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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..631a50c --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #63719 (https://www.gutenberg.org/ebooks/63719) diff --git a/old/63719-0.txt b/old/63719-0.txt deleted file mode 100644 index 1cd9d56..0000000 --- a/old/63719-0.txt +++ /dev/null @@ -1,13998 +0,0 @@ -The Project Gutenberg eBook, The Louvre: Fifty Plates in Colour, by Paul -G. (Paul George) Konody and Maurice W. Brockwell, Edited by T. Leman Hare - - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - - -Title: The Louvre: Fifty Plates in Colour - - -Author: Paul G. (Paul George) Konody and Maurice W. Brockwell - -Editor: T. Leman Hare - -Release Date: November 13, 2020 [eBook #63719] - -Language: English - -Character set encoding: UTF-8 - - -***START OF THE PROJECT GUTENBERG EBOOK THE LOUVRE: FIFTY PLATES IN -COLOUR*** - - -E-text prepared by Turgut Dincer, Robert Tonsing, and the Online -Distributed Proofreading Team (http://www.pgdp.net) from page images -generously made available by Internet Archive (https://archive.org) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 63719-h.htm or 63719-h.zip: - (http://www.gutenberg.org/files/63719/63719-h/63719-h.htm) - or - (http://www.gutenberg.org/files/63719/63719-h.zip) - - - Images of the original pages are available through - Internet Archive. See - https://archive.org/details/louvrefiftyplate00konorich - - - Some characters might not display properly in this UTF-8 - text file (e.g., empty squares). If so, the reader should - consult the html version or the original page images noted - above. - - -Transcriber’s note: - - Text enclosed by underscores is in italics (_italics_). - - - - - -THE LOUVRE: -FIFTY PLATES IN COLOUR - - - [Illustration: - PLATE IV.—LEONARDO DA VINCI - - (1452-1519) - - FLORENTINE SCHOOL - - No. 1601.—PORTRAIT OF MONA LISA - - (La Joconde) - - The portrait of Lisa di Anton Maria di Noldo Gherardini, third wife - of Francesco di Bartolommeo de Zenobi del Giocondo. She is seated - in a chair on which her left arm rests, her right hand superposed - on the left. She is turned three-quarters to her right. Her hair, - divided in the centre and seen under a transparent veil, falls - in curls on her shoulders; her dark almond-shaped eyes look out - at the spectator; the mouth is smiling. She wears a dark-green - dress with golden-brown sleeves; a dark cloak is draped over her - shoulders. The background is formed by a mountainous landscape full - of incident. - - Painted in tempera on panel, and restored in oil. - - 2 ft. 6½ in. × 1 ft. 9 in. (0·79 × 0·53.)] - - -THE LOUVRE: -FIFTY PLATES IN COLOUR - -by - -PAUL G. KONODY and MAURICE W. BROCKWELL - -Joint-Authors of “The National Gallery: One Hundred Plates in Colour” - -Editor: T. Leman Hare - - -[Illustration] - - - - - - -New York -Dodge Publishing Company -214-220 East 23rd Street - - - - - PREFACE - - -Those who wish to make a thorough, comprehensive, and systematic study -of the pictures of the great national collection contained in the -Louvre, which extend from the early years of the fourteenth century -down to almost the present day, will be well advised to deal with the -artists by the countries, schools, and periods to which they belong. -That is the scheme which we have followed here. - -We do not hesitate to refer to painters, especially those of the -Italian schools, under the names by which they are generally known to -modern critics, as opposed to those under which they are officially -catalogued by the Louvre authorities. Thus, Raphael, Titian, and Giulio -Romano, and not Santi, Vecelli, and Pippi, are the names which we shall -use in this book. Special attention is drawn to the fact that the -official attributions of a certain number of the pictures, mainly of -the Italian schools, and notably several by Raphael, Leonardo da Vinci, -and Titian, are not accepted by us. - -The authors of any critical book on a large national collection which -includes several hundred Italian paintings of varying importance -must of necessity be under heavy obligations to Mr. Berenson, whose -scholarly, scientific, and constructive criticism, following on that of -Morelli, has entirely revolutionised the study of Italian art. - -It will be noticed that in many instances the dates used in these -pages do not coincide with those given in the official Catalogues and -repeated in a large number of text-books, while in a few cases it has -been thought desirable to draw the attention of the student to the -questionable accuracy of some of the titles and “pedigrees.” - -The illustrations which have been selected represent, as far as -possible, the whole range of the art of each country and school -comprised within the limits of the fifteenth to the nineteenth -centuries. The Plates are arranged in the order in which reference is -made to them in the text, but it has been found impossible to place -them opposite the pages on which the critical remarks are given. - -In the descriptions of the pictures the terms _right_ and _left_ are -used in reference to the right and left of the spectator, unless -the text obviously implies the contrary. Moreover, in the titles of -pictures containing the Madonna and several Saints, the names of the -Saints are given in the order they occupy in the composition regarded -from left to right. The titles we have used are descriptive rather than -mere translations of those contained in the official Catalogue. The -official numbers are those marked in large figures and placed at the -top of the frames; the numbers in small figures affixed to the bottom -left corner of some of the frames are obsolete. - -The surface measures of the pictures are for convenience given in feet -and inches as well as in metres, the height preceding the width. The -technical conditions as to panel or canvas and tempera or oil are also -noted. - -Most of the Rooms containing pictures are open:— - - 1. On Sundays all the year round, 10 a.m. to 4 p.m. - - 2. On Tuesdays, Wednesdays, Fridays, and Saturdays from April 1 to - September 30, 9 a.m. to 5 p.m. - - 3. On Tuesdays, Wednesdays, Fridays, and Saturdays from October 1 - to March 31, 10 a.m. to 4 p.m. - - 4. On Thursdays in the Summer Months, 1 p.m. to 5 p.m., and in the - Winter Months, 1 p.m. to 4 p.m. - - 5. Rooms IX.-XIII., which contain French pictures and Rooms - XIX.-XXXV., which contain Flemish and Dutch pictures are not open - before eleven o’clock. - - 6. The Louvre is closed on Mondays all the year round, and on - January 1, July 14, and Ascension Day; it is also closed on the - Feast of the Assumption (August 15), All Saints Day (November 1), - and Christmas Day, unless these last three days fall on a Sunday. - - - - - CONTENTS - - - PAGE - PREFACE v - - INTRODUCTION 1 - - EARLY SIENESE SCHOOL 15 - DUCCIO’S FOLLOWERS 16 - - THE FLORENTINE SCHOOL 19 - THE GIOTTESQUES 20 - FRA ANGELICO 23 - PAOLO UCCELLO 26 - THE GOLDSMITH PAINTERS 32 - LEONARDO DA VINCI 34 - MONA LISA 36 - BOTTICELLI 39 - ALBERTINELLI 43 - ANDREA DEL SARTO 45 - - THE LATER SIENESE SCHOOL 49 - - THE UMBRIAN SCHOOL 53 - PERUGINO 54 - RAPHAEL 56 - - THE VENETIAN SCHOOL 61 - THE BELLINI 62 - GIORGIONE 66 - TITIAN 68 - TITIAN’S FOLLOWERS 72 - PAOLO VERONESE 74 - - THE PADUAN SCHOOL 79 - ANDREA MANTEGNA 80 - - THE SCHOOL OF VERONA 85 - - THE SCHOOL OF FERRARA 89 - - THE SCHOOL OF MILAN 93 - ANDREA SOLARIO 95 - BERNARDINO LUINI 96 - - THE SCHOOL OF LOMBARDY 99 - - THE SCHOOL OF FERRARA-BOLOGNA 101 - - THE SCHOOL OF CREMONA 103 - - THE SCHOOL OF BRESCIA 105 - - THE SCHOOL OF MODENA 107 - - THE SCHOOL OF VICENZA 109 - - THE SCHOOL OF VERCELLI 111 - - THE SCHOOL OF PARMA 113 - - THE SCHOOL OF BOLOGNA 115 - - THE DECADENT SCHOOLS 117 - THE “MANNERISTS” 117 - THE “ECLECTICS” 118 - THE “NATURALISTS” 120 - - THE EARLY FLEMISH SCHOOL 123 - JAN VAN EYCK 124 - THE SCHOOL OF TOURNAI 124 - HANS MEMLINC 125 - MEMLINC’S “VIRGIN AND CHILD, WITH DONORS” 127 - GERARD DAVID 128 - HIERONYMUS BOSCH 130 - THE ANTWERP SCHOOL 131 - BAREND VAN ORLEY 133 - - THE LATE FLEMISH SCHOOL 135 - PIETER BRUEGHEL 136 - JAN BRUEGHEL 137 - THE FRANCK FAMILY 138 - PETER PAUL RUBENS 139 - RUBENS AT ANTWERP 140 - THE MÉDICIS SERIES 142 - MÉDICIS PORTRAITS 143 - LATE WORKS BY RUBENS 145 - ANTHONY VAN DYCK 146 - VAN DYCK’S SECOND ANTWERP PERIOD 147 - “LE ROI À LA CHASSE” 148 - FRANS SNYDERS 149 - JACOB JORDAENS 150 - FOLLOWERS OF RUBENS 151 - ADRIAEN BROUWER 152 - DAVID TENIERS 153 - PHILIPPE DE CHAMPAIGNE 155 - VAN DER MEULEN 156 - MINOR FLEMISH PAINTERS 156 - - THE GERMAN SCHOOL 159 - “THE MASTER OF THE BARTHOLOMEW ALTAR” 159 - COLOGNE PAINTERS 160 - ALBRECHT DÜRER 161 - DÜRER’S FOLLOWERS 162 - LUCAS CRANACH 162 - HANS HOLBEIN 163 - THE KRATZER PORTRAIT 164 - PORTRAIT OF ANNE OF CLEVES 166 - THE SEVENTEENTH CENTURY 167 - THE EIGHTEENTH CENTURY 167 - - THE SPANISH SCHOOL 171 - LUIS DE DALMAU 171 - LUIS MORALES 172 - EL GRECO 173 - THE SCHOOL OF SEVILLE 175 - ZURBARÁN 176 - RIBERA 177 - VELAZQUEZ 179 - THE INFANTA 181 - MARIANA OF AUSTRIA 182 - COPIES AND SCHOOL PICTURES 183 - THE “MEETING OF THIRTEEN PEOPLE” 184 - MURILLO 185 - “THE IMMACULATE CONCEPTION” 186 - “THE BIRTH OF THE VIRGIN” 187 - “THE ANGELS’ KITCHEN” 188 - THE SCHOOL OF MADRID 189 - GOYA 191 - - THE DUTCH SCHOOL 193 - GERARD OF HAARLEM 193 - SIR ANTONIS MOR 195 - SPANISH OPPRESSION 196 - HISTORY AND PORTRAIT PAINTERS 197 - CORNELIS JANSSEN 198 - FRANS HALS 198 - DUTCH INDEPENDENCE 201 - REMBRANDT 201 - THE PUPILS OF REMBRANDT 205 - VAN DER HELST 205 - GENRE PAINTERS 207 - ADRIAEN VAN OSTADE 207 - GERARD DOU 208 - DOU’S PUPILS 210 - GERARD TERBORCH 211 - JAN STEEN 212 - PIETER DE HOOCH 213 - NICOLAS MAES 214 - GABRIEL METSU 215 - LANDSCAPE PAINTERS 216 - AELBERT CUYP 217 - JACOB VAN RUISDAEL 218 - HOBBEMA 219 - PHILIPS WOUWERMAN 219 - THE ITALIAN INFLUENCE 220 - ARCHITECTURAL PAINTERS 221 - MARINE PAINTERS 222 - STILL-LIFE PAINTERS 223 - THE DECLINE 224 - - THE EARLY FRENCH SCHOOL 227 - THE MAÎTRE DE MOULINS 228 - THE DE SOMZÉE “MAGDALEN” 230 - JEAN FOUQUET 231 - NICOLAS FROMENT 232 - - THE SIXTEENTH-CENTURY FRENCH SCHOOL 235 - JEAN CLOUET’S DRAWINGS 235 - FRANÇOIS CLOUET 237 - CORNEILLE DE LYON 238 - THE SCHOOL OF FONTAINEBLEAU 239 - JEAN COUSIN 240 - - THE SEVENTEENTH-CENTURY FRENCH SCHOOL 243 - THE BROTHERS LE NAIN 244 - NICOLAS POUSSIN 245 - CLAUDE LORRAIN 247 - LE SUEUR 248 - CHARLES LE BRUN 249 - PIERRE MIGNARD 250 - LE BRUN’S FOLLOWERS 251 - BATTLE PAINTERS 253 - JEAN JOUVENET 253 - THE PORTRAIT PAINTERS 254 - LANDSCAPE PAINTERS 257 - DESPORTES 258 - - THE EIGHTEENTH-CENTURY FRENCH SCHOOL 259 - GENRE PAINTERS 259 - RAOUX AND DE TROY 260 - WATTEAU 261 - THE WATTEAUS IN THE LA CAZE GALLERY 263 - WATTEAU’S FOLLOWERS 263 - THE VAN LOO FAMILY 264 - FRANÇOIS BOUCHER 265 - SIMÉON CHARDIN 267 - FRAGONARD 268 - GREUZE 269 - PORTRAIT PAINTERS 270 - TOCQUÉ, VESTIER, AND LÉPICIÉ 270 - MME. VIGÉE LE BRUN 272 - JOSEPH VERNET 273 - HUBERT ROBERT 273 - JACQUES LOUIS DAVID 275 - THE “CORONATION” PICTURE 276 - BARON GÉRARD 277 - BARON GROS 278 - PIERRE PRUD’HON 278 - - THE NINETEENTH-CENTURY FRENCH SCHOOL 279 - GÉRICAULT 279 - DELACROIX 280 - DELACROIX’S ORIENTAL PICTURES 282 - INGRES 283 - DELAROCHE AND SCHEFFER 285 - DECAMPS 286 - THE ORIENTALISTS 287 - REGNAULT 288 - ACADEMIC PAINTERS 288 - MICHEL AND HUET 289 - THE BARBIZON SCHOOL 290 - COROT 290 - T. ROUSSEAU 292 - C. TROYON 293 - J. DUPRÉ 293 - DIAZ 294 - DAUBIGNY 295 - MILLET 296 - DAUMIER 298 - COURBET 298 - MEISSONIER 299 - RICARD 300 - MANET 301 - - THE BRITISH SCHOOL 303 - CONSTABLE AND HIS IMITATORS 303 - BONINGTON 305 - RAEBURN 306 - SIR THOMAS LAWRENCE 306 - OTHER PORTRAIT PAINTERS 307 - - - - - LIST OF ILLUSTRATIONS - - - NO. | ITALIAN SCHOOLS | PLATE | PAGE - | | | - 1601 | LEONARDO DA VINCI— | | - | _PORTRAIT OF MONA LISA_ (_LA JOCONDE_) | IV |_Frontispiece_ - | | | - 1383 | SIMONE MARTINI— | | - | _CHRIST BEARING HIS CROSS_ | I | 16 - | | | - 1344 | FRA FILIPPO LIPPI— | | - | _MADONNA AND CHILD, WITH ANGELS, AND TWO_ | II | 28 - | _ABBOTS_ | | - | | | - 1322 | DOMENICO GHIRLANDAIO— | | - | _PORTRAIT OF AN OLD MAN AND HIS GRANDSON_ | | - | (“_THE BOTTLE-NOSED MAN_”) | III | 32 - | | | - 1297 | BOTTICELLI— | | - | _GIOVANNA DEGLI ALBIZZI AND THE THREE GRACES_| V | 40 - | | | - 1566A| PERUGINO— | | - | _ST. SEBASTIAN_ | VI | 56 - | | | - 1496 | RAPHAEL— | | - | _LA BELLE JARDINIÈRE_ | VII | 58 - | | | - 1505 | RAPHAEL— | | - | _PORTRAIT OF BALDASSARE CASTIGLIONE_ | VIII | 60 - | | | - 1134 | ANTONELLO DA MESSINA— | | - | _PORTRAIT OF A CONDOTTIERE_ | IX | 64 - | | | - 1136 | GIORGIONE— | | - | _PASTORAL SYMPHONY_ | X | 66 - | | | - 1399 | PALMA VECCHIO— | | - | _THE ADORATION OF THE SHEPHERDS, WITH A_ | | - | _FEMALE DONOR_ | XI | 68 - | | | - 1592 | TITIAN— | | - | _THE MAN WITH A GLOVE_ | XII | 70 - | | | - 1584 | TITIAN— | | - | _THE ENTOMBMENT_ | XIII | 74 - | | | - 1375 | ANDREA MANTEGNA— | | - | _PARNASSUS_ | XIV | 80 - | | | - 1117 | CORREGGIO— | | - | _THE MYSTIC MARRIAGE OF ST. CATHERINE_ | XV | 112 - | | | - | | | - | FLEMISH SCHOOL | | - | | | - 1986 | JAN VAN EYCK— | | - | _THE VIRGIN AND CHILD, AND THE CHANCELLOR_ | | - | _ROLIN_ | XVI | 122 - | | | - [1] | HANS MEMLINC— | | - | _PORTRAIT OF AN OLD LADY_ | XVII | 128 - | | | - 1957 | GERARD DAVID— | | - | _THE MARRIAGE AT CANA_ | XVIII | 130 - | | | - 2029 | QUENTIN MATSYS- | | - | _THE BANKER AND HIS WIFE_ | XIX | 132 - | | | - 1997 | JAN MABUSE— | | - | _PORTRAIT OF JEAN CARONDELET_ | XX | 134 - | | | - 2093 | RUBENS— | | - | _HENRY IV. LEAVES FOR THE WARS_ | XXI | 144 - | | | - 2113 | RUBENS— | | - | _PORTRAIT OF HÉLÈNE FOURMENT AND TWO OF HER_ | | - | _CHILDREN_ | XXII | 146 - | | | - 1967 | VAN DYCK— | | - | _PORTRAIT OF CHARLES I. OF ENGLAND_ | XXIII | 148 - | | | - | | | - | GERMAN SCHOOL | | - | | | - 2715 | HANS HOLBEIN THE YOUNGER— | | - | _PORTRAIT OF ERASMUS_ | XXIV | 164 - | | | - | | | - | SPANISH SCHOOL | | - | | | - 1731 | VELAZQUEZ— | | - | _PORTRAIT OF THE INFANTA MARGARITA_ | XXV | 180 - | | | - 1709 | MURILLO— | | - | _THE IMMACULATE CONCEPTION_ | XXVI | 186 - | | | - | | | - | DUTCH SCHOOL | | - | | | - 2384 | FRANS HALS— | | - | _THE GIPSY GIRL_ | XXVII | 198 - | | | - 2385 | FRANS HALS— | | - | _PORTRAIT OF A LADY IN BLACK_ |XXVIII | 200 - | | | - 2539 | REMBRANDT— | | - | _THE PILGRIMS AT EMMAUS_ | XXIX | 202 - | | | - 2547 | REMBRANDT— | | - | _PORTRAIT OF HENDRICKJE STOFFELS_ | XXX | 204 - | | | - 2394 | VAN DER HELST— | | - | _THE SHOOTING PRIZE_ | XXXI | 206 - | | | - 2348 | GERARD DOU— | | - | _THE DROPSICAL WOMAN_ | XXXII | 208 - | | | - 2589 | TERBORCH— | | - | _THE CONCERT_ |XXXIII | 210 - | | | - 2580 | JAN STEEN— | | - | _BAD COMPANY_ | XXXIV | 212 - | | | - 2415 | PIETER DE HOOCH— | | - | _DUTCH INTERIOR, WITH A LADY PLAYING CARDS_ | XXXV | 214 - | | | - 2456 | JAN VER MEER— | | - | _THE LACE-MAKER_ | XXXVI | 216 - | | | - | | | - | FRENCH SCHOOL | | - | | | - 734 | NICOLAS POUSSIN— | | - | _THE SHEPHERDS IN ARCADIA_ |XXXVII | 246 - | | | - 317 | CLAUDE— | | - | _VIEW OF A SEAPORT_ |XXXVIII| 248 - | | | - 982 | WATTEAU— | | - | _THE EMBARKATION FOR THE ISLAND OF CYTHERA_ | XXXIX | 262 - | | | - 36 | BOUCHER— | | - | _VULCAN PRESENTING ARMS TO VENUS_ | XL | 266 - | | | - 92 | CHARDIN— | | - | _GRACE BEFORE MEAT_ | XLI | 268 - | | | - 291 | FRAGONARD— | | - | _THE MUSIC LESSON_ | XLII | 270 - | | | - 372 | GREUZE— | | - | _THE BROKEN PITCHER_ | XLIII | 272 - | | | - 522 | MME. VIGÉE LE BRUN— | | - | _PORTRAIT OF THE ARTIST AND HER DAUGHTER_ | XLIV | 274 - | | | - 199 | DAVID— | | - | _PORTRAIT OF MME. RÉCAMIER_ | XLV | 276 - | | | - 338 | GÉRICAULT— | | - | _THE RAFT OF THE “MEDUSA”_ | XLVI | 280 - | | | - 207 | DELACROIX— | | - | _DANTE AND VIRGIL_ | XLVII | 282 - | | | - 422 | INGRES— | | - | _THE SPRING_ |XLVIII | 284 - | | | - 2801 | COROT— | | - | _THE DELL_ | XLIX | 292 - | | | - 2867 | DUPRÉ— | | - | _THE POND_ | L | 294 - | | | - 2818 | DAUBIGNY— | | - | _THE WEIR GATE AT OPTEVOZ_ | LI | 296 - | | | - 644 | MILLET— | | - | _WOMEN GLEANING_ | LII | 298 - | | | - 613A| MANET— | | - | _OLYMPIA_ | LIII | 302 - | | | - | | | - | ENGLISH SCHOOL | | - | | | - 1809 | CONSTABLE— | | - | _HAMPSTEAD HEATH_ | LIV | 304 - - [1] This picture has not yet received an official number. - - - - - INTRODUCTION - - -To form a just appreciation of the magnificent collection of paintings -which the Louvre to-day contains would require an exhaustive study -which might be spread over a term of years spent in the famous French -capital itself. In the limited space at our disposal we can only -touch lightly upon the historical events, the sociological causes, -the grandeur of royalty, and the taste of the people, all of which -contributed towards bringing about the formation of the great Musée -National du Louvre as we now know it. It has been our endeavour to -throw into prominent relief the outstanding features in the history -of the Gallery and to sketch them in chronological order. The -architectural claims of the building, its priceless collections of -statuary and of _objets d’art_ of every age do not here immediately -concern us; it is to the formation of the superb collection of -paintings that we primarily desire to call our readers’ attention. - -A small part of the building which is to-day known as the Louvre was -first occupied as a royal residence by Philippe-Auguste (reigned -1180-1223), who converted a hunting-seat of the early French kings on -this site into a feudal fortress with a strong _donjon_ or keep, the -exact plan of which may still be traced by the white line marked since -1868 on the pavement in the southwest corner of the old courtyard. -Charles v. (reigned 1364-80), who may be regarded as the first royal -collector of art treasures in France, greatly enlarged the building -of the Old Louvre as a residential palace; he is also said to have -decorated the building with statues and paintings which have long -since disappeared. The real foundations of the collection of _la -maison du Roi_ were laid by François I. (reigned 1515-47), who during -his Italian campaigns acquired a respect for art that proved to be an -honour to his taste and a dowry for his country. The æsthetic movement -had developed rapidly by 1541, when he laid the foundations of the -present palace[2] and had already begun to form a collection of easel -pictures. François I. invited to his court the master-painter Leonardo -da Vinci (1452-1519), who in 1516 left his native land for France, -where he did the king little more than the compliment of dying in his -realm, although not, as an unveracious tradition recounts, in his arms. -Andrea del Sarto (1486-1531) was also employed at the French court, -at which he arrived in 1518. Giovanni Battista Rosso (1494-1541), a -painter of little genius but great ability, was summoned by François -I. in 1530 to decorate the Château at Fontainebleau. Benvenuto Cellini -(1500-71), the Florentine goldsmith, having “determined to seek another -country and better luck,” was yet one more artist who set out for -France, where, between 1540 and 1544, he adorned the royal tables with -objects precious in workmanship and material. Primaticcio (1504-70), -who is known to have cleaned at Fontainebleau in 1530 four of the large -reputed Raphaels now in the Louvre, remained at the French court until -his death. The strict authenticity of these four pictures—_The Holy -Family of Francis I._ (No. 1498), the _St. Margaret_ (No. 1501), the -large _St. Michael_ (No. 1504), and the _Portrait of Joan of Arragon_ -(No. 1507)—does not here concern us. François I. also possessed at this -date, among other notable pictures, Raphael’s _La Belle Jardinière_ -(No. 1496, Plate VII.), Leonardo da Vinci’s _Virgin of the Rocks_ (No. -1599), and the same artist’s _Mona Lisa_ or _La Joconde_ (No. 1601, -Plate IV.), while the art of Sebastiano del Piombo, Andrea del Sarto, -and other painters, Flemish as well as Italian, was well represented in -the royal collection during his reign. - -[2] “François I. voulant avoir dans Paris un palais digne de sa -magnificence et dédaignant le vieux Louvre et l’hôtel des Tournelles, -amas irrégulier de _tournelles_ (tourelles) et de pavillons gothiques, -avait fait démolir, dès 1528, la grosse tour du Louvre, ce donjon de -Philippe-Auguste duquel relevaient tous les fiefs du royaume. C’était -démolir l’histoire elle-même; c’était la monarchie de la renaissance -abattant la vieille royauté féodale.”—Martin, _Hist. de France_. - -The example set by François I. was followed by his successor, Henri II. -(reigned 1547-59), for whom Niccolò dell’ Abbate (1515-71), an artist -of secondary importance, was working from 1552 onwards. Henri II.’s -queen, Catherine de Médicis, was also a patron of art, being herself a -collector of coins and medals. To her influence was due the decoration -of the Château of Fontainebleau and the erection of the Palace of the -Tuileries,[3] which was subsequently connected with the Louvre by means -of the Long Gallery, now Room VI. Her eldest son, François II. (reigned -1559-60), the husband of Mary Queen of Scots, first converted the new -buildings of the Louvre into a royal residence. Henry IV. (reigned -1589-1610) enlarged the Tuileries, and almost completed the Long -Gallery, which now contains such a large proportion of the pictures. -Louis XIII. (reigned 1589-1610), his eldest son, seems to have taken -little interest in the royal collection; but his mother, Marie de -Médicis, invited Rubens (1577-1640) to Paris to decorate the Palace of -the Luxembourg with that series of imposing canvases representing her -own life-history which are to-day seen to their best advantage in the -Salle Rubens (Room XVIII.) of the Louvre. - -[3] An inscription on a tablet placed high up on the left of the -Pavillon Sully records that François I. began the Louvre in 1541, and -Catherine de Médicis the Tuileries in 1564. - -No complete record has been found of the pictures which formed the -royal collection previous to the year 1642. To that date belongs -a meagre Catalogue of the objects of art which then remained at -Fontainebleau, but it is supposed that when Louis XIV. (reigned -1643-1715) succeeded to the throne he inherited about one hundred -pictures, the property of the Crown. With his accession a new era in -the history of art in France began. - -Meanwhile, across the water, a superb royal collection had been -formed. Charles I. of England (reigned 1625-49) had begun his career -as a patron of art before his accession, with the acquisition of the -paintings and statues collected by his deceased brother, Henry. During -his matrimonial visit to Madrid in 1623 he was presented by Philip -IV. with Titian’s _Venus del Pardo_, now in the Louvre (No. 1587). -Soon after his accession he began to collect systematically, employing -trusty agents to buy for him in different parts of Europe. His most -notable purchase was that of the collection of the Duke of Mantua, -for which he paid £18,280 between 1629 and 1632. He is said to have -possessed in all 1760 pictures by the date of his execution. Most of -them were disposed of at auction by order of Cromwell between 1649 and -1652. - -One of the most persistent bidders at the sale of Charles I.’s pictures -was Eberhard Jabach, a native of Cologne, who settled in Paris and -became a naturalised Frenchman in 1647. He was an enthusiastic buyer -of pictures, and his collection soon surpassed that of the French -king. It was known to all French connoisseurs, and was visited by -all travellers of note. In time, however, Jabach’s energies as a -buyer exceeded his financial resources, and when his debts amounted -to 278,718 _livres_ he offered his collection to Louis XIV., who was -most anxious to distinguish his reign by the formation of a gallery -of pictures which should be in all respects worthy of it. To this end -he purchased Eberhard Jabach’s collection, paying 220,000 _livres_ -for the 5542 drawings and 101 pictures which it contained. The price -originally asked by Jabach was 463,425 _livres_. Among the masterpieces -thus acquired by the king were Titian’s _Entombment_ (No. 1584, -Plate XIII.), which Jabach had had the good fortune to purchase from -the English royal collection for the absurdly small sum of £128, and -Giorgione’s _Pastoral Symphony_ (No. 1136, Plate X.), which had also -been among the treasures of the English Crown. - -To Cardinal Richelieu (1585-1642), who founded the French Academy in -1635, at one time belonged Andrea Mantegna’s _Parnassus_ (No. 1375, -Plate XIV.), the same painter’s _Wisdom victorious over the Vices_ (No. -1376), Lorenzo Costa’s _The Court of Isabella d’Este in the Garden of -the Muses_ (No. 1261), and the same painter’s _Mythological Scene_ (No. -1262), together with Perugino’s _Combat of Love and Chastity_ (No. -1567). - -Another important buyer at the sale of Charles I.’s collection was -Cardinal Mazarin (1602-61), who acquired several valuable pictures, -besides statuary, tapestries, and other fabrics. Of Mazarin’s pictures -the Louvre now possesses Raphael’s small _St. Michael_ (No. 1502) and -a _Holy Family_ (No. 1135), which is catalogued under the name of -Giorgione, but it is more probably from the hand of Cariani. - -It is said that Louis XIV. preferred the pictures of his own -court-painter, Charles Le Brun, to those of the Venetian master, Paolo -Veronese, whose large canvas, _The Supper at Emmaus_ (No. 1196), was -nevertheless acquired during his reign. Eight pictures by Annibale -Carracci, all of which are not now publicly exhibited in the Louvre -(Nos. 1218, 1220, 1222, 1226, 1231-34), Albani’s _Diana and Actæon_ -(No. 1111), nine compositions by Guido Reni (Nos. 1439-55 and 1457), -and ten paintings by Domenichino (Nos. 1609-10 and 1612-19), also -enriched the royal collection during Louis XIV.’s reign. Nor were -the great French painters neglected. The four pictures (Nos. 736-39) -of _The Seasons_, by Nicolas Poussin, which had been commissioned in -1660 by the Duc de Richelieu for the decoration of the Château de -Meudon, together with four of the largest Claudes now in the Louvre -(Nos. 312, 314, 316, 317), were obtained for the royal galleries by -the ever-watchful Colbert (1619-83), who had been appointed Minister -of Finance on the death of Mazarin (1602-61). Flemish art, as seen in -the stately pictures of Van Dyck, was represented by seven examples -(Nos. 1961-63, 1970, 1973-75). On the other hand, Louis XIV. is said -to have failed altogether to appreciate the work of Teniers and to -have exclaimed, when some of that artist’s pictures were brought to -his notice, “_Ôtez-moi ces magots-là!_” Only one of the thirty-nine -pictures by Teniers now in the Louvre, the _Interior of a Cottage_ (No. -2162), passed into the Gallery at that date. The almost entire absence -of Dutch pictures is also to be noticed. - -An event of extreme importance in this pompous reign was the -institution of the French Academy of Arts, in 1648, with Charles Le -Brun (1619-90) as Director, the despotic power which he exercised in -art matters bringing about his further appointment as Director of the -Gobelins tapestry works in 1660. - -In 1681 the Crown pictures and other royal art treasures were brought -to the Louvre from Versailles and were temporarily exhibited there, -the king paying a state visit to the capital on December 5 to see his -_cabinet de tableaux_. We read that the walls of eleven rooms were -covered up to the cornices. The collection, putting on one side all -doubts as to strict authenticity, included six paintings by Correggio, -ten by Leonardo da Vinci, eight by Giorgione, twenty-three by Titian, -nineteen by A. Carracci, twelve by Guido Reno, and eighteen by Paolo -Veronese. These treasures, however, did not remain long at the Louvre, -but were “packed up, loaded on rough carts, and taken back over the -paved roads to Versailles,” which had now taken precedence over -Fontainebleau as a royal residence; and at Versailles the Court mainly -resided until the Revolution, although Louis XIV. greatly enlarged the -Louvre Palace and planted the Tuileries Gardens. At the death of _le -Roi Soleil_ the Crown pictures numbered 1500. - -The energy of Louis XIV. was followed by the apathy of his degenerate -successor, Louis XV. (reigned 1715-74), who, however, added 300 -pictures to the royal collection. The _Virgin with the Blue Diadem_ -or _Virgin with the Veil_ (No. 1497), which still passes under the -name of Raphael, was among the pictures which then passed out of the -collection of the Prince de Carignan into the possession of the Crown. -It was now a sorry moment for the pictures which, “scattered through -the interminable and then ill-kept country palaces of the French Crown, -exposed to every injury of time, ignorance, and weather, regarded -at best in the light of old furniture and too often in that of old -lumber, pleaded in vain for respect and care. No public Catalogue told -of their existence; the generation that had talked of them had passed -away; it was nobody’s business to ask for them, and few actually knew -where they were. Even the new-comers passed into the same void which -had swallowed their predecessors.” Some of the pictures previously -recorded now disappeared completely, without leaving a clue to their -fate. Eventually, in 1746, M. de la Fonte de Saint-Yenne in a pamphlet -directed public opinion to the fact that these Crown pictures had -for fifty years been hidden and neglected in “_une obscure prison de -Versailles_.” As a result of this, in 1750, by the king’s permission, -110 pictures selected from the different schools of painting were -brought from Versailles to the Palais de Luxembourg, where the large -canvases by Rubens (now in the Salle Rubens at the Louvre) were -regarded as forming a _centre d’études_. Here for the first time, -and for two days only in the week, they were shown under certain -restrictions to a limited public. In 1785 they were again removed to -Versailles. - -Although Louis XIV.’s well-known grudge against Holland probably -accounted for the almost entire absence of Dutch pictures from the -Crown possessions, Louis XVI. had the good taste to acquire works by -Aelbert Cuyp (No. 2341, _Landscape_); Jan van Goyen (No. 2375, _Banks -of a Dutch River_, and No. 2377, _A River in Holland_); B. van der -Helst (No. 2394, _The Officers of the Arquebusiers of St. Sebastian_); -G. Metsu (No. 2461, _The Alchemist_); Adriaen van Ostade (No. 2495, -_The Painter’s Family_[?], and No. 2496, _The Schoolmaster_); Isaac van -Ostade (No. 2510, _A Frozen Canal in Holland_); Rembrandt (No. 2539, -_The Pilgrims at Emmaus_, No. 2540, and No. 2541, _The Philosopher -in Meditation_, No. 2555, _Portrait of Rembrandt aged_); Jacob van -Ruisdael (No. 2559, _Landscape_, and No. 2560, _Sunny Landscape_); -Terborgh (No. 2587, _The Military Gallant_); and Philips Wouverman (No. -2621, _The Prize Ox_, and No. 2625, _The Stag Hunt_). Five of the less -important of Murillo’s pictures now in the Louvre (Nos. 1712-15 and No. -1717) were also acquired at this period, and the series of twenty-two -large canvases illustrating _Scenes from the Life of St. Bruno_ by -Eustache Le Sueur were also purchased by Louis XVI. - -From 1725 onwards the Salon held its Exhibitions in the Salon Carré -(Room IV.), but after 1848 this room was used only for Paintings by the -Old Masters. - -In 1790 a Commission was appointed by the National Assembly “to -register and watch over all that was most valuable,” and on May -26, 1791 a decree was made that the Louvre should be thenceforward -dedicated to the conservation of objects of science and of art. On -August 26 of the same year a further Commission was appointed by the -National Convention to inspect and gather together the treasures of -art scattered through _les maisons royales_. The Convention decided -that the “Museum of the Republic” should be officially opened in the -Long Gallery of the Louvre on August 10, 1793, and from November 8 of -the same year the Museum was open to the inspection of the public -three days in every ten. This, the first public exhibition of art -treasures in the Louvre, was the foundation of the present institution. -The Catalogue of this date contains reference to only 537 pictures, -the greater number of which came from Paris churches and national -buildings. The inhabitants of Versailles now petitioned that their town -should not be despoiled of its pictures, “and so be deprived of its -last attraction in the eyes of the world”! - -The Louvre was now destined to become for a few years the temple of the -_spolia opima_ which the victorious French army brought home. “This -system of levying pictures, statues, and other objects by means of -treaties, so called, in which the conqueror dictated terms to those -incapable of refusing them, was a dishonourable novelty in the annals -of modern warfare. Disdaining the usages of Christian nations and -overleaping especially the traditions of French courtesy and chivalry, -Buonaparte turned back to the ages of pagan history for a precedent for -his measures of spoliation.” By the Treaty of Bologna of June 23, 1796, -and the Treaty of Tolentino of February 19, 1797, he became possessed -of twenty pictures from Modena, twenty from Parma, forty from Bologna, -ten from Ferrara, while Rome, Piacenza, Cento, Ravenna, Rimini, Pesaro, -Ancona, Loreto, and Perugia also had to yield up a portion of their -treasures. - -The first exhibition of this booty was held in the Louvre in January -1798. Here, during the next few years, were gathered together many of -the world’s most famous pictures, including Raphael’s _St. Cecilia_, -now in the Bologna Gallery; Correggio’s _St. Jerome_ and his _Madonna -della Scodella_, now in the Parma Gallery; Raphael’s _Transfiguration_, -now in the Vatican, and his _Madonna della Sedia_, now in the Pitti -Palace at Florence; Domenichino’s _Last Communion of St. Jerome_, now -in the Vatican; Titian’s _Martyrdom of St. Peter Martyr_, destroyed -by fire in 1867, and his _Assumption_, now in the Venice Gallery; -Van Eyck’s _Adoration of the Lamb_, now dismembered and distributed -between Ghent, Berlin, and Brussels; Paris Bordone’s _Fisherman of St. -Mark_, now in the Venice Gallery; and Paul Potter’s _Bull_, now at The -Hague. “Here was seen the unexampled sight of twenty-five Raphaels -ranked together, the great master complete in every period and walk of -his art. Here twenty-three Titians glowed in burning row. Here Rubens -revelled in no less than fifty-three pictures and in almost as many -classes of subject. Van Dyck followed his illustrious master with -thirty-three works, while thirty-one specimens of Rembrandt’s brush -shed a golden atmosphere upon the walls. The later Italians especially -were magnificently represented—thirty-six pictures by Annibale -Carracci, sixteen by Domenichino; twenty-three by Guido; including the -largest altarpieces by each; and twenty-six by Guercino, were perhaps -the most popular part of the wondrous show.” - -However, in September 1815, the pictures and other valuable works of -art which France had plundered from her foes had to be given back, and -the spoliation of the Louvre began. In all, 5233 objects, of which 2065 -were pictures, were taken away from the Royal Museum by the Allied -Powers. - -An event rare in the history of public galleries took place in 1813, -when the Louvre received Carpaccio’s _Preaching of St. Stephen_ (No. -1211), Boltraffio’s _Madonna of the Casio Family_ (No. 1169), Marco -d’Oggiono’s _Holy Family_ (No. 1382), Moretto’s _St. Bernardino of -Siena and St. Louis of Toulouse_ (No. 1175), and the same artist’s _St. -Bonaventura and St. Anthony of Padua_ (No. 1176), in exchange for five -pictures by Rubens, Rembrandt, Van Dyck, and Jordaens. - -It is curious to notice that at this period very little importance -was attached to Italian primitives, which were, indeed, deemed -“barbarous.” Many beautiful works of the very early Italian schools -were actually not considered worth the trouble and expense of -transport, and were therefore left for the lasting glory of the -Louvre. Among them may be mentioned Fra Angelico’s _Coronation of -the Virgin_ (No. 1290); the _Madonna and Child and Two Saints_, (No. -1114), now officially ascribed to Albertinelli; Bronzino’s _Christ and -the Magdalene_ (No. 1183); the _Madonna and Angels_ (No. 1260), which -passes under the name of Cimabue; Gentile da Fabriano’s _Presentation -in the Temple_ (No. 1278); the _Coronation of the Virgin_ (No. 1303), -still officially ascribed to Raffaellino del Garbo; _St. Francis of -Assisi receiving the Stigmata_ (No. 1312), which still passes under the -name of Giotto; Benozzo Gozzoli’s _Triumph of St. Thomas Aquinas_ (No. -1319); Fra Filippo Lippi’s _Madonna and Child between Two Saints_ (No. -1344); Pesellino’s two small predella pictures (No. 1414); Piero di -Cosimo’s _Coronation of the Virgin_ (No. 1416); _The Madonna in Glory -between St. Bernard and St. Mary Magdalene_ (No. 1482), which is still -assigned to Cosimo Rosselli; Lorenzo di Credi’s _Madonna and Child with -St. Julian and St. Nicholas_ (No. 1263); Cima’s _Madonna and Child_ -(No. 1259); Vasari’s _Annunciation_ (No. 1575), which is now in one of -the storerooms of the Louvre; the Ferrarese _Madonna and Child with -St. Quentin and St. Benedict_ (No. 1167), which is still assigned to -Bianchi; Andrea Mantegna’s _Calvary_ (No. 1373) and _Virgin of Victory_ -(No. 1374); Domenico Ghirlandaio’s _Visitation_ (No. 1321); and -Perugino’s _St. Paul_ (No. 1566). Further proof of the slight regard -in which certain pictures that we cherish to-day were then held is -afforded by the readiness with which the authorities sent two panels of -Mantegna’s altarpiece, the centre-part of which is now in the Church of -San Zeno at Verona, to the Museum at Tours, and parted with Perugino’s -altarpieces to the public galleries of Lyons and Marseilles. - -Under Louis XVIII. (died 1824) 111 pictures were purchased for the -national collection at a cost of £26,730, but during the reign of -Charles X. (1824-30) only 30 were acquired, £2511 being expended on -them. An outlay of £2965 by Louis Philippe (reigned 1830-48) enriched -the Louvre with 33 more pictures, but that king concentrated his -efforts on the restoration and decoration of the Château of Versailles, -on which he spent £440,000. - -In the early years of the Second Republic a large number of -improvements were effected in the Louvre, and in 1848 £8000 was spent -on restoring several of the rooms now hung with pictures, which were -first systematically arranged three years later. Although the Museum -had at that period an annual grant of £2000 for the purchase of -pictures, special grants in aid were made from time to time, notably -on the occasion of the sale of Marshal Soult, pictures from whose -collection were acquired in 1852 for £24,612. In this way Murillo’s -_Immaculate Conception_ (No. 1709, Plate XXVI.) passed to the Louvre -from the “Plunder-master-General” of the Spanish campaign. - -During the Second Empire the Musée du Louvre acquired about 200 Italian -primitives from the Campana collection, while seven years later it -was further enriched by the important bequest by Dr. La Caze of 275 -paintings of different schools. Since 1870, when the Palace of the -Tuileries was destroyed, the permanent collection has been increased -by the purchase in 1883 for £8000 of the Morris Moore “Raphael” (No. -1509), which has since come to be universally regarded as a work by -Perugino; while about 300 other paintings of varying importance have -also been acquired from time to time with Government funds. In recent -years the national collection has benefited largely by the generosity -of private donors, among whom we may mention MM. Duchâtel, Gatteaux, -His de la Salle, Lallemant, Maciet, Rodolphe Kann, Sedelmeyer, -Grandidier, Vandeul, and several members of the Rothschild family. - -In 1896, by the sale of a large proportion of the Crown jewels, a -_Caisse des Musées_ was organised, and the annual income devoted to -the purchase of pictures notably increased. A year later the _Société -des Amis du Louvre_, which corresponds to the National Art-Collections -Fund in England, was founded to assist in securing pictures and other -works of art for the nation; by that means the _Madonna and Child_ (No. -1300A or 1300B) which passes under the name of Piero dei Franceschi was -acquired by the Louvre. - -In May 1900, on the inauguration of the _Exposition Universelle_, the -opportunity was taken to rehang a large part of the collection, and -the Galerie de Médicis (Room XVIII.) and the eighteen small cabinets -built round it were first used for the better exhibition of a large -proportion of the Flemish and Dutch pictures. Shortly afterwards, -by the death of M. Thomy Thiéry, an Englishman who had become a -naturalised Frenchman, over 100 paintings, mostly of the school of -Barbizon, became an exceedingly valuable addition to the Louvre, and -filled a void in the history of French painting in the nineteenth -century. During the last two years the most memorable purchases by the -Government have been that of Chardin’s _Child with a Top_ (No. 90A), -which was acquired together with the same artist’s _Young Man with a -Violin_ (No. 90B) for £14,000, and Hans Memlinc’s _Portrait of an Old -Lady_ (Plate XVII.) for £8000. - -The national collection of the Musée du Louvre now includes in its -Catalogue nearly two thousand eight hundred oil and tempera paintings, -about four hundred of which have not been exhibited for many years. - - - - - EARLY SIENESE SCHOOL - - -This school of painting, one of the earliest in the history of art in -Italy and probably the earliest with which the ordinary student of -art in Italy will concern himself, was affected throughout the whole -range of its history by the influence of the miniaturists. It was -characterised by naïveté, and in the hands of its earliest painter, -Duccio di Buoninsegna (1255-1319), strove to realise an effect of -hieratic sumptuousness, its precision and grace being that of “a -sanctuary swept and garnished.” - -The Louvre possesses no picture by Duccio, who derived his technique -from the Byzantine miniaturists, although he modified their methods. -Standing between the old world and the new, Duccio occupied an -important position at the head of the school of Siena, which in the -early years of the fourteenth century set a noble example to the other -towns and incipient schools of Tuscany. Passing reference may here be -made to the artistic aims and religious aspirations of the cities of -Rome, Pisa, and Arezzo, but it is Siena which stands out pre-eminently -at this early date as interpreting scenes of quiet rapture and sacred -peace, its own social life being bound up in “chivalry, the meat of -the eye,” and “piety, the wine of the soul.” Both Duccio, who was -first employed by the Government of his native city as early as 1278, -and Cimabue, his senior by fifteen years (if we are to accept the -much contested records), have alike been hailed as the author of the -_Rucellai Madonna_ which still hangs in the Church of S. Maria Novella -in Florence. This picture was a generation ago almost unanimously -accepted by responsible critics as the work of the Florentine painter, -and those who still advocate the claims of “Florentinism” are loath to -destroy their cherished illusions. It is not our duty here to bring -forward the arguments in favour of its later ascription to Duccio, who, -we are led to believe, painted it early in his career, before he had -learnt to free himself from the stiff gestures and Byzantine types of -a former tradition. Duccio, it must be conceded, never quite succeeded -in giving to his compositions that sense of life, character, and design -which we find in the works of Giotto, his junior by some twenty years, -who was the first artist to accomplish vast schemes of monumental -decoration. Duccio, however, was the bearer of that torch which was -to kindle the flame of religious art both in Siena and Florence. -Nevertheless, Sienese painting was destined, almost from the moment of -its birth, to show signs of dwindling into a school of trite copyists -and shallow quietists. Early in the fourteenth century the lofty ideals -manifested by emotional Siena spread to scientific Florence, and by -the beginning of the fifteenth century the city on the Arno gave -unmistakable signs of becoming the leading art centre in Tuscany. - - - DUCCIO’S FOLLOWERS - -The greatest of Duccio’s followers was Simone Martini (1285?