER, ROBERT.

LANDSCAPE

SUSTERMAN.Sea 254 .

SWANEVELTa HERMAN.

ITALIAN M O UNTAINO US LANDSCAPESRO M E : ARCH O F

See a lso 309 .

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UMBRIAN SCHO O L.

VIRGIN AND CHILD

VAGA, PIERINO DEL.See 507 .

VANDERBANK, J OHN.

A LADY IN WHITE

VANDYCK. SIRANTHONY.

CHARITYCHARLES 1. (ccpy)CHRIST AND JOHN THEBAPTIST (poorDESCENT FROM THE CRO SS (School of V.)GREY HO RSE (after V.)HENRIETTA M ARIA (copy) .

INSPIRATIO N O F A SAINT (School.

of V )KNIGHT, PO RTRAIT O F ALADY VENETIA DIGBY O N HER DEATHBEDLADY PENELO PE NAUN'I

‘

ON (School of VMADONNA AND CHILDPHILIP HERBERT, 5TH EARL O F PEMBRO KE:PORTRAIT O F A LADY ( School of V.

SAM SON AND DELILAHSee also 80, 89 , 4 51 .

VELAZQUEZ.

HEAD O F A BO UND (afterV.)PHILIP IV. O F

PRINCE O F ASTURIAS O N HO RSEBACK(afberV.)

886 mo 13 , 277 :

VELDE, ADRIAN VANDE.

C OWS AND SHEEP IN A WO O DPEASANTS AND CATTLE NEAR

.

A BROOK(afterSee also 155 .

VELDE, WILLIAM VAN DE.

A BRISK BREEZEA CALMA CALM (dated 1663)See also 298 .

34 3

VENETIAN SCHO OL.

BO YS IN A LANDSCAPEM USIC PARTYRAPE O F PRO SERPINEST.

VENUSYO UNG MAI?DRAWINGr

VERBO OM .ABRAHAM .

LANDSCAPE WITH A CHURCH

VERNET, 0. JHARBO UR O F GENO A (School of V.)ITALIANSEAPO RT. SUNRISESEAPO RT. SUNSET

VERONESE, PAOLO.

MARRIAGE O F ST . CATHERINE (School ofPO RTRAIT O F A YOUNG LADY (School ofSAINT BLESSING A VENETIANSee also 207, 287

VERWILT, FRANQO IS.

JUPITER AND ANTIO PE

VICTORS. JAN.

ISAAC BLESSING JAC O B

WALTON, PARRY.

STILL LIF E

WATTEAU, ANTOINE.

F ETE CHAMPETRELE BAL

WEENIX, JAH.

LANDSCAPE WITH F IGURESSee a lso 3 29 .

WERFF ,ADBAENVANDER.

THE JUDGMENT O F

239159270

344

WEST, BENJAMIN,B RA.

MRS. WEST

WHITE, SYDNEY H.

‘

REV. J . H. SM ITH.

WILSON, BENJAMIN.

PORTRAIT O F A LADY

WILSON, RICHARD, R.A.

PO RTRAIT O F LO RDTIVO LI

,

WOOD, JOHN.

DIANA AND ENDYM IO N

T . STO THARD,R.A.

WOODBURN,W. 8.

COPY AFTER RUYSDAEL

WOUWERMAN, PHILIPS.

CARRYING HAY (after w.)C O AST NEAR SCHEVENINGENC O URTYARD WITH FARRIERHALT O F CAVALIERS AT AN INNHALT O F A HUNTING PARTYHALT O F SPORTSM ENHAL'E O F TRAVELLERSPEASANTS IN THERETURN FROM HAWKINGTWO HO RSEMEN NEAR A FO UNTAINSee also 3 4 .

WOUWERMAN, PIETER.

SANDBANK WITHSANDHILLS WITH F IGURES

WYNANTS. JAN.

LANDSCAPESSP8

, also 7, 2 10.

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34 6

UNKNOWN : SUBJECT PIECES.

ADAM AND EVEBAGPIPER ANDCHRIST IN CHARGE O F SOLDIERSCLEO PATRA AND THEDEAD GAMEDUTCH INTERIO REASTERN ENCAMPMENTELIJAH AND THE WIDOW’SEMBLEMATIC DESIGNFLO RA AND CUPIDF RUITFRUIT AND BIRDFRUIT WITH SQUIRRELHO LY FAM ILYJ OSEPHUSLANDSCAPE WITHLAUGHING HEADLIBERALITYMAGDALENMAN F ROWNING

.

MAN WITH A JUGPIETYPO ND WITH DUCKS

PROCESSION O F MARINE DEITIESSEAPIECESIBYLS (9)ST. JERO M E (head)ST . PAUL (head)STILL LIF ESUSANNA AND THE ELDERSTWO RUSTICSVENUS ANDWINGED NUDE F IGUREWINTER SCENE O N THE ICE

347

INDEX II.

NUM ERICAL L IST O F

PIC TURE S .

The first column gives the number affixed to the frame, correspondingto the number in this Catalogue.

The second column gives the subject and the third, the artist.Thefourth column gives the date of the picture’s acquisition, and the

last column, the manner of acquisition.

“ Alleyn ” means thatthe picture was included in the bequest of the F ounder of theCollege (see above, p . Bourgeois," that it was included inthe Besaufens- Bourgeois Collection (p. xv). Where, after Bourg eois,

”the letter “ D ”

with a numeral is given, it means thatthe picture can be identified with one so numbered in Desenfans’Catalogue of 1802 (see pp. ix ,

x) . C artwright,” usually followedby a. numera1, means that the picture was included in the Cartwright Bequest (p. v), the number being that which the picturebears in his M S. Catalogue .

“ Linley ” means that the picturewas given or beq ueathed either by William Linley or the Rev.

Ozias L inley to such pictures the date 1831— 5 is given, precision being impossible, for a. reason already explained (p. xvii).In the cane of other accessions

,B means bequest ; G gift ;

and “ P purchase . Particu lars under the fourth and fifthcolumns are in some cases unknown

,as in earlier years the

College seems to have kept no register of pictures.

Subject. Artist.

After Rubens 1811 Bourgeois.

St. Cecilia. Bolognese SchoolC lassical RomeynView on 8. Pla in C uypLandscapewith Cattle RomeynA TigerHunt Sir P. F . Bour

gems.

L a n d sc e p 9 with a Dutch SchoolTower.

Italian Landscape

31

32

33

34

Numerical List of Pictures— oontinued .

Subject.

L a n d sc a p e with aChurch.

Italian LandscapeArch of ConstantineBanks of ‘a, BrookSt. Anthony of PaduaA Village on F ireA Road near aA Road near C ottages

Sir P. F .

Carrying Hay

Roman Soldier withTrophy.

L a n d s c a p e w i t hF igures.

Cupid on a BedSusannah. and the

Elders.

Ruins of a TempleChrist as a.BoySatyr and NymphR u i n s of RomanBuilding .

St. JeromeNoel DesenfansWoman SpinningCastle in a.Wood

GipsiesHagar and Ishmae lP e a sa n t E a t i n gM ussels.

Sandhills

P e a s an t 3 PlayingCards.

Sandbzmk

Shepherd andSt. Lawrence .

Ah Old BuildingF our SaintsSt. SebastienF ruit

348

Artist.

Verboom

Jan M iel

Italian SchoolElsheimer

Breenbergh

GermanPoelenburgBreenberg h

Teniers, the ElderM ola.Teniers, theElder

Pieter Wouwerman.

Teniers,the Elder

Bourgeois.

G The Artist.

Bourgeois.

D 137

Swanevelt

BothSpanish Scho‘

olTeniers,the ElderBothSch. of S . Ruysdael .

SirW.

After Ph. Wou

werman .

Sch . of Rubens

Pieter Wouwer

man.

Dutch SchoolItalian SchoolBusart

Sch. of RubensItalian SchoolJ van Huysum

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Numerical List of Pictures- w pntiomed .

Subject.

Halt of C avaliersHalt of a HuntingParty.

Two HorsemenPortrait of a.LadyCharitySmith Shoeing anPortraitof BoileauA M usic PartyPortrait of LouisXIVL a n d s c a p e w i thSportsmen.

Landscape andWatermill.

F arrier and PeasantsPortrait of LadyM adonna and ChildReturn fromHawkingCourtyardwithF arrierPortrait of RacineHis own PortraitCastle and its Pro

prietor .

Evening Ride near aRiver.

Halt of TravellersWoman with a JugPortrait of a YoungM en

Cupid

LandscapeM otherand Sick ChildA Brisk Breeze

His own Portrait

Peasantwith GlassA F emale Pilgrim

Interior of Ale - houseA Male Pilgrim

Ah Old WomanJohn Philip KembleAWinter Scene

350

Artist.

Ph. Wouwerman

Hobbema.

N. BerchemC . JohnsonVan DyckPh. Wouwerman

Sch. of

John Opie, R.A.

Teniers, theYounger.

Ph. WouwermanA. van O stadeRembrandt

Sir P. F . Bourg eois.

After N. PoussinSir J .

W. van de Velde

1811 Bourgeois.

C . JohnsonVan DyckDujardinSch. of RigVenetian SchoolSchool of RigaudPynacker

Sir J ReynoldsJ RuysdaelTeniers. the ElderTeniers

, theYounger

A. BrouwerTeniers, the

Younger.Teniers, the ElderS irW. BeecheyTeniers,the Elder

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

143

Numerical List of Pictures— oontinued.

Subject.

A M an SmokingLandscapeBoors M aking M erryBoy with Bottle

Landscape

V i e w i n Rh i n eCountry .

Landscape

Vase with F lowersRoman EmperorRoad thro’ a WoodShepherd and Shep ~

herdess.

Road near a. River

St. Barbara,

Jacob’s Dream

Samson and De lilah

Cattle near a RiverSt. Jerome in PrayerVirgin and ChildHelen F ourmentLandscape with Shepherd .

Landscape with CattleThe Rebe l AngelsLandscape with Cattle

M ountainous Landscape .

Poolwith F riars F ishing .

The F erry BoatVase with F lowersThomas L inley, the

Elder.

Interior of C athedralThe Chafif- C utter

Portrait of a Lady

3531

Artist.

A. van O stade

Jan WynantsA. van O stade

P. 0. van S lingeland .

Jan Wynants

W. Du Bois

Eng lish

Jan van HuysumP ietro da Cortona.N. BerchemSch. of

Rubens

Sch. of Rembrandt.

Van Dyck

A. van Borssom .

S. Rieci

Sir P. F . Bourg eois.

Swanevelt

Salvator Rosa

F . Casanova,Jan van HuysumGainsborough

Pieter NeeffsTeniers, the

Younger.

Rubens

1811

1831 L in’

l’

ey.

Bourgeois.

D 142

O

1811 Bourgeois.

Numerical'

List of Pictures— contv’

nned.

352

Artist.

Cattle.DortinDistance CuypA BullA Sow and L itter

The Judgment of

Paris.

Saint Blessing the

Sick .

Sacrifice of Iphigenia.

LandscapePortra it of an Old

Prince ofAsturiasLady Pu rcha s i n gGame.

M agdalenTwo Churches and a,

Wall.Le Bel Champetre

TravellingJoseph and Pharaoh’sRing.

Portrait of a YoungLady.

Head of C leopatra

The Holy F amilyA Pieta.Girl at theApollo andVenus and CupidRoman F ountainF ete ChampétreLandscapewithWindmills.

Charles Small PybusPhilip Herbert, LordPembroke.

Tivoli CascatelfleSir P. F . Bourg is

Portrait of 11 mightRome Campo Vaccino.

Cattle and F iguresApollo and Daphne

0mmeg aiiekTeniers, the

Younger.

A. van der Werfi

After Rubens

Sir P. F . Bourg eois.

W. S . Woodburn

Afte r “VelazquezDutch School

AfterAh . CarracciJan van derHeyde

Watteau

N. BerchemG. D . Tiepolo

Sch . of P. Veronese .

Unknown

Sir W.

Van Dyck

ZuccarelliG. de Lairesse

1811 B0urg eois.

D 169

D 169

Sch . of SchedoneSch. ofL . CarracciRembrandtF ilippo LauriSch . of RubensN BerchemWatteauJ Ruysdae l

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214

215

'

216

7

236

237

238‘

239

240

324 1

Numerical List of Pictures— oontinued.

Subject.

Destruction ofNiobe'sChildren .

Isaac Blessing JecobC lassical SeaportSunset.

Soldierl Gambling

Village near aEveningM ountainous Landscape.

Embarkation of St.Paula.

Portrait of a YoungM an.

TwoPeasantBoysandNegro Boy.

The Infant Samuel

Two Peasant Boys

Holy F amilySt. Martinis

yand the

Idols.

Adoration of the Mag iVirgin and Child withSt. JohnInspiration of Am.

creon.

Virgin andChildwithSt John .

Boys in 9. LandscapeSt. Peter and St.F rancis.

A Locksmith .

Nursing of JupiterC reation of Eve

Triumph of DavidSt. CeciliaRinaldo and ArmidaM arriage of St. Catherine.

F light into Egypt

St. F rancis of Assisi

354

G . Poussin

Jan Viotoi-sC laude

Salvator Rosa.

Sch. ofG. PoussinAfter RubensSwanevelt

C laude

Sch . of Rembrandt.

M urillo

Sir Joshua. Reynolds.

M urillo

After N. PoussinPietro da Cortona .