-1344), who -was also slightly influenced by Giotto. Simone, whose _Christ bearing -His Cross_ (No. 1383, Plate I.) is the earliest Sienese picture in the -Louvre, has been well described as “a reactionary who made a whole -beautiful world of his own.” In this small picture the colours stand -out most clearly, although the drawing and perspective are, of course, -faulty. It belongs to a series of which other panels are at Antwerp -and in the Kaiser Friedrich Museum at Berlin. A _Crucifixion_ (No. -1665) that is catalogued as being by an unknown Sienese artist may be -attributed to Ugolino da Siena (fl. 1290-1320); it would seem to be -the centre panel of a large and lost altarpiece. - - [Illustration: - PLATE I.—SIMONE MARTINI - - (1285?-1344) - - SIENESE SCHOOL - - No. 1383.—CHRIST BEARING HIS CROSS - - (Jésus-Christ marchant au Calvaire) - - Christ, preceded by the executioner, soldiers, and two children, is - bearing His Cross to Calvary. He is attended by a large crowd in - which may be recognised the Virgin Mary, in blue robes, supported - by St. John; St. Mary Magdalene in red, with her long hair falling - over her shoulders, raises her hands in grief. - - Painted in tempera on panel. - - 10 in. × 4 in. (0·25 × 0·10.)] - -Pietro Lorenzetti (fl. 1305-50) was probably a pupil of Duccio, and -was influenced by Simone Martini, but Pietro and his younger brother, -Ambrogio Lorenzetti (1285?-1348?), who represented a new movement and -endeavoured to set forth the civic ideal, are not represented in this -collection. - -Simone Martini’s brother-in-law, Lippo Memmi (died 1357?), is possibly -the author of the _St. Peter_ (No. 1152), a poor picture which is -officially assigned to Taddeo di Bartolo (1362?-1422). The art of -the latter is, in the opinion of Mr. Berenson, seen in the small -_Crucifixion_ (No. 1622), which the Louvre authorities modestly -catalogue as being by an unknown fourteenth-century Italian painter. - -To Bartolo di Maestro Fredi (1330?-1410), who came under the influence -of Lippo Memmi and the Lorenzetti, is given a _Presentation in the -Temple_ (No. 1151). Paolo di Giovanni Fei (fl. 1372-1410), whose -pictures are rarely met with out of Italy, may be regarded as the -author of the _Madonna and Saints_ (No. 1314) which is officially held -to be by an unknown Florentine painter of the school of Giotto. The -Louvre possesses no example of the art of Sassetta (1392-1450), who, -together with Paolo di Giovanni Fei, deeply impressed Giovanni di Paolo -(1403?-1482). The latter may be credited with the small panel (No. -1659A) which is officially entitled _The Entry of Pope Martin into the -Castle of Saint Angelo_, and included in the Catalogue as being by an -unknown Florentine, but labelled “School of Masaccio.” There can be no -doubt that this quaint little picture depicts _Pope Gregory the Great’s -Vision of the Archangel Michael sheathing his Sword over the Castle of -Saint Angelo_. According to the legend, Gregory had been indefatigable -in nursing the plague-stricken in Rome in the sixth century, and while -on his way at the head of a procession to offer up prayer for the -cessation of the plague, saw “the warrior of God” in the attitude here -shown. Gregory, after fleeing from those who wished to make him Pope, -was elected to wear the papal tiara under the title of Gregory the -Great. He is chiefly known to us as having sent missionaries to preach -the gospel in England, having been moved to pity by seeing British -captives exposed for sale in Rome, and for his arrangement of the music -of the chants which are after him known as Gregorians. The official -title of the picture, on the other hand, assumes that we have here Pope -Martin V., a man of saintly character, making his entry into Rome in -1421 amid the acclamations of the people. He had been elected Pope in -1417 on the deposition of John XXIII. - -By this time the art of Siena had progressed some distance on the -road that its religious aspirations and technical accomplishments -indicated, but it soon became evident that the more intellectual aims -of Florentine art were shaping the course of all the painters of Italy. - - - - - THE FLORENTINE SCHOOL - - -Although we have begun our study of the art of Italy with a review of -the Sienese School, which owes its importance to Duccio, the earliest -Italian picture in the Louvre is the _Madonna and Angels_ (No. 1260), -which may be accepted as a characteristic example of the type of -picture that passes under the name of Cimabue (1240?-1302). - -Giovanni Cenni de’ Pepi, to give him his full name, has been hailed -as “the father of modern painting.” The Louvre _Madonna_, which was -formerly in the Church of San Francesco at Pisa, was carried off to -Paris by Napoleon, but not considered worth the trouble of repacking -when in 1815 the Allied Armies called upon the French to surrender -the pictorial spoils of war. It is known that Cimabue was working at -Pisa at the very end of his life, and, although he was engaged there -as mosaicist rather than as a painter, the _provenance_ of this large -painting, which is executed in tempera on panel, has to be taken -into account in any discussion as to its strict authenticity. It is -certainly reminiscent of the _Rucellai Madonna_, and shares much of -its character. The painter has repeated, with certain modifications, -the Byzantine type of Madonna, whose almond-shaped eyes and long, bony -fingers should be noticed. It has been freely restored. - -From the same church in Pisa comes Giotto’s _St. Francis of Assisi -receiving the Stigmata_ (No. 1312). According to the descriptive -account handed down to us by the unveracious Vasari, Giotto (1266-1337) -was originally a shepherd boy whose latent talent was recognised by the -discerning Cimabue, who forthwith took him as his pupil and taught -him how to paint, the boy’s genius enabling him early to surpass his -master. Although it would be rash unquestioningly to accept this -archaic production as an authentic work by Giotto, it is one which any -national collection would treasure. It depicts the supreme event in -the life of St. Francis, when during his vision virtue passed from the -wounded hands, the wounded feet, and the wounded side of the Christ -into the same parts of the saint’s body. In the predella are three -scenes from the life of St. Francis: (_a_) _Pope Innocent III. dreaming -that St. Peter reveals to him that unless the Franciscan Order is -founded the Church_ (typified here by the Church of S. John Lateran in -Rome) _will fall down_; (_b_) _The Pope founding the Order_; and (_c_) -_St. Francis, wearing the brown robes of his Order, and preaching to -the birds_: “Whenas St. Francis spake these words to them, those birds -began all of them to open their beaks, and stretch their necks, and -spread their wings, and reverently bend their heads down to the ground, -and by their acts and by their songs to show that the Holy Father gave -them joy exceeding great.” - - - THE GIOTTESQUES - -Four school pictures (Nos. 1313, 1315-1317) illustrate the example set -by Giotto, who influenced very strongly indeed all art-manifestation -during the fourteenth century, an age when the human body was denied -all intrinsic significance. His profound feeling, gay colour, high -dramatic power, and sense of form mark the emancipation of Italian -art from the rigid formalism of the Byzantine manner. He discovered -a style which was admirably suited to the spirit of his time, and -developed for his own purposes a sense of perspective which he employed -with considerable effect, although he never really found a scientific -statement of the artistic principles which he instinctively perceived. -His indefatigable energy and innate genius enabled him to distance his -rivals and to bequeath to his countrymen a heritage which profoundly -affected the art of Italy. - -Foremost among his followers, who imitated his mannerisms without -understanding the full significance of his ideas, was Taddeo Gaddi -(1300?-1366), to whom are assigned in the official Catalogue the -predella pictures (No. 1302) of (_a_) _The Death of St. John the -Baptist_, (_b_) _Calvary_, and (_c_) _Judas Iscariot_. Taddeo Gaddi, a -painter and architect, was the godson and pupil of Giotto as well as -the pupil of his father, Gaddo Gaddi. Taddeo’s desire to give suitable -expression to each of his figures often resulted, as in that of the -daughter of Herodias in the second of these panels, in exaggeration. - -Taddeo’s son, Agnolo Gaddi (1333-1396), who was described by Ruskin as -“rather stupid in religious matters and high art,” may be the painter -of the _Annunciation_ (No. 1301), in which we see the Virgin seated in -a loggia to the right of the picture. The Archangel Gabriel announces, -by the gesture of the right hand, that the Virgin shall be the Mother -of the Christ. God the Father is shown in the heavens. Notice the -gold background and the mosaics of the loggia. The mechanical methods -and uninspired aims of the Giottesques, the artists who worked during -the century which followed the death of Giotto, are well seen in the -productions of Lorenzo di Bicci (fl. 1370-1409), his son Bicci di -Lorenzo (fl. 1373-1424), and his grandson Neri di Bicci (1419-1491). -Neri is represented by a _Madonna and Child_ (No. 1397). He might -justly be described as a mere manufacturer of Giottesque pictures to -order. He brought art down to the level of a trade, his work being flat -and his colour raw and inharmonious. - -A _Virgin and Infant Christ_ (No. 1563), inscribed “TVRINVS VANNIS DE -PISIS ME PIQSIT P,” is evidently by Turino Vanni (fl. 1390-1398), a -rare artist of this group of Florentine painters. The brief list of his -pictures might be increased by having added to it a few panels at Pisa -and Assisi, which are erroneously ascribed to Buffalmacco. - -Andrea Orcagna (1308?-1368?) and his brother Nardo are not represented -in the Louvre, but we have a follower of Agnolo Gaddi in Lorenzo Monaco -(1370?-1425), who is seen to advantage in his _Christ in the Garden of -Gethsemane_ and his _Holy Women preparing the Tomb_ (No. 1348A), which -is inscribed “ANNO DÑI 1408,” and was formerly attributed to Gentile da -Fabriano. Lorenzo Monaco is officially credited with a triple picture -(No. 1348) of (_a_) _St. Agnes_ with her lamb and a martyr’s palm -branch; (_b_) _St. Lawrence_, the artist’s name-saint, holding in his -right hand a book and palm branch, and enthroned on a gridiron, the -symbol of his martyrdom; and (_c_) _St. Margaret_, the patron saint of -Woman as Mother, standing on the dragon. Lorenzo Monaco, who is reputed -to have been the master of Fra Angelico, usually depicts long, slender, -and sinuous bodies. Below this picture hangs a small panel, apparently -part of the predella of an unidentified altarpiece. It does not seem -to be included in the official Catalogue, and has neither a number by -which to identify it nor a label to denote its subject or authorship! -The picture has apparently never been referred to or described in any -article or book. It certainly represents the Emperor Heraclius carrying -the True Cross into Jerusalem. The picture appears to have been painted -by Giovanni del Ponte (fl. 1385-1437). - -Neither Starnina (1354-1408), who took the traditions of Early -Florentine painting to Spain, Masolino (fl. 1383-1435), who is rarely -met with out of Italy, nor Masaccio (1401-28), who may be said to -have vitalised Italian art, is represented in the Louvre. Tommaso -Masaccio, the “Hulking Tom” of Browning, gave to Italy and the world -the magnificent series of frescoes which still decorate the Brancacci -Chapel of the Carmine Church in Florence. He imparted to his figures -such natural movement, vivacity of expression, free attitudes, simple -draperies, and excellent modelling that he entirely revolutionised the -art of Florence. His figures are, as Vasari said, “so lifelike that -they seem to live and breathe.” This series of frescoes was studied -with enthusiasm by all the great Florentine painters; Leonardo, -Raphael, Michelangelo, and innumerable other artists derived the -greatest possible benefit from them. - - - FRA ANGELICO - -On the threshold of the Renaissance stands Fra Angelico (1387-1455), -who was trained in the school of miniaturists and influenced by Lorenzo -Monaco and Masaccio. His life was devoted to “the service of God, the -benefit of the world, and his duty towards his neighbour,” as Vasari -says. He regarded painting as one of the duties of the monastic life, -and never began to paint without first kneeling in prayer. His pictures -are aspirations towards heaven, while the figures with which he peoples -his saintly compositions have faces which show peace, joy, hope, -and communion with God. They are clothed in draperies of the purest -colours, crowned with glories of burnished gold, but are never dramatic -in their action. One of his best easel paintings outside Florence, -where alone his art can be adequately studied, is his early _Coronation -of the Virgin_ (No. 1290). This imposing, if overcrowded, composition -is painted to the glory of God and in honour of the Dominican Order, -to which the painter belonged. In the right bottom corner we see St. -Agnes with her lamb, next to her St. Catherine with her wheel, above -is St. Lawrence with his gridiron, and to the latter’s right St. Peter -Martyr in Dominican robes and with wounded head. In the foreground -kneels St. Mary Magdalene in red, her box of ointment in her left -hand. St. Nicholas with the three golden balls at his feet, St. Thomas -Aquinas in Dominican robes and holding the theological book from which -rays of golden light issue, St. Louis (Louis IX., King of France), -and St. Dominic himself—all help to swell the heavenly company. In -the predella, or lower part, of this panel picture are depicted -_Scenes from the Life of St. Dominic_, the founder of Fra Angelico’s -own Order: (_a_) Pope Innocent III. in his vision sees St. Dominic -supporting the falling Church; (_b_) the Pope receives, through the -agency of St. Peter and St. Paul who hand him a staff and the Gospel, -Divine authority to found the Dominican Order; (_c_) the Saint brings -back to life a young noble named Napoleon who had been trampled under -foot by a horse; (_d_) Christ in the tomb, the Virgin and St. John; -(_e_) St. Dominic challenges heretics whose books are consumed in the -fire, while his own book of the true Gospel issues forth unhurt by the -action of fire; (_f_) angels descend from heaven to feed the starving -monastery of St. Sabina at Rome immediately after St. Dominic has asked -a blessing; these two blue-clad figures are among the loveliest of all -Fra Angelico’s angelic beings, and perhaps the most inspiring figures -in the whole of the Louvre collection; (_g_) the death of the Saint at -Bologna and the passing of his soul up to heaven in accordance with the -vision of the monk at Brescia. This early Cinquecento panel picture, -which was formerly in the Church of S. Domenico at Fiesole, near -Florence, was painted before the Beato went to beautify the cells of S. -Marco with frescoes. It is one of the best of the primitive pictures in -the Louvre. - -From the hand of the same saintly painter are the _Adoring Angel_ (no -No.), which until 1909 was in the Victor Gay collection, the _Martyrdom -of St. Cosmo and St. Damian_ (No. 1293), part of the predella of -a dismembered altarpiece, and the large fresco painting of the -_Crucifixion_ (No. 1294) which hangs on the Escalier Daru. The latter -was purchased, together with Domenico Ghirlandaio’s _Bottle-nosed Man_ -(No. 1322, Plate III.), in 1879 for £1960. The _Beheading of St. -John the Baptist_ (No. 1291) and the _Resurrection_ (No. 1294A) are -unauthentic. - -In Benozzo Gozzoli (1420-1498) we have an assistant and follower -of Fra Angelico. He worked at different towns in Italy, notably at -Montefalco, Orvieto, Florence, San Gimignano, Rome, and Pisa, where -he died. Although his earlier work reminds us of Fra Angelico, than -whom he is much more dramatic and much less spiritual, in later life -he depicts the costumes and life of his time in a more realistic and -objective manner. His _Triumph of St. Thomas Aquinas_ (No. 1319), -which originally hung in the Cathedral at Pisa, deals with a subject -often met with in the art of the period. The great Dominican teacher, -whom the heathen philosophers, Aristotle on the left, and Plato on -the right, recognise as their master in philosophy, is enthroned, his -books of theological learning on his knees. At his feet, subdued, is -Guillaume de St. Amour, the author of a book entitled _De Periculis -Novissimorum Temporum_, in which he exposed the various abuses then -prevalent among the mendicants. The dramatic action seen in the lower -part of the panel embraces Pope Alexander IV. presiding over the -religious council of Agnani, and the envoys of St. Louis (Louis IX. of -France) who took steps to end the religious conflicts of 1256. A large -altarpiece (No. 1320) representing the _Madonna and Child Enthroned_, -_St. Cosmo_, _St. Damian_, _St. Jerome_, _St. John the Baptist_, _St. -Francis d’Assisi_, and _St. Lawrence_ in the central panel is also -assigned to Benozzo. The frame also contains seven predella pictures, -and at either end is the coat of arms of the Medici family. - -The great French Museum, which is weaker than the National Gallery, -the Berlin Gallery, and certain other national collections in Italian -primitives, affords us no example of the art of Andrea del Castagno -(fl. 1410-1457), whose compositions are characterised by harsh colour, -hard lines, and crude forms. Nor do we find here any painting by that -very rare artist, Domenico Veneziano (1400?-1461), who, it has been -said, was the first Tuscan artist to work in an oil medium. - - - PAOLO UCCELLO - -Prominent among the masters who were influenced by Donatello, the -sculptor, and Lorenzo Ghiberti, the first metal-worker in elegant -forms, is Paolo di Dono, generally known as Uccello. His profound study -and ultimate discovery of the laws of linear perspective was enhanced -by the inquiries into the laws of aerial perspective that Fra Angelico -studied so deeply. Paolo Uccello (1397-1475) was a pupil and assistant -of Lorenzo Ghiberti, who made the bronze doors for the East Side of -the Baptistery at Florence. He gave himself up to the scientific study -of perspective, the principles of which he was one of the first to -apply to painting, thus rendering incalculable services to art. In his -_Battlepiece_ (No. 1273) is seen a mounted soldier in armour with his -sword drawn; on the left are horsemen about to charge with couchant -lances, while on the right cavalry-men are drawn up awaiting orders, -their lances in rest. The correctness of the perspective and the -justice of the foreshortenings and the movements of the foot-men in the -intervals of the cavalry mark an epoch in art. This is the third and -right-hand panel of the series of three battle-pictures which Uccello -painted for the Casa Medici (now the Riccardi Palace) in Florence -for Cosimo de’ Medici about the year 1457, and not, as the official -Catalogue asserts, for the Bartolini family. The best preserved of -these three large panel pictures illustrating the _Rout of San Romano -in 1432_ is that in the National Gallery (No. 583), while the second or -centre panel of the series is now in the Uffizi (No. 52). The Louvre -panel is in a deplorable condition, caused by long neglect. - -Uccello’s _Portraits of Giotto, Paolo Uccello, Antonio Manetti, and -Filippo Brunelleschi_ (No. 1272), whose names are in this order on the -panel, is a work of considerable importance, as marking an early stage -in the development of portraiture. This picture, which is referred -to at some length by Vasari, constitutes a historical document. The -Italian chronicler tells us that Uccello “was a person of eccentric -character and peculiar habits, but he was a great lover of ability -in those of his own art, and, to the end that their memory should -remain to posterity, he drew with his own hand on an oblong picture -the portraits of five distinguished men, which he kept in his house -as a memorial of them. The first of these portraits was that of the -painter Giotto, as one who had given light and new life to the art; -the second was Filippo di Ser Brunellesco, for architecture; the third -was Donatello, for sculpture; the fourth was himself, for perspective -and animals; the fifth was his friend Giovanni (_sic_) Manetti, for -mathematics. With this philosopher Paolo conferred very frequently, and -held continual discourse with him concerning the problems of Euclid.” -Manetti’s real Christian name, Antonio, is correctly inscribed on the -panel, but is inaccurately given as Giovanni by Vasari and on the -official label. - -The _St. John the Baptist as a Child_ (No. 1274), which hangs in the -Long Gallery, is labelled as a picture of the Florentine school, and -catalogued as being by Uccello. It is perhaps by Piero di Cosimo. - -We enter on the first period of the coming Renaissance with Fra Filippo -Lippi (1406-1469), who was trained in the best school of Florentine -painting. He was a pupil of Lorenzo Monaco, came under the influence -of Fra Angelico, and was affected by the magic spell of Masaccio, whom -he must have seen at work in the Brancacci Chapel. In the latter half -of the Quattrocento the cult of love and beauty was rapidly dethroning -the more austere ideals of an earlier age. Filippo Lippi’s stormy and -romantic career passes into a new phase with his residence at Prato -in 1452. Four years later he was appointed Chaplain to the nuns of S. -Margherita in that town. The year before his arrival in Prato, Lucrezia -and Spinetta, the orphan daughters (aged eighteen and seventeen -respectively) of Francesco Buti, had, apparently much against their -will, been placed in the Convent, the abbess of which commissioned the -Frate to paint a picture of the _Madonna della Cintola_. Lucrezia posed -to the painter-chaplain for the figure of the Madonna in that picture. -On May 1, 1456, on the occasion of the exhibition of the Holy Girdle of -the Virgin, a precious relic still preserved at Prato, the painter bore -off Lucrezia out of the safe keeping of the convent. A short summary of -these well-known facts is suggested by the view which is put forward in -the official Catalogue of the Louvre, to the effect that the _Madonna -della Cintola_ is to be identified with the _Nativity_ (No. 1343) -in this Gallery. The weight of evidence is against this theory; in -fact, this large panel picture has little claim to be regarded as the -work of Fra Filippo. One critic has given it as his opinion that the -_Nativity_ was begun by Fra Filippo and completed by Fra Diamante, who -succeeded him as Chaplain at Prato. Others have attributed the picture -to Pesellino, Baldovinetti, and Stefano da Zevio respectively. It seems -to show the influence of Andrea del Castagno. The official Catalogue -does not indicate the _provenance_ of the picture, although it implies -that it came from the Convent at Prato at the time when it was brought -to Paris by Napoleon. There can be little doubt that the _Madonna della -Cintola_ is the painting thus named which still hangs in the place of -honour in the Municipal Gallery at Prato. - -The Louvre does, however, possess in the _Madonna and Child with Angels -and Two Abbots_ (No. 1344, Plate II.) one of the best of the Frate’s -creations, although the colouring has suffered considerably. It is an -early work, and was painted about 1437 for the Barbadori Chapel -in Santo Spirito. It contains beauty of line, freshness of colour, and -much variety in the composition. The cast of the draperies is ample and -the motives are novel and bold, the Renaissance background throwing -into prominent relief the soulful and ideal figure of the Madonna. The -predella panels of this dismembered altarpiece, for which Fra Filippo -received forty gold florins, are now in the Accademia at Florence. They -depict (_a_) _St. Frediano deviating the Course of the River Serchio_; -(_b_) _The Virgin receiving the Announcement of her Coming Decease_; -and (_c_) _St. Augustine in his Study_. The _Madonna and Child_ (No. -1345) is only a school picture. - - [Illustration: - PLATE II.—FRA FILIPPO LIPPI - - (1406-1469) - - FLORENTINE SCHOOL - - No. 1344.—MADONNA AND CHILD, WITH ANGELS AND TWO ABBOTS - - (La Vierge et l’Enfant Jésus entre deux abbés) - - The Virgin stands before the throne holding the Infant Christ to - the adoration of two kneeling abbots and surrounded by six angels - carrying lilies. To the left a monk leans over the balustrade, and - two small child-angels flank the composition on either side. - - Painted in tempera on panel. - - 7 ft. 1½ in. × 8 ft. 0¼ in. (2·17 × 2·44.)] - -In 1457, the year that Fra Filippo’s son Filippino was born, his -household effects and box of colours were seized for debt. He lived on -until October 4, 1469, when he died of a sudden and somewhat mysterious -illness. The Frate, who is the connecting link between Masaccio, the -first blossom, and Raphael, the full flower of Florentine painting, was -the master of Botticelli. A small _Madonna and Child_ (No. 1345) has -little claim to be regarded as the work of Fra Filippo. - -In our attempt to unravel the skein of Italian art in this collection -and to sketch its history in strict chronological order we may now -consider two small predella panels of (_a_) _St. Francis receiving -the Stigmata_ and (_b_) _An Incident in the Life of St. Cosmo and St. -Damian_ (No. 1414) by Francesco Pesellino (1422-1457). The former deals -with a subject we have already met with in this Gallery (No. 1312); the -latter is a new theme. St. Cosmo and St. Damian were wealthy men and -spent their time in doing charitable works as doctors without monetary -reward, and are thus sometimes known as “the Holy Money-despisers.” -According to the legend here represented, a Christian was one day -praying to these saints in the church dedicated to them in Rome in -the fervent hope that he might be healed of cancer in the leg. While -thus at prayer he imagined that his leg was amputated and replaced by -that of a dead Moor. In this small panel the saints are shown in the -act of placing the black man’s limb on the body of the Christian, who, -no doubt, will before long be healed. St. Cosmo and St. Damian being -patron saints of the Medici family are often met with in Florentine -art. We have already in this collection looked at a picture (No. 1293) -by Fra Angelico illustrating their martyrdom. Pesellino, who studied -the art of Fra Angelico, Masaccio, and Domenico Veneziano, and followed -somewhat closely in the steps of Fra Filippo Lippi, can hardly have -painted the small three-panel picture officially ascribed to him of -(_a_) _The Dead Christ_, (_b_) _A Cardinal supporting the Bodies of Two -Men who have been hanged_, and (_c_) _A Cardinal appearing in a Vision -to a Bishop_. This small work (No. 1415), which was formerly in the -Campana collection, has been claimed by Dr. Venturi and Mr. Berenson to -be by the Umbrian artist, Fiorenzo di Lorenzo. - -The _Madonna and Child and St. Augustin, St. John the Baptist, St. -Anthony, and St. Francis_ (No. 1661), which is officially catalogued -as being by an Unknown Florentine artist, and has been variously -attributed to Andrea del Castagno, Fra Filippo Lippi, and Andrea -Verrocchio, may be assigned to that nameless contemporary of Pesellino -whose artistic personality was a few years ago constructed by Mrs. -Berenson under the name of “Compagno di Pesellino.” - -The art of the Umbrian artist, Piero dei Franceschi (1415?-1492), who -is so well represented in the National Gallery, is not seen at the -Louvre, where, however, a _Madonna and Child_ passes under his name. -This panel (the official number of which is given in the Catalogue -as 1300B and on the frame as 1300A) was formerly in the Duchâtel -collection before passing into that of the Duc de la Trémoïlle, from -whom it was purchased in 1898 for £5200 by the _Société des Amis du -Louvre_. It was recognised over twelve years ago by M. Ary Renan as -the work of Alessio Baldovinetti (14271499), who, like Piero dei -Franceschi, was formed on Domenico Veneziano, and was also influenced -by the discoveries and methods of Uccello. - -Crowe and Cavalcaselle also had made that attribution before the -question was taken up by Mr. Berenson, who on morphological and -æsthetic grounds unhesitatingly ascribes it to Baldovinetti. “Compared -with Baldovinetti,” writes Mr. Berenson, “Piero dei Franceschi is -sterner and harder and more monumental. Piero’s Madonnas have a fixed -and severe physiognomy, massive structure and immobile pose; never a -smile, never a touch of tenderness.” How different from all this is the -_Madonna_ by Baldovinetti before us, with her “refined features and -her pensive gaze of adoration—a look that unveils her inner life, a -look that will soon develop into the mystery which we feel in the face -of Leonardo da Vinci’s Mona Lisa.” Vasari tells us that Baldovinetti -was “extremely careful and exact in his work, and of all the minutiæ -which Mother Nature is capable of presenting, he took pains to be the -close imitator. He delighted in the representation of landscape, which -he depicted with the utmost exactitude; thus we find in his pictures -rivers, bridges, rocks, herbs, fruits, paths, fields, cities, castles, -sands, and objects innumerable of the same kind.” A goodly number of -these are included in the background of this picture. - -With Antonio Pollaiuolo (1429-1498) and his brother Piero (1443-1496) -we enter on a more scientific era in Florentine art. Masaccio had -already advanced the study of the nude, and the influence of Donatello -(1386-1466) and other sculptors had drawn the attention of all -art-workers to the fuller significance of the human form. A more -serious attempt was now made by the rising generation of sculptors and -painters, among whom Antonio Pollaiuolo and Verrocchio (1435-1488) -now played the leading parts, to impart to the human figure a more -exact physiological accuracy and so give it greater effectiveness. The -advance made by Baldovinetti in landscape tended also to a more real -sense of movement in a natural environment. The Louvre catalogues no -picture under the name of either of the Pollaiuoli, but a _Madonna_ -(No. 1367A) here credited to Bastiano Mainardi was probably executed by -Piero, who frequently worked on his elder brother’s designs. - -The influence of Alessio Baldovinetti is reflected in the pictures of -Cosimo Rosselli (1437-1507). Nothing is officially ascribed to him in -this collection, but the _Annunciation, with St. John the Baptist, St. -Anthony, St. Catherine, and St. Peter Martyr_ (No. 1656), which is here -catalogued as by an Unknown fifteenth-century Florentine painter, is -apparently his work. It is inscribed with the date A.D.M.CCCCLXXIII. - - - THE GOLDSMITH PAINTERS - -During the generation which preceded the activity of Domenico -Ghirlandaio (1449-1494) (who appears in the official Catalogue under -the name of Grillandaio) the art of the painter had often been combined -with that of the architect and sculptor. In time the influence of the -goldsmith is seen in the inclination of the more prosaic painters, -among whom Ghirlandaio holds an important place, to subordinate the -pictorial qualities of their compositions to the gold-worker’s love -of ornamental detail and fanciful jewellery. Paintings carried out -in the goldsmith’s shop thus contained in the action of the figures, -the treatment of the draperies, and the fanciful head-dresses, -imitations of silver and bronze work. Domenico Bigordi owed the name -of Ghirlandaio, by which he is now generally known, to his having been -apprenticed to a goldsmith who acquired fame as a maker of the jewelled -coronals (_ghirlande_) that became fashionable. This pupil of Alessio -Baldovinetti, who was a craftsman quite as much as a painter, is -to-day best known by the large number of frescoes he painted in Tuscany. - - [Illustration: - PLATE III.—DOMENICO GHIRLANDAIO - - (1449-1494) - - FLORENTINE SCHOOL - - No. 1322.—PORTRAIT OF AN OLD MAN AND HIS GRANDSON - (“THE BOTTLE-NOSED MAN”) - - (Portrait d’un Vieillard et de son petit-fils) - - An old man, wearing a red robe edged with fur, looks down tenderly - at his golden-haired little grandson who lifts up his face to be - kissed. Through an open casement is seen a landscape. - - Painted in tempera on panel. - - 2 ft. 0½ in. × 1 ft. 6¼ in. (0·62 × 0·46.)] - -In Ghirlandaio’s _Visitation_ (No. 1321) the Virgin, her conventional -robes fastened by a morse such as this goldsmith-painter repeatedly -introduced into his pictures, stoops to greet St. Elizabeth. On the -left is Mary Cleophas, and from the right Mary Salome trips lightly on -to the scene. As always in a painting of this subject, the principal -figures are silhouetted against the arch in the background, through -which the sky is seen. Characteristic of Ghirlandaio’s paintings is the -jewelled architecture which bears the date 1491, three years previous -to his death. The Catalogue suggests that this large picture was -finished by either Davide or Benedetto, the brothers and assistants -of Domenico, but it is possible that his brother-in-law, Bastiano -Mainardi, may have worked on it. The French, having pointed out to the -Duke of Tuscany in 1815 that Florence possessed many better examples of -this painter’s art, were allowed to retain this panel picture, which -had been brought in 1806 from the Church of S. Maria Maddalena dei -Pazzi at Florence. - -The delightful _Portrait of an Old Man and his Grandson_ (No. 1322, -Plate III.), which is usually known as _The Bottle-nosed Man_, is an -admirable study from life. The winsome attitude of the little boy and -the refined expression of the old man are very pleasing. It is an -incontrovertible, but perhaps not obvious, fact that mere physiological -ugliness can in the hands of an accomplished artist be transformed into -a medium of beauty. The picture has unfortunately been damaged, notably -in the forehead of the principal figure. The certainty of touch and the -delicacy of the modelling indicate that this panel belongs to the last -period of the artist’s activity, when he also executed the magnificent -_Portrait of Giovanna degli Albizzi_, now in the collection of Mr. J. -Pierpont Morgan. - -One of Domenico’s brothers, Benedetto Ghirlandaio (1458-1497) is -credited with a _Christ on the Way to Calvary_ (No. 1323). His own -son, Ridolfo (1483-1561), painted the _Coronation of the Virgin_ (No. -1324) in 1503, the date being inscribed on the panel. Mainardi (fl. -1482-1513), the brother-in-law, pupil, and imitator of Domenico, -painted many pictures which usually pass under the name of his more -illustrious relation. This pupil has painted in the tondo of the -_Madonna and Child_ (No. 1367) a morse somewhat similar to that seen -in the _Visitation_ (No. 1321). In this same group of artists must be -placed a nameless assistant of Domenico. His pictures have been grouped -by Mr. Berenson, who calls him by the descriptive name of “Alunno di -Domenico,” and tentatively identifies him with Bartolommeo di Giovanni, -of whom very little is known. Alunno di Domenico is thus credited with -having executed the companion pictures (No. 1416A and No. 1416B) of -the _Nuptials of Thetis and Peleus_, a pagan subject which suggests -the advent of the decadence in Florentine art. These two panels are -officially catalogued under the name of Piero di Cosimo. - - - LEONARDO DA VINCI - -We now have to pass from the mediocre artists who worked in the school -of Domenico Ghirlandaio to that great master, Leonardo da Vinci -(1452-1519), whose work in the oil medium can nowhere be studied so -profitably as in the Louvre. This many-sided genius was the natural -and first-born son of a country notary, and became a pupil of the -sculptor-painter, Andrea del Verrocchio, in whose workshop he met -Botticelli, Lorenzo di Credi, and many less distinguished Florentine -painters. His interests and occupations were so various that a -detailed study of his life-work reveals him as scientist, philosopher, -architect, sculptor, military engineer, mathematician, botanist, and -musician. The _Annunciation_ (catalogued as No. 1602A and labelled -No. 1265), which in the official Catalogue is now only attributed -to him after having long passed under the name of Lorenzo di Credi, -is doubtless an early work of about 1472 by Leonardo. Some ten years -later Leonardo entered the service of Lodovico Sforza, Duke of Milan, -in which city he shortly afterwards painted the _Virgin of the Rocks_ -(No. 1599). This fine painting—whose virtues are concealed under a -thick coat of chilled varnish—is reputed to have been in the collection -of François I., although it has no continuous pedigree earlier than -the year 1625, when it was in the royal collection at Fontainebleau. -It is very similar to the painting of the same subject which the -National Gallery (No. 1093) purchased in 1880 for £9000. The points -of difference between the two versions are numerous but trifling. The -nimbi in the National Gallery picture were added much later and are not -found in the Louvre panel, which in the greater perfection of detail, -in the treatment of the foreground and the brushwork, prove it to be an -earlier and more authentic work. A careful examination of the documents -which came to light in the year 1893 shows that a dispute arose as to -the price to be paid by the Brotherhood of the Conception of Milan for -the picture now in the Louvre, and that Ambrogio da Predis and Leonardo -da Vinci petitioned the Duke of Milan to intervene. It would seem that -the National Gallery picture was executed in great part by Ambrogio, -who worked under the supervision of the great Florentine master, in -1494, about twelve years later than the version in this collection. -Leonardo’s greatest contribution to Florentine art consisted in his -practice of the science of _chiaroscuro_, the laws of which he was the -first to fully investigate. - -Having begun his celebrated “Treatise on Painting” and recommenced his -work on the colossal equestrian statue of Francesco Sforza, which at -the moment of its destruction by the French bowmen in 1500 had earned -him lasting fame as a sculptor, Leonardo undertook his _chef d’œuvre_, -_The Last Supper_, at Milan. Executed in tempera on a badly prepared -stucco ground, the painting unfortunately soon began to perish, and -although it was restored in 1908 with great success by Professor -Cavenaghi, only a faint idea of its pristine beauty remains. The Louvre -possesses a contemporary copy (No. 1603A) of this fresco by Marco -d’Oggiono, which was commissioned by the Constable de Montmorency and -long hung in the Château d’Ecouen. A similar copy of Leonardo’s _Last -Supper_ was purchased from a grocer in Milan in 1793 for £600, and is -now in the Royal Academy, London. - - - MONA LISA - -When Lodovico Sforza was conquered by the French and his city occupied -by them, Leonardo set out for Mantua and Florence. It may have been in -the spring or summer of 1500 that he began to work on the _Portrait -of Mona Lisa_ (No. 1601, Plate IV.) which officially passes under the -title of _La Joconde_. Vasari says that Leonardo worked on this picture -for four years, and finally left it unfinished. The words of Vasari -must not be taken too literally. We know, in fact, that Leonardo did -not work in Florence for four consecutive years during the period to -which the Louvre’s treasured picture belongs, but in 1502 visited -Orvieto, Pœsaro, and Rimini, acting as engineer to Cesare Borgia. -He probably began it in 1500, resumed work on it in 1503, and did -not complete it until the following year. This would make Vasari’s -statement substantially correct. The subject of this world-famous -portrait was Lisa di Anton Maria di Noldo Gherardini, the third wife -of Francesco di Bartolommeo de Zenobi del Giocondo, whom she married -in 1495. It is from the surname of her husband that she derives the -name of “_La Joconde_” by which her portrait is now officially known. -(The title has nothing to do with any reference to her jocund outlook -on life.) A French critic has shown that Mona Lisa’s child died while -this portrait was being painted. “Whoever shall desire to see how far -Art can imitate Nature,” says Vasari, “may do so to perfection in this -head, wherein every peculiarity that could be depicted by the utmost -subtlety of the pencil has been faithfully reproduced. The eyes have -the lustrous brightness and moisture which is seen in life, and around -them are those pale, red, and slightly livid circles also proper to -Nature. The nose, with its beautiful and delicately roseate nostrils, -might be easily believed to be alive; the mouth, admirable in its -outline, has the lips uniting the rose tints of their colour with -those of the face, in the utmost perfection, and the carnation of the -cheek does not appear to be painted, but truly flesh and blood.” This -eulogistic criticism may seem to-day to be somewhat excessive, but -allowance must be made for the drastic restorations to which the panel -has been subjected from time to time. As early as 1625 it is recorded -to have been in a bad condition. Tradition says that it was purchased -by François I. for 4000 _écus d’or_, equal to-day to about £1800, and -hung in the _Cabinet doré_ at Fontainebleau. Cassiano del Pozzo has -left it on record that the Duke of Buckingham, in 1625, when he was -sent to escort Henrietta Maria to England as the bride of Charles I., -expressed the hope that he might be permitted to take the picture back -with him as a present from Henri IV. of France, who was with difficulty -prevented by his courtiers from acting on the suggestion. The picture -was at Versailles during the reign of Louis XIV.., and appeared in the -Louvre for the first time at the Revolution. In recent years it has -been placed in an excellent frame of the period. - -By May 1506 Leonardo had returned to Milan, and there entered the -service of the French king. About 1508-12 he seems to have worked upon -the _Madonna, Infant Christ, and St. Anne_ (No. 1598), which appears -to have been in part executed by an assistant, possibly Salaino. This -large panel was purchased by Cardinal Richelieu in 1629. A sketch by -Leonardo for part of this picture is in the Louvre (Drawing No. 391); -other sketches are in the Venice Academy and in the Royal Library, -Windsor. The name of Andrea Salaino (fl. 1495-1515) has been put -forward as the painter of the mysterious picture entitled _St. John -the Baptist_ (No. 1597), which was evidently painted from a female -model. It is difficult to accept the view put forward by Théophile -Gautier that in this androgynous figure we have “another portrait -of _La Joconde_, more mysterious, more strange, freed from material -likeness, and showing the soul through the veil of the body.” The -picture passed into the collection of Charles I. from Louis XIII. -in exchange for Holbein’s _Portrait of Erasmus_ (No. 2715, Plate -XXIV.) and a now unrecognisable _Holy Family_ by Titian, but on the -dispersal of the English king’s collection was purchased for £140 by -Jabach, from whom it ultimately passed to Louis XIV. It is a Milanese -production, but not, in all probability, from the hand of Leonardo -himself, although officially so regarded. The same criticism applies -to the so-called _Portrait of Lucrezia Crivelli_ (No. 1600). Lucrezia -was a lady-in-waiting to Beatrice d’Este, and in 1496 Lodovico Sforza -became enamoured of her, a historical event which has no bearing on the -identity of this portrait or on its official, although uncertain, claim -to strict authenticity. It has also been described under the misleading -title of _La Belle Ferronnière_, apparently in reference to the wife -of one Ferron, a blacksmith, who had according to tradition been the -mistress of François I., but was already dead when Leonardo passed into -the service of that king and came to France in 1516. The picture’s -pedigree cannot be traced further back than 1645, and the theories put -forward in connection with it are largely conjectural. It is, however, -a Milanese production of the school of Leonardo. _The Profile Portrait -of a Woman_ (No. 1605) was also a century ago loosely described as -the _Portrait of La Belle Ferronnière_; it is catalogued as a school -picture, but is regarded by Mr. Berenson as the work of Bernardino de’ -Conti. The same critic is of the opinion that the _Bacchus_ (No. 1602) -is “based no doubt on a drawing by Leonardo,” but the Catalogue accepts -it unhesitatingly. It seems to have been originally intended as a St. -John the Baptist with a staff, and subsequently altered into a Bacchus -with a thyrsus. The _Madonna and Child_ (No. 1603A), an attributed -work, is only an old Flemish copy of a slightly warped panel picture of -the _Madonna with the Carnation_ (No. 1040A) at Munich. The _Madonna -of the Scales_ (No. 1604), which still passes as a school picture, has -long been regarded by responsible critics as being by Cesare da Sesto, -a pupil of Leonardo. _The Holy Family_ (No. 1606), which was formerly -in the His de la Salle collection, is not now exhibited. - -In 1516, within three years of his death, the great Florentine left -Italy for the Manor House of Cloux, near Amboise, in Touraine, to enter -the service of the French king. His right hand was paralysed—he was -left-handed and wrote from right to left—and his health was failing -fast. The end of that great life came on May 2, 1519, when every one -lamented the loss of a man and a painter “whose like Nature cannot -produce a second time.” - -The _Madonna and Child, St. Julian, and St. Nicholas_ (No. 1263) is -perhaps the masterpiece of Lorenzo di Credi (1456?