N. PoussinC opy after A. d

.

e1Sarto.

N Poussin

Ah . Carracci

Venetian Sch oolL . Carracci

N. PoussinGennari .

N. PoussinSch . P. Veronese

N Poussin

Raphael

1811

1811

Bourgeois.

D 177

D 178

M artinTupper

’s

family.

Bourgeois.

Numerical List of Pictures— continued.

Subject.

St. Catherine of Siena.St. Anthony of Padua.Horatius CoclesC attle near a RiverVirgin and Child

Italian CourtyardVenus and CupidPhilip IV. of SpainChrist on the C ross

Holy F amily . .

St C atherine of SienaSt. F rancisPortrait of a. YoungLady.

Death of St.Virgin and ChildM ary M agdalenePortrait of a. YoungM an .

Head of the M adonnaVenus G a t h e r in gApples.

A RiposoSt. JohnPreaching.

Assumption of the

Virgin .

The Three GracesThe EntombmentSt. Barbara.JndlthandHolofernesSt. Sebastian .

Baptist

A F ranciscanA Saint and a. Venetian Gentleman .

Salvator M undiThe GoodEuropa and the BullThe Holy F amilyTwo InfantAdoration of the M agiPortrait of a BoyA decorativeThe Entombment

355

Artist.

After A. del SartoA. SacchiItalian School .

Ag . CarracciUmbrian SchoolC ig nani

P. di Cosimo

Sch . of AlbaniItalian School

M ola.Guido Reni

N. Poussin

RubensAh . CarracciCopy after TitianAfter 0. AlloriAfter Guido Reni

L . CarracciP. Veronese

Sch . of

After M urilloCopy after TitianCarlo M arattiSch . of M

J113 11 de P’

hrejaz:G. B. Tiepoli

Salvator Rosa

Bourg eois.Carlo DolciRaphae lLe BrunCuypCopy after Cor

reggio.

Jan M ielCambiasoVelazquezF lem ish School

292

305

306

307

308

809

356

Numerical List of Pictures— continued.

Subject.

Salvator M andiM adonna del RosarioWoman taken inAdultery.

Adorationof the Shepherds.

Head of the M agdalen

Venus, M ars

Cupid.

Head of an OldAVenetian ProcuratorDescent from the

Cross.

The Holy F amilyPortrait of an OldLady.

Charles Kemble

and

St. Veronica

Satyr Eating withPeasants .

Landscape and Cattle

A Young M an Drawing .

A Riding SchoolLandscape with Cattle

A CalmSunset with SheepSeaport : SunriseF uneral Procession :

White F riars.

Samue l Linley, R.N.

Landscape withAqueduct.

The Prinoess Victoria

Castle and WaterfallSeaport SunsetGirls at WorkView on the Seashore

Gathering Grapes

Bolognese School Bourgeois.

M urilloGuercino

Domenichino

Sch. of GuidoReni.

Rubens

Italian SchoolTurchiSch . of Van Dyck

BugiardiniSch . of Rubens

H. P. Briggs,R.A. G George

Bartley.C arlo Dolci 1811 Bourgeois.

D 13

After

Sir P. F . Bourg eois.

Venetian School

D 179

L inley.

Italian School Bourgeois.

S . P. Denning 189] P DulwichCollege.

Italian School 1811 Bourg eois;C . J VernetJ . B. S . ChardinSir P. F . Bourg eois.

After C laude

CuypP. J de Loutherbourg .

Peter M onamyTeniers the ElderC . J VernetSir P. F . Bourg eois.

Gainsborough

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358

Numerical L ist of Pictures— oontinued.

Subject.

,ATobit and the Ang e1

Girl with Hardyg urdy.

ThomasR.A.

Skirmish of Cavalry .

Landscape with CattleCanal with Bridge

Stothard,

F ruit with Squirrel "Dead GameChrist and John as

Children.

Procession of M arineDeities.

Portraits Emblematiopicture .

Still LifeCompany of HorseSoldiers.

Dead GameBag piper and GirlSeapieceLondon :Thames.

Seapiece

View on

Head of a WomanRichard LovelaceThomas LovelaceSir William LovelaceElijahandtheWidow

’

s

Son.

Sir William Lovelace(of Bethe rsden).Theodore de Béz eWilliam PerkinsCalvin “

F armstead and SheepShearing.

Sei jeant LovelaceLord LovelaceHead of a ManSir M artin F robishei'Landscape

Artist.

Dutch SchoolSir P. F . Bourg eois.

F rench School

John Wood

Bourg eois.

Snayers

CuypSch. of J . RuysdaelUnknown Cartwright,85

185

Copy after Van 99

Dyck .

Unknown

Asc. to L . deHeere

UnknownAse . to Brucg hei

Unknown

Castro

Jacob HuysmansUnknown

Unkiiown .

1686 Cartwright

1626 Alleyn.

G. 03101118. 1686 Cartwright, 83

Unknown

Jomi’

e reenhiuff'

UnknownRohei t Streater

359

Numerioal List of Pictures— contmued.

Subject.

377 M r. Dirge'sWife

404

Lovelace's AltheaHead of a GirlHead of a WomanPrincess M ary of

Orange .

M ater DolorosaHead of JosephusKing James I.

Nathan F ield

Landscape : SummerM rs. CartwrightM rs. Cartwright’sSister

Portrait of a LadyTom BondWilliam SlyElizabeth, Queen of

Bohemia.

The Duke ofRichard Burbag eThe Duchessof SuffolkHead of a DoctorLandscape

The F irst M rs. Cart

wright.01d M r. CartwrightHead of St. Pau lA M an F rowningA Night Scene

Head of a Woman

Head of a M an

Still LifeM an with a JugSusanna and the

Elders.

The Holy F amilyHead of St. JYoung

_

M r. Cart

wright.

Artist.

Unknown 1686 Cartwright

Isaag F ullerRichard Burbage,Uuknown

Copy after0.Dolci Unknown .

UnknownAlleyn .

1686 Cartwrig ht

CopyafterBassanoJohnUnknown

Alleyn .

John

UnknownRichard BurbageUnknown

Copy after Bas:sano.

John

Unknown

9!Unknown

After Rubens G Rev. JohnVane .

Unknown 1686 Cartwright

Unknown .

1686 Cartwright, 877 l

123.

After BaroccioUnknown

4 29

4 30

4 31

432

4 33

434

4 41

442

44 3444

4 45

4 4 6

360?

Namarical List -

of Pictures— continued.

Subject.

Landscape Spring

Heads of TwoRusticsKing Charles 1.

Head of a M an

The Duke of York(JamesHenry, Prince ofWales.

John Greenhi llAlexander NowellArchbishop Laud.

M artin LutherLandscape : Autumn

Richard PerkinsKing Charles 11.

P0ultryQ 11e e n HenriettaM aria.

Head of DanteSeapiece

Still LifeM ichael DraytonF light into Eg yptChrist in Charge of

the Soldiers.

F ruit and BirdEcce Homo

Eastern EncampmentSea piece

JamesAllenRev. William Rogers

Edward AlleynJ011 11 Alleyn . .

F rancis BaconThe Tribute

Artist.

Copy after Bas

sano.

UnknownC opy after VanDyck.

UnknownJohn

Unknown

JohnUnknown

Parry WaltonUnknownColonieUnknown

C opy after Correggio.

UnknownCastro

Unknown

George Romney

UnknownA. S . Cope

Unknown

T . F . Hodgkins:

Cartwri

ght,70

Unknown.

Cartwright,68

Alleyn.

Cartwright,95

1873 G M iss Love.

1894 G The Artist.

C opy after Bassano .

UnknownAse . to GreenhillUnknownCony after VanDyck.

UnknownCastro

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498

499

500

501

502

503

504

505

506

Numerical List of Pictures— camiinued.

Subject.

Noel DesenfansThe Nu r tu r e ofB acchus.

A b r a h a m and theAngels.

M ountainous L a n dscape.

F isherman and Gateway.

Venus and M ercuryJupiter and AntiopeDeath of CardinalBeaufort.

VenusJapitar andAntiopeL and 3 c a p e withHorses.

M assacre of the Innocents.

EquestrianM ichael PoniatowskiStanislaus

,King of

Poland.

A F amily at a Grave

Samson and the L ionSamsonandthePhil istines.

The Duke of Marlborough.

James Allen

Rev. A.

'

J . Oarvei'

Lady F alklandCharles Druce

M rs. Bartley

Head of a WomanPortrait of a C lergyman.

Noel DesenfansPortrait of a M an

Adam and EveThe Holy F amily

Artist.

WilliamAfter N. Poussin

Sir J

Venetian SchoolF . VerwiltEng lish Sohool

F rench School

Sir P. F . Bourg eois.

T . F .

Unknown

8. M . F isher

Samuel Lane

Unknown

F rench SchoolUnknown

Bourgeois.

Unknown.

1811 Bourgeois.

Unknown .

1686 Cartwright,211

7)

G F rancisPeek .

Unknown. 5

G F amily0. Bruce.

G GeorgeBartley,

Unknown .

508

509

510

511

54 5

54 6

Numerical List of Pictures— oontinued.

Subjeot.

The Transfig uration

The M agdalenWing ed Nude F igure

F lora and CupidVenus and Adonis

A Laughing HeadAh Emblematic De

sign .

Scene on the IceA Dutch Interior

Pond with DiiéksF ruit

William the ConquerorWilliam RufusHenry 1.

Henry II .Richard I.

JohnEdward I.Henry IV.

Henry VI.Edward V.

Richard III.Henry VII .Henry VIII .AnneEdward VI.Queen M arySibilla Aeg iptia

SamiaCumana

Delphica.

EuropaHellespoqtica.PersicaTiburtina

PietyLiberality

363

Copy after

Unknown

1796

1686

1686

1686

1626

G. ThomasM ills

Unknown .

Cartwright

Unknown .

“

Cartwright

Unk11’

5wn.Uai't wright,

Alleyn .

Unknown.

1686 Cartwright.‘

130‘

125

26

27

219‘

213

548

549

550

5 51

552

553

5 54

555

574

575

5 76

364

Nuxherieél L ist of Pictures— cofhtinuad.

Subject.

King James 1.

F rancis BaconQueen Victoi iaEdward Alleyn

Rev. J H. SmithCanon CarverSir P. F . Bourgeois

Nymphsat 11 F ountain

Portrait of aBrawl in a GuardRoom .

The Prodiga l SonA Lady in Blue

’9

Lord EgremontPortraits : 8. F ishingParty .

Abraham CowleyA Gentleman inBlack.

Lord SomersA Lady in BlueDorothy Lady Townshend .

William ChifiinchNathaniel LeeLord Carlisle and hisSister.

Portrait of a.Lady

Portrait of a Gentleman.

Aubrey de Vere

Abraham CowleyPortrait of a Lady{Portrait of a Gentleman .

Archibald HopePortrait of a LadyPortrait of a Gentleman .

Artist.

Ghzeraedts

S . H. WhiteE .HastainSir W.

Sir Peter Le ly

Pieter NasonSebastien Bourdon .

RiberaD. Mytens

Sir Peter LelyC . Johnson

John RileyJosephHighmoreCharles Jervas

Gerard SoestUnknownSir G o d f r e yKneller.

HonGerardthorst.

A. Hanneman

Asc. S a m u e 1Cooper.

M ary Beale

George SandersThomas Hudson

1898 G H. Y .

Thompson.

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1st M ay to 3181: August

September to 15th O ctober

16th M arch to 3oth April

16th O ctober to 15th M arch

.Ist M ay to 3‘

Ist August

April and September.

INTRO DUC T IO N

Since the compilation of the catalogue of 1914. by SirEdward C ook, certain additions have been made to thestructure and to the collection of pictures and furniture ;new facts have been discovered in regard to pictures containedin the catalogue , and other circumstances have arisenwhichit appears to be of interest to record .

It is also felt that official lists of the growing collectionof engravings, drawings, photographs . etc . , and of the art

books should be made,as otherwise these wi ll remain of

little value to a student through ignorance of their existence .

The firstmatter to be mentioned is that in 1914- 15Room

No. XII. was erected by M r. H. Yates T hompson, who had

previously given Rooms IX. ,X. 81 XI.

,the Architect of all

being M r. E. Stanley Hail,M .A.

,

As an item of history it may be mentioned that RoomsVI . 85 VII . , and Room VIII . with the Store - rooms to the

north of it were originally erected , as part of Sir John Soane’s

design, for the Alms Women of the foundation, who were

then transferred from the O ld C ollege but in 1866 these almspeople were te - transferred . The north- west and southwest wings were then converted into Rooms VI . VII . ,

and the other west rooms remained vacant unti l 1911 , whenthey were transformed to their present use .

At the end of 1915 when the German air raids wereprevalent twelve of the most valuable pictures were removedfor greater safety to specially constructed vaults in the

basement of the Royal Academy . The Dulwich gallery,fortunate ly, was not struck, but bombs fell in closeproximity, one on the annex of the covered tennis courts at

the corner of C olleg e Road and Dulwich C ommon Road ,killing two persons another partly destroying the Roseberygate of Dulwich Park , and others fell in the Park itself. A

defence shell fe ll on one of the houses in College Gardensadjacent to the gallery .

The pictures were brought back in Apri l , 1917 .

4

In 1919- 20 the old deal floors ofRooms I., I I I II . , IV.,

V. ,VI . ,

VII . 81. VIII . were replace d with wainscot oak.