-1537), who was -another pupil of Verrocchio. He also painted the _Christ appearing to -Mary Magdalene_ (No. 1264). The _Annunciation_ (No. 1602A), which was -formerly assigned to Lorenzo in the Catalogue (No. 1265), is, as has -already been pointed out, an early work by Leonardo da Vinci. - - - BOTTICELLI - -The ever-increasing regard in which pictures by Botticelli (1444-1510) -are held is traceable to the fact that they show the mystic spirit of -mediæval times mingled with a fantasy that is almost modern. He was a -pupil of Fra Filippo Lippi, and studied the more scientific methods -which Antonio Pollaiuolo adopted in his treatment of the human figure. -Painting in an age when poets penned canzones to many mistresses, and -lovelorn gallants spoke in impassioned verse of the great platonic -emotions which stirred them to the depth of their love-tormented -souls, Botticelli stands forward as the representative of the later -years of the Medicean age. The mystic tendency of his genius, his -poetic imagination, his highly developed sense of linear design, and -the charm of his colour impart to his works a delicacy and refinement -which distinguish them from the works of his contemporaries, pupils, -and imitators. His fame had long been in eclipse when half a century -ago Ruskin rescued it from oblivion. Botticelli, who now has become the -object of a cult at the hands of fervent enthusiasts, is, however, not -to be ranked as a supreme master. He cannot be placed on the same plane -as Leonardo, Michelangelo, Raphael, and Giorgione. - -Botticelli is inadequately represented at the Louvre, which possesses -only two authentic paintings from his hand. Neither of these is on -panel or canvas, but in fresco. He was commissioned in 1486, the year -following his _Mars and Venus_ in the National Gallery (No. 915), to -execute two wall paintings (No. 1297, Plate V., and No. 1298) in the -hall on the _piano nobile_ of the Villa Lemmi, at Chiasso Macerelli, -between Fiesole and Florence, to commemorate the marriage of Lorenzo -Tornabuoni and Giovanna degli Albizzi. These exquisite, but much -injured, frescoes were covered over with whitewash until 1873, and -in 1882 they were removed from the wall and sold to the Louvre for -£1860. In the first (No. 1298) of the series _Lorenzo Tornabuoni, -as Bridegroom, is admitted into the Circle of the Liberal Arts_, -who give a gracious welcome to this friend of all the Muses. This -fresco, curiously enough, is in the official Catalogue regarded as -only a school picture. The second of these wonderful creations depicts -_Giovanna Tornabuoni and the Three Graces_ (No. 1297, Plate V.). We -see the Three Graces bringing to Giovanna their gifts of Chastity, -Beauty, and Love, depicted symbolically as flowers. A tragic fate -awaited the loving pair, as Giovanna died within a few years in -childbirth, while Lorenzo was condemned to death in 1497 for conspiracy. - - [Illustration: - PLATE V.—BOTTICELLI - - (1444-1510) - - FLORENTINE SCHOOL - - No. 1297.—GIOVANNA DEGLI ALBIZZI AND THE THREE GRACES - - (Giovanna Albizzi et les Trois Grâces ou les Vertus) - - To the right Giovanna, a young woman in a red-brown dress, - wearing a white veil on her golden hair and a necklace of pearls - round her neck, advances towards four lovely maidens clad in - delicately-tinted robes. She holds in her outstretched hands - a white linen cloth into which the four maidens throw flowers - symbolic of the Virtues. - - Fresco painting detached from the wall. - - 7 ft. 3 in. × 9 ft. 4 in. (2·12 × 2·84.)] - -The _Madonna and Child and St. John_ (No. 1296), which was formerly -put forward by one critic as a “work of Botticelli’s early years, but -showing collaboration,” and which is still catalogued as being by the -master himself, is now generally recognised as a school picture only. -The background is formed by cypresses and rosebushes. The circular -panel (No. 1295), which is still credited officially to Sandro, is only -a copy of the _Madonna of the Magnificat_ now in the Uffizi at Florence -(No. 1267 _Bis_). - -Authenticity cannot be claimed for the _Fragment of a Predella_ (No. -1300), containing the figures of St. Peter Martyr, the Virgin, St. -Elizabeth, Christ and the Magdalene, David, St. Francis, St. Dominic, -and St. John the Baptist. The _Scene from the History of Virginia_ -(No. 1662A or No. 1662 _Bis_), a cassone front, and the _Portrait of -a Young Man_ (No. 1663), which was purchased in 1882 for £600, are -catalogued as being by an unknown Florentine painter. These have, -however, been included by Mr. Berenson among the numerous pictures -painted by the nameless imitator of Botticelli, whom the eminent -critic has identified under the significant name of “Amico di Sandro,” -_i.e._ “The friend of Sandro Botticelli.” The _Madonna and Child -adored by Angels_ (No. 1300A), bequeathed by the Baroness Nathaniel de -Rothschild, is regarded by the same high authority as a copy by Jacopo -del Sellaio (1442?-1493), a pupil of Fra Filippo Lippi and an imitator -of Botticelli, of a lost picture by “Amico di Sandro.” The unbeautiful -_Venus_ (No. 1299) from the Cardinal Fesch and Campana collections -(which is very similar to a picture (No. 916) in the National Gallery), -the _Esther crowned by Ahasuerus_ (No. 1643A), and the _St. Jerome_ -(No. 1658), must also be included among the mediocre works of Sellaio. -In the same group of Florentine painters is placed Francesco Botticini -(1446-1497), who worked under and was influenced by Cosimo Rosselli -(1437?-1507); _the Virgin in Glory between the Magdalene and St. -Bernard_ (No. 1482) is by Botticini although placed under the name of -Rosselli in the Catalogue. Many pictures by Botticini pass in public -galleries under the more illustrious name of Botticelli. - -From Cosimo Rosselli we naturally pass to his pupil Piero di Cosimo -(1462-1521), who derived great pleasure from the painting of such -scenes from classic fable as enabled him to depict grotesque monsters, -strange animals, and fantastic costume. At first sight it might be -assumed that the _Nuptials of Thetis and Peleus_ (No. 1416A and No. -1416B) were from his brush; but although these two panels pass under -his name in the Catalogue, they are, as we have seen, by “Alunno di -Domenico.” Piero is represented in the Louvre exclusively by religious -pictures, the most imposing of which is the _Coronation of the Virgin, -with St. Jerome, St. Francis, St. Bonaventura, and St. Louis of -Toulouse_ (No. 1416). An unpleasing _Madonna_ (No. 1662) has long ago -been assigned to Piero di Cosimo, who is also the author of a _St. John -the Baptist as a Child_ (No. 1274), which is labelled with the name of -Uccello. The two last pictures hang in the Long Gallery on either side -of the door leading into Room VII. - -The authorities catalogue as the work of Raffaelino del Garbo -(1466-1524) the large _Coronation of the Virgin, with St. Benedict, St. -Salvi, St. John Gualberto, and St. Bernard degli Uberti_ (No. 1303), -which is in reality the centre part of a large altarpiece by Raffaelle -dei Carli (1470-1526?), who worked with Garbo and his group. - -The great French Museum does not possess one of the only three easel -paintings which are now assigned by the safest critics to Michelangelo -(1475-1564), who as a painter is best known for his fresco paintings -in Rome. This collection is, however, fortunate enough to own the -two sculptures of the _Slaves_, represented as fettered and overcome -by grief at the death of Pope Julius II., for whose tomb they were -intended. - - - ALBERTINELLI - -By the end of the fifteenth century, Florence had become the æsthetic -capital of Italy, and painters innumerable were plying their trade -within her walls. As they worked in close contact and unconsciously -reflected the influences which beset them on every side, it becomes -increasingly difficult to assign to any given artist the execution -of certain works. The task becomes even more difficult, and indeed -thankless, when one is brought face to face with such a composite -picture as the _Madonna and Child, St. Jerome and St. Zenobius_ (No. -1114), which is officially ascribed to Albertinelli (1474-1515). The -leading authority on Italian art has given it as his opinion that this -large canvas, which is inscribed: - - MARIOCTI DEBERTINELLIS OPUS - Ā. D̄. M̊. DVI, - -was “begun by Filippino Lippi, who laid in the St. Jerome, while -Albertinelli was assisted by Bugiardini in the execution of the rest, -especially in the child and landscape.” Albertinelli was the intimate -friend of Fra Bartolommeo, whose partner he eventually became. When it -is remembered that Albertinelli worked in the studio of Cosimo Rosselli -with Piero di Cosimo, who was the master of Fra Bartolommeo and had -some influence on Filippino Lippi, it will be recognised that it is -only the discerning critic of wide experience and consummate _flair_ -that can detect the hand of various painters in a composite picture of -this kind, as Mr. Berenson has done. - -The _Christ appearing to the Magdalene_ (No. 1115), which passes -officially as the work of Albertinelli, was most probably an early -picture by Fra Bartolommeo (1472-1517), who, having like Botticelli -come under the spell of Savonarola, took the vows of a Dominican in -July 1500, and temporarily relinquished the professional activity of a -painter. The Frate took up his brush again and, while working between -1509 and 1512 as the partner of Albertinelli, achieved the large and -imposing _Holy Family, with St. Peter, St. Vincent, St. Stephen, and -St. Catherine of Siena on the left, and St. Dominic, St. Francis, and -St. Bartholomew on the right_ (No. 1154). It is signed on the base of -the throne, in characteristic manner: - - ORATE PRO PICTORE - MDXI - BARTHOLOME FLOREN̄. - OR. PRAE. - -Four years later he also completed his Annunciation (No. 1153), which -is inscribed: - - _F. Bartᵒ_ Florenˢ orⁱˢ pre. - _1515._ - -The introduction of St. Paul, St. John the Baptist, and St. Margaret on -the left, and St. Mary Magdalene and St. Francis on the right, tends to -destroy the full significance of the principal theme. Fra Bartolommeo’s -pictures helped to emancipate Raphael from the mannerisms he had -acquired from Perugino; they mark a late period in the Renaissance art -of Florence. He lived until 1517, when Florentine painting was on the -verge of a fast approaching decadence. - -Equally influential in the art of this period was Filippino Lippi -(1457-1504), whose tendency to over-ornamentation became more -advanced in his later years. In his fascinating pictures spiritual -significance is at times sacrificed to a love of mere display, the -baroque flutterings of his draperies and the air of affectation that -he sometimes imparted to his figures. The Louvre exhibits no example -of the art of Filippino which in its latest phase shows the early, -although unmistakable, signs of decline. - - - ANDREA DEL SARTO - -The highly technical skill and mellow colouring of Andrea del Sarto -(1486-1531) have long been known in France, where he was invited by -François I. For that monarch he executed the _Charity_ (No. 1514), -which, having been transferred from panel to canvas by Picault in 1750 -when the process was little understood, suffered accordingly. In its -present state we can get little idea of the former brilliance of the -picture which secured to the “faultily faultless painter” in 1518—the -year he arrived in France—a very considerable income. It is inscribed: - - ANDREAS SARTUS - FLORENTINTUS ME PINXIT - MDXVIII. - -A _Holy Family_ (No 1515), by the same facile painter, has been said by -some to portray in the features of the Virgin those of his own infamous -wife Lucrezia del Fede. It has been enlarged, and has suffered in the -operation. Less authentic are the _Holy Family_ (No. 1516), which is -said to bear the inscription: - - ANDREA DEL SARTO FLORENTINO FACIEBAT - -followed by a monogram, and a lunette of the _Annunciation_ (No. 1517). -The _Portrait of Andrea Fausti_, which is given in the Catalogue under -the name of Sarto, and described as being the work of a pupil, is held -by some critics to have been painted by Franciabigio (1482-1525), who -came under the influence of Andrea. - -The insignificant _Portrait of a Young Man_ (No. 1506), which since -1709 has passed under the quite fictitious title of the _Portrait -of Raphael_, and is indeed still catalogued under his name, is an -ill drawn and badly coloured production. It seems to issue from the -influences we have just outlined. Morelli regarded it as the work -of Bacchiacca (1494-1557), who churned up reminiscences of Andrea -del Sarto, Franciabigio, and Perugino. Mr. Berenson has tentatively -assigned it to Sogliani, who imitated Albertinelli and many other -Florentines. - -An unattributed Florentine _Portrait of a Young Man_ (No. 1644), -which has been enlarged about three inches all round, had at one time -or another been ascribed without much discrimination to Raphael, -Giorgione, Sebastiano del Piombo, Francesco Francia, Ridolfo -Ghirlandaio, and Franciabigio! It is apparently from the hand of -Giuliano Bugiardini (1475-1554), a mediocre artist who endeavoured to -appropriate all the conflicting influences that he came under. It has -long been hung to the left of Raphael’s _La Belle Jardinière_. - -A Florentine painter of no great accomplishment or originality in the -first half of the sixteenth century was Jacopo da Pontormo (1494-1557), -who painted the _Portrait of an Engraver of Precious Stones_ (No. 1241) -and the large _Holy Family_ (No. 1240). The _Visitation_ (No. 1242) is -a copy by a pupil of his fresco in the Annunziata, Florence. By another -pupil, Agnolo Bronzino (1502-1572), are the _Christ and the Magdalene_ -(No. 1183), not now exhibited, and the _Portrait of a Sculptor_ (No. -1184); the _Holy Family_ (No. 1183A or No. 1183B) which was formerly -in the Vandeuil collection is only a copy. Giovanni Battista Rosso -(1496-1541), who is called Rosso Fiorentino to distinguish him from -Francesco Rosso (Il Salviati), came to work at the French Court -about 1530; he painted a _Pietà_ (No. 1485), and a _Challenge of the -Pierides_ (No. 1486), which are hung among the French pictures. _The -Portrait of a Musician_ (No. 1608), by Paolo Zacchia; the _Madonna, -St. John and St. Stephen_ (No. 1133), by Michelangelo Anselmi; the -_David overcoming Goliath_ (No. 1462), a repulsive production painted -by Daniele da Volterra (Ricciarelli) on both sides of a large piece of -slate; a _Flight into Egypt_ (No. 1209), by Lodovico Cardi (Il Cigoli), -and Matteo Rosselli’s _Triumph of David_ (No. 1483), are unworthy of -comment. They show unmistakably the characteristics of the Decadence in -full operation. - - - - - THE LATER SIENESE SCHOOL - - -We have already sketched the earliest period of the art of Siena, and -seen how for a brief space of time it dominated that of Tuscany. The -greater precision of the Florentine technique, and the wider mental -outlook of its artists in the fifteenth century, placed it in the van -before long. - -Sano di Pietro (1406-1481), a pupil of Sassetta, undoubtedly painted -the five small characteristic panels (No. 1128-32), which illustrate -scenes from the _Life of St. Jerome_, and at one time formed the -predella of a large altarpiece. St. Jerome, with others of his order -who run away, kneels under a portico of the monastery he founded at -Bethlehem, and is extracting a thorn from the lion’s paw. According to -the legend, the lion was afterwards placed in charge of an ass which -the monks employed to carry wood; we see here that while the lion was -asleep in the heat of the day under a clump of trees, the ass was -stolen by merchants. St. Jerome naturally believed that the ass had -not been carried off by a passing caravan, but eaten by the lion, who -subsequently saw his old friend the ass in the possession of the same -merchants that chanced to pass that way again. The lion is here seen -(No. 1130) in the act of compelling, one might almost say pushing, the -ass and the other beasts of burden laden with provisions back into the -monastery, while the merchants flee away in terror. - -The Louvre does not contain any work by Vecchietta (1412-1480), who -was architect as well as painter. A _Birth of the Virgin_ (No. 1660), -catalogued as being by an unknown Florentine artist, is most probably -from the hand of Matteo di Giovanni (1435?-1495), who was most likely -at one time a pupil of Vecchietta. Another of the latter’s pupils, -Francesco di Giorgio (1439-1502), perhaps executed the panel of the -_Rape of Europa_ (No. 1640A or No. 1640 _Bis_), which the cataloguer -relegates to the lengthy list of unattributed Florentine works. - -From these influences spring Girolamo di Benvenuto (1470-1524), whose -_Judgment of Paris_ (No. 1668) passes in the Catalogue as a late -fifteenth century Bolognese picture. Bernardino Fungai (1460-1516), who -trod in the steps of Giovanni di Paolo, Francesco di Giorgio, and the -Umbrian artist Fiorenzo di Lorenzo, and yet evinced no real signs of -development from within, is unrepresented in this collection. - -This rapid survey of the School of Siena shows that it is not well -exemplified in the Louvre. The third-rate painters, Pacchiarotto -(1474-1540) and Beccafumi (1486-1551), will not detain us. Another -accomplished late Sienese eclectic, Girolamo del Pacchia (1477-1535?), -has been credited with a _Crucifixion_ (No. 1642), but not by the -official cataloguer. Sodoma (1477-1551) also worked in Siena. Towards -the year 1501 other artists of the various schools of Central Italy, -including Pinturicchio, Signorelli, and Perugino, visited the city, -their advent bringing about an artistic revolution. Before long the -religious fervour, the delicate ornamentation, the gesso-embellishment, -the drawing in the flat, and the miniature-like delicacy of an earlier -age became extinct. The artistic glory of Siena was dimmed, and rapidly -passed into a period of decadence. - -Among the last Sienese artists of any distinction were Baldassare -Peruzzi (1481-1536), an architect and painter, and Matteo Balducci (fl. -1509-1553), to whom we may perhaps ascribe the _Judgment of Solomon_ -(No. 1571) and the _Judgment of Daniel_ (No. 1572). In any case -these pictures belong to the Umbro-Sienese period of Central Italian -art; they are officially regarded as being by Perugino himself. When -all originality had passed out of Sienese painting, Francesco Vanni -(1563?-1609) produced his _Repose on the Flight into Egypt_ (No. 1561) -and the _Martyrdom of St. Irene_ (No. 1562). - - - - - THE UMBRIAN SCHOOL - - -At the head of the various local centres of painting which form the -school of Umbria we must place Alegretto Nuzi (died 1385), whose works -are very rarely met with in museums north of Italy. He inherited -the best Giottesque traditions, and became the teacher of Gentile -da Fabriano (1360?-1428), an early master whose influence was more -far-reaching and inspiring than we can to-day trace in any detail. -The Louvre has the good fortune to contain a precious little predella -panel of the _Presentation in the Temple_ (No. 1278), which is very -decorative and exhibits a strongly marked appreciation of architecture. -It is the only separated panel from the predella of Gentile’s large -and magnificent altarpiece of the _Adoration of the Magi_, of 1423, -which was seized by Napoleon but was returned in 1815. It is now in the -Accademia at Florence. - -The _Miracle of St. Nicholas giving a Dowry to the Three Daughters -of a Nobleman_ (No. 1659), which is officially classed among the -unattributable works of the Florentine school, is now considered to be -by Giovanni Francesco da Rimini, while the _Madonna and Child_ (No. -1300A or 1300B) which is officially ascribed to Piero dei Franceschi, -the leading painter of his generation in the school of Umbria, must, as -we have seen, be given to Alessio Baldovinetti of the Florentine school. - -Again, the three-panel picture (No. 1415) which is credited to -Pesellino of Florence is in reality from the hand of the Umbrian -artist Fiorenzo di Lorenzo (1440-1521). The collection is not rich in -the works of the earliest painters of this school, but the _Birth of -the Virgin_ (No. 1525), a detached panel from a lost or unidentified -altarpiece by Luca Signorelli (1441-1523), gives us some idea of the -great power of this influential master, whose knowledge of composition -and anatomy is best seen in his frescoes at Orvieto. Signorelli’s sense -of complicated movement and crowded action mark an epoch in the art of -Umbria. The _Fragment of a Large Picture_ (No. 1527) seems to be imbued -with his spirit, but the large _Adoration of the Magi_ (No. 1526) which -comes from Città di Castello, and a _Madonna and Child with St. Louis -of Toulouse, St. Catherine, and other Saints_ (No. 1528), contain none -of the vigorous originality of that master from whom even Michelangelo -did not disdain to borrow on occasion. Three predella panels (No. 1120) -have been dismembered from a large altarpiece by Niccolò da Foligno, -and were originally painted for a side altar in the Church of S. -Niccolò at Foligno. In the art of this over-emotional Umbrian, what is -meant for deep religious feeling is by exaggeration almost transformed -into grimacing passion. - - - PERUGINO - -Niccolò’s most illustrious contemporary in this school was Pietro -Perugino (1446-1523). Over fifty of the religious pictures of this -influential and accomplished master were carried off from Central Italy -by Napoleon. He is well represented in this Gallery. The contemplative -and deeply impressive pictures of his less mannered style are among -the best pictures which Umbria has given us, but there is a tendency, -notably towards the end of his career, to repeat his compositions, -only altering the attitude of a single figure, and so exhibiting a -marked lack of originality. His early _Holy Family with St. Rose and -St. Catherine_ (No. 1564), painted about 1491, is a little cramped; -the tondo hardly provides sufficient space to contain the rather stiff -figures, and the treatment is unpleasantly conventional. It also -recalls the art of Fiorenzo di Lorenzo. The _St. Sebastian_ (No. 1566A, -Plate VI.), which is inscribed: - - SAGITTÆ TVÆ INFIXÆ SVNT MICHI, - -is a favourite subject with this master, who painted it at least eight -times on a large scale, as well as in a miniature now lent to the -National Gallery by Mr. H. Yates Thompson. The _Holy Family with St. -Catherine_ (No. 1565) is said to bear the characteristic signature: - - PETRUS PERVSINUS PINXIT. - -The _Combat of Love and Chastity_ (No. 1567) was commissioned by -Isabella d’Este, Duchess of Mantua, in 1505, and removed at the sack -of that city in 1630 to the Château of Richelieu, where it remained -down to the Revolution. The _St. Paul_ (No. 1566) is a very late and -not very attractive work. In his best pictures Perugino loved to paint -a purist landscape with its buoyant spaciousness of view, but too -frequently his figures are insufficiently dramatic and have a tendency -towards sentimentality. A very late _St. Sebastian_ (No. 1668A), -which is on a much smaller scale than the subject of our illustration -(Plate VI.), is officially catalogued as being by an Unknown Umbrian -painter. The _Apollo and Marsyas_ (No. 1509), which was purchased at -Christie’s in 1850 for £70 by Morris Moore, with an ascription to -Mantegna, was in 1883 sold to the Louvre for £8000. It long hung in -the Salon Carré as a Raphael, but is now only attributed to him by the -cataloguer. This gem of Umbrian art has successively been ascribed by -critics to Pintoricchio, Timoteo Viti, Francesco Francia, and others, -but is to-day generally regarded as a very fine example of the art of -Perugino. Two pictures (No. 1573 and No. 1573A) of the _Madonna and -Child_ are by unidentifiable pupils of Perugino. - -One of the most recent acquisitions is a _Madonna_ by Antoniazzo -Romano (1440?-1508), the gift of M. Lucien Delamarre. The art of -Pintoricchio (1454-1513) is shown in the _Madonna and Child with St. -Gregory and another Saint_ (No. 1417), while Lo Spagna (1475?-1528?), -a pupil of Perugino, is represented by a _Nativity_ (No. 1539), -a _Madonna and Child_ (No. 1540), and by three small pictures -illustrating the _Dead Christ, the Virgin, and St. John_ (No. 1568), -_St. Francis of Assisi receiving the Stigmata_ (No. 1569), and _St. -Jerome in the Desert_ (No. 1570). - -A mediocre pupil of Perugino and Pintoricchio, Giannicola Manni (fl. -1493-1544), is doubtless responsible for the _Baptism of Christ_ (No. -1369), the _Assumption_ (No. 1370), the _Adoration of the Magi_ (No. -1371), and the _Holy Family_ (1372) which pass under his name. The -last-mentioned panel was attributed by Villot, apparently without much -reason, to L’Ingegno. - - - RAPHAEL - -The majority of the thirteen pictures which in the Louvre are -unreservedly catalogued under the great name of Raphael (1483-1520) -certainly belong to his third or Roman period, and in many of them -he obviously received a large amount of assistance from his pupil, -Giulio Romano. It is this fact, no doubt, which has led the compiler of -the Catalogue to place the “Divine Urbinate” in the Roman school. It -will, however, be readily admitted that such a classification is both -arbitrary and misleading. - - [Illustration: - PLATE VI.—PERUGINO - - (1446-1523) - - UMBRIAN SCHOOL - - No. 1566A.-ST. SEBASTIAN - - (Saint Sébastien) - - The Saint stands with his hands behind his back bound to a pillar, - with his head raised towards heaven. An arrow pierces his right arm - and another his left breast. The body is nude, but for a white loin - cloth striped with red and blue. In the background is a rounded - arch supported by two highly ornamented pillars. Through the - archway is seen a beautiful landscape. - - Painted in tempera on panel. - - Signed:—“SAGITTÆ TVÆ INFIXÆ SVNT MICHI.” - - 5 ft. 7 in. × 3 ft. 10 in. (1·70 × 1·17.)] - -Although he lived but thirty-seven years, Raphael gave to the world a -vast amount of art treasure. Brought up in Urbino, where his father, -Giovanni Santi, was poet as well as painter, he passed before he -was fifteen under the direct influence of Timoteo Viti, who had -worked at Bologna under Francesco Francia. Raphael became the pupil -of Perugino at Perugia about 1500, and also worked as the assistant -of Pintoricchio. His art being thus formed on the best Umbrian -tradition, Raphael in October 1504 left Perugia for Florence, and it -was only at that date that he began to acquire a distinctive style of -his own. During his second or Florentine period he painted the _St. -George and the Dragon_ (No. 1503), in which is seen the chivalrous -knight mounted on a pure white steed; his lance is broken in his combat -with the monster, and he is forced to use his sword, while the little -Princess Cleodolinda flees in abject terror into the background. The -very small panel of _St. Michael_ (No. 1502), which is a chessboard on -the back, was painted for Guidobaldo, Duke of Urbino, and eventually -passed into the collections of Cardinal Mazarin and Louis XIV. The -_Madonna and Child_ which has come to be known as _La Belle Jardinière_ -(No. 1496, Plate VII.) is rather later than the _Madonna del Gran’ -Duca_ in the Pitti Palace, the _Cardellino Madonna_ in the Uffizi, -and the _Ansidei Madonna_ in the National Gallery. It is one of the -most famous of Raphael’s saintly and ideal Madonnas; the pose of the -figures is easy, the treatment simple, the colour exquisite. The -landscape background is poetic in feeling, and conveys the mood which -makes this one of Raphael’s most pleasing creations. The thin feathery -trees and the treatment of the Virgin’s hair are still Peruginesque, -but the superiority of the pupil to the master is gradually making -itself felt. The Infant Christ is standing on the right foot of His -mother. Tradition says that Raphael entrusted to Ridolfo Ghirlandaio -the task of painting in the blue of the Virgin’s garment. The drapery -is apparently inscribed: - - VRB. RAPHAELLO MDVII. - -After working for four years in Florence, Raphael went in the summer of -1508 to Rome, where he achieved such a vast amount of work for Popes -Julius II. and Leo X. His work was increased by his appointment, -on the death of Bramante in 1514, as Architect of St. Peter’s and -Inspector of Antiquities. - -About 1515-16 Raphael delighted to paint the _Portrait of Baldassare -Castiglione_ (No. 1505, Plate VIII.), who was his lifelong friend and -adviser as well as the author of _Il Cortegiano_. This picture, which -is eloquent testimony to Raphael’s skill as a portrait painter, was -originally on wood, but it was long ago transferred to canvas, which -has unfortunately abraded, the paint having peeled off the hands. After -the death of Castiglione in Spain, this picture which he had taken with -him passed into the possession of the Duke of Mantua, and thence into -the collection of Charles I., where it seems to have been copied by -Rubens. It subsequently became the property of a Dutch amateur named -Van Asselen, and was copied by Rembrandt. Later, it was sold for 3500 -florins to Don Alfonso Lopez, a collector at Amsterdam, and after -figuring in the collection of Mazarin was acquired by Louis XIV. - -The _Holy Family of Francis I._ (No. 1498) was commissioned by Lorenzo -de’ Medici and presented to the Queen of François I. by Pope Leo X. It -was originally painted on wood, and was forwarded to Lyons on April 19, -1518. During the reign of Louis XIV. it hung in the _grand appartement_ -at Versailles, and having been placed near a fireplace had to be -relined. It then had wings, but they were destroyed at the time of the -Revolution. Although it is very ostentatiously signed - - RAPHAEL VRBINAS PINGEBAT MDXVIII - -on the edge of the robe of the kneeling Madonna, there can be no -question that it was only designed by Raphael, the execution being -wholly or in great part carried out by the master’s best pupil, Giulio -Romano. In the _Sistine Madonna_ and such works as Raphael painted -at this period entirely with his own hand we see that his technique -had become masterly and his powers of composition had developed to the -utmost. Compared with _La Belle Jardinière_ of a decade earlier, a -greater knowledge of craftsmanship has been accompanied by a loss of -purity and simplicity. - - [Illustration: - PLATE VII.—RAPHAEL - - (1483-1520) - - UMBRIAN SCHOOL - - No. 1496.—LA BELLE JARDINIÈRE - - (_La Vierge_ dite _La Belle Jardinière_) - - The Virgin is seated in a flowery meadow. She wears a red tunic - edged with black, yellow sleeves and a blue mantle; a book is on - her knees; her fair hair is confined under a transparent veil. She - looks down to the left at the Infant Jesus, who leans tenderly - against her knee and draws her attention to the little St. John the - Baptist who kneels to the right, his reed cross in his right hand. - The background shows a landscape containing a small town with its - church, and a lake surrounded by mountains. - - Painted in oil on panel. - - The signature seems to be:—“VRB. RAPHAELLO MDVII.” - - 3 ft. 8 in. × 2 ft. 7½ in. (1·22 × 0·80.)] - -Two years before his death Raphael had designed the large but by no -means imposing _St. Michael overcoming Satan_ (No. 1504), the execution -of which on panel was certainly due to Giulio Romano. It was a gift -from Lorenzo de’ Medici to François I., the original cartoon being -presented by Raphael to the Duke of Ferrara. This picture, like the -_Holy Family of Francis I._, was originally protected by folding wings, -the inner sides of which were lined with green velvet, while the outer -were gilded and painted with arabesques. The two pictures arrived at -Fontainebleau in July 1518, having been carried on the back of mules -by way of Florence and Lyons. As early as 1530 the _St. Michael_ was -restored by Primaticcio and by many others subsequently, notably in -1752. The picture was transferred to canvas by Picault, who received -for his labours the large sum of 11,500 _livres_, a sum quite out of -proportion to its æsthetic or financial value to-day. It was again -restored in 1776, 1800, and 1850. It is signed in gilt characters on -the edge of the Archangel’s tunic: - - RAPHAEL VRBINAS PINGEBAT MDXVIII. - -The Demon is not shown, as in the early and small picture of the same -subject (No. 1502), as a dragon, but as a half-human monster with -horns and tail. The foreshortening is undoubtedly clever, but the -picture is too instantaneous in its dramatic action. In the course of -time the high lights have gone down and the shadows darkened in the -metallic-looking figure of the Archangel. - -The _Virgin with the Blue Diadem_ or the _Virgin with the Veil_ (No. -1497) is one of at least ten pictures in this collection which were -carried out by Giulio Romano (1492?-1546). It is here credited to -Raphael. It has been repeatedly restored. A very large number of -replicas, variants, and old copies of this panel exist. The following -“Raphaels” may be regarded as the work of Giulio: the _Small Holy -Family with St. Elizabeth_ (No. 1499); the much restored _Saint -Margaret_ (No. 1501); the _Portrait of Joan of Arragon_ (No. 1507), -whom Raphael apparently never saw; and the _Portraits of Two Men -seen to the Bust_ (which has been called _Raphael and his Fencing -Master_) (No. 1508). Giulio certainly painted the _Triumph of Titus -and Vespasian_ (No. 1420), the _Venus and Vulcan_ (No. 1421), and the -_Portrait of a Man_ (No. 1422), which are catalogued under his name, -and in all probability the three large Cartoons entitled _A Triumph_, -_The Triumph of Scipio_, and _The Taking and Burning of a City_, which -hang on the Escalier Daru. The _Circumcision_ (No. 1438) which figures -officially under the name of the Bolognese painter Bartolommeo Ramenghi -(Il Bagnacavallo) (1484-1542) is by Giulio Romano. - -The fresco painting of _The Eternal Father_ (No. 1512), which is now -inserted over the door of the Salle des Primitifs (Room VII.), was -certainly executed during the lifetime of Raphael, and probably under -his supervision. It was painted for the chapel attached to the Villa -Magliana, a favourite hunting-box of Pope Leo X., who commissioned it. -It was purchased in 1873 for the large sum of £8280. - -From the hand of Giannicola Manni (fl. 1493-1544) come the _Baptism of -Christ_ (No. 1369), the _Assumption_ (No. 1370), the _Adoration of the -Magi_ (No. 1371), and a _Holy Family_ (No. 1372), while a fully signed -_Dead Christ supported by Two Angels_ (No. 1400) is by the mediocre -Umbrian artist Marco Palmezzano (fl. 1456-1538). The latter’s pupil, -Zaganelli da Cottignola (1460?-1531), may have painted the _Christ -bearing His Cross_ (No. 1641) which is catalogued as an unattributable -Italian work. - - [Illustration: - PLATE VIII.—RAPHAEL - - (1483-1520) - - UMBRIAN SCHOOL - - No. 1505.-PORTRAIT OF BALDASSARE CASTIGLIONE - - (Portrait de Balthazar Castiglione, ambassadeur et littérateur) - - He is seen nearly in full face. He wears a white linen - under-garment, an over-dress of black velvet with grey sleeves, and - a cap. - - Painted in oil on canvas. - - 2 ft. 0½ in. × 2 ft. 2½ in. (0·62 × 0·67.)] - - - - - THE VENETIAN SCHOOL - - -The conquest of Byzantium during the Fourth Crusade by Doge Enrico -Dandolo in 1204, an epoch-making event in the history of Venice and -Venetian art, strengthened the intercourse between the East and the -City of the Lagoons. At the same time it riveted the fetters of -Byzantinism on to the nascent art of Venice, to which it also imparted -a sense of intense Oriental colour. - -The frescoes painted in Tuscany on the lines of Giottesque tradition -and the environment under which its painters worked, in time gave -to the Florentines a sense of line and form which produced a school -of idealists: on the other hand, the colour-impressions created on -the mind of the Venetian painter by the relics from the East and the -brilliant mosaics which he saw around him resulted eventually in the -formation of a school of colourists with a realistic tendency. - -It will cause little surprise that the Louvre contains no polyptych by -the very early Venetians, Niccolò Semitecolo (fl. 1351-1400), Jacobello -del Fiore (died 1439), and Michele Giambono (fl. 1420-1462). The -Gallery possesses, however, a fourteenth-century Venetian arched panel -of the _Madonna and Child_ (No. 1541) which is attributed to Stefano -Veneziano. - -In the early fifteenth century the dominating influence exerted on -the painters of Venice was that of Jacopo Bellini (1400?-1470), whose -sons, Gentile and Giovanni, and son-in-law, Andrea Mantegna, were to -shape the destinies of the school throughout the Renaissance. Jacopo’s -drawing is seen in its full maturity in the Sketch-book of about 1450 -which belongs to the Louvre but is not publicly exhibited. Another -Sketch-book by him of about 1430 is one of the treasured possessions -of the British Museum. Jacopo had in early life been the pupil of -Gentile da Fabriano, who, together with Alegretto Nuzi, stands at the -head of the Umbrian school, and of Antonio Pisanello (1397-1455), -the medallist-painter who played such an important part in the art -of Verona. Both Gentile da Fabriano and Pisanello worked for a time -at Venice. Under the circumstances, therefore, it is not surprising -to find that a _Madonna and Child with a Donor_ (No. 1159A, formerly -No. 1279 and No. 171), which is now justly ascribed in the Catalogue -to Jacopo Bellini, was long assigned officially to Gentile Bellini, -although held by some critics to have been painted in the school of -Pisanello. The name of the Donor in this picture is given in the -Catalogue as Leonello d’Este and on the frame as Pandolfo Malatesta; it -would, however, seem to be the portrait of Sigismondo Malatesta. - -Four small triptychs (Nos. 1280-83) from the Campana collection still -pass officially under the ambiguous designation of “School of Gentile -da Fabriano”; they may, however, without much doubt be ascribed to -Antonio Vivarini, who remained outside the Bellini sphere of influence, -and died about 1470. - - - THE BELLINI - -The sunny splendour of Venetian painting reached its zenith in the -_bottega_ of the Bellini. Gentile, who was sent to Constantinople with -the authority of the Republic in 1479, painted portraits, ceremonial, -religious, and historical pictures, many of which are on a large scale, -while Giovanni was for many years the greatest teacher and the most -influential painter in Venetian territory. Giovanni executed a large -number of panels and canvases which in the period of his maturity -exhibit a profound sense of dignity, beauty, religious feeling, and -rich deep colour. Most of those which are signed in a _cartellino_ -“IOANNES BELLINUS” (in capitals and, of course, in pigment of the -period) are authentic works from his own hand. The majority of those -which bear what to the unpractised eye might be taken for his personal -signature, but are only signed in uncials (“_Ioannes Bellinus_”), must -be regarded as mere studio productions. In the sixteenth century no -one was misled by these alternative methods of personal signature and -studio-mark. Although the Louvre authorities catalogue two pictures -under the name of Gentile and three under that of Giovanni, none of -them is from the hand of either of these brothers. - -Bartolommeo Vivarini of Murano (fl. 1450-1499) was the pupil of -Giovanni d’Allemagna, who worked in Venice, and Antonio Vivarini. He -painted a large panel of _St. John of Capistrano_ (No. 1607), which is -signed and dated - - OPVS BARTHOLOMEI VI[V]ARINI DE MURAHO—1459. - -Alvise or Luigi Vivarini (fl. 1461-1503), the nephew of Bartolommeo, -was the last and most distinguished painter in the Murano school. He -carried on the old traditions of Early Venetian art until the day when -the rival school of the Bellini had become supreme in Venice, and so -had begun to prepare the way for the triumphs of the Giorgionesque -period—the golden age of Venetian painting. The _Portrait of a Man_ -(No. 1519), catalogued under the name of Savoldo (1480?