THE ADDIT IO NS T O THE PICTURES since 1914are set 'out in the appended Table No . 1 , and a list of thefurniture in No . 2 a list of ENGRAVINGS , DRAWINGS,PHO T O GRAPHS AND MISC ELLANEO US ART ICLESin No . 3 ; a catalogue of BO O KS IN THE GALLERY

L IBRARY is given in No . 4 ; in No . 5 the NEW RULES

F O R C O PYING PICTURES are set out and in No . 6‘

is a

list of CATALO GUES, ETC . , O F DULWICH GALLERY

AT'

THE VICT O RIA”

AND ALBERT MUSEUM .

In the gallery catalogue of 1914 the following correctionshave to be noted

No . 489 and 490 , PO RTRAIT S O F STANISLAUSAUGUSTUS PO NIATOWSKI KING O F PO LAND ,

and

of his b‘rother M ICHAEL PO NIAT O WSKI PRINCEPRIMATE O F PO LAND ; the artist of which has hithertobeen unknown,

have been identified as the work ofAleksanderKucharski (174 1

The gallery is indebted to Dr. Wi lliamson for the

following information given in letters of l i th June , and

3rd‘July, 1920 . Aleksander Kucharski , an eminent Polish

Painter, Was born. at Warsaw in 174 1 , and died in 1819, at

Sai‘

nte Perine , near C hai llot, and was buried in that place .

Hé Was sent‘

by King Stanislaus to Paris for a while wherehe had sittings oi

‘ Marie Antoinette , and made a miniatureof the young Dauphin Louis XVII , which was originally inthe collection of King Stanislaus, and is now in America.

When I went to Warsaw I saw in private possessionthere a number of “pencil sketches ofKucharski’s for portraits.

Among these I am practiéally certain that I saw the pencilsketch of

'your No . 489. Kucharski executed ‘

a considerablenumber of Pastel drawings. We owe such information as is

avai l'

able concerning him to two Polish writers, CountMycielski

'

(ofKrakow)and“

C ount Fournier Sarlovez e .

No . 577, Portrait of Archibald Hope , ascribed 'in the

1914._

catalogue to George Sanders (1774 has now beenidentified as the work of Gerard Sanders, a Dutch artist

(1702

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6

of a Public Gallery 111 London,what more natural than that

Bourgeois should turn to the Actor’s C ollege at Dulwich , anddecide that that should be the permanent home of his

collection .P

The same consideration must have influenced the

Linleys, the next considerable donors. They themselves fromchildhood had been associated with the stage . Eliz abeth hadmarriedRichardBrinsley Sheridan they allmoved in the circleof the theatrical world . They knew of Bourgeois ’ gift toDulwich, and O z ias Linley was a F ellow of the C ollege .

O n page 193 SirEdward C ook speaks of the M rs . S iddons(No . 318) by Sir Joshua Reynolds as a replica— mostlyexecuted by one of Sir Joshua ’

s assistants .

’In his Life

of Sir Joshua Reynolds ” 1902 , Lord Ronald Gowersays the

Grosvenor and the Dulwich pictures are the authentic workof the Master

,but the replicas at Langley Park and Edin

burgh are by the hands of Reynolds’

assistants.

’

O u page 2 23 the interesting history of Richard Burbagecontains in the last paragraph what appears to be an error.

Sir Edward C ook says the Blackfriars Theatre was con

structed by Burbage [Richard the actor] about 1597 by theconversion of an old mansion bought by his father for thispurpose just before his death .

T here were two theatres 111 Blackfriars,the first (opened

1576-

7)was made out of the Buttery of the Monastery, andwith thatwe have nothing to do . The Second Blackfriars,which 18 the one referred to in the text was made out of the

Hall and the Parlour or refectory of the same Monastery .

These formed the lower part of the F rater a two or threestoreyed building purchased on the 4 th F ebruary , 1596, byJames Burbage , the father of C . andR. Burbage . This lowerpartwas by him converted into a playhouse

,which he intended

for the Shakespeare C ompany . The Privy C ounci l,however,

forbade the use of the house for plays and the disappointmentwas keenly felt by Burbage . In F ebruary, 1597, he died,leaving the Blackfriars to his son Richard . It was let byRichard to Evans for The C hildren of the C hapel,

”and

occupied by them and the ir successors The C hildren of

the Revels from 1600 to 1608, when the lease was sur

rendered to Richard Burbage . He then organiz ed a syndicate

o f seven equal Sharers — R. Burbage, C . Burbage, H.

Evans (the former manager), William Shakespeare,John

Heming es, Henry C onde ll, andWi lliam Slye and leased tothem the Blackfriars,

”which became (because it was a

covered theatre) the winter house of the King ’s M en

whi le the Globe (uncovered in the centre) on the oppositeside of the river

, was the ir summer theatre . [See J. QuinceyAdams

’

ShakespeareanThe lead cistern referred to on page xviii . in ,Sir

Edward C ook ’s introduction was originally in a house on theC ollege Estate in Herne Hi ll . It was presented by theEstates Governors, and was removed to the Gallery Gardenon the demolition of that house . The pump was designed,and erected when the new rooms were built in 191 1 .

The sun dial on the west side of the ~Gallery Gardennear one of the gates

,originally stood on the T errace of

C asino House,Denmark Hill

, erected by Shaw,the Solicitor

who defended Warren Hastings in the famous State trial inWestminster Hall

,which house was later the residence of

Prince Jerome Napoleon . The house was taken down in

1 06 .9The year 1919 was the T ercentenary of the foundation

o f Dulwich C ollege by Edward Alleyn,who began the

C ollection of Pictures ; and that year was signaliz ed by an

Exhibition in the Gallery of Relics of or relating to the

F ounder.

”T his contained the original M SS . of The Seven

Deadlie Sinns,

” by T arleton of SirWilliam Alexander’s.(Earl of Stirling) poem to Edward Alleyn about 16 19, PhilipHenslowe ’

s Diary,and Edward Alleyn ’

s Diary,the C ontracts

for bui lding the F ortune T heatre the Bear GardentheHope T heatre and Dulwich C ollege (16 13)

Harding ’s drawing (1790) of Edward Alleyn’s portrait views

of St. Saviour’s C hurch , Southwark, as it appeared in 1600

a view of London from Southwark , in 154 3 , shewing Bermondsey Abbey, to which Dulwich Manor had belonged ;a plan of the Manor

,and a view of the Manor House (taken

down in 1883)in which Alleyn resided views ofAlmshousese rected by Alleyn in Southwark (1610— 17) and in F insburyin 162 0 plans of Dulwich (O ld) C ollege , and other matters

o f interest

8

In conclusion the following matters of special interestremain to be noted .