-1548?) is by -Alvise. This magnificent bust-length picture represents Bernardo di -Salla, who holds in his gloved right hand a paper inscribed “_Dono -Bnardo di Salla_.” It vividly recalls the _Portrait of a Man with a -Hawk_ at Windsor, which, although it traditionally but erroneously -bears the name of Leonardo da Vinci and has been ascribed to Savoldo, -is in all probability another of the rare portraits by Alvise. - -From the Vivarini group issues Carlo Crivelli (1430?-1493?). His -morosely ascetic compositions, with their elaborate draperies, -jewelled ornamentation, and at times grotesque anatomy, distinguish -his polyptychs, all of which are painted in tempera, from those of any -other painter in the whole range of art. His large panel picture of -_St. Bernardino of Siena_ (No. 1268) is inscribed - - OPUS CAROLI CRIVELLI VENETI, 1477. - -It belongs to his middle period, and was painted nine years earlier -than his magnificent _Annunciation_, now one of the gems of the -National Gallery (No. 739); both these pictures came from the Church of -the Annunziata at Ascoli. - -Another painter who carried on the Vivarini tradition but was -influenced by Giovanni Bellini, was Giovanni Battista Cima -(1460?-1517?), whose art is adequately shown in the _Madonna and Child -with St. John the Baptist and St. Mary Magdalene_ (No. 1259). The -signature - - IOANIS BAPT. - CONEGLANES. - OPVS. - -as well as the internal evidence of the picture show it to -be an authentic work. - -One of the best, but until recent years one of the least known, members -of that brilliant group of painters who flourished at Venice in the -early half of the sixteenth century was Lorenzo Lotto (1480-1556). He -practised his art in many parts of Italy, and for that reason has been -less generally known than many of his contemporaries. He was a pupil -of Alvise Vivarini, but benefited largely by the example of Giovanni -Bellini and Giorgione. His art is not well seen in the small _St. -Jerome_ (No. 1350), which is signed and dated “LOTVS 1500” and -must therefore be one of his earliest and least ambitious works, nor -in his _Holy Family_ (No. 1351) which was formerly attributed to Dosso -Dossi. Replicas have been found of his _Christ and the Woman taken in -Adultery_ (No. 1349). - - [Illustration: - PLATE IX.—ANTONELLO DA MESSINA - - (1430-1479) - - VENETIAN SCHOOL - - No. 1134.—PORTRAIT OF A CONDOTTIERE - - (Portrait d’homme dit le Condottiere) - - Bust portrait, turned three-quarters to the left. He wears a - black doublet, above the collar of which is visible the edge of a - white linen under-garment. Under his cap is seen his _zazzara_ of - red-brown hair. - - Painted in oil on panel. - - Signed: - “_1474 - Antonellus Messaneus me - pinxit._” - - 1 ft. 1 in. × 11 in. (0·33 × 0·28.)] - -Although we possess very detailed records of Antonello da Messina -(1430-1479), his movements and his life’s work, it is only in recent -years that they have been studied with any care. This Sicilian-born -artist obviously cannot have set out for Flanders and there have learnt -from Jan van Eyck (who died in 1441) the “discovery” of oil as a -medium in painting, as Vasari tells us. But he may have seen in Italy -a picture by the great Northern artist and from it have acquired some -facility in the use of oil and in finishing with glazes of oil panels -which had been begun in tempera. He was certainly in Venice in 1475-76, -if not earlier, and his _Portrait of a Condottiere_ (No. 1134, Plate -IX.), which is characteristically signed and dated - - _1474 - Antonellus Messaneus me - pinxit_ - -belongs to that period of his full maturity. It was -purchased at the Pourtalès-Gorgier sale in 1865 for £4767. In any case, -the discoveries with which Antonello is credited within a few years -completely revolutionised the methods of painting throughout Italy, and -prepare us for the wonderful achievements of the later Venetians, who -followed and improved upon the Bellini tradition. - -Vittore Carpaccio (1455?-1526) was, like Gentile Bellini, a painter of -Venetian fêtes, pageantry, and religious pictures on an imposing scale. -Nothing is known of Carpaccio’s artistic descent, but his work shows -traces of the influence of Jacopo Bellini and of Lazzaro Bastiani, who -was the head of a group of artists whose art was based on the tradition -of such early painters as Jacobello del Fiore. Carpaccio’s _Preaching -of St. Stephen at Jerusalem_ (No. 1211) is one of the series of five -incidents from the _Life of St. Stephen_ which were painted by this -artist between 1511 and 1520 for the Scuola di S. Stefano at Milan. The -others of the series are now in the Milan Gallery (No. 170—signed and -dated 1513), at Berlin (No. 23), and at Stuttgart. The Louvre obtained -this canvas, which varies from the others in size, from the Milan -Gallery in 1813, when together with Boltraffio’s _Madonna of the Casio -Family_ (No. 1169) and other pictures it was exchanged for works by -Rembrandt, Rubens, Van Dyck, and Jordaens. - -To Vincenzo Catena (14..?-1531?) may be assigned, on stylistic grounds, -the _Reception of a Venetian Ambassador at Cairo in 1512_ (No. 1157). -In any case, it cannot have been executed by Gentile Bellini, as -alleged in the Catalogue, as the audience here depicted did not take -place until five years after that master’s death! - -Another Bellinesque painter was Bartolommeo Veneto (fl. 1505-1555). We -shall, following the suggestion of Venturi, assign to him the excellent -but officially unattributed _Portrait of a Lady_ (No. 1673) which hangs -to the right of Raphael’s _La Belle Jardinière_. - - - GIORGIONE - -Although a large number of really representative examples of the great -lyricist Giorgione (1477-1510) have not come down to us, he is to be -regarded as the greatest of the Venetian artists, and perhaps the most -romantic painter that Europe has ever known. He was, together with -his illustrious contemporary Titian, a pupil of Giovanni Bellini. His -_Pastoral Symphony_ (No. 1136, Plate X.) is one of the most beautiful -idyllic groups in the whole range of painting, and shows that Giorgione -could naively reveal the inner depths of thought and feeling and -depict “passionate souls in passionate bodies.” Early in the sixteenth -century the austere traditions of the Bellinesque era were passing -away. Giorgione now began to unseal the eyes of his contemporaries, -among whom Titian occupied an important place, to the “life-giving and -death-dealing waters of love,” making the landscape background of his -lyrical compositions respond to the mood of the incident illustrated. -The _Pastoral Symphony_ was acquired by Charles I. from the collection -of the Duke of Mantua; it then passed to Jabach, and subsequently to -Louis XIV. Although it has been slightly restored and has from time to -time been without any reason ascribed to Titian, Sebastiano del Piombo -and a large number of Venetian artists, it is to-day recognised on all -sides as an excellent example of Giorgione. - - [Illustration: - PLATE X.—GIORGIONE - - (1477?-1510) - - VENETIAN SCHOOL - - No. 1136.—PASTORAL SYMPHONY - - (Concert Champêtre) - - Two young men are seated on the grass; the one, wearing a green - tunic with red sleeves, a red cap and parti-coloured hose, is - playing on the lute; his companion bends over to listen to him. - Before them a nude woman, her back turned to the spectator, is - seated holding a flute. To the left another nude woman, with a - drapery across her left hip, is drawing water at a fountain. In the - background to the right is seen a shepherd with his flock. In the - centre background are some houses. - - Painted in oil on canvas. - - 3 ft. 7½ in. × 4 ft. 6½ in. (1·10 × 1·38.)] - -The same influences which formed the art of Giorgione inspired the -pictures of Palma Vecchio (1480-1528), whose _Adoration of the -Shepherds with a Female Donor_ (No. 1399, Plate XI.) is brilliant in -colour. The signature in the right foreground of this canvas, TICIAN, -is false. Palma left a large number of pictures unfinished at his death. - -The _Visitation_ (No. 1352) is an admirable example of the art of -Sebastiano del Piombo (1485-1547), and is signed - - SEBASTIANVS VENETVS FACIEBAT - ROMAE MDXXI. - -It was purchased in the year indicated in the inscription by François -I., who added it to his collection at Fontainebleau, whence it was -removed by Louis XIV. to Versailles. The canvas, which has been a good -deal injured, has at some time been cut into three pieces. The name -by which this artist is generally known was derived from the office -which he held late in life at the Papal Court. There he forsook the -traditions of his native school and gradually came under the influence -of Michelangelo. In Rome he also met Raphael, who was much impressed -by his colour schemes: the _St. John the Baptist in the Desert_ (No. -1500), here catalogued under the name of Raphael, and a few pictures -similarly attributed in other galleries, were painted by Sebastiano in -his Roman manner. - -A prominent place among the less important artists generally included -in this school must be accorded to Cariani (1480?-1547?). A large -proportion of the pictures of this Bergamask painter usually pass under -more imposing names, and it is a remarkable fact that we do not find -any work attributed to him in the official Catalogue. He, however, -painted a _Holy Family_ (No. 1135), here assigned to Giorgione, as -well as the _Madonna and Child and St. Sebastian_ (No. 1159) given to -Giovanni Bellini. The _Portrait of Two Men_ (No. 1156), which for no -very apparent reason was once regarded as the portraits of Gentile and -Giovanni Bellini, must be by Cariani, although still placed to the -credit of Gentile. - -Another of the less efficient pupils of Giovanni Bellini was Niccolò -Rondinelli (fl. 1480-1500), whose _Madonna and Child, St. Peter, and -St. Sebastian_ (No. 1158) masquerades as a work by Giovanni Bellini, -whose full name, IOANNES BELLINVS, is inscribed in capitals (not, -however, placed in a _cartellino_) on the parapet which runs across the -front of the panel. - - - TITIAN - -Although we have only limited space to deal with the differences of -the critics as to the probable date of Titian’s birth, we may point -out that it was, until recent times, placed in the year 1477. Mr. -Herbert Cook has, however, put forward a very strong case in favour -of the year 1489, pointing out the remarkable fact that there is no -record of Titian earlier than Dec. 2, 1511, or, according to the usual -chronology, until he was thirty-five years of age! Again, L. Dolce, in -1557, wrote that Titian was “scarcely twenty years old when Giorgione -was painting the façade of the Fondaco de’ Tedeschi”; and we know that -Titian was his assistant on that work in 1507-8. Vasari also -asserts, as Mr. Cook reminds us, that the famous Venetian was “about -seventy-six years old in 1566-67,” when he visited him in Venice. No -reliance is to be placed on the date contained in the well-known letter -which Titian addressed to Philip II. in 1571, as he evidently had a -motive in referring to himself as “an old servant of ninety-five.” -There is, however, no doubt that Titian died in 1576. - - [Illustration: - PLATE XI.—PALMA VECCHIO - - (1480-1528) - - VENETIAN SCHOOL - - No. 1399.—THE ADORATION OF THE SHEPHERDS, WITH A FEMALE DONOR - - (L’Annonce aux Bergers) - - The Virgin is seated and holds the Infant Jesus on a cradle formed - of basket-work; she wears a red robe with blue and green draperies - and a white veil, under which her brown hair is seen. To her right - St. Joseph is seated leaning on his staff; before him a shepherd - boy kneels in adoration to the Infant Christ. To the left kneels - the _donatrice_, her hands folded. In the ruined shed behind the - Holy Family are the ox and ass. To the right of the composition is - a landscape background in which several figures appear. A small - group of angels in the sky. - - Painted in oil on canvas. - - 4 ft. 7 in. × 6 ft. 11 in. (1·40 × 2·10.)] - -Titian, who was a native of Cadore, left his home at an early age -for Venice. He was first placed as a pupil of Sebastian Zuccato, a -mosaicist and perhaps a painter; he then seems to have worked in the -studio of Gentile Bellini before passing into that of Giovanni, where -he met Giorgione. Titian, like Giotto, has been called “the Father of -modern painting.” The early Florentine had provided his countrymen -with a set of fundamental principles of art, but it remained for -the illustrious Venetian to endow his contemporaries and artistic -descendants with a more complete equipment and a new sense of pictorial -effect. The profound impression exerted by Giorgione on the youthful -Titian inspired him to achieve those idyllic compositions and “poesies” -which stand out so prominently among the world’s pictures. - -Titian’s earliest picture in the Louvre is the _Virgin and Child, -with St. Stephen, St. Ambrose, and St. Maurice_ (No. 1577), of about -1508-1510. It is very reminiscent of a picture by Titian in the Vienna -Gallery (No. 166), in which he has substituted St. Jerome for St. -Ambrose. - -No doubt can exist as to the authenticity of the so-called _Portrait -of Alfonso da Ferrara and Laura de’ Dianti_ (No. 1590), but the title -under which it has passed for many years is probably incorrect. -It was in the collection of Charles I., and was then described as -“Tytsian’s Mrs., after the life by Tytsian.” In the collection of -Jabach it was called _La Maîtresse du Titien_, and as such was sold -to Louis XIV. for £100. This picture would correctly be described -under the less ambitious title of _A Woman at her Toilet and a Man -holding Two Mirrors_. Laura was the daughter of a hatter of Ferrara. -She was _persona grata_ at the court of Alfonso I., Duke of Ferrara -(reigned 1505-1534), and there held the title of _Illustrissima Donna -Laura Eustochia d’Este_. The Duke’s first wife, Anna Sforza, died in -1497, when he was twenty-one years old. In 1501 he married, as his -second wife, Lucrezia Borgia (died 1519), the natural daughter of Pope -Alexander VI. It seems probable that shortly afterwards the Duke took -Laura as his third wife, and that she was painted by Titian a little -later. The Louvre picture (No. 1590) appears on stylistic grounds to -be a work of about 1515-1517. A portrait which can be more certainly -identified as that of Laura is the single figure picture, painted by -Titian about 1523, in the collection of Sir Frederick Cook at Richmond. - -The influence of Giorgione is still clearly seen in Titian’s _Man with -a Glove_ (No. 1592, Plate XII.). It is a noble portrait of an unknown -man; the colour is rich, and the light and shade are contrasted with -great mastery; the bare right hand and the gloved left holding the -second glove are admirably modelled. The canvas, which seems to have -been painted about 1518, is signed “TICIANVS F.” Soon afterwards Titian -must have painted the _Portrait of a Man in Black with the Thumb of -his Left Hand in the Belt of his Doublet_ (No. 1591), the _Madonna -with the Rabbit_ (No. 1578), which is inscribed _Ticianus F._, and -the magnificent _Entombment_ (No. 1584, Plate XIII.). This priceless -picture, which was painted not later, than 1523 for Federigo Gonzaga, -passed from Mantua into the collection of Charles I. It was sold off by -Cromwell for £128 and, after being one of the masterpieces for a few -years in the collection of Jabach, was acquired by Louis XIV. The deep -religious feeling and the rich, sonorous harmony of colour make this -one of the world’s most precious pictures. Notice the sunburnt arm -of Joseph of Arimathæa; it is significant of the art of Venice. - - [Illustration: - PLATE XII.—TITIAN - - (1489?-1576) - - VENETIAN SCHOOL - - No. 1592.—THE MAN WITH A GLOVE - - (L’homme au Gant) - - He is standing and seen nearly in full face, the head turned - three-quarters to the right, the eyes directed to the right. He - wears a black costume with a white pleated under-garment, a gold - chain round his neck, and white frills in his sleeves. His right - hand, with a ring on the forefinger, holds his girdle. His left - hand, gloved and holding the second glove, rests on a stone plinth. - - Painted in oil on canvas. - - Signed on the plinth:—“TICIANVS. F.” - - 3 ft. 3½ in. × 2 ft. 11 in. (1·00 × 0·89.)] - -At an interval of about eight years we come to the _St. Jerome_ -(No. 1585), a religious scene set, curiously enough, in a moonlight -landscape, which has darkened. The exact interpretation to be placed -upon the _Allegory in honour of Alfonso d’Avalos_ (No. 1589), of -about 1533, has been much discussed; it is supposed to represent -Alfonso bidding farewell to his wife on his departure for the wars, -and entrusting her to the safe keeping of Chastity, Cupid, who bears -a sheaf of arrows, and a third figure. The _Portrait of Francis I._ -(No. 1588), whom Titian never saw, appears to have been painted about -1536 from a medal, and represents the King in profile. François I. died -in 1547. It belongs to the same period as the _Portrait of a Man in -Damascened Armour with a Page holding his Helmet_ in the collection of -Count Potocki. Another portrait, painted about 1543, represents a _Man -with a Black Beard resting his Hand on the Ledge of a Pilaster_ (No. -1593). By this time Titian’s art was rapidly maturing, as we see from -his magnificent and imposing _Supper at Emmaus_ (No. 1581) of the same -year. It had passed from Mantua to England before being acquired by -that excellent connoisseur, Jabach. It is said to be signed _Ticianus -F._, while the _Christ Crowned with Thorns_ (No. 1583), which was -painted for a church in Milan about 1550, is inscribed TITIANVS _F._ -When Charles I., as Prince of Wales, visited Madrid in 1623, he was -presented with the _Jupiter and Antiope_ (No. 1587), which has the -alternative title of the _Venus del Pardo_. It had been painted for -Philip II., and had already escaped the fire which broke out in the -Prado. Jabach acquired it for 600 guineas, and passed it on to Cardinal -Mazarin, from whom it was acquired for 10,000 _livres tournois_ by -Louis XIV. It escaped destruction by fire in the Old Louvre in 1661. It -has been very much repainted from time to time. - - - TITIAN’S FOLLOWERS - -The _Madonna and Child, with St. Catherine (? St. Agnes), and St. John -the Baptist as a Child_ (No. 1579), which has been enlarged by the -addition of a strip of canvas down the left side, contains a glimpse of -the country near Pieve di Cadore, the native place of Titian. Fourteen -of the twenty pictures here officially credited to him are to be -regarded as authentic. Polidoro Lanzani (1515?-1565), an imitator of -Titian, however, painted the _Holy Family with St. John the Baptist_ -(No. 1580), and the _Holy Family and Saints_ (No. 1596) in the La Caze -Room; while Andrea Meldolla (Schiavone), who was a pupil of Titian, -no doubt executed the _Ecce Homo_ (No. 1582) credited to the great -Venetian artist, as well as the _St. John the Baptist_ (No. 1524) which -is rightly assigned to him. - -The German painter Johan Stephan von Calcar, who to Italian biographers -is known as Giovanni Calcar (1499-1546), was a pupil of Titian. He -painted the imposing _Portrait of a Man_ (No. 1185). He is seen at -half length standing, and holding a letter in his right hand; his left -hand to his waist. On a column in the background is painted the coat -of arms, reputed to be that of the Buono family of Venice, which is -repeated on the bezel of the ring on the forefinger of his left hand. -Below his right hand is the inscription: - - ANNO 1540 - ÆTATIS 26. - -Paris Bordone (1500-1570), who “painted women with more of an eye on -the fashion-plate than on the expression of their features,” is not -the author of a _Portrait of a Lady_ (No. 1180A), nor of the _Portrait -of a Man and a Child_ (No. 1180), which seems to be a Flemish rather -than a Venetian picture. His _Vertumnus and Pomona_ (No. 1178) is less -representative than his _Portrait_ (so called) _of Jeronimo Croft_ (No. -1179). It takes its title from the inscription, “_Spss. Domino Jeronimo -Crofft ... Magior suo semper obsero ... Augusta_,” which is written on -the letter held in the right hand. - -The last dying echo of the “fire” and poetry of Giorgione is seen in -some of the works of Bonifazio Veronese (1487-1553), who was also a -pupil of Palma. Bonifazio is now regarded as a single individual, -although formerly the varying differences in his style of painting -led certain critics to regard him as three different members of the -same family. The varied grouping seen in the large canvas entitled -_Holy Family, with St. Francis, St. Anthony, St. Mary Magdalene, St. -Elizabeth, and St. John the Baptist_ (No. 1171), and the colouring -of this canvas, seem to prove its authenticity. The smaller picture -of a _Holy Family_ (No. 1172), with a similar pedigree and a Greek -inscription, which includes the same saints, is a mediocre work. The -_Madonna and Child, with St. Joseph, St. John the Baptist, St. Paul, -and St. Ursula_ (No. 1674D) is a poor picture. - -From the studio of Bonifazio issued Jacopo Bassano (1510?-1592), whose -_Vintage_ (No. 1428) shows his predilection for introducing animals and -kneeling peasants into genre pictures, the treatment of which is apt -to be rugged. This did not prevent his at times painting striking and -vigorous portraits. The Louvre contains a good example of this branch -of his art in the _Portrait of Giovanni da Bologna_ (No. 1429), which -is at present not exhibited. _The Animals entering the Ark_ (No. 1423), -_Moses striking the Rock_ (No. 1424), _Cana of Galilee_ (No. 1425), -_Christ bearing His Cross_ (No. 1426), and the _Descent from the Cross_ -(No. 1427) are also credited to him in the Catalogue. - -Leandro Bassano (1558-1623), his son, is represented in the La Caze -collection by an _Adoration of the Magi_ (No. 1430) and a _Rustic -Labour_ (No. 1431). - -The vigorous, ambitious and late Venetian painter Tintoretto -(1518-1594), who painted portrait-groups, religious subjects, -and mythological compositions on a large scale, and brought his -achievements to completion with extraordinary rapidity, is not -adequately represented in this Gallery, in which, however, no fewer -than eleven works pass under his name. His _Susanna and the Elders_ -(No. 1464) testifies to the increasing frequency with which painters -or their patrons at that period preferred the representation of -sensational incidents from the Apocrypha. The subject is unattractive, -but the picture, which is in a very dirty state, is wonderfully painted. - -The _Paradise_ (No. 1465) is but a preliminary sketch for the colossal -painting, measuring 84 ft. × 34 ft.,—the largest oil-painting by an -old master in existence,—which Tintoretto painted for the end wall of -the Sala del Maggior Consiglio in the Doge’s Palace at Venice. The -_Portrait of a Man holding a Handkerchief in his Hand_ (No. 1467) -reveals his great power as a portrait painter. - -The _Portrait of Pietro Mocenigo_ (No. 1470), signed PETRUS MOCENIO -SENATOR, and the _Portrait of a Venetian Senator_ (No. 1471), inscribed -ANNO ÆTATIS LVII MVII IACOMO TENTORETO . F, are among the pictures of -the La Caze collection. - -In Room XV., which is given up to self-portraits by artists, hangs -a picture which passes as an authentic _Portrait of Tintoretto_ -(No. 1466) by himself. It is inscribed JACOBVS TENTORETVS PICT^{OR} -VENET^{IVS} and IPSIVS. F. - - - PAOLO VERONESE - -The harmonious colour, the sense of material magnificence, and the -masterly draughtsmanship of Paolo Veronese (1528-1588) are seen to the -greatest advantage in his _Marriage at Cana_ (No. 1192). He signed a -contract in June 1562, to paint this large picture, which measures -21 ft. × 32 ft., for the refectory of San Giorgio Maggiore at Venice, -and completed it by September 8, 1563. According to the agreement, -Paolo was to receive 324 ducats, a sum equal to-day to about £200; -to be fed during the time he was engaged on the work; to be repaid -the cost of the materials; and to receive a pipe of wine. The picture -was seized by Napoleon during his victorious campaign of 1797, and -brought by road to Paris. In accordance with the terms of the Peace of -Campo Formio of 1814, it should have been returned. As it had proved -a very difficult matter to take it to Paris, where it had to go into -the restorer’s hands, the French urged that it was too vast and too -dilapidated to bear a second journey. Astonishing as it may seem to -us to-day, the Italians accepted the suggestion and in exchange took -Charles Le Brun’s large but mediocre _Magdalene at the Feet of Jesus_, -perhaps because it measured 12 ft. 6 in. × 10 ft. 4 in. Le Brun’s -picture now hangs in the Venice Gallery (No. 377), the Catalogue of -which pointedly remarks that “the exchange is much to be regretted.” - - [Illustration: - PLATE XIII.—TITIAN - - (1489?-1576) - - VENETIAN SCHOOL - - No. 1584.—THE ENTOMBMENT - - (La Mise au Tombeau) - - The dead body of the Christ is borne on a white cloth by Nicodemus - and Joseph of Arimathæa. Nicodemus is seen from the back wearing - a pale red tunic and a parti-coloured scarf; Joseph of Arimathæa - in green robes is in profile towards the right. St. John in a red - robe supports the right arm of the Christ. To the left St. Mary - Magdalene, with her arms around the Virgin, gazes in profound grief - at the Christ. The Virgin with clasped hands bends forward to look - at her Son. - - Painted in oil on canvas. - - 4 ft 10½ in. × 7 ft. 1 in. (1·48 × 2·15.)] - -Paolo Veronese’s masterly work contains no devotional feeling. The -Scriptural story merely serves as a pretext for depicting a scene -of Venetian festivity and material magnificence with imposing -architectural background. The grouping of the figures is varied, -dexterously disposed and stately, while the colour is harmonious and -sparkling. The changing of the water into wine is, however, merely -incidental. It is a significant fact that a work of this description, -in which Art in Venice begins to trick herself out in meretricious -embellishments, should have been regarded as a seemly decoration for -the refectory of a convent. An additional but frankly worldly interest -is imparted to the work by the introduction of a portrait of Alfonso -d’Avalos (whose portrait by Titian we have already seen) as the -bridegroom, on the extreme left of the composition; to his left is the -bride, with the features of Eleonora of Austria. The other figures -include François I., dressed in blue and wearing a curious headdress; -Mary of England, sister of Henry VIII. and widow of Louis XII., in -yellow; the Sultan Soliman, in green, at the side of a negro prince -who addresses a servant. On the left of the next figure sits Vittoria -Colonna, whom Michelangelo described as “a man within a woman,” plying -her toothpick! At the end of the table, speaking to a servant, is the -Emperor Charles V., seen in profile and wearing the Order of the Golden -Fleece. The introduction of the fool with the bells in the centre of -the picture is perhaps intended to express the pomp and pleasure of -the world pursued without thought of Christ, who, however, occupies -the place of honour in the centre of the composition. The couple of -dogs in leash, one gnawing a bone, and a cat, lying on her back as she -scratches at one of the vases which hold the wine on the right of the -composition, may stand for merely brutal nature. - -The painter’s personal interest in the scene is depicted in the group -of four artists in the foreground. Paolo himself is playing a viol; -just behind him is Tintoretto with a similar instrument; while on the -right are Titian, in red with a bass viol, and Bassano playing the -flute. The theory put forward by Mr. Herbert Cook that Titian was born -as late as 1489, and so would be seventy-four years old in 1562-63, -the year in which this picture was painted, certainly seems to find -corroboration in the features here given to Titian by Paolo Veronese. -He certainly does not look eighty-seven years of age, as he should do -if he had been born as early as 1476. - -In the Catalogue sixteen pictures are assigned to Paolo Veronese. The -_Portrait of a Lady and a Child playing with a Dog_ (No. 1199) is an -early work. The _Disciples at Emmaus_ (No. 1196), which is signed -“PAOLO VERONESE,” is another of the master’s imposing canvases, as -also is the _Feast in the House of Simon the Pharisee_ (No. 1193), -which was presented to Louis XIV. by the Venetian Republic in 1665, and -was for many years hung at Versailles. This artist is also officially -credited with the _Burning of Sodom_ (No. 1187), a _Holy Family, with -St. George, St. Catherine, and a Male Donor_ (No. 1190), a _Holy -Family, with St. Elizabeth and St. Mary Magdalene, and a Female Donor_ -(No. 1191), a _Christ heeding Peter’s Wife’s Mother_ (No. 1191A), a -_Christ fainting under the weight of the Cross_ (No. 1194), a _Calvary_ -(No. 1195), and an _Esther fainting before Ahasuerus_ (No. 1189). -The _Susan and the Elders_ (No. 1188) is a replica of a picture in -the collection of the Duke of Devonshire. The _St. Mark crowning the -Theological Virtues_ (No. 1197), and the _Jupiter hurling Thunderbolts -on Criminals_ (No. 1198), were originally executed as ceiling paintings -for the Doge’s Palace. The _Christ with the Terrestrial Globe_ (No. -1200) and the _Portrait of a Lady in Black_ (No. 1201) are only studio -pictures. - -Little artistic ability is shown in the empty abstractions, and -at times meaningless productions, of many of the late sixteenth, -seventeenth, and eighteenth century Venetian artists. Felice Riccio -(Il Brusasorci the Younger) (1540-1605) is given as the painter of a -_Holy Family_ (No. 1463); Alessandro Turchi (Orbetto) (1582-1648) of -three pictures (Nos. 1558-1560); Sebastiano Ricci (1659?-1734) of four -compositions (Nos. 1458-1461); Antonio Pellegrino (1675-1741) of an -_Allegory_ (No. 1413); Alessandro Varotari (1590-1650) of an utterly -uninspired _Venus and Cupid_ (No. 1574); and Pietro della Vecchia -(1605-1678) of a dull _Portrait of a Man_ (No. 1576). - -A century later than the stupendous achievements of Tintoretto and -Veronese the art of Venice had passed into decline, but a glimmer of -the genius that had found expression in the gorgeously decorative art -in Venice in the sixteenth century was yet to be reflected in the work -of Giovanni Battista Tiepolo (1692-1769). His _Last Supper_ (No. 1547) -was purchased for £400 in 1877, and his sketch for the _Triumph of -Religion_ (No. 1549A) for £1200 in 1903. By him also is the _Banner_ -(No. 1549), depicting on the one side _St. Martin saying Mass_, and on -the other _The Madonna and Child_. An _Apparition of the Virgin to St. -Jerome_ (No. 1548) is one of the less striking pictures in the La Caze -collection. - -Another decorative painter was Antonio Canale, generally known as -Canaletto (1697-1768), who is well represented in the _View of the -Church of Santa Maria della Salute and the Grand Canal_ (No. 1203). The -Louvre appears to contain nothing by Bernardo Bellotto (1720-1780), -who is sometimes referred to as Canaletto, and is seen to the best -advantage at Dresden. - -Canaletto’s pupil, Francesco Guardi (1712-1793), who was born of -Austrian parentage, is the painter of seven Venetian scenes: _After -wedding the Adriatic, the Doge embarks at the Lido on the “Bucentaur”_ -(No. 1328); _The Doge proceeds to S. Maria della Salute to commemorate -the Preservation of Venice from the Plague in 1630_ (No. 1329); _Fête -du Jeudi Gras in the Piazzetta_ (No. 1330); _The Procession of Corpus -Domini in the Piazza of S. Marco_ (No. 1331); _The Visit of the Doge to -the Church of S. Zaccharia on Easter Day_ (No. 1332); _The Doge seated -on his Throne in the Sala del Collegio_ (No. 1333); _Coronation of the -Doge_ (No. 1334); and a _View of the Church of S. Maria della Salute_ -(No. 1335). Guardi’s pupil, François Casanova (1739-1805), a painter of -battle-pieces, worked in France; some of his pictures are hung in the -French Rooms. - -With Guardi we close the chapter of Venetian art which, owing to four -centuries of high aspiration and magnificent achievement, came to an -end later than the art of any other school of painting in Italy. - - - - - THE PADUAN SCHOOL - - -Far-reaching influences were to be exerted by classical Padua on the -art of the neighbouring cities of Northern Italy. Padua was a city of -great antiquity, and had been sufficiently powerful and prosperous -even in Roman times to excite the cupidity of its enemies. Eventually -the Goths and other barbarian hordes had destroyed its monuments of -the Roman age; the spirit of antiquity, nevertheless, survived until -Giotto came at the very beginning of the fourteenth century to decorate -the walls of the Chapel of the Madonna dell’ Arena, which had been -founded in 1303 by Enrico Scrovegno on the site of an ancient Roman -arena. These very precious frescoes by Giotto, which fortunately are -still preserved, revolutionised art, and the movement initiated by him -quickened the art-life of this University city. - -Half a century later, Altichiero Altichieri (fl. 1320-1385) developed -his art under the influence of Giotto, and beautified the churches -of Padua with frescoes, the figures in which he clothed in fanciful -attire. An art movement was now on foot, and the influence of -Altichieri, who was later to become the founder of the school of -Verona, was to be revealed in the work of his follower Pisanello, the -Veronese painter and medallist. - -The long residence in Padua of Donatello (1386-1466), the great -Florentine sculptor, and the erection of his famous equestrian statue -of Gattamelata initiated in Padua the Renaissance movement, which -soon took deep root in this ancient city. The example of Donatello in -sculpture before long brought about the foundation of a local school -of painting which was rapidly developed through the shrewd commonsense -rather than the artistic achievements of Francesco Squarcione -(1394-1474). It is noteworthy that Squarcione had travelled in the -East, and had there formed a collection of antique works of plastic art -which became the basis of his art-teaching. - -One of the numerous pupils of Squarcione was Gregorio Schiavone (“The -Slavonian”) (fl. 1440-1470), a native of Dalmatia, who in the studio -of his Paduan master met Andrea Mantegna. The Louvre authorities with -some hesitancy attribute to Schiavone a _Madonna and Child_ (No. 1523). -Although it is hardly by him, it exhibits some of the characteristics -of Schiavone, who was fond of decorating his pictures with festoons of -flowers and fruit in much the same way that his Venetian contemporary, -Carlo Crivelli, delighted to adorn his large panel pictures. - - - ANDREA MANTEGNA - -Andrea Mantegna (1431-1506) was adopted at the age of ten by -Squarcione, and so naturally became his pupil. No better training -could have been chosen for the boy, who had a natural taste for the -classics, proof of which is further afforded by the Latin inscriptions -on his pictures. Andrea seems to have quickly realised the connection -between the traditions of Paduan antiquities and the classical models -of ancient Greece which his adoptive father Squarcione had brought home -with him from his travels. Andrea in time became deeply impressed with -the methods of Jacopo Bellini, whose daughter Niccolosia he married -in 1453, to the great displeasure of Squarcione. Another powerful -influence on Mantegna may be traced to the bronzes which Donatello -executed for the Church of Sant’ Antonio of Padua in that city. - - [Illustration: - PLATE XIV.—ANDREA MANTEGNA - - (1431-1506) - - PADUAN SCHOOL - - No. 1375.—PARNASSUS - - (Le Parnasse) - - On the summit of an arched rock stand Mars and Venus before a - draped bed backed by orange trees. To the left is Cupid, while - Vulcan stands before his forge. Below, to the extreme left, Apollo - plays his lyre to the strains of which the Muses dance. To the - right Mercury, wearing the _petasus_ and _talaria_ and carrying the - _caduceus_, leans against Pegasus. Landscape background. - - Painted in tempera on canvas. - - 5 ft. 3 in. × 6 ft. 3½ in. (1·60 × 1·92.)] - -After painting the frescoes in the Church of the Eremitani at -Padua, Andrea in 1457 executed a large and striking altarpiece for -the Church of San Zeno in Verona. It was removed by Napoleon’s agents -to France in 1797, but only the principal panel was returned to that -church in 1815. The three predella panels were retained in France. The -centre one of these, depicting the _Calvary_, is now in the Louvre (No. -1373); the other two, representing the _Agony in the Garden_ and the -_Resurrection_, have long hung in the Museum at Tours. The severity of -the statuesque figures and the certainty of the drawing seen in the -_Calvary_ are characteristic of the early period of the master. - -Mantegna now removed to Mantua, where he entered the service of -Lodovico II., Marquis of Mantua, as his Court Painter, remaining -there for the rest of his life. The _Madonna of Victory_ (No. 1374) -was painted to commemorate the victory gained at the Pass of Fornovo -on the Taro on July 6, 1495, by Giovanni Francesco III., Marquis of -Mantua, over Charles VIII. of France. In the centre of the picture the -Madonna and Child are enthroned. On the left kneels the Marquis, and -on the right is St. Elizabeth, the patron saint of Gonzaga’s wife, -Isabella d’Este, “at the sound of whose name all the Muses rise and do -reverence.” St. Michael standing behind the Duke, and St. George behind -St. Elizabeth, hold the robe of the Madonna, who is thus represented -as taking under her protection the two principal figures. In the -background on the left is St. Andrew, name-saint of the painter and one -of the patrons of Mantua. On the right is St. Longinus with the spear -with which he pierced the side of Christ. His relics were preserved -in the Church of St. Andrea in Mantua. The garlands of flowers and -festoons of fruit are a well-known device in Mantegna’s pictures. - -Mantegna’s _Parnassus_ (No. 1375, Plate XIV.) illustrates the _amours_ -of Mars and Venus, which were discovered by her husband, Vulcan. In -the foreground the Muses are dancing. The group of the Muses was -afterwards appropriated by Giulio Romano for his _Dance of Apollo -and the Muses_ in the Pitti Palace at Florence. This painting was -executed in 1497, just before the coming of the Renaissance feeling -into Venetian art and the representation of classical myth. Notice the -excellently drawn and highly characteristic shells and stones placed -in the foreground. In the same year Mantegna painted the _Triumph of -Wisdom and Virtue over the Vices_ (No. 1376), the last of the four -pictures by him in this Gallery. In the corner to the extreme left is -Virtus Deserta, who appears under the guise of a laurel tree with a -woman’s head; about the stem is wound a scroll with inscriptions in -Latin, Greek, and Hebrew. The Latin inscription reads: - - AGITE PELLITE SEDIBUS NOSTRIS - FAEDA HAEC VICIORV̄ MONSTRA - VIRTUTVM COELITVS AD NOS REDEV̄TIVM - -and on the inside of the scroll: - - DIVAE COMITES. - -This painting formerly decorated the _camerino_ of Isabella d’Este at -Mantua. It was seized at the sack of Mantua by Cardinal Richelieu in -1630, together with the _Parnassus_ (No. 1375), Perugino’s _Combat of -Love and Chastity_ (No. 1567), and Lorenzo Costa’s _Court of Isabella -d’Este_ (No. 1261). _The Mythological Scene_ (No. 1262), which is not -now exhibited, represents the _Realm of Erotic Love_; it was begun by -Mantegna the year he died, and was gone over and completed by Lorenzo -Costa. - -Mantegna became involved financially towards the end of his life, and -the collection he had formed was sold. His last years were clouded by -pecuniary embarrassment. His compositions are essentially classic in -spirit, his figures noble and painted in imitation of the antique, -while his pagan conceptions prepared the way for those of a later -generation in the art of Venice. By this process of gradual evolution -the school of Padua came to be distinguished among the other local -schools of Northern Italy in the lifetime of Mantegna, whose example -gave a new impulse to contemporary art. - -A small _Adoration of the Magi_ (No. 1678), which is officially -unattributed, is regarded by Mr. Berenson as the work of Bernardo -Parenzano (1437-1531), who was influenced by Mantegna, and imitated the -methods of his contemporaries. - -Many other artists bore their part in the work of this school, and -so contributed to the development of this movement which spread to -Veronese and Venetian territory. They are, however, unrepresented in -the Louvre. - - - - - THE SCHOOL OF VERONA - - -The foundations of the art of Verona were laid in Paduan soil by -Altichieri, who initiated the school of Verona. Veronese art early -found expression in the naive pictorial and mediæval style practised -by the medallist-painter Antonio Pisanello (1397-1455), whose name -appears to have been an endearing diminutive. He was a follower, if -not a pupil, of Altichieri. The frequency with which he signed himself -“PICTOR” on his medals leads one to suppose that he looked upon himself -as a painter first and foremost, and contemporary records seem to -confirm this. His art was so highly reputed in Northern Italy that -the Venetians thought it advisable to invite him to Venice in 1421 to -assist Gentile da Fabriano in painting frescoes, now destroyed, in the -Doge’s Palace. - -Jacopo Bellini also worked at Verona. He is known to have painted -a picture of the _Crucifixion_ for the Chapel of S. Niccolò in the -Cathedral at Verona in 1436, but, after exercising considerable -influence on the art of Northern Italy, it was in 1759 hewn down by a -Canon with a view to beautifying the chapel! - -Unfortunately, there are only two frescoes from the hand of Pisanello -at Verona, while no more than four authentic easel paintings by him -are known to exist, two of them being in the National Gallery. He is -known to have travelled extensively in Italy, and to have worked also -at Mantua, Ferrara, and Rimini. The traditions of mediæval chivalry and -the pictorial parade of pomp and mundane realism which are reflected in -his work show that his contemporaries were justified in the high esteem -in which they held him. - -Pisanello’s love of depicting birds and animals is shown in his two -pictures in the National Gallery, but in the _Portrait of a Princess -of the Este Family_ (No. 1422A, or No. 1422 _Bis_) he is shown to have -been a lover of flowers also. This small panel was formerly attributed -to Piero dei Franceschi, the Umbrian artist. For many years it hung -among the Drawings, being apparently considered unworthy of a place in -its proper environment, among the Italian primitive paintings, where -it is now hung. It was purchased in 1893 out of the Felix Bamberg -collection. The lady is seen in profile to the left. Her hair is -dressed according to the fashion of the period, the front hair being -plucked out to render the forehead round and high, while the nape of -her neck for the same reason is hairless. She wears a white dress -with loose-falling red sleeves; a sprig of juniper (_ginevra_) is let -into her dress just above the left shoulder. It has been assumed from -this that we here have a _Portrait of Ginevra d’Este_. She was the -daughter of Niccolò II. d’Este by his second wife, the infamous and -ill-treated Parisina Malatesta, who was decapitated in 1425. Ginevra -(1419-1440) became the wife of Sigismondo Malatesta, Lord of Rimini, in -1433, and died three years later. The background is composed of pinks -and columbines, among which fly four highly decorative butterflies. -The embroidery on the left sleeve of the dress is patterned with the -_impresa_ of a crystal vase set round with pearls. It is interesting -to note that Ginevra’s husband, Sigismondo, is probably the Donor in -the _Madonna and Child and a Kneeling Donor_ (No. 1159A or No. 1279) -by Jacopo Bellini which hangs next to it on the left. The only other -painted portrait by Pisanello known is the later, and larger, one of -Leonello d’Este in the Bergamo Gallery. - -Bono da Ferrara (fl. 1450-1461) was a pupil of Pisanello, and Oriolo -(fl. 1450) was a follower of his; their pictures are extremely rare. -The Louvre contains no picture by Liberale da Verona (1451-1536), -a master who had many pupils, among whom may be included Girolamo -dai Libri (1474-1556) and Francesco Caroto (1470-1546). The _Madonna -and Child and St. John the Baptist_ (No. 1318), which is officially -catalogued under the name of Girolamo, has long been held to be by -Caroto. - -Domenico Brusasorci (“The Rat-burner”) (1494-1567) was the father of -Felice Riccio and a pupil of Caroto. He has been claimed as the author -of the _Madonna and St. Martina_ (No. 1163), which passes in the -Catalogue as being by the very late Roman painter Pietro Berretini da -Cortona (1596-1669). Other versions of this composition, representing -St. Martina triumphing over the Idols, are known. A large number of the -prominent Veronese painters are unrepresented in this collection, but -the influence of Liberale is frequently seen. The _Council of Trent_ -(No. 1586) may be assigned to Paolo Farinati, although it is regarded -by the authorities as coming from the hand of Titian. By the time that -Farinati died, art in Verona had passed into decline. - -One of the most decorative painters in Italy in the sixteenth century -was Paolo Veronese, who although a native of Verona spent the best -years of his life in Venice. He is usually included among the artists -of Venice. - - - - - THE SCHOOL OF FERRARA - - -According to tradition the most famous artist in the school of Ferrara -before Tura was Ettore de’ Bonacossi, of whom little is known. - -At Ferrara, the city of the Este family, as at all the Italian courts, -the art of painting was liberally patronised. All Ferrarese art was -more or less Paduan both in origin and style, Cosimo Tura (1430?-1495), -the founder of this school, having worked at Padua as a pupil of -Squarcione. - -The seriousness of Cosimo Tura’s realism was unyielding to those -intellectual qualities that dominated the art of Florence in his -day; but, in spite of a certain harshness of effect, the vigour of -his design and the dignity of his conception give permanent value to -the work of this master. Tura is represented in the Louvre by two -pictures; the figures seen in his large lunette of the _Pietà_ (No. -1556) are admirably designed to fill up the space they occupy. This -panel is a dismembered part of an altarpiece which was painted for -the Roverella family, and was formerly in its entirety in the Church -of S. Giorgio fuori le Mura at Ferrara. The _Pietà_ eventually passed -to the Campana collection, and so to the Louvre. The drapery in this -panel, which is cracked horizontally, is tinny, and the flesh is -metallic with its white and purple lights, while the bones in the -faces being over-prominent create an unpleasant effect. The centre -panel of the original altarpiece represents the _Madonna and Child -Enthroned_. It passed in time into the Frizzoni collection at Bergamo, -and was subsequently purchased in 1867 from Sir Charles Eastlake for -the National Gallery (No. 772). The sinister wing of the original -altarpiece depicts the _Bishop Lorenzo Roverella presented to the -Virgin by St. Maurelius and St. Paul_, and is now in the private rooms -of the Colonna Palace in Rome. - -The Church of S. Giorgio fuori le Mura at Ferrara also at one time -contained another altarpiece painted by Cosimo Tura. It was placed -over the altar of St. Maurelius, but has long ago been dismembered. -One of its panels is the _Flight into Egypt_, in the collection of -Mr. R. H. Benson; two others, representing a _Scene from the Life -of St. Maurelius_ and _The Martyrdom of St. Maurelius_, are in the -Ferrara Gallery; another is the _Adoration of the Magi_, in the -possession of the Contessa di Santa Fiora, in Rome; while a fifth, the -_Circumcision_, belongs to the Marchesa Passeri, in Rome. - -The Louvre possesses an arched panel of _A Monk_ (No. 1557) by Tura. -The panel is split and the cheek of the saint injured. - -The seriousness of purpose which inspired Cosimo Tura was absorbed by -his pupil Francesco Cossa (1435-1477), whose art is not seen at the -Louvre. One of Cossa’s pupils was Lorenzo Costa, who in 1483 passed -from Ferrara to Bologna, to which city he carried the principles of -Tura’s training. Francesco Bianchi (1460-1510) was another of Tura’s -pupils, but he belongs more strictly to the school of Modena. Another -pupil in the studio of the _chef d’ecole_ of Ferrarese painting was -Ercole Roberti (1430?-1496), who also worked at Padua. This painter, -whose full name was Ercole de’ Roberti Grandi, has been justly claimed -as the author of the two small panels representing _St. Apollonia_ (No. -1677A), holding in her hand the pincers, the symbol of her martyrdom, -and _St. Michael_ (No. 1677B). These companion pictures are officially -described under the ambiguous designation of “Ferrarese School, XVI -century.” They, however, clearly belong to the earlier century, and are -probably by Roberti. - -The Louvre contains nothing by Ercole Roberti’s pupil, Ercole di Giulio -Cesare Grandi (1465?-1531). Ercole Grandi’s influence is sometimes seen -in the exceedingly rare pictures of Giovanni Battista Benvenuto, who is -better known under the name of Ortolano (“the gardener”), and takes his -name from the occupation of his father. The art of Ortolano (1460-1529) -is seen to the greatest advantage in the _St. Sebastian, St. Roch, and -St. Demetrius_, in the National Gallery (No. 669). An immature work by -him is apparently the _Nativity_ in this Gallery (No. 1401), which in -the opinion of the compilers of the Catalogue is by Domenico Panetti -(1450?-1512?), a pupil of Lorenzo Costa. Panetti’s works are rarely met -with out of Italy. - -Among the pictures of this school, those of Lodovico Mazzolino -(1478?-1528) are perhaps the easiest to recognise. His _Holy Family_ -(No. 1387) is not now exhibited, but the _Christ preaching to the -Multitude on the Sea of Galilee_ (No. 1388) is evidently by him, -although it has been ranked by one critic as a Flemish picture painted -under the inspiration of Mazzolino and Dosso Dossi. - -Panetti was the master of Benvenuto Tisi, a very prolific painter who -is better known by the name of Garofalo (1481?-1559), owing to his -occasionally painting a gillyflower into his pictures as a signature. -Although the Catalogue includes four small works by this artist, a -_Circumcision_ (No. 1550), a _Holy Family_ (No. 1552), a _Madonna and -Child_ (No. 1554), and a _Sleeping Child Jesus_ (No. 1553), only the -last of them is now exhibited. - -Another artist in this school who signed his pictures with a _rebus_ -was Giovanni Lutero (1479?-1542), who is better known under the name -of Dosso Dossi. A typical instance of this punning use of his name is -the _Money Changers driven out of the Temple_, in the Doria Gallery at -Rome; it is signed with a “D” traversed by a bone (_osso_), obviously -a play on his name of Dosso or D OSSO. No picture by Dosso Dossi is now -exhibited. - -Francesco Bonsignori (1455-1519), Marco Zoppo (fl. 1471-1498), Michele -Coltellini (1480-1542), Ippolito Scarsellino (1551-1620), Girolamo -da Carpi, and other Ferrarese painters are unrepresented in this -collection. - - - - - THE SCHOOL OF MILAN - - -The painters who practised in Milan in the fourteenth century were -little better than provincial craftsmen who had come within the range -of the Giottesque tradition without grasping the more vital of its -principles. Those who worked in Milanese territory in the first half of -the fifteenth century acquired some of the reflected influences which -passed from the work of Pisanello and Jacopo Bellini in Verona, and -from the more striking achievements of the Paduan and early Venetian -schools, but their work lacked all trace of originality. - -A painter of the name of Michelino Molinari da Besozzo (fl. 1394-1442), -or Michele da Pavia, was painting at Milan about 1420. However, -there cannot be said to have been a school of painting, but only an -aggregation of painters in Milanese territory, prior to the arrival at -Pavia and Milan of the Brescian-born master, Vicenzo Foppa, about 1458. -Previous to that important event, if not throughout the whole range of -its activity, Milanese art lacked the higher elements of genius in all -matters æsthetic. As a school it was to the end too inclined to mere -prettiness and superficial sweetness. - -The Umbrian-born architect and painter, Bramante (1444-1514), who had -received his education in Florence, painted in Lombardy from 1472-1474, -as his Panigarola frescoes now in the Brera testify. Bramante also -influenced Foppa, whose work is well defined and whose colouring is -subdued. - -Side by side with Foppa at the head of the Milanese school comes -Bernardino Butinone (fl. 1450-1507), a great deal of whose work may -still be seen at Milan. A _Madonna and Child_ (No. 1523), which is -doubtfully ascribed in the Catalogue to Gregorio Schiavone, a pupil of -Squarcione at Padua, may possibly be by Butinone, whose art is marked -by an austerity and dryness which are absent from the paintings of -Zenale, who was the partner and perhaps a pupil of Butinone. - -The _Circumcision, with the Portrait of the Donor_ (No. 1545), although -catalogued under the name of Bramantino, may be by Zenale (1436-1526). -This panel is inscribed “XL. ANNO 1491. F͞R] I͞A LAPUGNANVS P͞P HVMIL -CAN̄.” Bramantino (1455?-1536?), whose name was Bartolommeo Suardi, -came under the influence of Foppa and Bramante, and from the latter -acquired his _sobriquet_. - -The pictures of Borgognone (1455?-1522?) are easily recognised -by the ashen grey pallor of his faces, relieved occasionally by -eyelids reddened by grief. He was a prolific painter of religious -pictures which show simple pathos. With the possible exception of -the _Family Portraits_ in the National Gallery (Nos. 779-780), which -are indeed fragments of a standard, and may have been painted by -Zenale, Borgognone, whose name was Ambrogio da Fossano, is not known -to have painted a secular subject. This typical Milanese painter -was another of the pupils of Foppa. Being an architect as well as a -painter, Borgognone delighted in giving an architectural setting to -his compositions. He also loved to introduce brightly coloured carpets -and draperies, and minutely painted jewellery into his pictures. These -characteristics are seen in his companion pictures of _St. Peter Martyr -and a Donoress_ (No. 1182), and _St. Augustine and a kneeling Donor_ -(No. 1182A). The latter of this pair of panels of his early period was -purchased from Lord Aldenham in 1899 for 1000 guineas. They originally -formed part of a dismembered altarpiece, the centre panel of which is -now lost or unidentified. His _Presentation of Christ in the Temple_ -(No. 1181), although originally painted on panel, was transferred to -canvas in 1885. Borgognone might almost be termed the Perugino of the -Milanese school. - - - ANDREA SOLARIO - -Andrea Solario (1460?-1515?), who was perhaps the pupil of his brother -Cristoforo a sculptor and architect, went with him to Venice in 1490 -and remained there at least three years. During this time he came under -the influence of Alvise Vivarini and Giovanni Bellini. Earlier in his -career he was impressed by the pictures of Antonello da Messina, who -was in Venice and Milan in 1475-1476. Solario can hardly have become -Antonello’s pupil at that early age. He must also have come within the -sphere of Leonardo da Vinci’s influence. Leonardo, who worked in Milan -between 1482 and 1500 and from 1506 to 1513, was asked by the Cardinal -George of Amboise to decorate a chapel in the Château at Gaillon in -Normandy. He, however, advised the Cardinal to employ Solario. Solario -in consequence went to France in August 1507 to undertake the work. -The Louvre is rich in his pictures. His charming _Madonna of the Green -Cushion_ (No. 1530) is inscribed: - - _Andreas de Solario fa._ - -This small panel was once the property of Marie de Médicis. The -_Crucifixion_ (No. 1532) was formerly catalogued under the name of -Andrea de Milan, which led some to confuse Andrea Solario with the much -less efficient painter, Andrea Salaino. This picture is inscribed: - - ANDREAS MEDIOLANENSIS FA 1503, - -a form of signature which is said to have been employed by Solario only -for such of his pictures as were destined for other towns than Milan. -The _Head of St. John the Baptist on a Charger_ (No. 1533) is said to -be signed and dated - - ANDREAS DE SOLARIO, FAT, 1507. - -The _Portrait of Charles d’Amboise, Seigneur of Chaumont and Governor -of Milan_ (No. 1531), like many other of Solario’s pictures, has in -the past, when the range of his art was not so well understood, been -attributed to other artists. - - - BERNARDINO LUINI - -In Bernardino Luini (1475?-1533?) we have a lyrical artist. He is said -to have been a pupil of one Stefano Scotto, but he was deeply impressed -by the art of Borgognone, and early in the sixteenth century came under -the influence of Leonardo. Indeed, it was almost impossible at that -period of Milanese art for a painter in that school to resist the style -of Leonardo. Although Luini’s works are reminiscent of the greater -master, he strove after originality; he was an industrious painter -rather than an artist of genius. Luini is never very emotional, never -passionate, never dramatic. His figures are characterised by sweetness -and grace; his types are refined but insipid and are apt to become -monotonous. It is as a painter of frescoes that he succeeds best, and -the Louvre is fortunate in possessing several of his works in that -medium. The best are a _Nativity_ (No. 1359), and an _Adoration of the -Magi_ (No. 1360). The _Head of Christ_ (No. 1361) is inscribed: - - POSCE NE DUBITA QUOD - QUODCV̄ PATRI IN NOMINE MEᵒ - PETIERIS FIET TIBI. - -They were acquired in 1867 from the collection of the Duke Antonio -Litta Visconti Arese, of Milan. The Louvre also contains fragments of -large fresco paintings of the _Forge of Vulcan_ (No. 1356), a _Child -Seated_ (No. 1357), and a _Child Kneeling_ (No. 1358). They form part -of the series, which is now preserved in Milan, but formerly decorated -the Villa Pelucca near Monza; they were removed from there in 1817. -These three fragments have been transferred from plaster to canvas or -panel. The four frescoes (Nos. 1362-1365) are by a pupil. The art of -Luini as a painter on panel is seen to advantage in the _Holy Family_ -(No. 1353), the _Virgin and the Infant Christ_ (No. 1354), and _Salome -receiving the Head of St. John the Baptist_ (No. 1355). - -The arrival of Leonardo da Vinci, when little over thirty years of age, -at the court of Lodovico Sforza at Milan revolutionised art in that -city. The exquisite rhythm and balance and the remarkable gestures and -facial expression seen in his _Last Supper_ must have made a profound -impression on all the Milanese, people and painters alike. Not having -been educated in the profound principles that gradually built up the -school of Florence, whence the great painter came, the majority of the -native artists were so overcome by his power that in time they became -enslaved by the magic of his brush. - -Ambrogio da Predis (1455?-1506?), who worked as Leonardo’s assistant -on the National Gallery’s replica of the _Virgin of the Rocks_ in this -collection (No. 1599), is not represented here. Another assistant -and pupil of Leonardo was Bernardino de’ Conti. As we have seen, he -may be the painter of the _Profile Portrait of a Lady_—or _La Belle -Ferronnière_ (No. 1605)—which is officially regarded as being of the -“School of Leonardo.” A similar attribution is also given to the -_Madonna of the Scales_ (No. 1604), which should rather be assigned -to Cesare da Sesto (1477-1523), a sickly and insipid imitator of -the master. Another of Leonardo’s imitators was Marco d’Oggiono -(1470?-1540). His copy of Leonardo’s _Last Supper_ (No. 1603) is -perhaps of greater interest than his own _Holy Family_ (No. 1382) and -_Madonna and Child_ (No. 1382A). - -One of the more original of the imitators of Leonardo was Boltraffio -(1467-1516), whose _Madonna of the Casio Family_ (No. 1169) was -formerly in the Milan Gallery, where any picture containing a portrait -of that poet might reasonably have been expected to remain. This -picture is the painter’s masterpiece. - - - - - THE SCHOOL OF LOMBARDY - - -After the activity which had prevailed in Milan during the last half of -the fifteenth century and the first quarter of the sixteenth century, -art in Lombardy rapidly deteriorated. Before the decline had passed -into decadence Pier Francesco Sacchi (fl. 1512-1527) painted at Pavia -his _Four Doctors of the Church_ (No. 1488), which is signed in the -cartouche - - PETRI FRANCISCI - SACHI DE PAPIA - OPUS 1516. - -Each of the Doctors duplicates the part of an Evangelist. On the left -St. Augustine, with his book inscribed “De Civitate Dei,” is also shown -as St. John with his eagle; St. Gregory, with his dove, is also St. -Luke with his bull; St. Jerome, with his cardinal’s hat, is also St. -Matthew with his angel; while St. Ambrose, with his scourge, is also -St. Mark with his lion. The scourge held by St. Ambrose, a patron saint -of Milan, alludes to his refusing the Emperor Theodosius admittance -into the church at Milan in consequence of the general massacre he -ordered with a view to subduing a sedition at Thessalonica in A.D. 390. - -Another early-sixteenth-century Pavian painter was Bartolommeo Bononi, -whose only known picture is the _Madonna and Child, St. Francis, a -Bishop, and a Monk_ (No. 1174). It is signed - - OPUS BARTOLOMEI BONONII CIVIS PAPIENSIS 1501. - -on the stump of the tree in the centre foreground. - -A striking, although mediocre, _Family of the Virgin_ (No. 1284) by -Lorenzo de’ Fasoli, who is also known as Lorenzo di Pavia, and who died -about 1520, illustrates the tradition that St. Anne, the mother of the -Virgin Mary, was three times married, Joachim being her third husband; -the other two were Cleophas and Salome. This composition of seventeen -figures is signed - - LAURENTIVS PAPIEN FECIT MDXIII, - -and is one of the latest examples of this tradition, which about 1520 -passed out of art. - -A large Triptych (No. 1384), signed - - JOH̄NES MAZONVS - DE ALEXĀ PINXIT, - -is by Giovanni Massone, who worked at Alessandria in the second half -of the fifteenth century; it contains the portraits of Pope Sixtus IV. -with St. Francis of Assisi and Cardinal Giuliano della Rovere under -the protection of St. Anthony of Padua. Cardinal Giuliano della Rovere -was Bishop of Savona about 1483; he was in 1503 elected Pope under the -title of Julius II., and became the patron of Raphael. - -The remaining pictures of this school are of little account. Bernardino -Campi (1522-1592?) is represented by a _Mater Dolorosa_ (No. 1202); and -Bartolommeo Manfredi (1580?-1617) by a _Fortune Teller_ (No. 1368), a -subject which demonstrates the Decadence in full operation. Giovanni -Paolo Panini (1695-1764), who came to Paris in 1732 and became an -Academician, seems to have got some satisfaction out of committing to -canvas a _Concert given at Rome on Dec. 26, 1729, in Honour of the -Birth of the Dauphin, the son of Louis XV._ (No. 1409) and a large -_Interior of St. Peter’s at Rome_ (No. 1408), the latter being signed -and dated 1730. - - - - - THE SCHOOL OF FERRARA-BOLOGNA - - -The city of Bologna was visited in 1268 by Oderigi of Gubbio (fl. -1268-1295), who had the benefit of personal intercourse with Giotto in -Rome. Bologna produced a skilled miniature painter in Franco Bolognese -in the fourteenth century, but gave birth to few native painters -of merit. Until Francesco Cossa removed from Ferrara to Bologna in -1470, art in the City of the Colonnades was in an undeveloped state. -The school of Bologna, which may be considered as an offshoot of the -Ferrarese school, was further strengthened by the arrival of Lorenzo -Costa. - -Lorenzo Costa (1460-1535), who had been a pupil of Francesco Cossa at -Ferrara, worked for the Bentivogli family in Bologna until 1509. In -that year he was induced to fix his abode in Mantua at the instance of -the Marquis Francesco Gonzaga and his wife Isabella d’Este, whose court -painter, Andrea Mantegna, had died three years earlier. Costa there -painted about 1510 his _Court of Isabella d’Este in the Garden of the -Muses_ (No. 1261), which is signed - - L. COSTA F. - -This famous canvas shows a weakness of drawing and a “want of force -that mars what is meant for grace.” Costa’s _Mythological Scene_ (No. -1262) is not now exhibited, but in it, as in the majority of his works, -the figures have no real existence. The heads are usually “screwed -on—not always at the proper angle—to crosspoles hung about with -clothes.” His landscapes, however, “without being in any sense serious -studies, are among the loveliest painted in his day.” - -Costa’s shortcomings were to dominate to the end the school of -Bologna, which was essentially, almost from its incipience, one of -Decadence. He became the first direct master of Francesco Francia -(1450-1517), the typical Renaissance painter in Bologna who seems to -have taken to painting at the relatively advanced age of thirty-five. -Francia had matriculated in the Goldsmiths’ Guild in 1482 and was -Master of the Guild in 1483, the year of Costa’s arrival; but until he -came under the influence of Costa he had worked only as an engraver of -_paci_ in niello-work, a die-sinker, and a medallist. They soon went -into partnership, the upper storey of their joint workshop being used -for the painting of pictures, while metal-work was executed below. -Francia is not seen to the best advantage in the Louvre. His _Christ -on the Cross_ (No. 1436) is somewhat unusual in treatment, as a nude -figure of St. Job, a plague saint, is painted in the foreground. This -large picture bears the characteristic signature - - FRANCIA AURIFABER, - -and shows his practice of demonstrating the versatility of his many -talents. The small _Nativity_ (No. 1435) is an authentic work. The -_Madonna and Child, with St. George, St. Sebastian, St. Francis, and -St. John the Baptist_ (No. 1436A), is known as the _Guastavillani -Madonna_ from the inscription to the effect that Filippo Guastavillani, -a Bolognese senator, ordered the picture of Francia. Nevertheless, -this large panel appears to have been executed by his son, Giacomo. -A _Madonna and Child_ (No. 1437) and a _Holy Family with St. Francis -d’Assisi_ (No. 1437A) are only by pupils. - -The Louvre contains no example of the work of the Umbrian artist, -Timoteo Viti (1467-1524), who was a pupil of Costa, and from July 1490 -to April 1495 worked in the studio of Francia. There are no other -sixteenth-century Bolognese paintings in this collection. - - - - - THE SCHOOL OF CREMONA - - -This small and unimportant school includes Boccaccio Boccaccino -(fl. 1460-1518?), who was formed on various Venetian and Milanese -influences. The _Holy Family_ (No. 1168) which is credited to him, but -not now exhibited, seems to be an unattributable panel by some artist -of the Lombard school. This school includes an early-sixteenth-century -imitator who has received the significant name of “Pseudo-Boccaccino,” -but is not here represented. - -The _Mater Dolorosa_ (No. 1202) appears to be by Bernardino Campi, -a mediocre sixteenth-century painter of the Lombard and Cremonese -schools. Sofonisba Anguissola (1528-1625), a female artist, was his -pupil and the wife of Orazio Lomellini. - - - - - THE SCHOOL OF BRESCIA - - -This small town seems to have produced little local talent previous to -the birth of Foppa. Ottaviano Prandino, who had worked with Altichiero -at Padua, and Bartolommeo Testorino (died about 1429) are little more -than names. - -Vincenzo Foppa (1427?-1516?) was born near Brescia. The theory that -he studied under Squarcione at Padua lacks confirmation. On the other -hand, he seems to have been little affected by the Squarcionesque -traditions, and is rather to be regarded as the artistic product of -the school of Verona, where he would have come under the influence -of Pisanello and Jacopo Bellini. He may have been a friend of Andrea -Mantegna. It is, however, not in Brescia, but in Milan that Foppa’s art -may be studied to-day. He arrived in Pavia about 1458, and became the -founder of the school of Milan twenty years before Leonardo first took -up his abode at the court of Lodovico Il Moro. - -Foppa’s pupil Vincenzo Civerchio (1470?-1544) and Floriano Ferramola -(1480-1528) were the joint founders of the school of Brescia; Romanino -(1485-1566) was a pupil of the latter. The Louvre is singularly poor -in its representation of this school, which cannot here be studied -earlier than the (so-called) _Portrait of Gaston de Foix_ (No. 1518) by -Giovanni Girolamo Savoldo (1480?-1548?). This canvas, which appears to -be signed - - _Opera di Jovanni Jeronimo di Bressia di Savoldi_, - -shows unmistakably the conflicting influences, mostly Venetian, under -which this artist worked. - -Moretto (1498?-1555?), who was a pupil of Ferramola and was influenced -by Savoldo and Romanino, produced large and striking altarpieces as -well as portraits. He met with some success in his attempts to combine -a subtlety of feeling peculiar to himself with the “silvery” tones of -which he was so fond. His _St. Bernardino of Siena and St. Louis of -Toulouse_ (No. 1175) and his _St. Bonaventura and St. Anthony of Padua_ -(No. 1176) are arched panels on a much smaller scale than he often uses. - -Moretto’s pupil, Giambattista Moroni (1525?-1578), painted many far -better portraits than that of _An Old Man seated_ (No. 1395). The only -other Brescian painting in this collection seems to be the _Portrait of -a Man_ (No. 1646), who is seen at half length, seated three-quarters to -the left and wearing a robe trimmed with fur. Although catalogued as -an unattributable Italian work, it is in our opinion by Calisto Piazza -of Lodi (fl. 1520-1560), the son of Martino Piazza of the Milanese -school. To Calisto da Lodi has been assigned the _Portrait of a Knight -of Malta_ (No. 1594) which is catalogued as being by Titian. - -The Louvre is very inferior to the National Gallery in both the quality -and quantity of pictures of this school. - - - - - THE SCHOOL OF MODENA - - -The city of Modena gave birth to the early painters Tommaso da Modena -(1325-1379) and Barnaba da Modena (fl. 1377), who worked in many -different parts of Tuscany. The prominent figure in this school, -however, is Francesco Bianchi (1460-1510). This painter, whose name is -sometimes given as Francesco Bianchi Ferrari, was in all probability -a pupil of Cosimo Tura at Ferrara. He left that city about 1480 for -Modena. His style of painting has been the subject of much discussion, -chiefly because he is regarded as the master of Correggio of Parma. -The _Madonna and Child, with St. Benedict and St. Quentin_ (No. 1167), -although officially catalogued under his name, is not now generally -accepted as his work. In 1725 it was in the Church of St. Quentin -at Parma and attributed to Francia. Certain critics have ascribed -it to Alessandro da Carpi and others to Pellegrino Munari of Modena -(1450?-1523). Bianchi’s work can only be studied in the Pinacoteca -Estense and in the churches at Modena. - -The three pictures officially catalogued under the name of the -third-rate artist Bartolommeo Schidone (1570?-1615) are not exhibited, -nor are they missed,—a remark which will also apply to a _St. Cecilia_ -(No. 1253) by Jacopo Cavedone (1577-1660). - - - - - THE SCHOOL OF VICENZA - - -The first Vicentine painter known to us is Battista da Vicenza (fl. -1450), but it was not until the last quarter of the fifteenth century -that Vicenza produced a painter of any note. Bartolommeo Montagna -(1460?-1523) studied the art of the Vivarini, and so became the central -figure in an unimportant school. His _Ecce Homo_ (No. 1393), which -bears the signature: - - _Bartholomeus Montagna - Fecit_ - -in a _cartellino_ fastened to a twig, is a mature work. The delightful -and late picture of _Three Angel Musicians_ (No. 1394), which is signed -in a _cartellino_ - - _Opus Bartholomei - Montagna_, - -shows the unmistakable influence of Gentile Bellini. The same motif is -found in the three musician angels in Montagna’s magnificent _Madonna -and Child, with St. Andrew, St. Monica, St. Ursula, and St. Sigismund_, -of 1498, in the Brera. - -Montagna’s son, Benedetto (fl. 1500-1540), Giovanni Buonconsiglio -(1470?-1536?), and Giovanni Speranza (1480-1536) also practised as -painters; but Vicentine art from the middle of the sixteenth century -has little claim on our attention. - - - - - THE SCHOOL OF VERCELLI - - -One of the earliest painters in this school was an obscure artist of -the Old Lombard school named Martino Spanzotti. He was the master of -Gaudenzio Ferrari (1471-1546), whose frescoes are easily recognisable -by the crude colour, exuberant imagination, and forceful, almost -brutal, realism which have caused him to be termed, somewhat loosely, -the Rubens of Italy. A very late work by him is the _St. Paul_ (No. -1285), which is signed and dated - - 1543 - GAUDENTIUS. - -Another of Spanzotti’s pupils was Sodoma, who was born at Vercelli in -Piedmont, in 1477. He is best known for the large amount of work that -he executed at Siena. This prolific artist, like a number of other -painters of this unimportant school, is not represented in the Louvre. -He died in 1551. - -A faint echo of the teaching of Spanzotti may at times be detected in -the works of Defendente Ferrari (fl. 1500-1535) and Girolamo Giovenone -(fl. 1513-1527), who are not represented in the Louvre. - - [Illustration: - PLATE XV.—CORREGGIO - - (1494-1534) - - SCHOOL OF PARMA - - No. 1117.—THE MYSTIC MARRIAGE OF ST. CATHERINE - - (Mariage mystique de Sainte Catherine) - - The Virgin, in a red tunic and blue mantle, is seated to the - left of the composition holding on her lap the Infant Christ. He - is about to place the wedding-ring on the third finger of the - outstretched right hand of the kneeling St. Catherine, who wears - a gold-brocaded robe. Behind her stands St. Sebastian, looking on - with interest and clasping in his hand the arrows, the symbol of - his martyrdom. In the landscape background are depicted scenes of - the martyrdom of the two Saints. - - Painted in oil on panel. - - 3 ft. 5½ in. × 3 ft. 4 in. (1·05 × 1·02.)] - - - - - THE SCHOOL OF PARMA - - -One of the most distinctive and perhaps the most sensuous of the -Italian masters is Correggio (1494-1534), who takes his name from his -birthplace, Il Correggio, a small town near Modena. It was natural, -therefore, that he should have become the pupil of Francesco Bianchi -of the school of Modena. Correggio came under almost all the leading -influences which distinguish the principal Italian schools of the -early sixteenth century. His “sidelong grace,” his subtle gradations -of tone, his daring foreshortening, his sublimity of space and light, -his vivid imagination, his profound knowledge of chiaroscuro, render -him an isolated phenomenon in Italian art at the moment when it was -passing into precipitate decline. His _Marriage of St. Catherine_ -(No. 1117, Plate XV.) entirely lacks the dignity and solemnity which -are the dominant features of truly religious art. The figures which -make up this fascinating composition are delicate, but by no means -of an elevated type. This pseudo-religious picture, when studied -together with the _Jupiter and Antiope_ (No. 1118), shows the justice -of the criticism that Correggio’s pictures are “hymns to the charm of -femininity the like of which have never been known before or since in -Christian Europe.” It is more remarkable that this mythological canvas, -which is so full of sensuous vitality, should have been added to the -royal collection of England in the seventeenth century than that it -should have been allowed by Cromwell to leave the country a few years -later. Two Allegories of _Virtue_ and _Vice_, executed by Correggio in -gouache, hang in one of the Rooms of Drawings. - -Parmigianino (1504-1540), an imitator of Correggio and in a less degree -of Raphael, who were both shortlived artists, painted the two small -panels of a _Holy Family_ (No. 1385), and a _Holy Family and Saints_ -(No. 1386). - - - - - THE SCHOOL OF BOLOGNA - - -After the deaths of Francia in 1517 and Lorenzo Costa in 1536, painting -in Bologna rapidly decreased in quality, although not in volume. A -distinctive feature was the work of Marc Antonio Raimondi (b. 1475), a -pupil of Francia, who developed the process of engraving on copper. - -Bologna, which like other cities of Italy felt the effects of humanism, -acquired an increased importance in political activity through the -meeting there of Pope Leo X. and Francis I., in 1515, and by the -Coronation of Charles V., on Feb. 24, 1530. It also obtained within -a few years a great reputation as an art centre, although it is not -easy for us now to realise why. The esteem in which its art was held -in foreign countries is also difficult to explain. Innocenzo da Imola, -who had studied under Francia, was the master of Primaticcio, who was -summoned to France by François I. in 1531. Primaticcio at that time -was working at Mantua with Giulio Romano, the favourite pupil and the -imitator of Raphael. While Primaticcio took with him the influence -of Bolognese art to Fontainebleau, where he died in 1570, Pellegrino -Tibaldi (1527-1591), a pupil of Bagnacavallo, carried the Bolognese -influence into Spain. - -The appreciation by a foreign artist of the art of Bologna is shown in -the case of Denis Calvaert of Antwerp, who thought the Bolognese school -to be in so flourishing a state, when he passed through on his way to -study in Rome, that he decided to abandon his original intention and to -stay on in the city of the Colonnades. - -A striking feature of the literature and art of painting at Bologna -was that its University had always accorded equal terms to women -students with men, and had women professors. Female painters—they were -without exception only of the third rank—had worked in Bologna from the -days of Caterina di Vigri, painter and saint, who was born as early -as 1413. In the last quarter of the sixteenth century, art in Bologna -passed into the complete control of the Eclectics. - - - - - THE DECADENT SCHOOLS - -In the Florentine and Roman schools the Decadence may be said to have -begun with the death of Raphael in 1520. With the exception of the -Venetian school, in which art did not languish until after the death -of Tintoretto in 1594, painting rapidly degenerated during the second -half of the sixteenth century. Paintings were, of course, produced in -great profusion in every art centre of Italy, but form and subject were -not in true harmony. To a great extent local traditions were abandoned, -the earlier types varied, and three distinctive movements developed—the -“Mannerists,” the “Eclectics,” and the “Naturalists.” - - - THE “MANNERISTS” - -Giulio Romano (1492?-1546) was content to imitate the works of Raphael; -and Daniele da Volterra (1509-1566) tried, as we have seen in his -_David overcoming Goliath_ (No. 1462), to reproduce the swelling -muscles of Michelangelo. Baroccio (1526-1612) in his _Circumcision_ -(No. 1149), which is signed and dated 1570, and in his _Virgin in -Glory, with St. Anthony and St. Lucy_ (No. 1150), sought to reproduce -the ineffable grace of Correggio; while others endeavoured to -repeat the enigmatic smile, the “greyhound” eye, and the mysterious -chiaroscuro of Leonardo da Vinci. - -Although the “Mannerists” were to be met with in most of the centres of -painting in the sixteenth century, they made Rome the centre of their -operations. Domenico Feti (1589-1624) is represented in the Louvre by -four canvases, _Nero_ (No. 1286), _Life in the Country_ (No. 1287), -_Melancholy_ (No. 1288), and _The Guardian Angel_ (No. 1289), the -subjects being highly significant. - -In the _Holy Family_ (No. 1493) by Sassoferrato (1605-1685) are shown -the shallowness and empty formalism which produced the fair-haired, -blue-eyed, hyper-sentimental _Madonnas_ with which his name is -associated. Carlo Dolci is not represented in the Louvre. - -One of the more estimable artists in the Late Roman school is Carlo -Maratta (1625-1713), who may be judged by the unsigned _Portrait of -Marie Madeleine Rospigliosi_ (No. 1379) and _His Own Portrait_ (No. -1380). - -Two paintings of _Fruit_ (Nos. 1254, 1255) stand to the credit of M. -A. Cerquozzi (1602-1660), and the art of G. B. Castiglione, of Genoa -(1616-1670), is seen in his _Abraham and Melchizedek_ (No. 1250) and -_Animals and Utensils_ (No. 1252). - - - THE “ECLECTICS” - -A revolt against the methods of the “Mannerists” was made by the -Carracci when they opened their school of art at Bologna in 1589. -These “Eclectics” (“Pickers and Choosers”) advocated a careful study -of “the drawing of Rome, the Venetian shadow, the terrific force -of Michelangelo’s manner, the natural truth of Titian, the pure -and sovereign style of Correggio, the true symmetry of Raphael, -the dignity and principle of Tibaldi, the invention of the learned -Primaticcio, together with a little of the grace of Parmigianino”! It -is not surprising that they in their turn soon sank into mere academic -mediocrity. - -The Louvre is notoriously rich in representative examples of the -“Eclectic” painters’ art. The name of Lodovico Carracci (1555-1619), -the founder of this school at Bologna, is included in the official -Catalogue, but neither of his two pictures is at present exhibited. -Lodovico had as cousins, Agostino (1557?-1602) and Annibale -(1560?-1609), who also worked in Rome. Six of Annibale Carracci’s -fifteen pictures in this collection are now exhibited. The _Madonna of -the Cherries_ (No. 1217) and the _Sleeping Child Jesus_ (No. 1218) are -characteristic, while his huge canvas of _The Virgin appearing to St. -Luke and St. Catherine_ (No. 1219) in every way exemplifies the art of -this painter and his school. It is inscribed: - - ANNIBAL CARACTIUS F. MDXCII. - -Pictures of this type were much sought after and prized in the -eighteenth century, when this one was seized by Napoleon in Italy, -but to-day a higher standard of æsthetics has deservedly ruled them -out of fashion. On the other hand, sufficient attention is not now -paid to some of the landscape pictures which the “Eclectics” painted; -Annibale’s _Fishing_ (No. 1233) and _Hunting_ (No. 1232) are worth the -attention of the student. Antonio Carracci (1583-1618), a less-known -member of this family, is the author of a large canvas depicting _The -Deluge_ (No. 1235). - -Guido Reni, after working under Denis Calvaert at Bologna, entered -the school of the Carracci. This fitful sentimentalist indulged in -idealised abstractions that were neither human nor divine, as may -be seen from his _David and Goliath_ (No. 1439) and _St. Sebastian_ -(No. 1450) on the one hand, and his _Ecce Homo_ (No. 1447) and _Mary -Magdalene_ (No. 1448) on the other. Four of his large mythological -paintings (Nos. 1453, 1454, 1455, 1457) show some technical ability. - -Francesco Albani (1578-1660) was influenced by the Carracci and Guido -Reni. The _Diana and Actaeon_ (No. 1111) may be selected out of his -nine productions mentioned in the Catalogue. Domenichino (1581-1641), -a pupil of the Carracci, the assistant of Annibale and a friend of -Guido Reni in Rome, was a sentimentalist of the most pronounced order. -His hard execution and unpleasant colouring can be judged in his _St. -Cecilia_ (No. 1613),—her features are singularly ill-proportioned,—but -nine of his other pictures do not take up any of the valuable wall -space. - -The self-taught artist and insipid Guercino (“The Squintling”) -(1591-1666), after working in Rome, settled in 1642 at Bologna, where -he died in affluent circumstances. His _Raising of Lazarus_ (No. -1139), the large _Patron Saints of Modena_ (No. 1143), together with a -_Circe_ (No. 1147) and _The Painters Own Portrait_ (No. 1148), are now -exhibited. These and such pictures as were painted by G. A. Donducci -(1575-1655), G. F. Grimaldi (1606-1680), S. Cantarini (1612-1648), and -G. M. Crespi (1665-1747), provoked a fresh reaction. - - - THE “NATURALISTS” - -A natural reaction against the selective methods of the “Eclectics” -gave rise to the “Naturalists,” who, headed by Michelangelo Caravaggio -(1569-1609), made Naples the centre of their operations. The utterly -repulsive picture entitled _The Death of the Virgin_ (No. 1121), by -Caravaggio, is merely large. Neither _The Fortune Teller_ (No. 1122) -nor the _Concert of Nine Musicians_ (No. 1123) can be compared with -the really striking and well-painted _Portrait of Alof de Wignacourt, -Grand-Master of Malta_ (No. 1124). - -Salvator Rosa (1615-1675) is represented by _Tobias and the Angel_ (No. -1477) and a _Vision of Saul to Samuel_ (No. 1478). His _Landscape_ (No. -1480) shows that he delighted in “ideas of desolation, solitude and -danger, impenetrable forests, rocky and storm-lashed shores, in lonely -dells leading to dens and caverns of banditti, alpine ridges, trees -blasted by lightning or sapped by time.” His _Battle_ (No. 1479) is a -strange production. - -Caravaggio was the master of Ribera (1588-1656), who is also called -Spagnoletto, and is included in the Catalogue among the Spanish -artists. This “Naturalist” school of Naples also included Luca -Giordano (1632-1705), who lived in Spain at one period. - -The aim of the “Naturalists” is displayed in the prominence they gave -to all that was vulgar, coarse, and vile. With them art in Italy came -to an ignominious end, although in technical accomplishment, in mere -craftsmanship, they can hold their own with painters of much higher -rank. - - [Illustration: - PLATE XVI.