O n 24th June, 1918, the Gallery was honoured by a

visit of Her Majesty the Queen and H.R.H. the PrincessMary, attended by Lady Bertha Dawkins. Her Majestygraciously accepted a copy of the catalogue, the PrincessVictoria series of Pictures, and Dulwich History and

Romance, A.D . 967 to Subsequently a framedphotograph of the drawing of the Library of KensingtonPalace was sent toHerMajesty by order of the Governors.

O n sth June, 1919,H.R.H. the Duke of C onnaught paida visit to the Gallery and accepted a copy of DulwichHistory and Romance .

”

The anonymous donor of pictures Nos. 555 to 593inclusive in the

'

1914 catalogue , and of the seven in tableNo. 1 of the present supplementwas the late Fairfax Murray,artist and collector, a benefactor who passed away in 1919,to whom the Gallery is greatly indebted . The total numberof pictures given by him was 4 6, the largest donation sincethat ofBourgeois .

In March, 1919, M r. H. Yates Thompson retired fromthe chairmanship of the Gallery C omm ittee much to the

regret of his colleagues. He was a liberal benefactor, an

indefatigable chairman formany years , and he inspired others,notably M r. F airfax Murray and M r. Pierpont Morgan, to

make gifts of valuable pictures and books to the Gallery .

During'

the past year 2 2 volumes have been added tothe Library by donation and purchase

, and it is hoped thatit

‘

may be augmented by other gifts of books on art subjects.

April, 1922 .

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10

600. O ld Wa lton Bridg e .

ANTONIO CANALE,called C analetto (1697 - 1768)

An inscription on the back says that this picture was paintedin 1754 for Thomas Hollis, Esq . The Bridge over the Thames, a

timber structure , 1asted very few years .

C anvas 1'

59“ Donor : M iss M URRAY SMITH .

601. Portrait of M r . Samue l Moody (1733I. RUSSELL , R.A. (English : 174 5

Samuel M oody was the husband of M rs. M oody, whose portraitby Gainsborough was presented to the Gallery in 183 1 by C aptainThomas M oody . She died in 1782 , at the ag e of twenty- six . Arthe time of her death her e lder son , Samuel, was one year andeightmonths old, and the younger, Thomas, who is on her arm . was

e ight months old which suggests a problem I M r. M oody marriedagain in 1786 . The young wife , a M iss Paterson , was apparentlyunkind to the two step - sons . An extant diary of Thomas M oodyis full of complaints of her, and it is possible that a desire that hismother ’s portrait should not fall into the hands of the second familymay have led to his presenting the fine Gainsborough to the Gallery .

The above particulars have come to light since the publication of thecatalogue .

This portrait of Samuel M oody was acq u ired in 1915 from his

great- granddaughter by his second wife , and presented to the Galleryby H. YATES THO M PSO N . O val paste l 1

' I ri'lx 1

'51

3

602 . Virg in and S t . E liz abe th W ith the Infant C hr istand S t . J ohn .

RAPHAEL (Italian : 14 83This picture , which has been a good deal injured apparently

by fire , 13 attributed by the donor to Raphael ’s later period .

Panel 4 ' 8§"x 3

' 8&"Y

Donor : FA1RFAx M URRAY.

603 . Portrait of Roubiliac (1695ANDREA SO LDI (Italian : 0 . 1682 c .

C anvas 3' ri" x a' 8'l Donor FAIRFAX M URRAY.

604 . Portrait of J ohn . son of J ohn Dive .

FRENCH SCHO O L (17th C entury).C anvas 2

' x 1 7 Donor F AIRFAX M URRAY.

605 . Portrait of an Artist by Him se lf.DUTCH SCHO O L (17th C entury).

Panel 1' 11?x 1‘ 62" Donor FAIRFAX M URRAY.

I I

606 . Portrait of Lucy Ebberton .

GEO RGE KNAPTO N (English : 1698

Donor F arms): M URRAY .

It has so far not been possible to ascertain who this lady was .

She has rathe r the look of an actress . Her portrait was in any case

considered sufficiently interesting to reproduce , and a me zzotint ism one of the showcases . C anvas 2

'52

" x 2 '05“

607 . O ld - T im e Tuition at Du lwich C o l leg eByW . C . HORSLEY .

When I was about 11 years old I stayed at Dulwich C ollegewith M r. L indsay, one of the F ellows. M r. L indsay was not an earlyriser, so he arranged that his class should come up to his bedroomevery morning .

)

I remember well seeing him sitting up in his fourposter, propped ‘

up by pillows and swathed in a dressing gown, atasselled night— cap on his head , and a long clay in his hand whileround his bed were the Scholars repeating their lessons .

”

Recollections of a Royal Academician by J. C . HORSLEY , R.A.

Donors The Relatives of the late A. H. TURNBULLC anvas 2

' X 3' 64

“

1 2

TABLE NUM BER 11.

L ist of F urn iture recently Acquired.

Donor

Rothschild C ase.

R YATESTHO M Psgg;°

Inlaid Table . (Dutch)

Inlaid Table . (English )

T able .

‘

(Spanish)

O ak C hest:dated 1684 .

SixWooden Roman Seats.

A Large M agnifying Glass.

The M arble for the Tablet to F airfax M urray .

This marble is from the quarry that supplied

Two M irrors in carved and gilt frames.

A Swinging screen covered in green cloth.

M irror in g ilt frame.

Small round Porphyry Table, with metal base .

Two M arble L ion Pedestals outside M ausoleum .

Two M arble Pedestals inside M ausoleum .

C abinet of Native Wood with glass anelled CmMdoors and marble top . (Australian .)

p LO RD 10111111

25919

Two C hinese C arved Stands for Vases . EDWIN T .HALL, 1921

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14

Noe l Desenfaps .

Engraved by GWIN .

M rs . Desenfans .

T itle Pag e of Punch ,

” M ay l st,

184 7 .

Accompanied by first rough sketch bvRICHARD DOYLE, for cartoon in “ Punchand beneath it the finished wood - cut as it

appeared in Punch of M ay Ist, 184 7 .

We l l done , the New Army .

By F . H. TOWNSEND ,Art Editor of

Punch and old Dulwich boy.

Printofsame C artoon in Punch , 12 th

July , 1916 .

Robert Browning at 70.

Ink drawing by G . THOMSON .

Andrea del Sarto and His Wife .

Drawing by FAIRFAX M URRAY, ofi'

ere‘

dto R. Browning on his 7xst birthday,7th M ay, 1883 .

M rs . E . B . Browning .

Photograph .

A View of the Bridg e atWalton .

Drawn by.

A. HECKEL DELIN .

[Published 17Engraved by GRIGNIO N .

The‘

F orum at Rome .

Plan about 1905. O ne engraving, twophotographs, and two reproductions .

Donor.

H. YATES THO MPSON,I919

Donor.

Philip IV. of Spain .

F rom the Pictures by VELASQUEZ .