—JAN VAN EYCK - - (1390?-1441) - - EARLY FLEMISH SCHOOL - - No. 1986.—THE VIRGIN AND CHILD AND THE CHANCELLOR ROLIN - - (La Vierge au donateur) - - An angel in a blue alb and with peacock-blue wings is placing an - elaborate gold crown on the head of the Madonna, who holds the - Infant Christ on her knee, and is seated towards the right of - the composition. On the other side the Chancellor, kneeling at - a _prie-Dieu_, and with his hands joined in adoration, wears a - richly brocaded robe, and is seen in profile towards the right. The - figures are grouped in a portico opening on to a flower-garden and - a crenellated wall; in the distance is seen a seven-arched bridge, - and beyond it a castled island. - - Painted in oil on panel. - - 2 ft. 2 in. × 2 ft. 0½ in. (0·66 × 0·62.)] - - - - - THE EARLY FLEMISH SCHOOL - - -The early art of Flanders, unlike that of Italy, does not present -itself at the Louvre, or indeed at any Gallery, in orderly sequence -from the immature groping for artistic expression to masterly -achievement. With the exception of the exquisite work of the -late-fourteenth-century miniaturists, which forms a special branch -of study, there is nothing to bridge the immense gulf that divides -Melchior Broederlam, the earliest known Flemish painter, from the -brothers Van Eyck, whose earliest known work, the wonderful Ghent -polyptych of _The Adoration of the Lamb_, is, if not quite the -starting-point, the noblest achievement of the Early Flemish school. -The invention of oil-painting, in the sense of the word as it is -applied to-day, with which the Van Eycks are credited, no doubt -contributed largely towards this amazingly sudden progress; but their -art also marks a new era in the conception of life and pictorial form. -An ardent love of truth and nature takes the place of the earlier vague -idealism. At the same time, the realism of the brothers Van Eyck and -their followers, notwithstanding its insistence on literal truth in -the representation of frequently ugly details, was kept in check by -deep sentiment, love of splendid colour, and a great sense of style in -composition. Details, even in the far-away distance, were certainly -elaborated with minute precision, but they are never unduly obtrusive, -and are invariably subordinated to the main motive. - - - JAN VAN EYCK - -The earliest important Flemish painting in the Louvre is the famous -_Virgin and Child with the Chancellor Rolin_ (No. 1986, Plate XVI.) by -Jan van Eyck (_c._ 1390-1441), which was taken by order of Napoleon -I. from the Collegiate Church of Autun in Burgundy. In a three-aisled -colonnaded hall with stilted arches and pavement of geometrical inlay -is seen Nicholas Rolin, Chancellor of Burgundy and Brabant, kneeling -at a prayer-desk before the Virgin, on whose right knee is seated the -Infant Saviour holding an orb in His left and raising His right hand -in benediction. An angel with peacock-blue wings is floating above the -Virgin and holding an elaborately wrought golden crown over her head. -The exquisite detail of the river landscape with a view of Maastricht -extending beyond the open colonnade, the sumptuous brocaded dresses, -the carved capitals of columns and piers, and many other details -painted with inimitable minute skill, help towards an ensemble of -jewel-like splendour dimmed but not marred by the yellow varnish which -covers the surface. The _Virgin with the Donor_ was formerly generally -attributed to Hubert, but is most probably a late work by Jan van Eyck, -painted perhaps about 1432. - - - THE SCHOOL OF TOURNAI - -Neither Petrus Christus (1412?-1473), the only master who was directly -influenced by Jan van Eyck, nor Robert Campin (1365-1444), who is now -known to be identical with the so-called “Maître de Flémalle,” and -who was the head of the important Tournai school, are represented -at the Louvre. The official Catalogue ascribes to Campin’s greatest -pupil, Rogier van der Weyden (_c._ 1400-1464), the two panels _The -Virgin and Child_ (No. 2195), and _The Deposition from the Cross_ (No. -2196), of which at least the former is only a school version of an -often repeated theme by the master, whilst the _Deposition_ is by no -means an important example of his work. Rogier was born at Tournai, -but went to Brussels after 1432, and practised in that city until his -death in 1464. A journey to Italy in 1449 did not appreciably affect -his art, which always retained an archaic flavour, especially in the -rather tortured rendering of the nude. In this respect, and also in -his utter disregard of beauty (except the beauty of rhythmic line), he -compares unfavourably with the brothers Van Eyck, as may be clearly -seen on comparing his work with Jan van Eyck’s _Virgin and Donor_. His -occasional use of gold backgrounds, as in the _Virgin and Child_ (No. -2195), is another archaic trait. - -The hand of a nameless contemporary and follower of Campin and Rogier -van der Weyden, who is also represented at the Galleries of Vienna, -Turin, and Antwerp, is to be recognised in the small panel of _The -Annunciation_ (No. 2202), which was formerly attributed to the much -later painter Lucas van Leyden, and has also been claimed to be only a -copy of a picture by the Maître de Flémalle. - - - HANS MEMLINC - -The influence of Rogier van der Weyden determined the entire course -taken by the Flemish school until its decline with the introduction -of those Italian Renaissance tendencies which only became a vital -factor and led to the birth of a new Flemish art through the genius of -Rubens. Again, Rogier’s chief pupil, Dierick Bouts (_c._ 1410-1475), -is unrepresented at the Louvre. In the art of Hans Memlinc (_c._ -1430?-1494), who was the founder of the great school of Bruges, may be -found clear traces of the influence of Rogier and of Bouts, although -we have no certain knowledge as to that master’s actual pupilage. He -may have been born at Mömlingen, near Aschaffenburg on the Main, and -apparently had already risen to fame as a painter before 1467, the -date of his great altarpiece at Dantzig. By that time he was settled -at Bruges. Mr. W. H. J. Weale’s researches have shown that the legend, -according to which Memlinc first came to Bruges as a wounded soldier -and was nursed back to health at the Hospital of St. John, is not -founded on fact. It is probable that Memlinc served his apprenticeship -under some Cologne painter, but all theories regarding his early life -must remain largely conjectural. - -What is of real importance is that he introduced into the detailed -realism of his precursors a note of pious fervour and tender idealism, -which is the nearest approach in Northern art to the angelic sweetness -of Fra Giovanni da Fiesole. Not without good reason has he been called -“the Fra Angelico of the North.” Fromentin was certainly right in -saying that “Van Eyck saw with his eyes, Memlinc begins to see with -his soul.” It is this warmth of feeling that makes Memlinc the most -lovable painter of the Flemish school, for he could neither rival the -dramatic power and realistic truth of the Van Eycks, nor the firm -draughtsmanship of Van der Weyden, nor Bouts’s skill in landscape -painting. Nor did he take full advantage of the possibilities of the -oil technique, his method remaining that of the tempera painters, -although he availed himself of the new medium. - -The earliest work by Memlinc in the great French national collection -is the charming little diptych, painted about 1475, and representing -on one leaf _The Mystic Marriage of St. Catherine_ (No. 2027), and -on the other _The Donor, John du Celier, presented by St. John_ (No. -2027A). In the first the Virgin is seen seated in a flowering meadow in -front of a rose-covered trellis and supporting the Infant Christ, who -bends forward to place the ring on the finger of St. Catherine on the -left. Behind the saintly bride are St. Agnes and St. Cecilia; whilst -the group on the right comprises St. Barbara, with St. Margaret and -St. Lucy, all accompanied by their characteristic attributes. On the -other leaf the Donor is seen kneeling, with hands joined in prayer, -in front of St. John the Baptist, who is pointing to Our Lord. The -landscape background shows, on the left, the Apocalyptic vision of St. -John the Evangelist, and on the right, St. George fighting the Dragon. -This leaf, after passing through the collection of Mr. Herz and Mr. -Heath, was presented to the Louvre in 1895 by Mme. André, and was thus -reunited with its companion, which had been bequeathed to the Gallery -fourteen years earlier by M. E. Gatteaux. It is on the whole in an -excellent state of preservation, although some of the accessories in -the background are so thinly painted that they have almost disappeared. - - - MEMLINC’S “VIRGIN AND CHILD, WITH DONORS” - -About 1490 Memlinc must have painted the admirable _Virgin and Child, -with Donors_ (No. 2026), which was commissioned by James Floreins, a -member of the Bruges Merchant Grocers’ Guild, but subsequently found -its way to Spain, whence it was taken to France by General d’Armagnac. -The Donor, who is kneeling on the left, in front of his seven sons, -is presented by St. James the Great, the same office being performed -by St. Dominic for Floreins’s wife and her twelve daughters, on -the opposite side. The scene is laid in a Romanesque church, with -openings at either side, through which glimpses of the landscape -beyond are obtained. The characterisation of all the faces, which -bear a strong family likeness, is as admirable as the painting of the -noble architecture. Remarkable, too, is the effect of perfect symmetry -obtained in the arrangement of the two unequal groups through the -simple device of placing the Virgin and Child more towards the less -crowded side, although the canopy is in the exact middle of the panel. -This altarpiece is certainly one of the most important works by Memlinc -that are to be found outside Belgium. - -The two little panels, _St. John the Baptist_ (No. 2024), and _St. Mary -Magdalene_ (No. 2025), both standing in a landscape with small scenes -from their respective legends, formed originally, with two further -panels representing St. Christopher and St. Stephen, the shutters of a -triptych. The centre part had disappeared before the wings, carefully -sawn through the thickness of the panels so, as to separate the obverse -from the reverse, came into the possession of Lucien Bonaparte, and -afterwards of William II. of Holland. The two Saints now at the Louvre -were purchased in 1851 for £469. - -In 1908 the Louvre obtained, at the high price of £8000, the _Portrait -of an Old Lady_ (Plate XVII.), to which attention was first drawn -at the Bruges Exhibition in 1902, when it was shown by M. Nardus, -from whom it passed into the hands of M. Kleinberger. Both the Paris -portrait, which is drawn with exquisite precision but has apparently -suffered from over-cleaning, and its companion, the portrait of this -anonymous lady’s husband at the Berlin Museum, were until 1884 in the -Meazzu collection in Milan. - -The triptych (No. 2028) with (_a_) _The Resurrection_, (_b_) _The -Ascension_, and (_c_) _The Martyrdom of St. Sebastian_, which was -bought at Turin in 1860 for £540, and is officially considered to be -of doubtful authenticity, is included by Mr. Weale in his catalogue of -Memlinc’s works. - - - GERARD DAVID - -The reconstruction and the rescuing from oblivion of the artistic -personality of Gerard David, begun by Mr. Weale and completed by -Freiherr von Bodenhausen, is one of the triumphs of the modern -scientific method of criticism. The Louvre is fortunate in possessing -two important examples from the brush of this master, who, born -at Ouwater in Holland about 1460, was in his early studies influenced -by Albert van Ouwater, but, after settling at Bruges in 1483, came -under the spell of Van Eyck, Bouts, and above all of Memlinc, whom he -succeeded as leader of the Bruges school. On his death in 1523, the -supremacy of that school came to an end, and passed on to the city of -Antwerp, which by that time had also superseded Bruges as a commercial -centre. Gerard David was not Memlinc’s equal as regards intimate charm, -but in his work is to be found a summing-up of all the achievement of -the Flemish Quattrocento—“the last concentrated expression of the aims -of all the great masters of that fertile age.” - - [Illustration: - PLATE XVII.—HANS MEMLINC - - (1430?-1494) - - EARLY FLEMISH SCHOOL - - No.—[4].—PORTRAIT OF AN OLD LADY - - She is seen in full face and at half-length, wearing the costume of - the period; her hands are superposed; landscape background to the - left, with a winding sandy path. A porphyry column to the right. - - Painted in oil on panel. - - 1 ft. 2¼ in. × 1 ft. (0·36 × 0·30.)] - - [4] This picture has not yet received an official number. - -After having been successively attributed to Van Eyck, Van der Weyden, -Memlinc, and David’s pupil Ysenbrant, the _Marriage at Cana_ (No. -1957, Plate XVIII.) is now generally admitted to be designed and -partly executed by Gerard David, although the panel shows unmistakable -evidence of being completed by another and less skilful hand. Mr. Weale -has shown, on the strength of a certain document, that the picture may -have been finished by Ysenbrant, but he has been unable to establish -that the document quoted by him refers to this particular picture. -There can be no doubt that David himself painted the figure of the -Donor, kneeling on the left, a marvellous example of early portraiture, -and the Donor’s son, the Christ, and the boy carrying the cake. Some of -the other heads are almost wooden in their hardness. The head of the -Dominican looking into the hall through an opening beyond which is to -be seen the Place du Saint-Sang, at Bruges, is clearly an afterthought, -and is introduced so clumsily that the wall and the page-boy with the -cake-dish really leave no room for the friar’s body. There is a curious -lack of spiritual cohesion in the picture—the majority of the figures -look away from the Saviour as well as from the bride, although the -significance of the moment is such as to demand a concentration of -everybody’s attention on the Christ. The picture, of which there are -several replicas, notably one at the Stockholm Museum by David’s pupil -Ambrosius Benson, was until 1580 in the Chapel of the Saint-Sang at -Bruges, and then in the collection of Louis XIV., from which it passed -into the Louvre. - -The triptych (No. 2202A) of the _Virgin and Child, with Two Angels_, -in the centre, and _Two Donors presented by St. John the Baptist and -St. John the Evangelist_, on the wings, is officially catalogued as -an anonymous picture of the Flemish sixteenth-century school, but is -unquestionably an early work of Gerard David. It is interesting to note -that the male Donor is the same as the Donor in the _Marriage at Cana_, -though younger in years, and that the delightful and strangely Italian -_putti_ on the capitals of the columns that flank the Virgin’s throne -recur again, reversed, in David’s _Judgment of Cambyses_, at Bruges. -The _Adam_ and _Eve_ on the outside of the shutters are inspired by the -corresponding figures on the great Van Eyck altarpiece at Ghent. The -Louvre triptych was bought at the Garriga sale in Madrid, in 1890, for -£248. - - - HIERONYMUS BOSCH - -Before passing on to the school founded at Antwerp by Quentin Matsys -(_c._ 1466-1530), mention should be made of Hieronymus Bosch van Aeken -(_c._ 1462-1516), who, a follower of Ouwater, has as much right to -be counted among the masters of the Dutch as of the Flemish school. -Of his life we know but little. His pictures reveal that realistic -observation of everyday life which was to become the characteristic of -the Dutch school; but, added to it, there is a tendency towards the -grotesque which made him delight in subjects that gave him full scope -for the invention of weird monsters, devils, and spectres, such as the -demons in _The Damned_ (No. 1900), which is attributed to Bosch in -the official Catalogue, but is, like its companion, _Heaven_, at -the Lille Museum, the work of the unknown painter of the famous _Last -Judgment_ at Dantzig, which has by various experts been given in turn -to Jan van Eyck, Rogier van der Weyden, and Memlinc. There is at the -Louvre a drawing which corresponds to so remarkable a degree with the -panel No. 1900, that it has long been held to be a study from the same -hand. This drawing is, however, more probably an early study by the -German master Martin Schöngauer after the Louvre panel. The picture was -formerly in the Duchâtel collection, and was given to the Louvre by the -Duc de la Tremoïlle. - - [Illustration: - PLATE XVIII.—GERARD DAVID - - (1460?-1523) - - EARLY FLEMISH SCHOOL - - No. 1957.—THE MARRIAGE AT CANA - - (Les Noces de Cana) - - The scene takes place in a richly appointed chamber, which on the - left side looks out on to the Place du Saint-Sang at Bruges. The - Bride is seated on the farther side of the table; towards the left - the Virgin bows her head in the direction of the Christ. In the - left-hand corner of the composition kneels the Donor, wearing the - costume of a Provost of the Company of the Holy Blood; on the right - kneels the Female Donor. Guests and servants variously disposed - complete the picture. - - Painted in oil on panel. - - 3 ft. 2 in. × 4 ft. 2½ in. (0·96 × 1·28.)] - - - THE ANTWERP SCHOOL - -Quentin Matsys, the painter of _The Banker and his Wife_ (No. 2029, -Plate XIX.), of which numerous replicas and variants are known, some -probably from the hand of his pupil Marinus van Roymerswaele, still -owes his training to the primitives of his race, but heralds the new -era which was to culminate in the art of Rubens, by passing from the -earlier minute precision of detail to a certain breadth of style and -boldness of brushwork, necessitated partly by the larger scale adopted -for his figures. Neither _The Saviour Blessing_ (No. 2030) nor _The -Virgin and Child_ (No. 2030A), both of which are catalogued under his -name, can be accepted as authentic; but the interesting genre group of -_The Banker and his Wife_ is not only fully signed and dated - - QVENTIN MATSYS, SCHILDER, 1514, - -but is unmistakably the work of his brush, although the woman’s face -and hands appear to have been badly repainted. It was bought in 1806 at -the low price of £72. The best version of the same subject is the one -in the Sigmaringen Gallery. By Quentin Matsys is also, probably, the -_Pietà_ (No. 2203), which is catalogued officially as “Flemish XVIth -Century.” Quentin’s son Jan, who followed his father’s tradition and -achieved considerable distinction, is the painter of the hideous _David -and Bathsheba_ (No. 2030B), which bears the inscription - - 1562. IOANES MASSIIS PINGEBAT. - -Next in importance among the Antwerp masters is Jan Gossart (_c._ -1470-1533?), better known as Mabuse, from the name of his native town -Maubeuge in the Hainault. In his early work he followed the tradition -of the great masters of his own country, but a journey to Italy in -1508 made him change his manner, and led him to adopt, together with -the amplitude of Italian design, a certain floridness which compares -unfavourably with the honest realism of his precursors and which led to -the rapid decadence of the Flemish school. In the magnificent portrait -of _Jean Carondelet, Perpetual Chancellor of Flanders_ (No. 1997, Plate -XX.), although it was painted as late as 1517, he is still faithful -to the great tradition of his country for honest, straightforward, -shrewdly observed, and delicately wrought portraiture. An inscription -on the top of the arched gilt frame reads: - - REPRÉSENTACION DE MESSIRE JEHAN CARONDELET, - HAVLT DOYEN DE BESANÇON, EN SON EAGE DE 48Ā, - -and, below, “FAIT L’AN 1517.” In a niche behind the panel are the -letters “I C” entwined with strings, and the motto “MATVRA.” The -portrait was, therefore, obviously painted just before Carondelet -accompanied Charles V. to Spain in 1517. - -This portrait panel, together with _The Virgin and Child_ (No. 1998), -which bears on the frame the inscription - - MEDIATRIX NOSTRA QVE EST POST DEVM - SPES SOLA TVO FILIO ME REPRESENTA, - -and the signature “JOHANNES MELBODIE PINGEBAT,” formed a -diptych which was bought in 1847 from a Valenciennes architect for -the ridiculous price of £40! A later portrait of Carondelet by -Mabuse, dated 1531, appeared in 1907 at Christie’s under the name of -C. Amberger, and realised the price of £3885. Another portrait of -Carondelet, by B. van Orley, is in the Munich Gallery, where it is -officially ascribed to Quentin Matsys, who is probably the painter -of yet another portrait of the Chancellor which was recently in the -Duchâtel collection in Paris. The _Portrait of a Benedictine_ (No. -1999) bears the date 1526 and the signature - - JOANNE MALBOLD PINGE. - -The decline of the Antwerp school through the introduction of Italian -mannerisms is illustrated in _Young Tobias restoring Sight to his -Father_ (No. 2001), a fully signed late picture by Jan van Hemessen, -who flourished in that city towards the middle of the sixteenth -century, and in whose art the last traces of the great national -tradition disappear. - - [Illustration: - PLATE XIX.—QUENTIN MATSYS - - (1466?-1530) - - FLEMISH SCHOOL - - No. 2029.—THE BANKER AND HIS WIFE - - (Le Banquier et sa femme) - - On the far side of a table covered with a green cloth and strewn - with various objects, which include a crystal cup and a circular - mirror, are seated the banker, wearing a dark blue robe edged with - fur, and his wife who is turning over the leaves of an illuminated - book of hours. At the back are shelves, on which are displayed - books and many decorative objects. - - Painted in oil on panel. - - Signed on a roll of paper in the background:—“QUENTIN MATSYS, - SCHILDER, 1514.” - - 2 ft. 5¼ in. × 1 ft. 11¾ in. (0.74 × 0.60.)] - - - BAREND VAN ORLEY - -Of the school that flourished in Brussels before Italianism appeared -in the person of Barend van Orley (_c._ 1495-1542), the only name that -has come down to posterity is that of Rogier van der Weyden’s follower, -Colin de Coter, thanks to the clear inscription - - _Colin de Coter pinxit me in Brabancia Bruxelle_ - -on the hem of the dress of the kneeling Magdalen in _The Holy Women_ -(No. 1952B), which, with _The Trinity_ (No. 1952A) and another lost -panel, probably originally formed a triptych. The signed wing was -presented to the Gallery in 1903; whilst the _Trinity_ centre-piece was -bought two years later from the Abbé Toussaint at St. Omer for £120. - -Like Mabuse, Barend van Orley, after showing in his early work clear -traces of his descent from the Flemish primitives, drank deeply at the -fountain of Italian art. He was profoundly impressed by Raphael, from -whom he endeavoured, with a certain degree of success, to learn the -noble flow of drapery and the harmonious disposition of the design. On -the other hand, he sacrificed the lustrous richness of Early Flemish -colour and became addicted to dull grey shadows and pinkish lights. -His _Holy Family_ (No. 2067A) does not rank with his finest works, -_The Last Judgment_ at Antwerp and the _Holy Family_ at Liverpool. The -architectural setting, with a statue of Neptune in a square in the -background, indicates the advent of the Renaissance. The picture was -bought at the Otlet sale in Brussels, in 1902, for £540. With Barend -van Orley closes the chapter of the Early Flemish school. Indeed, he -was rather the first of the new era than the last of the primitives. - - [Illustration: - PLATE XX.—JAN MABUSE - - (1470?-1533?) - - EARLY FLEMISH SCHOOL - - No. 1997.—PORTRAIT OF JEAN CARONDELET, PERPETUAL CHANCELLOR - OF FLANDERS - - (Portrait de Jean Carondelet, chancelier perpétuel de Flandre - (1469-1544)) - - He is bare-headed and wears a blue robe; he is turned - three-quarters to the right; his hands are folded in prayer. - - Painted in oil on panel. - - Inscribed on the frame:—“REPRÉSENTACION DE MESSIRE JEHAN - CARONDELET, HAVLT DOYEN DE BESANÇON, EN SON EAGE DE 48Ā,” and, - below, “FAIT L’AN 1517.” - - 1 ft. 5 in. × 10¾ in. (0·43 × 0·27.)] - - - - - THE LATE FLEMISH SCHOOL - - -The period of the great struggle of the Netherlands for religious and -political independence from the yoke of Spain and the Inquisition -was not propitious for the fostering of the Fine Arts. Not only did -the troubled provinces, as was quite natural, slacken in artistic -production, but a vast portion of the treasures owned by churches -and monastic establishments were destroyed by the fanaticism of -Protestant iconoclasts. The separation of the Protestant North from -the Catholic South by the Utrecht Union in 1579 became in a way the -determining factor for the future course of painting in Holland and -in the Belgic provinces. The Dutchmen practically had no further use -for religious painting, and devoted themselves more exclusively to the -domestic genre, portraiture, and landscape; whilst the Flemings applied -themselves largely to infusing new vitality into the representation -of Scriptural characters and incidents which, through constant -mechanical repetition, had become mere allegorical hieroglyphics, or -generalised ideas without the all-important sense of pulsating life. -This regeneration was the great deed of Peter Paul Rubens (1577-1640), -who, whilst still benefiting from the example of the great Italians, -remained the very embodiment of Flemish character and thought, and -became the founder of the second important period of Flemish national -art. He was a man of exuberant vitality and boundless energy, endowed -with a creative force unequalled in the whole history of art. He must -rank for all time among the very giants of the brush, with Rembrandt, -Titian, and Velazquez, his contribution to the progress in pictorial -art being the use of pigment and sweeping brushwork as a constructive -element—an advance as significant as the Venetians’ admission of -light into the pictorial scheme, which with the Florentines was based -entirely on linear design. - - - PIETER BRUEGHEL - -But before considering the magnificent array of close on fifty -authentic works by the master which form part of the French national -collection, reference will have to be made to a few Flemish artists -of the singularly barren decades that precede the advent of Rubens. -First and foremost among these is Pieter Brueghel (or Breughel) the -Elder (1530-1569), who was born at Breda in 1530, became a pupil of -Pieter Koeck, and died at Brussels in 1569. In spite of his early -travels in Italy—which were then already considered indispensable for -the completion of an artist’s training—he remained unaffected by the -all-pervading Italian influence. He was pure Flemish in thought and -expression, and devoted himself to the realistic painting of peasant -life. Certain realistic features which make his pictures sometimes -appear obscene and coarse to modern eyes are merely an expression of -the humour of his age. The exquisite little painting, _The Beggars_ -(No. 1917), which is fully signed - - PETER BRUEGHEL, M D L VIII, - -is probably some satirical political allusion to the revolutionary -party who called themselves the _Gueux_ (beggars). A similar political -significance is probably the intention of _The Parable of the Blind_ -(No. 1917A). The single file of blind men following their blind -leaders into a river is meant to satirise the moral blindness of the -artist’s compatriots following their political leaders into disaster. -This excellent version of Brueghel’s famous masterpiece at Naples -was bought at the Leys sale at Antwerp, in 1894, for £724. The type -of picture to which the elder Brueghel owes his sobriquet “Peasant -Brueghel” is exemplified at the Louvre by two little panels, _A -Village_ (No. 1918) and _Peasants Dancing_ (No. 1918A), which can, -however, only be accepted as school pictures. - - - JAN BRUEGHEL - -Of Brueghel’s two sons, Pieter the younger, known as “Hell” Brueghel, -is not represented at the Louvre, which, on the other hand, boasts -possession of eight examples from the brush of “Peasant” Brueghel’s -second son, Jan (1568-1625), known to fame as “Velvet” Brueghel, either -owing to his love of splendid apparel or to the velvety softness of his -brush. He began as a still-life and flower painter, in which capacity -he often collaborated with Rubens. Having journeyed to Rome in 1593, he -devoted himself more exclusively to landscape enlivened with many small -figures, for which some Scriptural or mythological subject generally -provided the excuse. Where his pictures contain figures on a larger -scale, they are generally put in by Rubens, Rottenhammer, or Van Balen. -The last-named is certainly responsible for the figures in _Air_ (No. -1920), one of a series of the Four Elements, painted by Jan Brueghel -for his Roman patron, Cardinal Federigo Borromeo, in 1621. To the same -series belongs _Earth_, or _The Earthly Paradise_ (No. 1919), a subject -often repeated by him, as for instance in the versions at The Hague -and at Budapest. Of his other pictures at the Louvre _The Bridge of -Talavera_ (No. 1925), and the _Landscape_ (No. 1926), are signed and -dated BRUEGHEL, 1619, and J. BRUEGHEL, 1620, respectively. _The Battle -of Arbela_ (No. 1921) is a characteristic work with many minutely -wrought figures. The _Landscapes_ (Nos. 1923 and 1924) are of doubtful -authenticity, and were formerly attributed to Paul Bril. They are not -now exhibited. - -There are scarcely any Flemish characteristics in the art of Paul -Bril (1556-1626), the younger brother and pupil of Matthias Bril. He -was born at Antwerp, but worked nearly all his life in Rome. There is -little to distinguish this precursor of Poussin in the art of landscape -from his Italian contemporaries. In _Duck Shooting_ (No. 1908), _Diana -and her Nymphs_ (No. 1909), and _Pan and Syrinx_ (No. 1911) the figures -are believed to have been painted in by Annibale Carracci. _The -Fishermen_ (No. 1910) bears his signature PA. BRILLI, and the date 1624. - - - THE FRANCK FAMILY - -Although the Louvre owns no picture by Frans Floris, the head of the -Italianising mid-sixteenth-century Antwerp school, his uninteresting -style may be studied in _The Story of Esther_ (No. 1989) by his pupil -Frans Franck (1542-1616). To that second-rate artist’s son, Frans -Franck the Younger (1581-1642), who already benefited to a certain -extent by the example of Rubens, is given in the official Catalogue -_Ulysses recognising Achilles among the Daughters of Lycomedes_ (No. -1991A). _The Parable of the Prodigal Son_ (No. 1990), which is also -catalogued under his name, is obviously by his son Frans Franck III., -since the date 1663 precedes the signature, and F. Franck the younger -died in 1642. - -Frans Pourbus the Younger (1569-1622) was born at Antwerp, but spent -the later part of his life in Paris, where, like his father, he enjoyed -considerable reputation as a portrait painter. He had previously been -working at the Mantuan Court, and became painter to Marie de Médicis -after 1609. Although he occasionally produced altarpieces like the -rather uninspired _Last Supper_ (No. 2068) and _St. Francis receiving -the Stigmata_ (No. 2069), he was essentially a portrait painter. In -this capacity he belongs rather to the age that was coming to a close -than to the new era initiated by Rubens. His portraits are quite -soundly painted, rich in colour, and convincing as likenesses, but lack -depth of character and suavity of touch. By far his best pictures at -the Louvre are the _Portrait of Henri IV._ (No. 2071) and the large -_Portrait of Marie de Médicis_ (No. 2072), in which the details of -the costume are particularly noteworthy. Less important is another -_Portrait of Henri IV._ (No. 2070), and one of _Guillaume du Vair_ (No. -2074). - -Octavius van Veen, or Otto Venius (1558-1629), the painter of _The -Artist and his Family_ (No. 2191), owes his fame more to the fact that -he was one of the three masters under whom Rubens studied than to any -intrinsic merit of his art. - - - PETER PAUL RUBENS - -The Louvre owes its almost unequalled wealth in paintings by Rubens to -the master’s relations with Marie de Médicis and her Court; and to this -reason is due the fact that by far the largest portion of the fifty-one -authentic works wholly or partly from his brush, which now form part of -this great collection, date approximately from, or immediately before -and after, the time during which he was busy with the famous series -painted by order of that queen for the decoration of the Luxembourg -Palace, and now to be seen in a setting appropriate to their florid -sumptuousness in the new Rubens Gallery at the Louvre. Even so, the -collection comprises examples of every phase of the master’s colossal -activity—religious and historical compositions, allegorical paintings, -landscapes, portraits, still life, and even _genre_-pieces, like the -_Kermesse_ (No. 2115), in which he successfully competes with Teniers -on a ground peculiarly his own. - -Born at Siegen in 1577, Rubens received his artistic education at -Antwerp from Tobias Verhaecht, a landscape painter, Adam van Noort, -and O. van Veen. At the age of twenty-three he went to Italy and -entered the service of Vincenzo Gonzaga of Mantua, studying in their -own country the works of the great Italian masters, and especially the -Venetians, from whose glorious colour he derived more benefit than -from his early training. With the exception of a journey to the Court -of Philip III. at Madrid, where he was sent on a mission by the Duke -of Mantua in 1603, Rubens spent the eight years from 1600 to 1608 in -the various Italian centres, and especially in Rome, where he painted, -about 1606, the little _Landscape with Ruins_ (No. 2119), which is -of interest not only as showing to what degree he was at that time -influenced by the Roman school, and by the Carracci, but also as being -the very first landscape known to have been produced by him. The same -view of the Palatine Hill is to be recognised in the background of -the _Four Philosophers_ at the Pitti Palace, and in the portrait of -Woverius in the Arenberg collection. Of about the same time, though the -figures would appear to have been added at a considerably later date, -is the _Landscape with a Rainbow_ (No. 2118). - - - RUBENS AT ANTWERP - -Having returned to Antwerp in 1608, and married his first wife, -Isabella Brant, in the following year, Rubens, who was now made Court -painter to Archduke Albrecht, entered upon a period of stupendous -artistic activity, which extended to about 1621, when he began to -divide his time between art and diplomatic missions, and, having -previously organised a vast studio with an army of assistants, often -left the execution of his brilliant sketch designs to less capable -hands. This early Antwerp period is not particularly well represented -at the Louvre, although the collection includes _The Virgin surrounded -by the Holy Innocents_ (No. 2078)— a Virgin of characteristic -Flemish coarseness and fulness of form, in the midst of a dense swarm -of delicious, plump, dimpled, wingless angel-children, whose rosy -baby-flesh is painted with inimitable mastery. The picture was painted -about 1615, six years before _The Virgin and Child within a Garland of -Flowers_ (No. 2079), executed in 1621 for Cardinal Federigo Borromeo. -The tasteless floral wreath in this picture, as in the similar versions -at Munich and New York, is from the brush of Jan Brueghel. To about -the year 1615 belongs also the _Christ on the Cross, with the Virgin, -the Magdalen and St. John_ (No. 2082), which can, however, hardly be -entirely from the master’s own hand. The mass of unbroken vermilion -in the robe of St. John is one of Rubens’s favourite devices at that -period. _The Resurrection of Lazarus_ (No. 2081) is the original sketch -for the Berlin picture. - -In 1620, when Rubens undertook to paint a series of thirty-nine -_Miracles of SS. Ignatius Loyola and François Xavier_ for the ceiling -of the Jesuit Church at Antwerp, the business-like organisation of his -studio was an acknowledged fact, as may be gathered from the terms of -the agreement which stipulated that the master himself should provide -the designs, though the execution was to be entrusted to his most -competent assistants. The actual paintings were destroyed by fire in -1718, but of the original sketches seventeen have been preserved, and -are now distributed between the Louvre, the Vienna Academy, the Museums -of Gotha and Brussels, and the Dulwich Gallery. The four in the La Caze -collection at the Louvre are _Abraham’s Sacrifice_ (No. 2120), _Abraham -and Melchisedek_ (No. 2121), _The Elevation of the Cross_ (No. 2122), -and _The Coronation of the Virgin_ (No. 2123). The whole series, but -especially the first two of these, is remarkable for the boldness of -the foreshortening, calculated for the position of the panels on the -ceiling, and for the swift bravura and inimitable expressiveness of the -brushwork. To the same period belongs _Philopœmen recognised by an Old -Woman_ (No. 2124), which is essentially a brilliant still-life study -for a lost picture. - - - THE MÉDICIS SERIES - -We come now to the series of twenty-one large allegorical paintings, -designed by Rubens and executed mostly by his pupils, from 1621 to -1625, for the decoration of the Luxembourg Palace for Marie de Médicis, -whose by no means inspiring career had to furnish the subjects for -the series. It was a thankless task which could only be accomplished -by a _tour de force_—by removing the events of the queen’s life from -actuality into the sphere of mythology and allegory. That the strange -mingling of the real and the ideal should sometimes verge on the -grotesque was almost inevitable—as inevitable as that the work of -his assistants should have failed to do full justice to the master’s -conception, even if it was “pulled together” by the easily recognisable -touches added by Rubens to the finished panels. The florid exuberance -of design and colour was entirely in keeping with the purpose and the -surroundings for which the paintings were intended. It is impossible -here to enter into a full description of this extensive series, or -to define exactly Rubens’s share in each of the eleven pictures. We -must confine ourselves to the brief enumeration of the subjects in -the order in which they are now to be seen in the new Rubens Gallery. -The series begins with _The Fates spinning the Destiny of Marie de -Médicis_ (No. 2085). Then follow _The Triumph of Truth_ (No. 2105); -_Henri IV. receiving the Portrait of Marie_ (No. 2088); _The Marriage -of Marie by Procuration with Henri IV._ (No. 2089); _Marie landing at -Marseilles, Nov. 3, 1600_ (No. 2090); _The Marriage at Lyons, Dec. 10, -1600_ (No. 2091); _The Birth of Louis XIII. at Fontainebleau, Sept. -27, 1601_ (No. 2092); _Henri IV. leaves for the War with Germany and -entrusts the Government to the Queen_ (No. 2093, Plate XXI.); _The -Coronation of the Queen_ (No. 2094); _Apotheosis of Henri IV. and the -Queen’s Regency_ (No. 2095); _The Queen’s Journey to Ponts-de-Cé_ (No. -2097); _Exchange of the Two Princesses, Nov. 9, 1615_ (No. 2098); _The -Prosperous Regency_ (No. 2099); _The Majority of Louis XIII._ (No. -2100); _The Queen’s Nocturnal Flight from Blois_ (No. 2101); _The -Reconciliation of the Queen with her Son_ (No. 2102); _The Conclusion -of Peace_ (No. 2103); and _Marie’s Interview with her Son_ (No. 2104). -But _The Birth of Marie de Médicis, at Florence, on April 26, 1575_ -(No. 2086); _The Education of Marie by Minerva, Mercury, Apollo, and -the Graces_ (No. 2087); and _The Gods in Olympus protecting the Queen’s -Government_ (No. 2096), which belong to the same series, have been -placed in another room. - -Of the first and the last paintings the Louvre owns the original -sketch on one panel, by Rubens, for _The Triumph of Truth_ and _The -Fates spinning the Destiny of Marie_ (No. 2110), the other preliminary -sketches being at the Hermitage and the Munich Gallery. It is -interesting to note that all these sketches are designed in a very -light key, almost in grisaille, with touches of rose and other tender -colour notes, so that apparently Rubens’s assistants were allowed great -liberty in the matter of colour. - - - MÉDICIS PORTRAITS - -Several other pictures by Rubens at the Louvre—all of them -portraits—are more or less directly connected with the Médicis series, -and were painted between 1621 and 1625. These are the _Portrait of -Anne of Austria_ (No. 2112), which was formerly known as _Elizabeth of -Bourbon_; the _Portrait of Francesco de’ Medici_ (No. 2106), Grand Duke -of Tuscany, and father of Marie de Médicis, which was painted for the -Luxembourg Gallery; the _Portrait of Johanna of Austria_ (No. 2107), -daughter of the Emperor Ferdinand, and wife of Francesco de’ Medici; -the _Portraits of Marie de Médicis_ (Nos. 2108 and 2109) (the former in -the character of Bellona, and both studio works with the final touches -added by the master); and the _Portrait of Baron Henri de Vicq_ (No. -2111), who, as Flemish Ambassador to the French Court, was instrumental -in procuring Rubens the important commission for the Luxembourg -pictures. This admirable portrait was bought at the King of Holland’s -sale in 1850 for £637. - -To the same period belongs the beautiful _Portrait of Susanne Fourment_ -(Rubens’s handsome, large-eyed sister-in-law, whose features are best -known from the _Chapeau de Paille_ at the National Gallery), which -is still officially catalogued as _Portrait of a Lady of the Boonen -Family_ (No. 2114); and the important composition _Lot’s Flight from -Sodom_ (No. 2075), which bears the rare full signature and date - - PE.-PA.