F our photographs in one mount ttvo

on the left of the portrait in DulwichGallery : two on the right of that soldto M r. F rick , and now in New York . H. YATES THOMPSON.

Roman Emperor rewarding hisSo l diers .

Sketch ascribed to Pietro del C ortona(1600 C ompare with No . 12 1 in

the Gallery.

50 C oloure d Eng raving s of the

Ga l lery Pictures .

ByRALPH C OCKBURN . Engraved 1816 - 2 0 . THE PUBLISHERS .

4 8 Plain ditto .

ByRALPH C OCKBURN . Engraved 1816 - 2 0 .

48 Plain ditto .

ByRALPH C OCKBURN . Engraved 1816 - 20 .

Album of Photog raphs of Du lwichPictures , 1881.

By M ORELLI.

21 Photog raphs ditto , 1893 .

ByW . E . GRAY. W. E . GRAY.

71 larg e C arbon Photog raphs of

ditto , about 1895 .

ByHANF STAENGL .HANFSTAENGL .

4 5'

smal l ditto , ditto .

ByHANF STABNGL .

16

King S tanislaus , of Poland.

Autograph letter dated 26th O ctober,1795, to M onsieur de Gardiner, Envoyed’

Ang leterre aGrodno .

Sir William Alexander (Earl ofStirling ).

Photograph from engraving in 1637,by M ARSHALL , now in theBritishM useum .

SirWilliam wrote an appreciative poem to

Edward Alleyn.

The Bankside , Southwark, 164 8 .

With The Bull and Bear- baitingTheatres in T he Globe , theRose , and the Bear- baiting Theatre ,and Holland ’s Leaguer. Photographfrom engraving in the British M useum .

Holy F amily (La Perla).Photograph and coloured copy of pictureby RAPHAEL .

In the Prado Gallery. [See No . 602 inDulwich Gallery.]

Prince of O neg lia .

Photograph of oil painting believed tobe Sir A. VAN - DYCK

’

S . Sketch for theportraitNo. 173 in the Gallery.

"Lord C hancellor Bacon , BaronVerulam .

*Thomas Howard, Earl of Arundel .Portraito

*Inig o Jones .

Architect and Surveyor- General to

James 1. Portrait." These were three of the witnesses to

the Deed of F oundation of DulwichC ollege , 1619.

Donor.

H. YATES THO MPSO N.

Enwm T . HALL.

H. YATES

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18

The F ortune T heatre .

Erected 1600 . Engraving from drawingbyW . H. G O DFREY and J. P. M AGINNES .

Showing the Theatre reconétructedfrom the description in the buildingcontract. [This is atDulwich C o llege .]

S chool for the T raining of C h i ldActors .

Erected in the reign of C harles II .

on part of the site of the F ortune Theatre .

View of exterior.

[This is in the Estates O ffice at the O ldC ollege ]

T he Gates of the C em etery , DulwichVil lag e .

Which was constructed and given byEDWARD ALLEYN , and consecrated Ist

September, 16 16 .

[Photograph at the Estates O tfice . O ldC ollege ]

T he Gates of Dulwich (O'

ld) C ol leg e .

M ade in 1728, by GEORGE BUNCHER.

[Photograph at the Estates O flice , O ldC ollege ]

Manor House , Dulwich .

Oil painting as it appeared 1768 to1883 . The orig inal house was formerlythe summer residence of the Abbots ofBermondsey , and later, 16 13 - 16 , ofEdward Alleyn .

[This picture is at the Estates O ffice ]

Donor .

TABLE NUM BER IV .

C ata log ue of Books .

TTTLE DATE AUTHOR

C atalogue of DulwichPictures D enning

C atalogue of DulwichPictures 1858

—

9 D enningSmith ’s C atalogue ofpictures, 9 Vols.

Desenfans’C atalogue

Buchanan ’s M emoirs of

Painting, 2 Vols .

M etrO politan M useum of

DO NO R

Boug ht 1881W .Young ,1889

Arts, New York G . H. StoryC atalogue of D . C M anuscripts 1880 G . F . Warner

Dulwipch C ollege Library

C atalogue 1880 A. W . K . M illerAHistory

g “

ofArt, 2 Vols . C opy Lubke H. Yatesright Thompson1877

T he Partitions of Poland 1915 L ord EversleyNollekens, (1737 and

His Times, 2 Vols. I. T . Sm ithHandbook to the PublicGalleries, 2 Vols . M rs . Jameson

Early Italian Painters H. YatesThompson

D escamps, 4 Vols.

D escriptive C atalogue , 1

Book, Vols. 1 - 2 Desenfans

A C atalogue of Pictures, 3Vols., general Robert F oulis Hovenden,1873

Beauties of Dulwich G allei-y W . HazlettLandscape Painters of F . C undall, Edited AuthorHolland by Sparke

A Nest of Linnets F . F . M oore W. F .West

brook, 1919T he Dutch School of

Painting H. HavardThe English School of

Painting E . C hesneauEducation of the ArtistF lem ish School of Painting A. J. Wauters

Art Galleries, Belgium and

Holland .Lord Ronald Gower

Velasq uez His Works W . StirlingM urillo 85 T he SpanishSchool of Painting W . B. Scott W .Young ,189o

S oane ’

sWorks Sir John Soane H. YatesThompson,1915

2 0

Table Number IV.

AUTHOR DO NO R

Description of the HouseandM useum of Sir John H. YatesSoane Thompson ,1915

C atalogue of J. J. Angerste in ’5 C ollection ofPictures 182 3 John Young

The L ife of Wright, of1885 W. Bemrose H. Yates

C ollection ToscanelliAlbum ThompsonPrim itive Altar PiecesC atalogue of Earl

Northbrook’

s PicturesHistory of Dulwich C ollege ,2 Vols. W. Young Author

M emoirs of SirJ. Reynolds.

Ias. Northcote ,R.A.

Pilkington ’8 D ictionaryM emoirs of the L ife of W . Solly H. YatesDavid C ox Thompson,1915

A C entury of Loan Exhibi:tions, 5 Vols A. Graves

Summary of, and Index toWaagen

At Prior Park, etc .

Articl

lxe on de Loutherbourg ,

RThe

g

Life ofRobert Brown 1910 W.N Gritfin and M rs . ReginaldH. C . M inchen Smith

Shakgespearean Playhouses

.

I. Q . Adams AuthorRobert Dodsley R. Straus H. Yates

Thompson,1915Thomas Stothard , R.A. 1851 M rs. Bray 1915The L inleys of Bath 1911 C . Black 1915The Roman F orum G . H. Huelsen. W . F . West

brook, 1919Sketches of some Booksellers in the time ofDr.