-RUBENS FE, Aᵒ 1625, - -to prove the master’s satisfaction with his own handiwork. It is a -design of carefully studied rhythm, dramatic expressiveness, and subtly -harmonised colour, carried out with the swift sureness of his later -work. - -In 1627, a year before his mission to Spain on behalf of the Infanta -Isabella, widow of the Archduke Albrecht, Rubens designed for his -patroness an important series of tapestries, which were, as was his -wont at that period, sketched out by him, executed by his assistants, -and touched up by his own hand. The tapestries were subsequently -presented by the Infanta to a convent at Madrid; some of the paintings -for them perished by fire, others were preserved at the Convent of -Loeches, near Madrid. Two of these, _The Prophet Elijah in the Desert_ -(No. 2076) and _The Triumph of Religion_ (No. 2083), were part of -General Sebastiani’s loot from Spain, and were bought by the Louvre for -£2400; whilst four others, now at Grosvenor House, were bought -by the Marquis of Westminster for £10,500. Of about the same date is -the brilliant _Adoration of the Magi_ (No. 2077), with its Titianesque -scheme of strong red, blue, and golden yellow, of which a replica is in -an Irish private collection. - - [Illustration: - PLATE XXI.—SIR PETER PAUL RUBENS - - (1577-1640) - - FLEMISH SCHOOL - - No. 2093.—HENRI IV. LEAVES FOR THE WAR WITH GERMANY, AND ENTRUSTS THE - GOVERNMENT TO THE QUEEN - - (Henri IV. part pour la guerre d’Allemagne et confie à la reine le - gouvernement du royaume, 1610) - - The King, attended by warriors and holding the banner of France, - prepares to leave the country to make war against Germany; he hands - the Globe, the emblem of State, to Marie de Médicis; the Queen - gives her hand to the little Dauphin, who later became King under - the title of Louis XIII. - - Painted in oil on canvas. - - 12 ft. 11 in. × 11 ft. 4 in. (3·94 × 2·95.)] - - - LATE WORKS BY RUBENS - -The closing decade of Rubens’s life is represented by five pictures -of considerable importance. Of _Queen Tomyris with the Head of Cyrus_ -(No. 2084) there is an earlier, large, and deservedly famous version in -Lord Darnley’s collection; but the Louvre picture exceeds it in beauty -of design and in unity of colour. It was painted about the same time -(_cca._ 1632) as _Religion crowned by a Genius_ (No. 2126), one of the -sketches for the ceiling at Whitehall. Of peculiar interest, owing to -its unfinished state which reveals the master’s method of portraiture, -is the superb portrait group of _Hélène Fourment, the Artist’s Second -Wife, and Two of her Children_ (No. 2113, Plate XXII.). Only the heads, -which are remarkable for an intensity of expression that is rarely to -be found in Rubens’s paintings, are finished. All the rest is loosely -and thinly sketched in sepia heightened with swift touches of brighter -colour. It was painted about 1636, which is also the approximate date -of _A Flemish Kermesse_ (No. 2115), an almost unique instance of the -master applying the exuberant energy of his magic brush to a subject in -which the expression of intense vitality and full-blooded sensuousness -assumes the aspect almost of bestiality—which, however, in no way -detracts from the artistic value of the painting. To turn from this to -_A Joust by the Moat of a Castle_ (No. 2116) is to pass from coarse -realism to pure romanticism, inspired probably by the associations of -the picturesque Castle of Steen, which Rubens had bought in 1635, and -which forms the setting for this scene of knightly prowess. This, and -the marvellous and strangely modern little _Landscape_ (No. 2117), in -which the morning sun is seen rising from the autumnal mist, belong to -the closing years of Rubens’s life. He died at Antwerp on May 20, 1640. - - - ANTHONY VAN DYCK - -Born at Antwerp in 1599, Anthony van Dyck (1599-1641), after having -worked a few years under Hendrick van Balen, entered Rubens’s -studio in 1615, and soon became so conversant with the method of -his famous master, that he was at an early age entrusted with the -execution of important designs. Before he had reached his twentieth -year he was a member of the Guild of St. Luke, and had acquired a -reputation second only to that of Rubens himself. The _Portraits of -Jean Grusset Richardot, President of the Netherlands Council, and -his Son_ (No. 1985), which was bought in 1784 for 16,001 _livres_, -so closely resembles the work of Rubens, especially in the brilliant -flesh-painting, that the picture—a posthumous portrait, by the way—for -a long time passed under the elder master’s name, although it is now -admitted by the best authorities to be an early picture by Van Dyck. - -Van Dyck paid a short visit to England in 1620. He went to Italy in the -following year, studying the works of the great masters, and especially -of Titian, and finally settling in Genoa, where he remained until his -return to Antwerp in 1628. During these years he devoted himself almost -exclusively to portraiture, in which he endeavoured successfully to -emulate the golden warmth of colour which had drawn him towards Titian. -Unfortunately this, to some the most attractive, phase of Van Dyck’s -art is but indifferently shown at the Louvre, the only example being a -_Portrait of a Man_ (No. 1976). - - [Illustration: - PLATE XXII.—SIR PETER PAUL RUBENS - - (1577-1640) - - FLEMISH SCHOOL - - No. 2113.—PORTRAIT OF HÉLÈNE FOURMENT, THE ARTIST’S SECOND WIFE, - AND TWO OF HER CHILDREN - - (Portrait d’Hélène Fourment, seconde femme de Rubens, et de - ses enfants) - - The artist’s second wife, wearing a felt hat trimmed with feathers, - is seated in an arm-chair, and turned three-quarters to the left; - on her lap is her little son, François; on the left her daughter, - Claire-Jeanne, dressed in brown, plays with her white pinafore. - - Painted in oil on panel. The picture is unfinished. - - 5 ft. 8¾ in. × 2 ft. 8½ in. (1·13 × 0·82.)] - - - VAN DYCK’S SECOND ANTWERP PERIOD - -Some of the master’s most precious works at the Louvre belong to his -second Antwerp period, which extended from his return from Genoa in -1628 to his departure for England in 1632. It was probably then that he -painted _The Virgin and Child, with the Penitent Sinners_ (No. 1961) -(Mary Magdalen, David, and the Prodigal Son), in which the influence of -the Venetian colourists is so clearly to be noticed. Indeed, the bosom -of the female penitent is copied from the nymph in Titian’s _Education -of Cupid_ at the Borghese Gallery, of which there is a drawing in the -Chatsworth Sketch-book with the comment in the artist’s handwriting, -“_quel admirabil petto_.” Shortly after his return from Italy he -also painted _The Virgin and Child with Donors_ (No. 1962), one of -his greatest masterpieces. The Madonna is of a youthful, pure type, -vastly different from the buxom Flemish women so often depicted by his -master in saintly characters. The painting of the Infant’s body is as -admirable as that of the kneeling Donors, and a spiritual connection is -established by the action of the Child and the expression of the man -towards whom He is holding out His hand. - -The companion groups _A Gentleman and a Child_ (No. 1973) and _A Lady -and her Daughter_ (No. 1974), date from about 1630. They are full of -that aristocratic distinction which is the hall-mark of Van Dyck’s -Genoese portraits, and which in his later English period was apt to -degenerate into effeminacy. This air of distinction is also to be -noted in the children, although they are perfectly natural in action -and expression, and have none of that stiffness which makes so many of -the earlier masters’ portraits of children look like undergrown men -and women. The imposing equestrian portrait of _Francisco d’Aytona, -Marqués de Moncada_ (No. 1971), Generalissimus of the Spanish troops -in the Netherlands, which in its general disposition recalls the -portrait of Charles I. at Windsor Castle; the small study for it of the -same sitter’s head and shoulders (No. 1972); and the portrait of _The -Infanta Isabella Clara Eugenia, Regent of the Netherlands_ (No. 1970), -in the costume of the Sisters of St. Clare, whom she had joined after -the death of her husband the Archduke Albrecht, belong to the same -period. Then also was painted the _Rinaldo in the Garden of Armida_ -(No. 1966), which is probably the picture bought from the artist at -Antwerp by Endymion Porter, on behalf of King Charles I., in March -1629, for the price of £78. - - - “LE ROI À LA CHASSE” - -Van Dyck’s manner of life in England, as the petted Court painter of -Charles I., and the factory-like output of his well-organised studio at -Blackfriars, are too well known to need further comment. In justice to -his fair fame it is necessary to draw a clear distinction between the -innumerable replicas turned out by his assistants under his guidance, -and such magnificent original works from the master’s own brush as the -glorious _Portrait of King Charles I. of England_ (No. 1967, Plate -XXIII.), known as “_Le Roi à la Chasse_,” which is one of the proudest -possessions of the French national collection. The king is seen, -resting his gloved hand on a stick, in a glade, with the sea in the -distance. Behind him are two attendants and his white charger pawing -the ground in impatient action. The king’s noble, quiet dignity is such -as to dominate the entire composition, without, however, the slightest -hint of the theatrical. Here, as in most of his English portraits, -Van Dyck has departed from the glowing sumptuousness of his earlier -Venetian palette, and arrived at a cooler, mellow, and more personal -harmony of decorative colour. As if conscious of the superior merit of -this picture, which is more than a mere portrait of the king, and -depicts the very personification of royalty, the artist, who was not in -the habit of signing his pictures, inscribed on a stone the lettering - - CAROLUS I REX MAGNÆ BRITANNIÆ · VAN DIICK F. - -Painted for the king in 1635 for £100, it passed through many hands -before it was bought by Louis XV. for Mme du Barry, by whom it was -ceded in 1775 to his successor for 24,000 _livres_. - - [Illustration: - PLATE XXIII.—SIR ANTHONY VAN DYCK - - (1599-1641) - - FLEMISH SCHOOL - - No. 1967.—PORTRAIT OF KING CHARLES I. OF ENGLAND - - (Portrait de Charles Iᵉʳ, roi d’Angleterre (1600-1649)) - - The King, wearing a white satin coat, red riding-breeches, boots, - spurs, and a large felt hat, stands proudly forward towards the - left of the composition; his right hand rests on his stick, his - left is placed on his hip. The Marquess of Hamilton, in attendance - on the King, grasps the bridle of the charger; in the landscape - background is a page. - - Painted in oil on canvas. - - Signed on a stone in the right foreground:— - - “CAROLUS I REX MAGNÆ BRITANNIÆ. - VAN DIICK F.” - - 8 ft. 11½ in × 7 ft. (2·72 × 2·12.)] - -To Van Dyck’s English period, which only terminated with his death in -1641, belong the group of _Charles Louis, Elector Palatine, and Rupert, -Prince of Bavaria_ (No. 1969), and the _Portrait of James Stuart, Duke -of Lennox_ (No. 1975)—not the _Duke of Richmond_, as stated in the -official Catalogue—in the character of Paris. Another twelve pictures -are catalogued under Van Dyck’s name, but they are either of minor -importance, or, like the _Three Children of Charles I._ (No. 1968), -mere studio repetitions. - - - FRANS SNYDERS - -The powerful personality of Rubens dominated the art of Flanders -during the seventeenth century. His direct or indirect influence is -traceable in the art of most of his contemporaries and of the painters -of the next generation, who divided his artistic heritage without -attaining to his universality. Thus his collaborator Frans Snyders -(1579-1657), after studying under “Hell Brueghel” and H. van Balen, -acquired the bravura of his brushwork and his unrivalled skill in -depicting animals in violent movement from Rubens, in whose pictures -of the chase he frequently painted the animals, whilst he often had to -seek the assistance of other painters for the figures introduced into -his own compositions. Among the thirteen pictures from his brush at -the Louvre (Nos. 2141-2153) the _Wild Boar Hunt_ (No. 2144) serves -best to illustrate Snyders’s power to suggest the furious onrush and -wild excitement of the chase. His skill as a still-life painter may be -judged from the masterly treatment of the wet glittering fish in the -large _Fish Merchants_ (No. 2145). - - - JACOB JORDAENS - -Whatever appears coarse in the art of Rubens is accentuated to the -point of grossness in the paintings by his fellow-student under Van -Noort, Jacob Jordaens (1593-1678). He is the painter of _Le Roi boit_ -(No. 2014) or _The Twelfth Night Feast_, which is by no means the best -of his many versions of his favourite subject. He was a realist who, as -may be seen from this picture and from the _Concert after a Meal_ (No. -2015), found his most congenial subjects in the carousals of Flemish -merrymakers, which he depicted with more than a touch of coarse humour. -That his temperament and limitations debarred him from achieving -success in the higher flights of art is clearly shown by his large but -by no means noble canvas _Christ driving the Moneylenders from the -Temple_ (No. 2011). On the other hand, his firm grasp of character -stood him in good stead in portraiture. The so-called _Portrait of -Admiral de Ruyter_ (No. 2016), which was bought in 1824 for £800, is a -good example. - -We can only briefly refer to a number of seventeenth-century Antwerp -painters, who were either pupils of Rubens or close followers of his -tradition. Gonzales Coques (1614-1684), the painter of the admirably -lighted _Family Party_ (No. 1952), was essentially a portrait painter -who became known as “the little Van Dyck,” although his manner had more -in common with that of the Dutch “small masters” than with the tempered -elegance of Charles I.’s Court-painter. - - - FOLLOWERS OF RUBENS - -Gaspar de Crayer (1584-1669), a pupil of Raphael van Coxie, modelled -his art entirely on Rubens, and was equally successful as a portrait -painter and in his religious compositions. Both phases of his art -figure in the Louvre collection, which owns the _St. Augustin in -Ecstasy_ (No. 1953) and the life-size _Equestrian Portrait of the -Infante Ferdinand, Governor of the Netherlands_ (No. 1954). It was a -portrait of the same sitter that led to Crayer’s appointment to the -position of Painter to the Infante’s Court, accompanied by considerable -emoluments. - -Abraham van Diepenbeeck (1596-1675), Pieter van Mol (1599-1650), and -Paul de Vos (1593-1676) need not here detain us. They are all capable -followers of their master’s style, without any personal distinction. -David Ryckaert (1612-1661), the third of four artists of the same -family that bore this name, is outside the immediate circle of Rubens. -His _Interior of a Studio_ (No. 2137), which bears the signature “D. -RYC. f. 1638,” is of peculiar interest as a document illustrating the -_milieu_ in which a Flemish artist of that period lived and worked. - -Gerard Seghers (1591-1651), the painter of _St. Francis in Ecstasy_ -(No. 2140), although a pupil of Van Balen and Abraham Janssens, and -indirectly, through Manfredi, of Caravaggio, must be counted among -those who were influenced by the dominating personality of Rubens. An -important pupil of Snyders was Jan Fyt (1611-1661), who excelled as -an animal painter and colourist. He was at his best when he treated -animals more in the manner of still life, but remained vastly inferior -to his master when he tried to emulate his hunting scenes. Not all the -five pictures catalogued under his name can be accepted as his own -work. His great skill in rendering the varied textures of furs and -feathers may be judged from _Game in a Larder_ (No. 1993), which is -unquestionably authentic although it does not bear the signature which -testifies to his authorship of _A Dog devouring Game_ (No. 1994). - - - ADRIAEN BROUWER - -Both the Flemish school and the Dutch have an equal right to claim -Adriaen Brouwer (1605 or 6-1638), who, born at Oudenarde, carried on -the tradition of Bouts and the elder Brueghel. While still young, he -was at Haarlem powerfully impressed by the art of Frans Hals, although -it is extremely doubtful that he ever actually worked in his studio. -Finally, having settled at Antwerp in 1631, he benefited by the example -of Rubens. _The Smoker_ (No. 1916), in spite of the doubts that have -been cast upon it, is a characteristic work of his at the time when, -inspired by Frans Hals, he adopted a full impasto instead of his -earlier glazes. It is signed with his initials “AB” in the bottom -corner on the right. The handling is far coarser than that of the later -_Interior of a Tavern_ (No. 1912), which is quite Rembrandtesque in the -rendering of light and chiaroscuro. His inclination towards grimacing -expression often made him depict such scenes as _The Operation_ (No. -1915), in which the patient’s face is contorted with pain, while the -surgeon is bandaging his left shoulder. - -Brouwer was the master of Joos van Craesbeeck (1606-1654?), who not -only closely followed his teaching, but actually painted many replicas -of Brouwer’s pictures which still pass under the better known artist’s -name. _The Artist painting a Portrait_ (No. 1952D) was supposed to -represent, and to be from the brush of, Brouwer, when the picture -was bought for the Louvre. But on technical grounds it must be given -to Craesbeeck—quite apart from the extreme improbability that the -dissolute Brouwer, who spent most of his time in low taverns, should -have lived in the elegant, not to say luxurious, surroundings here -depicted, and died young. There can be no doubt that the painter -seated before his easel, to whom a man-servant is offering a glass of -wine, is Joos van Craesbeeck. - - - DAVID TENIERS - -There is at the Louvre no picture by the elder David Teniers -(1582-1649), who therefore only interests us here as the father and -first master of the much greater artist David Teniers the Younger -(1610-1690), who completed his artistic education under Rubens, -without, however, abdicating his own personality. Indeed, those of -his pictures which reflect the manner of Rubens too closely are of -little account in the achievement of the younger Teniers, who only -begins to be himself when he devotes his prolific brush to the social -life of his contemporaries, and especially of the lower classes. His -pictures constitute the most realistic and convincing record of the -tastes, manners, and amusements of his time. His types are full of -character, but without the exaggerations so often found in Brueghel and -Brouwer. What he retained of Rubens, even in his Village Fêtes, Tavern -Scenes, Dances, and Carousals is the application of the great master’s -principles of light and harmonious colour. But apart from this, he -rejected the “grand style” and the conscious search for beauty. The -ugliness of his types and gestures led Louis XIV. to exclaim in front -of his pictures, “_Ôtez-moi ces magots-là!_” - -Few painters are as exhaustively represented at the Louvre as the -younger Teniers. The Catalogue includes no fewer than thirty-nine -entries under his name, two of which, in the La Caze collection -(Nos. 2189 and 2190), are copies after pictures by Lotto and Titian -respectively in the collection of the Archduke Leopold William, -Governor of the Netherlands, to whom Teniers was appointed Court -painter. It would serve no purpose here to enumerate the long list -of Kermesse, Village Fête, and Alehouse Scenes in the French national -collection. Among his most deservedly famous masterpieces is _The -Return of the Prodigal Son_ (No. 2156), which belongs to a series of -which another scene is to be seen at the Dulwich Gallery. The subject -is really only a thinly veiled excuse for the painting of a _genre_ -piece of the contemporary life of the better classes of his country. -The scene of the feast is laid outside a country inn that figures in -many of Teniers’s pictures. Fully signed, and dated 1644, the picture -belongs to the beginning of Teniers’s very best period. In _The -Temptation of St. Anthony_ (No. 2158) he rivals Bosch in the invention -of grotesquely fantastic monsters. Among other important works by the -master in the Louvre must be mentioned _The Denial of St. Peter_ (No. -2155), a painting of exquisite silvery quality, signed and dated - - DAVID TENIERS, f. AN. 1646; - -_The Works of Mercy_ (No. 2157); the _Village Fête_ (No. 2159); and the -_Peasants dancing by an Inn Door_ (No. 2161), which was stolen from the -collection in 1815 and returned in the following year with a letter -explaining that it had been removed by a Frenchman who feared that it -might fall into the hands of the Allied Forces. - -By Teniers’s pupil, François Duchatel (1616?-1694?) is the excellent -_Portrait of a Gentleman_ (No. 1960). Duchatel is a very rare master, -whose style in portraiture so closely resembles that of Gonzales Coques -that his pictures have been at times ascribed to that painter. Jacob -van Artois (1613-1684?), the painter of the _Landscape_ (No. 1901) in -the La Caze room, was one of the leading Flemish landscape painters -of his time, and frequently collaborated with Teniers, who added the -figures to some of his landscapes. He was the master of Cornelis -Huysmans (1648-1727), who frequently assisted the battle painter, -Van der Meulen, and is here represented by eight pictures (Nos. -2002-2009). Among the landscape painters of that period must also be -mentioned Jan Siberechts (1627-1703), who spent the closing years of -his life in England, but does not seem to have had much influence on -the evolution of the English landscape school. By him is the _Rustic -Scene_ (No. 2140A). - - - PHILIPPE DE CHAMPAIGNE - -Both Philippe de Champaigne (1602-1674) and Adam Frans van der Meulen -(1634-1690), though born at Brussels, resided in France the best part -of their life, and are therefore generally classed with the painters of -the French school, which accounts for their being represented at the -Louvre in a manner which is quite out of proportion to their artistic -significance. Still, if Philippe de Champaigne appears second-rate when -compared with Rubens and Van Dyck, he is unquestionably the leading -portrait painter of the contemporary French school in which he received -his training. His powers were insufficient for the higher flights of -imagination, and when his ambition led him to such compositions as -_Christ in the House of Simon_ (No. 1927) or _Christ celebrating Easter -with His Disciples_ (No. 1928), he was as dull and bombastic as most -of his French contemporaries, whom he far excelled as a colourist. -His portraits, on the other hand, are painted in a broad, honest, -straightforward manner which has nothing in common with the monotonous -pompousness of his age, as may be seen from the admirable group of two -nuns in prayer, _Mother Catherine Agnes Arnaud and Sister Catherine de -Sainte-Suzanne_ (No. 1934). The younger of the two nuns represents the -artist’s daughter, who was healed from paralysis by a miracle recorded -by a Latin inscription on the wall. The twenty pictures from Philippe -de Champaigne’s brush, which are actually on view, also include -the fine group of the two architects _François Mansard and Claude -Perrault_ (No. 1944), bought in 1835 for the low price of £80; _The -Provost and Aldermen of Paris_ (No. 1945); and the signed and dated -portrait of _Robert Arnaud d’Andilly_ (No. 1939). - - - VAN DER MEULEN - -Van der Meulen, a native of Brussels and pupil of Snayers, was the -historiographer of Louis XIV.’s campaigns and victories. He was invited -by Colbert to come to Paris, and was first employed to furnish designs -for the Gobelins manufactory. Afterwards he accompanied Louis XIV. -on his warlike expeditions, which he immortalised in numerous large -paintings, most of which are now at the Louvre and in the Château at -Versailles. His paintings are of considerable topographical interest, -as they give accurate representations of the aspect of famous towns -and fortresses in the seventeenth century, as in the _Entry of Louis -XIV. and Marie-Thérèse into Arras_ (No. 2035), a similar scene at -_Douai_ (No. 2033), and the _Arrival of the King in the Camp before -Maastricht_ (No. 2040). It was Van der Meulen who founded the “tactical -school” of battle painting, which substituted the orderly movement of -masses for the wild mêlée of the hand-to-hand combat. Whole armies are -seen advancing or retreating in long lines from a high vantage-ground -which is generally occupied by the considerably larger figures of the -army-leaders on rearing and caracoling horses, and looking for all the -world like “_gens de qualité qui joueraient aux échecs avec des soldats -de plomb_.” The official Catalogue mentions no fewer than twenty -pictures by Van der Meulen. - - - MINOR FLEMISH PAINTERS - -With the exception of Justus Sustermans (1597-1681), who was Van Dyck’s -fellow-student under H. van Balen and afterwards rose to great fame -as Court painter to Grand-Duke Cosimo II. of Tuscany (whose kinsman -_Leopold de’ Medici_ is portrayed in No. 2154), and Pieter Neefs -(1577?-1661?), whose _Church Interiors_ (Nos. 2059-2064) are remarkable -for the faultless accuracy and precision of his architectural drawing, -there are no other painters of the Flemish school whose works at the -Louvre require close attention. We must content ourselves with the -mere mention of the landscape painters Jan Frans van Bloemen, called -Orizonte, a follower of Poussin and Claude; Jan van Breda, Francisque -Millet, and Mathys Schoevaerts; Carl van Falens and Anton Grief, -painters of hunting scenes; Jan Miel, who worked most of his life in -Italy and was completely influenced by the masters of that country; -the still-life painter Gaspard Pieter Verbruggen; the battle painter -Sebastiaen Francken; and the prolific painter of large altarpieces, -Jacob van Oost the Elder. With Balthasar Paul Ommeganck (1755-1826) -and the still-life painter Jan Frans van Dael (1764-1840) we reach the -beginning of the nineteenth century, a period of absolute stagnation in -Flemish art which preceded the brilliant revival of the modern Belgian -school. - - - - - THE GERMAN SCHOOL - - -Of all the important European schools of painting, the Early German -school is the one of which it is almost impossible to gain anything -like an adequate idea from the pictures that have found their way into -the Galleries of foreign countries. The fact is that with the exception -of two or three leading masters, like Holbein and Dürer, the Early -Germans found but scant favour beyond the confines of their own country -until comparatively recent years—that is to say, until the majority -of important examples had been systematically gathered in by the -museums of Germany. Now that the importance of the German primitives -and Early Renaissance painters has been generally recognised, it -will be practically impossible to regain the lost ground and to fill -up the serious gaps which prevent our forming an adequate idea of -the evolution of German art in the museums of other countries. The -Louvre is no exception to this rule. The numerical weakness of the -German section is unfortunately not atoned for by the importance of -the examples included, which, with but few exceptions, are of little -artistic account. - -Under the circumstances it would be useless to attempt a consecutive -narrative of the evolution of German art as illustrated by the pictures -at the Louvre, and we must confine ourselves to a brief discussion of -the few noteworthy works in the collection. - - - “THE MASTER OF THE BARTHOLOMEW ALTAR” - -The first picture of importance belongs to the period when the idealism -of the Early Gothic primitives was already replaced by a strong -naturalism, and the creation of types by that of clearly characterised -individualities. This picture, the _Descent from the Cross_ (No. 2737), -by the unknown “Master of the Bartholomew Altar,” is so called, in -accordance with German custom, from his best known work, the great -altarpiece in the Pinakothek at Munich. In the large Louvre picture, -which bears a close resemblance to the precious little panel by the -same master in the possession of the Hon. Edward Wood, at Temple -Newsam, the Saviour is being lowered from the Cross by Nicodemus into -the hands of one of the Holy Women on the left, and of Joseph of -Arimathæa on the right. The group is completed by St. John supporting -the Virgin on the extreme left, the Magdalen and another Holy Woman on -the right, and a Disciple seated on a ladder above the central group. -The figures are shown, as in the Temple Newsam painting of the same -subject, against a gold background framed with rich Gothic tracery. -This altarpiece is believed to be the last picture by this Cologne -master, who flourished between 1490 and 1515, and was in his later -manner influenced by Rogier van der Weyden and other Flemish masters. -This eminently important Early German picture was painted for a Jesuit -establishment in the rue St. Antoine, Paris, which accounts for its -presence in the French national collection. - - - COLOGNE PAINTERS - -The “Master of the Death of Mary,” to whose school belongs the _Descent -from the Cross_, with a predella representing _The Last Supper_, and a -lunette with _St. Francis receiving the Stigmata_ (No. 2738), has been -identified by Wauters and Aldenhoven with the early-sixteenth-century -Flemish painter Joos van Cleef the Elder, and belongs to the Antwerp -rather than the Cologne school. The “Master of St. Severin,” to whom -the official Catalogue ascribes the two _Scenes from the Life of St. -Ursula_ (Nos. 2738C and 2738D), was probably a Flemish painter who -worked at Cologne at the beginning of the sixteenth century. But the -two panels at the Louvre, which were formerly at the Cluny Museum, are -not from his brush. They are the work of his pupil, the “Master of the -Ursula Legend,” and belong to a series of which other panels can be -seen at the Victoria and Albert Museum and at Cologne. - -The first definite name in the annals of the Cologne school is -that of Bartolomäus Bruyn (_c._ 1493-1555), who was a follower of -Joos van Cleef but subsequently became completely imbued with the -Italian spirit. His portraits, in which he remained more faithful to -the tradition of his country, are of greater significance than his -religious compositions, and closely resemble those by Joos van Cleef; -but the _Portrait of a Man with a White Cross on his Breast_ (No. 2702) -is only a school picture of indifferent quality. - - - ALBRECHT DÜRER - -The flourishing school which had its centre at Nuremberg is represented -at the Louvre by the master who marks its zenith and who, if his -craftsmanship was not always on a level with the perfection of -Holbein’s, shares with the Augsburg master the honour of uncontested -leadership of all German artists. Albrecht Dürer (1471-1528) was born -at Nuremberg, of Hungarian descent. He studied his art under Michael -Wohlgemut, a very able Nuremberg painter, who was, however, led by his -popularity to factory-like production of pictures that passed under his -name, although they were largely executed by inferior pupils. Dürer, -who excelled equally as an engraver and as a painter, was, on the -other hand, one of the most sincere and personal artists of his time—a -profound thinker, a shrewd observer, a student of life in all its -phases, an idealist who was ever striving for beautiful expression, -even though the realistic tradition of his country did not allow him to -attain to the abstract ideal of beauty which had been reached by some -of the contemporary Italians. Indeed, Dürer may with justice be called -the Leonardo of the North. He studied Venetian art on a visit to Venice -in 1505, whither he had been preceded by his fame. He also travelled to -the Netherlands in 1520, the year in which he painted the signed and -dated _Head of an Old Man_ (No. 2709), his other picture at the Louvre -being the not very masterly _Head of a Child_ (No. 2709A). - - - DÜRER’S FOLLOWERS - -Dürer died in 1528 from a disease contracted during his journey to -the Netherlands. Among his principal pupils were Georg Pencz (_c._ -1500-1550), to whom is without sufficient reason attributed the -indifferent half figure of _St. John the Evangelist_ (No. 2730); and -Hans Sebald Beham (_c._ 1500-1550), the famous engraver, of whom the -Louvre is fortunate to possess the only known painting, a table top -divided by golden lances into four compartments, each of which contains -a _Subject from the Story of David_ (No. 2701): the _Entry of Saul -into Jerusalem; David and Bathsheba_ (in which scene is introduced -a portrait of Archbishop Albrecht of Mayence, for whom the work was -executed); the _Siege of Rabbath_; and the _Prophet Nathan before -David_ (with a portrait of the artist and the initials of his name, “H. -S. B.”). - - - LUCAS CRANACH - -This same Archbishop Albrecht, whose features are also known to us -from two engravings by Dürer and a painting by Grünewald, was one of -the most generous patrons of Lucas Cranach the Elder (1472-1553), -whose busy workshops at Wittenberg supplied the whole north and east -of Germany with portraits, altarpieces, historical and mythological -pictures. Lucas Cranach was a follower of Grünewald, the great head of -the Colmar school. Apart from his merit as a colourist and an excellent -draughtsman, he attracts by the naïve grace of his nude figures and -by the complete manner in which he reflects the taste of his time and -country. But of the five little pictures that figure in the Louvre -Catalogue under his name, not one is from his own hand. Indeed, the -_Venus in a Landscape_ (No. 2703) is the only one that may with a -degree of safety be attributed to his son, Lucas Cranach the Younger, -who carried on the management of the studio some years before his -father’s death, and continued to imitate his style until his own death -in 1586. The _Venus_ bears the usual Cranach signature of a winged -serpent and the date 1520. The same crest, with the date 1532, figures -on the portrait of _Johann Friedrich III., Elector of Saxony_ (No. -2704), who is known on one occasion to have given a wholesale order of -sixty replicas of the same portrait to the Wittenberg master. It may be -imagined that a commission of this nature would not be executed by the -head of the studio, but left to his staff of assistants. The _Fighting -Savages_ (No. 2702A) and the two _Portraits_ (Nos. 2703A and 2705) are, -at the best, studio works. - - - HANS HOLBEIN - -We now come to the second of the two commanding figures in German -art, Hans Holbein the Younger (1497-1543), who was born at Augsburg -and studied under his father, the elder artist of the same name. When -he reached his maturity the Italian influence had already permeated -German art, but he was the first Northern master who knew how to -benefit by the real spirit of the Renaissance without imitating the -letter; the first to develop a noble, dignified style, free from the -florid trivialities which so many Northerners took from certain Italian -painters. He was above all a marvellous portrait painter who, in his -drawings as well as in his paintings, combines the most exquisite -delicacy and subtlety with rare strength, the greatest precision of -detail with freedom and breadth of handling. Only this phase of his art -is represented at the Louvre, which certainly owns one perfect example -of Holbein’s portraiture in the _Portrait of Erasmus_ (No. 2715, Plate -XXIV.). - -Holbein had settled in Basle in 1519. He went to England in 1526, with -a letter of introduction from Erasmus to Sir Thomas More. From one -of Erasmus’s letters it would appear that Holbein had portrayed him -at least three times before 1524; and the picture now in the Louvre -was probably the one that was painted for Sir Thomas More—a better -recommendation than any letter of introduction! The profile is drawn -with inimitable mastery; and the whole character of the man can be read -from the expression of the tight-pressed lips and mobile features, as -he sits writing at his desk. Note, also, the marvellous expressiveness -of the hands, studies for which are to be found in the collection of -drawings at the Louvre. - -In view of the personal relations which link together Holbein, Erasmus, -and Sir Thomas More, it would be pleasant if we could accept the -so-called _Portrait of Thomas More, Great Chancellor of England_ (No. -2717), as authentic. It does not, however, represent Holbein’s first -English patron, nor does it appear to be from the master’s own brush. - - - THE KRATZER PORTRAIT - -Holbein’s first sojourn in England extended from 1526 to 1528, in which -year he returned to Basle. It must have been shortly before his -departure that he painted the _Portrait of Nicolas Kratzer, Astronomer -to King Henry VIII._ (No. 2713); it is an unquestionably authentic -work, although it has been so extensively repainted that little is now -left of the original, save the general disposition of the design and -the instruments placed on the table and hung on the wall, which are -executed with all the loving care that Holbein was wont to bestow upon -such accessories. Still, even in its present condition, the portrait -is a thoroughly convincing likeness of “a man who is brimful of wit, -jest, and humorous fancies”—as Kratzer is referred to by one of his -contemporaries. A sheet of paper on the left of the table appears to be -inscribed:— - - _Imago ad vivam effigiem expressa - Nicolai Kratzeri monacensis qui bavarus erat - Quadragessimum annum tempore illo complebat. - 1528._ - - [Illustration: - PLATE XXIV.—HANS HOLBEIN THE YOUNGER - - (1497-1543) - - GERMAN SCHOOL - - No. 2715.—PORTRAIT OF ERASMUS - - (Portrait de Didier Érasme) - - The Humanist is seen at half length and in forefile to the left, - before a table at which he is writing. He wears a fur-lined coat - and a dark cap. A green figured curtain forms the background. - - Painted in oil on panel. - - 1 ft. 4¾ in. × 1 ft. 0¾ in. (0·42 × 0·32.)] - -Although decidedly superior to another version of the same picture -at Lambeth Palace, the _Portrait of William Warham, Archbishop of -Canterbury_ (No. 2714), which bears the inscription, - - ANNO. Dm. MDXXVII. ETATIS. SVE, LXX., - -cannot without hesitation be accepted as an original work. It lacks, -at any rate, the _finesse_ of the beautiful drawing at Windsor Castle, -upon which it is evidently based. - -To the same year belongs the _Portrait of Sir Richard Southwell_ (No. -2719), to whose treacherous accusation was due the execution of Henry -Howard, Earl of Surrey. But this picture, again, is only a replica, by -an inferior hand, of the magnificent portrait in the Uffizi Gallery -(No. 765). An inscription in the background, at both sides of the head, -reads: - - on the left: X.^O IVLII. ANNO. and on the right: ETATIS SVÆ - H. VIII. XXVIII. ANNO XXXIII. - -It would thus appear that the picture was painted in 1537, the -twenty-eighth year of Henry VIII.’s reign. The _Portrait of a Man -holding a Carnation and a Rosary_ (No. 2720) is a picture of poor -quality and has no connection whatever with Holbein. - - - PORTRAIT OF ANNE OF CLEVES - -Of far greater importance and undisputed authenticity is the _Portrait -of Anne of Cleves, Fourth Wife of Henry VIII._ (No. 2718). No -credence is to be attached to the legend invented by Bishop Burnet -more than a century after that ill-treated lady’s death, according to -which Holbein’s flattering portrait was instrumental in “bluff King -Hal’s” choice of his fourth spouse and responsible for the king’s -disappointment at setting eyes upon Anne. The picture, which was -painted in 1539, seven years after Holbein’s definite return to England -and to the service of Henry VIII., has not only that air of inevitable -truthfulness which distinguishes all Holbein’s portraiture, but tallies -to a remarkable degree with the descriptions sent to Henry VIII. by his -agents. Whilst not exactly unpleasant to behold, the features are those -of a spiritless, dull woman—an impression which is intensified by the -absence of life and character in the hands, which Holbein invariably -studied as closely as the face. The painting of the richly embroidered -and jewelled costume, the stately symmetry of the design, and the -beautiful scheme of colour are really the chief attractions of this -picture. - -The _Adoration of the Magi_ (No. 2711A), which was at one time -attributed to the elder, and subsequently to the younger, Holbein, is -now rightly given to the latter’s contemporary and compatriot Gumpold -Giltlinger, an Augsburg painter of no particular distinction. - - - THE SEVENTEENTH CENTURY - -Before the end of the sixteenth century German art had entered upon a -period of complete decadence. The only painter who claims attention, -not so much for the undeniable merit of his very highly finished -landscapes, but for the fact that he exercised a certain influence upon -Rembrandt, is the Frankfort painter, Adam Elsheimer (1578-1621?), who -worked at Rome, and who is represented at the Louvre by _The Flight -into Egypt_ (No. 2710) and _The Good Samaritan_ (No. 2711). - -For the rest, the German painters of his period and of the whole of the -seventeenth century retained scarcely a trace of national character, -and were completely under the sway of the foreign, and particularly -of the Italian, schools. Thus, Johann Rottenhammer (1564-1623), the -painter of _The Death of Adonis_ (No. 2732) and _Diana and Calisto_ -(No. 2733), was successively dominated by Jan Brueghel and by -Tintoretto. The flower painter, Abraham Mignon (1640-1679), though born -at Frankfort, was a pupil of David de Heem and a Dutchman in his art. -His pictures at the Louvre (Nos. 2724-2729) are distributed between -the German and the Dutch sections. Philipp Peter Roos, better known as -Rosa da Tivoli (1665?-1705), who painted the _Wolf devouring a Sheep_ -(No. 2731), lived in Rome and adopted the style of the country of his -domicile. _The Bear Hunt_ (No. 2734) is the work of Carl Ruthart, -another unimportant Italianising German of the second half of the -seventeenth century. - - - THE EIGHTEENTH CENTURY - -The work of the Hamburg painter, Baltasar Denner (1685-1749), has no -claim to be considered as a manifestation of art: it is merely a -display of mechanical skill in the microscopic rendering of the little -lines and pores and stubbly hair on the skin of old people’s faces. He -lived for seven years in London, where he painted in 1724 the signed -_Portrait of an Old Woman_ (No. 2706), which was bought in 1852 for -£756. Another characteristic example of his misapplied skill is the -portrait (No. 2707) in the La Caze Room. - -Christian Wilhelm Dietrich (1712-1774) and Heinrich Wilhelm -Schweickhardt (1746-1787) are too insignificant to deserve serious -consideration. The same remark applies to Christian Seybold -(1703?