Johnson 1902 E. M arston

Sir John Soane ’s M useum 1920 A T BoltonPitz hang er M anorAD iscursiveHandbook onCopying 1920 W. S . Spanton

EarherEng lishWaterC oIourPainters 1890 C osmo M onkhouse H. Yates

Thompson,1912The Pigments 8: M ediums

of the Old M asters 1914 A. P. LaurieAWoman ’s Walks Lady C olin W . F .West

C ampbell brook, 1918

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2 2

Table Number IV .

TITLE AUTHOR DO NO R

Romney, 2 Vols . A biographical and criticalessay with a catalogue Purchased byraisonné of his works 1904 Humphrey Ward the Comm ittee

andW . Roberts 1921

Anthony Van Dyck, a his

torical study of his lifeand works 1900 L ionel C ust

Supplementto the Catalogueof 1914 1921 Edwin T . Hall The Governors

TABLE NUM BER V.

Rules as to C opying Pictures and the use

of the Gallery.

I — No person under fifteen years of ag e shall be admitted to theGallery unless accompanied by an adult.

11.

— Applications to copy picturesmust be made in writing to theGovernors of Dulwich C ollege , and must state the number of the

picture or pictures desired to be copied, and whether in O il,Water

colours, C halk, or Pencil .III .

— Perm ission for not more than two pictures in O il colours,or four in Watet - colours, may be granted on one application .

[ 17 .

— Pictures may be copied in Water- colours, C halk or Pencil,without restriction as to size of copies .

V.

- ~ Pictures may also be copied in O il, provided that the exact

size of the proposed copy be stated beforehand, and approved by the

Governors .

VI.

— No copy in O il will be permitted of the same size as the

original picture .

VII.

-Applicants must, if required , send specimens of theircompetence .

VIII.

— Easels will be provided by the Governors, but not morethan twelve can be in use at the same time in the Gallery .

IX .

- Not more than twelve persons will be allowed to copy inthe Gallery at any one time and not more than two persons will beallowed to copy from the same picture at the same time .

2 3

X .-Permission to copy will be available for not more than six

months, but may be renewed upon fresh application to the PictureGallery C omm ittee . Students must remove their works at theexpiration of the perm it.

XL — The names of applicants to copy Will be entered in a bookand perm ission given to them in regular order according to the datesof application , except in cases where the Picture Gallery C omm itteemay specially determ ine otherwise .

XII .

-Priority will be given to students who are in attendanceat the Gallery at 11 a .m . those not present at that hour m ay findthemselves passed over for the day.

XIII .

— Persons having such perm ission may copy on any dayexcept Saturdays (unlesswith special perm ission) and Sundays duringthe hours within which the Gallery is open to the public .

XIV.

— The Governors reserve to themselves the right to closethe Gallery to the public and to persons having perm ission to copy

pictures on any day or days on giving previous notice by advertisementin The Times , and to close temporarily any room , without notice , whenthey so requ ire .

XV.

— No person not having perm ission to copy shall use the

Gallery without the written consent of the Governors , for any purposewhatever except for inspection of the pictures and other art objects,and no person having such perm ission shall use the Gallery for anypurpose whatever except for copying or for such inspection .

XVI — No visitor shall use his liberty of inspection to the

prejudice of any other visitor or visitors .

XVII .

— The Picture Gallery C omm ittee have power to makesuch modifications in the foregoing rules as may be found necessaryfrom time to time .

TABLE NUM BER VI

A L ist of Works in the L ibrary of the

Victoria and Albert M useum Re la tingto Dulwich C olleg e Picture Ga llery.

Kindly Supp lied by the Librarian .

M AY , 1920.

LO NDO N Dulw ich C ollege Picture Gallery .

C atalogue of the collection of pictures bequeathedC ollege by the late Sir F rancis Bourgeois . 22 pp .

London (0.

Another copy, bound in a vol.

, lettered ExhibitionC atalog ues, 1789— 1855 ,

2 4

LO NDO N : Dulwich C olleg e Picture Gallery, mntd.

Another cd . ,22 pp . Plan (c .

Another cd . ,20pp . (c.

.

Another cd . ,24 pp . (6 .

Another cd. ,24 pp . (7 x 4 ) (c .

Another ed. ,18 pp . (7 x 5) (c .

Bound in a vol. lettered F ineArt Pamphlets, 184 1 1869.

C O CKBURN,Ralph : . Du1wich Gallery. F ifty coloured platesfrom the most celebrated pictures in this remarkable collection .

Fol. London (1816Beauties of the Dulwich Picture Gallery 8vo . London,

1824 .

Dulwich Picture Gallery C atalogue , provisionally dated 0. 1838

or 1839. C omparing it with the 1840 edition one finds thatthe c . 1838 has no introduction , but this appears in the c. 1840

edition . T he c . 1838 and all previous editions are priced 1/the c . 1840 and all after are 6d . T he printer of both c. 1838

and c . 1840is P.White Son ,17

, Devonshire Square (c.

and Devonshire Sq uare without -number (c . The c . 1838

is 20pp . (7 x the c. 1840 is 24 pp . (7 x

Hand book of Dulwich C ollege ,by F elix Summ erley

(pseudonym for Sir Henry C ole,

containing (1) anumerical catalogue ofthe pictures, and remarks (2)alphabeticallist of painters, the ir chronology, the ir schools, and referencest

1

0

841

51e ir pictures . 33 pp . London Bell 81 Wood ,

Another edition without date of publication , printed , but 1866has been supplied in M S . This may be taken as fairly correct,as the M useum Authorities acquired our copy in 1868‘ fromHenry C ole (then Esquire). 16 pp . (7 x It is practicallyidentical with the c . 1870 edition , the same type , set- up , etc . ,

but has slight differences of punctuation and capital letters .

SPARKES , John C harles Lewis . A descriptive catalogue of

the Pictures in the Dulwich C ollege Gallery, with biographicalnotices of the painters . (10x London , 1876 .

2nd edition , by J. P. Richter and J . C . L . S . F acsimilesignatures . (10x 6). London ,

1880.

3rd edition . . F acsimile signatures . t (lO X -London , 1892 .

4 th edition . C atalogue of the Pictures, etc . 1905 .

C atalogue of the Pictures in'the Gallery of Alleyn ’s College of

God ’s Gift at Dulwich . With biog raphical notices of the

painters, etc. Revise'd and completed to the present time bySir E . C ook . (8 x London

,1914 .

?Srlnse]edition . [With a leaflet of acquisitions down to June ,

Pictures in the Dulwich Gallery . Princess Victoria series.[Text byH. Y . T hompson .] Parts 14 3 process illus. (10xHammersm ith (printed), 1910.

ART IC LESRO UAIX,

Paul . La Dulwich C ollege Gallery. 13 pp . 2 illus .

(In Gazette des Beaux -Arts, 2 S . , XXXIII . ,1886 .

GALER, Allan M . Norwood and Dulwich , past and present.Illus. 8vo . London,

1890.