-1768), who became Court Painter to the Empress Maria Theresa; -and to Johann Ernest Heinsius, who was active as a portrait painter in -France during the reign of Louis XVI. All that is to be noted in their -pictures at the Louvre is the total absence of all artistic merit. - -Of somewhat greater importance, though by no means of the first rank, -are the two last German artists who claim our attention: Raphael Mengs -(1728-1779) and Angelica Kaufmann, (1741-1807), who is catalogued -among the painters of the German school, although she was Swiss by -birth, Italian by education, and English by domicile. Her sex was no -bar to her becoming one of the Foundation members of the English Royal -Academy, and she is generally counted among the English painters. The -portrait group of _The Baroness von Krüdner and her Daughter_ (No. -2722) is a poor example of her art, which invariably sought to please -by conventional prettiness. - -Raphael Mengs, the painter of the portrait of _Marie Amelia Christina -of Saxony, Wife of Charles III. of Spain_, was born at Aussig in -Bohemia, studied whilst still a boy in Italy, and became Court Painter -to Charles III., who invited him to Madrid in 1761. Mengs was an -exceedingly accomplished technician and draughtsman, who modelled -himself on Raphael and the Italian eclectics, but was wholly lacking -in originality and inspiration. He tried his hand in every branch -of his art, and was most successful in portraiture, although even -his portraits are lacking in penetration of character. He, however, -excelled as a copyist, and died in Rome in 1779. - - - - - THE SPANISH SCHOOL - - -Though numerically by no means imposing, the Spanish pictures at the -Louvre form an exceedingly interesting section of the great French -national collection, comprising, as they do, characteristic examples of -the art of practically all the most prominent figures in the evolution -of Spanish painting. Compared with the schools of Italy and Flanders, -that of Spain was tardy in its development and very much dependent -upon foreign influences. The activity of Flemish and Italian masters -in Spain—we need only mention Starnina, Dello Delli, Rubens, Luca -Giordano—and the visits of several eminent Spanish masters to Italy, -could not fail to leave their clear mark on the art of the Peninsula, -the renaissance of which was almost entirely due to the stimulus -received from abroad. The short visit of Jan van Eyck to Portugal in -1429 also had a profound influence on the art of the Peninsula. But -the local conditions, the strict rule of the Church and the tyranny of -the Inquisition, the stiff ceremonial of the Court,—the only rival of -the Church in the patronage of the arts,—and especially the sombre, -passionate character of the Spanish race,—all helped to transform the -imported styles into an art of definite national stamp, an art that -is marked by sombreness, asceticism, dramatic intensity, and deep -religious feeling. Throughout it is dominated by realistic tendencies -and rude strength rather than by the striving for grace and beauty and -rhythm which characterise Italian art. - - - LUIS DE DALMAU - -The Louvre is fortunate in possessing an authentic and extremely -important, though badly restored, altarpiece by Ludovico Luis de -Dalmau, the first Spanish painter whose personality emerges definitely -from the obscurity of the Gothic period in Spain. Dalmau was a Catalan -who flourished about the middle of the fifteenth century, and who, -although not a direct pupil of the Van Eycks, shows such close affinity -with their style that certain modern critics are inclined to ascribe -to him, with insufficient reason, certain pictures, like the _Fountain -of Living Water_ at the Prado, by the heads and founders of the Bruges -school. In spite of the different types and the increased angularity -of the drapery folds in Dalmau’s _Enthronement of St. Isidore_ (No. -1703A), this Eyckian influence is clearly traceable in the Louvre -picture, which shows the Virgin enthroned under a Gothic canopy wearing -a crown of typically Spanish form, and handing the pallium to the -saintly Bishop of Seville, who kneels on the left. Further back on the -same side are four angels with the episcopal insignia. The group is -balanced on the right by St. Anthony the Hermit in the foreground, and -SS. Catherine, Margaret, Agatha, Odilia, and Apollonia grouped around -the throne. The picture was originally in a church at Valladolid, and -was bought for the Louvre at the Bourgeois sale at Cologne in 1904 for -£3025. - - - LUIS MORALES - -We need not here pay attention to the few unimportant pictures by -unknown early Spanish masters in the collection, and may pass on to -Luis Morales, called “El Divino” (“The Divine”) (1509-1586), who was -born at Badajoz, and worked at Toledo, when the whole Spanish school -was already addicted to the Italian mannerisms introduced by Berreguete -and other native artists trained in Rome. Morales, however, remained -faithful to the tradition of his own country, and was essentially a -painter of those religious subjects which enabled him to follow the -national bent for the sombre and tragic—the sufferings of Christ and -of the Virgin, and similar themes. The _Christ carrying the Cross_ (No. -1707) is a typical instance of the tragic intensity of his conception. -All the suffering of the Saviour is expressed in His drawn features -and His heavy, swollen eyelids. The picture is not dated, but was -evidently painted before 1564, in which year the master was called to -the Escorial and, while in the service of Philip II., to a great extent -lost his individual style in the imitation of the Italians, that was -probably forced upon him by the taste of his patrons. - - - EL GRECO - -We now come to one of the most interesting figures in the history of -Spanish painting—Dominico Theotocopuli, better known as “El Greco” -(1548-1614), from the country of his birth. Born in Crete about 1548, -El Greco entered at a very early age the studio of Titian in Venice. -This at least we know from a letter written by Clovio from Rome in -1570, without which, if we were to judge from the master’s early -style, we should be forced to the conclusion that he acquired his art -from Tintoretto, and more particularly from Jacopo da Ponte, to whom -several of his earliest works in private collections were formerly, -and in some cases are still, ascribed. He went to Rome in 1570, and -after five or six years took up his abode at Toledo, his first dated -picture in that city, the scene of his chief activity, bearing the -date 1577. Between that year and his death in 1614, his extant works -illustrate the gradual evolution of his art, the change of his Italian -into a typically Spanish manner, the rapid acquisition of a very -personal style, and the straining of that personal style to extreme -mannerism. The notes and flashes of rare, cold, almost acid, but always -harmonious, colour lend a peculiar distinction to El Greco’s work. His -predilection for long, narrow faces and slender, emaciated bodies led -him in his declining years to extravagant exaggeration; the ecstatic -passionate action and gesture of his figures reveal contortion and -frenzy. As a portrait painter El Greco is second only to Velazquez in -the school of his adopted country. His biographer, Señor Cossío, has -called him “a painter of souls,” because he had that intense power of -penetration which perceives and retains at a glance the sum total of a -person’s traits of character. - -El Greco’s conception of portraiture enters largely into his pictures -at the Louvre, from which we must exclude as an imitation by an -inferior hand the _St. Francis and a Novice_ (No. 1729A). It is -certainly an important feature in the large _Christ on the Cross, with -Two Donors_, one of the comparatively recent acquisitions, which still -hangs on a screen in Gallery XV. This great altarpiece has little -of the master’s fierce passion and lightning flashes of colour. The -expression of the two Donors, Diego and Antonio Covarrubias, who are -seen to the waist at the foot of the Cross, does not go beyond normal -pious devotion; and the Saviour seems rather to stand with spread arms -than to hang on the Cross with all the weight of His characteristically -elongated body. A leaden grey dominates the whole colour scheme. The -composition is singularly empty and simple for a master who seemed to -have a perfect horror of empty spaces. The picture, which is fully -signed, must have been painted soon after El Greco’s arrival at Toledo -(and not, as Sñr. Cossío thinks, between 1590 and 1600), since one of -the Donors, the priest Diego Covarrubias, died in 1577. - -Comparison of the two Donors’ faces with their portraits by the same -master in the Toledo Library can leave no doubt as to their identity. -The _Christ on the Cross_ was offered by the deputy Isaac Pereire -of Prades (Pyrenées-Orientales) to the local parish church, but was -refused and hung in the Palais de Justice at Prades, whence it was -removed to the Mairie in 1904, and finally sold to the Louvre in 1908 -for £1000. The picture measures 8 ft. 8 in. by 5 ft. 8 in. - -The _St. Louis of France and a Page_ (No. 1729B), which was formerly -wrongly catalogued as _King Ferdinand the Catholic_, is a more typical -example of El Greco’s management of colour. The boldly painted armour -is identical with that of the St. Martin on horseback, at Toledo. The -probable date of the picture, which was bought in 1904 at the high -price of £2800, is between 1594 and 1600. - -By El Greco’s favourite pupil and assistant, Luis Tristan (1586-1640), -is the realistic half-figure of _St. Francis of Assisi_ (No. 1730). -A more scientific classification of the works by the Toledo painters -has reversed Sir W. Stirling-Maxwell’s judgment that Tristan had all -the virtues and none of the faults of his master. He was in reality a -mediocre imitator of El Greco, without a spark of his master’s genius -and without any of his distinction. - - - THE SCHOOL OF SEVILLE - -The naturalistic tendencies inherent in the national Spanish genius, -which even in the period of Italian mannerism were not to be entirely -denied, bore full fruit at Seville, where Francisco Herrera “the -Old” (1576-1656) was the first entirely to reject the tyranny of the -Italian manner, and with it to a certain extent the tyranny of Church -patronage. He was a man of fiery character, with whom the technique -of his art became a veritable passion. It was left to a painter of a -later century and of another race to proclaim that it does not matter -_what_ you paint, but _how_ you paint; but Herrera’s work at times -almost suggests that he was guided by similar principles, although an -instinctive sense of pictorial fitness saved him from the consequences -to which their unrestricted application might easily lead. - -In spite of the repelling fierceness, the fanaticism, the cruelty -of every single face—all of them portraits, no doubt—in the _St. -Basil dictating his Doctrine_ (No. 1706) at the Louvre, in spite of -the essentially Spanish manner in which the design fills the space -(the figures being grouped in horizontal courses right across the -canvas, with very little space above for the sky, and this little -space filled with angels’ heads and with a Holy Ghost as fierce as -the rest of the assembly), there is a noble rhythm of line as well as -of the distribution of light and shade, which proclaims the mind of a -master. The two Saints in the immediate foreground, St. Dominic and -St. Bernard, are cut through at the waist—another favourite device of -Spanish composition, which we have already noticed in the Donors of El -Greco’s _Christ on the Cross_. - - - ZURBARÁN - -Considerable though it be, Herrera’s artistic achievement does not -constitute his chief claim to fame; for his name will ever be best -known as that of the first master of the greatest of all Spanish -painters, Don Diego Rodriguez de Silva y Velazquez. But before -discussing the pictures by, or catalogued under the name of, Velazquez -at the Louvre, we must consider the work of two other painters of -the Naturalistic school: Francisco de Zurbarán (1598-1661) and José -de Ribera, called “Lo Spagnoletto” (1588-1656). Zurbarán, a pupil of -the Sevillan Juan de las Roelas, was essentially a painter of church -pictures, his favourite subjects being types of monks and scenes of -monkish life. There is something so sincere and convincing in his -unrelenting realism, that even his pictures of rapturous ecstasy and -strongly emphasised emotion impress one as truthful renderings of types -observed by the artist in the streets and churches of monastic Seville. -The sombre passion with which his subjects are instinct is reflected by -his colour and masterly chiaroscuro. Zurbarán became Court Painter to -Philip IV. in or before 1633, in which year he added the words “_Pintor -del Rey_” to his signature on one of his pictures; and in this -capacity he painted at Madrid his only known secular pictures, a series -of ten Scenes from the History of Hercules. - -Two admirable pictures from his brush figure in the Louvre Catalogue as -_St. Peter Nolasque and St. Raymond de Peñafort_ (No. 1738) and _The -Funeral of a Bishop_ (No. 1739). As a matter of fact they represent -two scenes from the life of St. Bonaventura: _The Saint presiding at a -Chapter of Minor Brothers_, and _The Funeral of St Bonaventura_. The -second of these companion pictures which were originally in a convent -at Seville is particularly striking for the unconventionality of its -composition, the strong character of the heads, and the masterly -treatment of the chiaroscuro. Note again the placing of the heads -almost in a horizontal line right across the canvas, and the anxious -avoidance of empty spaces. The third picture that stands to Zurbarán’s -name is the figure of _A Lady of Fashion in the Character of St. -Apollonia_ (No. 1740), a work of not very striking merit. - - - RIBERA - -Ribera, though born near Valencia, where he received his early -education in the painter’s art in the studio of Ribalta, was still -young in years when he left his native land for Italy, never to -return. Studying and working at Rome, Parma, and Naples, he was so -strongly influenced by Caravaggio, and to a minor extent by Correggio, -that, taking also into account his long domicile, there is some -justification for those who treat him as belonging to the Italian -school of Naturalists. The most prominent feature of his art is the -violent and abrupt contrasting of brilliant lights with very deep and -heavy shadows, which enforces the almost cruel dramatic intensity of -his scenes of torture, convulsions, and suffering. In this use of -chiaroscuro he was a true follower of Caravaggio, but Ribera, even -where he is most Italian, never denies his Spanish nationality and the -teaching of his first master. - -Nowhere are his racial characteristics more pronounced than in -the admirable character-study, in the La Caze Room, of a grinning -beggar-boy who suffers from an infirmity from which the picture derives -its popular name, _The Club-foot_ (No. 1725). The boy is standing -in bold silhouette against a clouded sky. He shoulders his crutch -like a gun, and carries in his left hand a sheet of paper with the -inscription—DA MIHI ELEMOSINAM PROPTER AMOREM DEI. - -If _The Club-foot_ is scarcely typical of the qualities that are -generally associated with Ribera’s art, the Louvre owns two thoroughly -characteristic examples of his more violent manner, of his dramatic -use of sharply contrasted light and shade, in _The Entombment_ (No. -1722) and _St. Paul the Hermit_ (No. 1723), which bears on a stone the -signature - - JUSEPE DE RIBERA ESPAGNOL P.F. - -In _The Entombment_ the master-hand is revealed by the superb breadth -with which the limp yet weighty body of the Saviour is painted. It is -not modelled in all its plastic roundness, but cut into sharp flat -passages of light and shadow, the plastic relief being suggested by the -perfection of the anatomical drawing and foreshortening. Poignant grief -is expressed in the faces of St. Joseph of Arimathæa, the Virgin Mary, -St. John, and Nicodemus, who surround the body, the head of which is -supported by St. Joseph. The same subject is treated with less masterly -authority in _The Entombment_ (No. 1725A), which can only be accepted -as a school picture. - -The ascetic fervour tinged with a sense almost of cruel pleasure -in self-inflicted suffering, with which Ribera loved to invest his -semi-nude figures of emaciated saints, hermits, and martyrs, will be -found in the _St. Paul the Hermit_. The picture was bought in 1875 for -£252. - -Without loss of realistic power, and without affectation or conscious -striving for prettiness, Ribera shows more human tenderness and gentle -emotion in _The Adoration of the Shepherds_ (No. 1721), a picture -signed and dated on a stone in the right-hand corner, - - _Juse Ribera español Academico romano, F. 1650._ - -In accordance with the nature of the subject he has here refrained from -making use of abrupt light and shade, the whole scene being enveloped -in a warm glow. The types are not idealised, but are apparently -faithful portraits of their respective models. Very similar to the -central group in this canvas, but more sonorous in its depth of colour, -from which gleam forth the strong lights, is the _Virgin and Child_ -(No. 1724) in the La Caze Room. The four pictures of _Philosophers_ -(Nos. 1726-1729), likewise in the La Caze Bequest, which the official -Catalogue gives to Ribera, are certainly not by that master. It has -been suggested that they may be the work of Ribera’s facile and -versatile pupil, Luca Giordano (“Fa Presto”), but the poor quality of -these paintings scarcely justifies even this attribution. They were -formerly in the collection of General Mazzavedo. - -Ribera had a romantic career, rising as he did from absolute penury to -almost despotic power as a member of a triumvirate that would brook no -competition in Naples and would shrink from no means to further their -schemes. Nothing is known as to how he died. He disappeared in 1656, -and probably found his death in the depths of the sea. - - - VELAZQUEZ - -The Catalogue of the Louvre collection contains an imposing list of -seven works by the king of Spanish painters. Critical examination of -these pictures will, however, result in the elimination of all but -two that figure in the list. Velazquez, who was destined to stamp his -great personality on a whole generation of Spanish painters, but whose -art was little known in Northern Europe previous to the Peninsular -War, has exercised a paramount influence on modern art. He was born of -noble descent at Seville in June 1599. Although originally destined for -another profession, he showed such talent for art that he was allowed -to enter the studio of Francisco Herrera, of whose realistic tendencies -and rugged strength we have already had occasion to speak. - -From his studio he passed into that of the cultured and erudite -Francisco Pacheco, whose artistic achievement at its best was far -in advance of his professed academic principles. Summoned to Madrid -in 1623 by the powerful Count Duke of Olivarez, Velazquez entered -the service of King Philip IV. Velazquez became his favourite Court -Painter, received other important offices and emoluments, and after -his return from his second visit to Italy in 1651—the first visit had -taken place in 1629—he was appointed _Aposentador del Rey_, a post -which approximately corresponds with that of Court-Marshal. He died on -the 6th of August 1660, from the results of fatigue and overwork in -supervising the arrangements for the betrothal of the Infanta Maria -Teresa to Louis XIV. at the Palace on the Isle of Pheasants, at Irun. - -With the exception of the early _bodegones_ of his student-years and -a few rare excursions into the realm of religious and mythological -composition, Velazquez’s life-work, as conditioned by the patronage of -the king and the Court, was practically confined to portraiture. His -unrivalled greatness in this sphere is due to the perfect clearness -of his vision, which made him grasp the person or scene before his -eyes at a single glance, and transpose his impression to canvas with -undisturbed directness and completeness, and with an apparent disregard -of the means of expression. There is dignity and soberness in all his -portraits; perfect spacing; noble, firm contour; complete unity of -all the parts produced by the sense of ambient atmosphere. And never is -there the slightest hint of trick of hand, or mannerism, or painting by -recipe. Each picture is the result of close observation, recorded with -admirable directness and honesty. This supreme master of the painter’s -technique seemed to pay no attention to technique—or, at least, the -result is invariably so significant and so absorbingly interesting -that the spectator, unless he approaches the picture with deliberate -intention to probe its secret, never thinks of the technical means by -which life so convincing has been breathed on to the canvas. - - [Illustration: - PLATE XXV.—VELAZQUEZ - - (1599-1660) - - SPANISH SCHOOL - - No. 1731.—PORTRAIT OF THE INFANTA MARGARITA - - (Portrait de l’infante Margarita Maria) - - The Infanta, who appears to be about four years of age, is wearing - a white robe embroidered with black. She is seen standing at half - length, her right hand on the arm of a chair. - - Painted in oil on canvas. - - Inscribed:—“LINFANTE MARGUERITE.” - - 2 ft. 3¾ in. × 1 ft. 11½ in. (0·70 × 0·59.)] - - - THE INFANTA - -In the Louvre collection there is but one picture from which it is -possible to judge the greatness of Velazquez’s art. That picture is -the deservedly famous and often-copied portrait of the little _Infanta -Margarita_ (No. 1731, Plate XXV.), which has rightly been placed in the -Salon Carré among the proudest possessions which the Gallery can boast. -The little princess, who was born in 1651, the first child of Mariana -of Austria, is here depicted at the age of about four, so that the date -of the portrait may safely be assumed to be about the year 1655, and -not 1659, as suggested by M. Lafenestre. She is dressed in a white robe -with black lace trimmings. A pink ribbon is tied on her right side to -her soft light golden hair, which falls in curls to her shoulders; her -right hand rests upon a chair, whilst the left, the fingers of which -have been repainted owing to the addition of a narrow strip of canvas -at the bottom, holds a flower. On the top the words LINFANTE MARGVERITE -are painted in heavy block letters across the whole width of the -canvas. This picture, in which childlike ingenuousness is so happily -blended with quaint dignity, and in which even the forbidding ugliness -of the dress of the period cannot destroy the little princess’s grace -and doll-like charm, Velazquez has surely left to the world one of the -most entrancing portraits of lovable childhood that is to be found in -the whole history of art. - - - MARIANA OF AUSTRIA - -The other unquestionably authentic work by the master at the Louvre is -to be found in the La Caze Bequest. It is catalogued as _Portrait of -the Infanta Maria Teresa, afterwards Queen of France_ (No. 1735), but -is in reality a portrait of _Queen Mariana of Austria_, the mother of -the Infanta Margarita Maria. Mariana was married to Philip IV. as his -second wife in 1649, at the age of fourteen. Velazquez was at that time -in Italy, so that the duty of painting her first portrait for the royal -bridegroom fell to the Court Painter’s son-in-law and chief pupil, Juan -Bautista del Mazo (1610-1667). - -The portrait at the Louvre was, if we may judge from the apparent age -of the child-queen as she is here represented, painted in 1651, when -Velazquez had returned from his second Italian journey and when Mariana -was sixteen years of age. It was probably a preliminary study from life -for the larger portrait in the Vienna Gallery. This admirable portrait -is another artistic triumph over unfavourable conditions imposed by -the hideousness of contemporary female attire, although the forehead -has been spoilt by clumsy repainting. The coiffure in particular, a -cascade of false hair, bows, jewels, and feathers, is more suggestive -of some exotic idol or fetish than of a human being. In 1863, before -the judgment of a tasteless age, which gave Velazquez a position far -below the then absurdly overrated Murillo, was revised, this portrait -of Mariana appeared at the Viardot sale and failed to realise more than -£200! - - - COPIES AND SCHOOL PICTURES - -Two other portraits in the La Caze Room are attributed to Velazquez. -One of these, a _Portrait of Philip IV._ (No. 1733) at the age of about -fifty, is unquestionably a wholly uninspired and fairly modern copy of -the head in the Prado (No. 1080). The other, a _Portrait of a Young -Woman_ (No. 1736), is an extremely feeble imitation of the superficial -aspect of Velazquez’s manner—so bad in drawing, especially in the -attachment of the nose to the face, that it is difficult to accept -Señor Beruete’s attribution of this picture to Juan Carreño de Miranda -(1614-1685), an able painter of the Madrid school. M. Henri Rodolphe -Elissa, who exposed the “Tiara of Saitaphernes” forgery, has asserted -that he can prove both the _Philip IV._ and the _Young Woman_ to be -the work of the Spanish painter Escosura, who died in the last decade -of the nineteenth century. There appears to be no reason to doubt his -assertion. The head of Philip, more than the other picture, appears to -be nineteenth-century work. - -The _Portrait of Philip IV., King of Spain, in Hunting Costume_ (No. -1732), with a gun in his right hand and a dog sitting by his side, in -a landscape background, is only a contemporary copy of a very similar -picture in the Prado, to which it is vastly inferior in execution. It -is true that in the Prado picture the king’s hat is on his head, whilst -in the Louvre version, which is probably by Mazo, he carries it in his -left hand. It is, however, possible to detect in the Prado portrait -clear evidence of a pentimento, from which it can be seen that here, -too, the hat was originally in the same position as in the Louvre -canvas. Presumably Velazquez subsequently made the alteration; but the -copy was executed at an earlier date. - - - THE “MEETING OF THIRTEEN PEOPLE” - -There have been great divergences of opinion concerning the strange -little painting representing a _Meeting of Thirteen People_ (No. 1734) -on a hill. It was formerly known as _A Meeting of Artists_, because -two of the Spanish cavaliers depicted in the group were believed to -represent Velazquez and Murillo. Lauded at first as one of Velazquez’s -masterpieces by those who were carried away by the truly extraordinary -beauty of the pearly, opalescent colour harmony and the atmospheric -quality of the painting, the little picture has lately been as -violently abused for its “poor design, weak execution, and commonplace -arrangement.” As a matter of fact the arrangement is anything but -commonplace, and the picture has great qualities of technique which -will always be the delight of professional artists. It is moreover -admirably varied in gesture and action, even if it has certain -weaknesses which render impossible its unqualified attribution to -Velazquez. Here we have clearly an excellent example of his son-in-law -and imitator, J. B. del Mazo. If any proof were needed for this -attribution, it will be found in the figure on the extreme left of the -composition. Both his legs are slanting forward so much that his centre -of gravity plumbs behind his heels. It would really be impossible to -maintain this posture, which, though it offends against the laws of -gravity, is to be found in quite a number of Mazo’s pictures, as, for -instance, in the small figure of Olivarez (?) in the middle distance -on the right in the Duke of Westminster’s _Don Baltazar Carlos in the -Riding School_, in the portrait of _Don Baltazar Carlos_ at The Hague, -and in the second boy in _The Family of Mazo_ at the Vienna Gallery. - -The soundly painted _Portrait of Don Pedro de Altamira, Doyen of the -Chapel Royal at Toledo, afterwards Cardinal_ (No. 1737), inscribed -on the background “ÆT 54 DV, 1633,” is a good character-study of an -energetic and rather worldly-looking Church dignitary, but does not -appear to be either by Velazquez or one of his immediate followers. - -There is in the Spanish section of the Louvre another superbly painted, -but very problematic, _Head of a Man_ (No. 1747), which, on no more -plausible grounds than an accidental likeness to one of the figures -in _The Forge of Vulcan_, has by some critics been believed to be by -Velazquez. The rich impasto and the careful finish of the painting are -utterly unlike Velazquez’s manner; nor does the picture appear to be -of his period. But whoever may be its author, it is one of the most -remarkable paintings in this section of the Louvre. - - - MURILLO - -By far the best represented of all the masters at the Spanish school is -Bartolomé Estéban Murillo (1618?-1682). He was born at Seville, of poor -parents, and studied as a boy under Juan del Castillo. Forced before he -had reached manhood to gain his livelihood, he took to manufacturing -artistically worthless devotional pictures on saga-cloth, for sale at -the weekly fairs in the poor quarter of Seville. This early practice -of rather mechanical production, and the habit, acquired by necessity, -of working to please the public, clung to him in after life and are -responsible for much that the modern mind finds distasteful in his -art—a certain sickly sentimentality that often takes the place of real -sentiment, and an artificiality of arrangement even where the types are -realistic renderings of the people among whom he spent his days. - -With his small savings from the proceeds of his crude popular pictures -Murillo proceeded to Madrid, where Velazquez assisted him by deed, -advice, and example, though the two artists were probably never in the -relation of master and pupil. After about two years thus profitably -spent at Madrid, Murillo returned to Seville, where he continued to -work until his death in 1682, and rose to the very summit of fame and -popularity. At his best Murillo was a colourist of great charm and a -technician of the rarest skill. His art is most admirable where he -adheres most closely to the realistic tradition of his country. It -is scarcely to be credited that the same hand which produced so many -vaporous and vapid Madonnas is responsible for a picture painted with -such superb breadth and incisive vigour as _The Young Beggar_ (No. -1717), which is almost worthy of the brush of Velazquez in his Sevillan -period. The decidedly unsavoury subject is made acceptable by the -consummate artistry of the treatment. - - - “THE IMMACULATE CONCEPTION” - -It is not, however, to pictures of this type that Murillo owed his -widespread popularity. Generations of enthusiastic admirers have -stood in silent awe before his large painting of _The Immaculate -Conception_ (No. 1709, Plate XXVI.), which is certainly one of the best -of innumerable versions of the same subject—the Virgin standing on a -crescent moon, with ecstatic gaze, and hands pressed to her breast, -and surrounded by swarms of joyous angel-children—painted by Murillo -to meet an apparently insatiable demand. There is something of real -ecstasy in this conception. To find a similar _morbidezza_ of pigment -one must turn to certain famous works by Andrea del Sarto: it is a -quality which is generally conspicuously absent from Spanish painting -and which, if carried a step farther, as it sometimes was carried by -Murillo, would result in fuzzy vapidness. This famous picture has the -distinction of being the most costly purchase ever made for the Louvre, -the price paid for it at the Marshal Soult sale in 1852—that is -many years before American competition had established the vastly -enhanced standards of value which now prevail—being as much as 615,300 -fr., or £24,612. - - [Illustration: - PLATE XXVI.—MURILLO - - (1618?-1682) - - SPANISH SCHOOL - - No. 1709—THE IMMACULATE CONCEPTION - - (La Conception immaculée de la Vierge) - - The Virgin, wearing a white robe with a blue mantle over her left - shoulder, has her hands crossed over her breast; she is standing in - the hollow of a two-horned crescent, and gazing heavenwards. About - twenty-one cherubs and ten heads are seen in different parts of the - composition. - - Painted in oil on canvas. - - 9 ft. 0 in. × 6 ft. 3 in. (2·74 × 1·90.)] - -Apparently of earlier date is the other version of the same subject at -the Louvre. This _Immaculate Conception_ (No. 1708) is not painted in -the same spirit of exaltation as the version just described, but has -a happy passage of realistic character-painting in the six kneeling -figures on the left. On the right two angels carry a scroll with -the inscription IN PRINCIPIO DILEXIT EAM. The picture was painted -in 1656-57 for the Church of Santa Maria la Blanca at Seville, and -was carried off to France, with many other of the master’s works, by -Marshal Soult. - - - THE “BIRTH OF THE VIRGIN” - -Another picture that formed part of the loot taken by Napoleon’s -general and was taken in 1855 from his son, the Duke of Dalmatia, in -liquidation of a debt of £6000, is _The Birth of the Virgin_ (No. -1710). The National Gallery in London owns a small preliminary study -for this painting, which was executed in 1655 for Seville Cathedral. -The centre is occupied by a beautifully disposed group of four women -and four winged heavenly visitors attending to the Infant’s bath; in -the background on the left St. Anne, raised in her bed, is receiving -visitors, and on the right are seen two attendants airing linen at -a fireplace. The strange assemblage, in which the earthly and the -heavenly are without incongruity brought into such close contact that -one of the boy-angels is actually occupied with a dog, is completed -by another four angels floating in the air above the Infant. In -composition, distribution of light and shade, and in harmonious -blending of mellow colour this picture ranks among Murillo’s highest -achievements. According to Cean Bermudez, the roundness, beauty of -shape, and rosy complexion of the waiting-woman’s arm in the foreground -“excited the jealous envy of the ladies of Seville.” It is interesting -to note that before its acquisition by the Louvre the _Birth of the -Virgin_ was brought to England in 1823, when the owners vainly tried to -find a purchaser. - - - “THE ANGELS’ KITCHEN” - -Yet another deservedly famous work by Murillo, removed from a -Franciscan convent at Seville by the insatiable greed of Marshal Soult, -is the now extensively restored large picture known as _The Miracle of -San Diego_, or _The Angels’ Kitchen_ (No. 1716). The composition is -divided by two large figures of angels into two halves. On the left two -knights of Calatrava are shown in by a Franciscan brother and behold -St. Diego in prayer miraculously raised into the air and surrounded -by a flood of light. On the right the angels are occupied with the -preparation of the repast for which the Saint has sent his prayer to -the Virgin. A Franciscan is watching the scene from the distance with -a gesture of amazement. Here again the real and the supernatural are -blended with unaffected naïveté, the unity of the contending elements -being established by the masterly rendering of light and atmosphere. -An account of the miracle is given on a cartouche in the foreground; -whilst a piece of paper on the left holds the signature - - BART-EST. MURILLO, 1646. - -_The Angels’ Kitchen_ was bought from the despoiler’s heirs for £3420. - -_The Virgin of the Rosary_ (No. 1712), unlike the majority of Murillo’s -representations of the Mother of God, has scarcely a trace of spiritual -exaltation, but is merely a handsome type of a happy and contented -Spanish mother. The folds of her outer garment are arranged in florid -and meaningless profusion. - -_The Holy Family_ (No. 1713), also known as _The Virgin of Seville_, is -a genuine and characteristic, though strangely overrated work by the -master, and bears the signature - - BARTOLOM DE MURILLO F. HISPAN. - -_The Virgin in Glory_ (No. 1711) is, to say the least, of doubtful -authenticity. The small companion pictures, _Christ in the Garden of -Olives_ (No. 1714) and _Christ at the Column and St. Peter_ (No. 1715), -are painted on marble, to which fact they owe the unpleasant coldness -of their colouring. - -In the La Caze Room are two portraits, _The Poet Quevedo_ (No. 1718) -and _The Duke of Ossuña_ (No. 1719), which the official Catalogue -ascribes to Murillo. Quite apart from the fact that the artist was -only six years of age when the Duke of Ossuña died, the quality of -the painting does not justify these attributions. Like the head of -Philip IV. in the same room, they were probably painted by Escosura, a -late-nineteenth-century Spaniard - - - THE SCHOOL OF MADRID - -We must now return to Madrid, where the example of Velazquez had -inspired a fairly numerous group of able painters without particular -genius, whose art, being entirely derivative, carried within itself -the germ of decay and sank to complete insignificance before the close -of the century. The most distinguished artist of this group is Juan -Bautista del Mazo, who has already been referred to as the author -of the _Meeting of Thirteen People_ and probably of the _Philip IV. -in Hunting Costume_. So well did he succeed in appropriating his -father-in-law’s style that his best works have frequently passed under -his illustrious master’s name. - -Another important painter of the Madrid school is Carreño de Miranda -(Nos. 1614-1685), who benefited by Velazquez’s patronage, became -painter of the Palace in 1669, and Court Painter and Assistant -Seneschal in 1671. Although in his later years he devoted himself -largely to subject pictures which are distinguished by a warmer -colouring than most of the productions by the Madrid school of the -period, he achieved his greatest successes as a portrait painter. He -was considerably influenced by the paintings of Van Dyck, which he -had occasion to study in the royal palaces. His large _St. Ambrose -distributing Alms_ (No. 1702), in the La Caze Gallery, is a hurriedly -executed work which does not show his art to the best advantage. It -figured in the sale of the Soult collection, when it failed to realise -£20. - -Far more typical of its author’s best manner is _The Burning Bush_ (No. -1703) by Francisco Collantes (1599-1656), a Madrid painter who studied -under Vincente Carducho, but was influenced by Bassano. He was an -excellent colourist, especially in his landscape paintings with small -figures. His most famous picture is _The Vision of Ezekiel_, formerly -at the Buen Retiro Palace and now in the Prado Gallery. - -Juan de Arellano (1614-1676), the painter of the _Flowers_ (No. 1701), -worked at Madrid, unknown and in abject poverty, until at the age of -thirty-six he began to devote himself to flower-painting, a branch -of art in which he developed considerable skill, and rose to great -popularity. - -Yet another Madrid painter who is but indifferently represented at the -Louvre by a still life of _Fruit and Musical Instruments_ (No. 1720) -in the La Caze collection, is Antonio Pereda (1599-1669). Although a -contemporary of Velazquez and working in the same city, he was not -appreciably influenced by that master. He was a pupil of Pedro de las -Cuevas, and his style shows certain affinities with Ribera. His works -are rarely to be met with outside the galleries and churches of his own -country. - -The end of the seventeenth century marked the complete decadence of the -Spanish school, which was precipitated and received its final seal by -the advent in 1692 of the Neapolitan Luca Giordano, whose rare facility -in the production of showy, flashy, meretricious works earned for him -the sobriquet “Fa Presto,” and whose prodigious success was a powerful -incentive to emulation. More fatal even than the influence of Luca -Giordano was that of the German artist Raphael Mengs, an uninspired -eclectic who became Court Painter to Charles III., and who is referred -to in the chapter dealing with the German pictures at the Louvre. - - - GOYA - -In this time of complete stagnation the fascinating personality of -Francisco Goya y Lucientes (1746-1828) flashes like a bright meteor -through the dark night of Spanish art. Goya takes a unique position -in the art of his country—or, indeed, of the world. He was as much -the last of the old masters as he is the first of the moderns. A man -of fiery temperament, impulsive, unruly, opposed to authority, he was -terribly unequal in his performance. It is as unnecessary to state -who were his masters as it is impossible to speak of his style in -general terms, for there probably never was an artist who worked in -so many different styles, experimented in so many different mediums, -and treated so vast a range of subjects as Goya. He was a creature of -moods, and changed his method of painting as easily as his political -allegiance from Bourbon to Bonaparte and back again to Bourbon. - -His four pictures at the Louvre are without exception portraits, and do -not therefore illustrate his highly developed sense of the dramatic. -But they serve admirably to show his active protest against the -classicist affectation prevalent at his time, and his return to the -healthy realism which is the heritage of his race. The _Portrait of F. -Guillemardet, Ambassador of the French Republic to Spain_ (No. 1704), -is an admirably honest piece of portraiture, dignified but perfectly -natural in pose, strong in expression and pleasing in colour. It was -bequeathed to the Louvre by Guillemardet, together with the _Young -Spanish Woman_ (No. 1705) in a black mantilla, standing with crossed -arms against a pearly-grey landscape background. The seated half-figure -of the rather corpulent _Young Spanish Woman_ (No. 1705A) was bought -at the Kums sale at Antwerp for £1276; and the portrait of _Don Perez -de Castro_ (No. 1705B) was acquired in 1902 for £1200. Goya was an -isolated figure in Spanish art of the time. He left no “school,” but -his influence was one of the leading factors in the rise of the modern -movement in France. - - - - - THE DUTCH SCHOOL - - -We have already followed the development of the early Flemish or -Netherlandish art during the fifteenth century, and observed how -it eventually passed under the Italianising influences which are -unmistakable in the pictures of Barend van Orley (1495?-1542) and -his contemporaries. The early painters of Holland as distinct from -Flanders cannot be traced with any certainty much farther back than -Albert von Ouwater (fl. 1420-1460), who worked at Haarlem from 1430 to -1460. As we have already seen, the early Flemish painter, Gerard David -(1460?-1523), was born at Ouwater, which may well have had its school -of painters. Neither Albert von Ouwater, who is represented to-day by -a single work, the _Raising of Lazarus_ in the Berlin Gallery, nor his -unidentifiable contemporary who painted the _Exhumation of St. Hubert_, -in the National Gallery (No. 783), are included in the collection of -pictures at the Louvre. - - - GERARD OF HAARLEM - -The influence of these painters and Dierick Bouts is seen in the rare -works of Geertgen tot S. Jans, or Gerard of Haarlem (1465-1493) whose -_Raising of Lazarus_ (No. 2563A) in this collection is an achievement -of the highest order, and was purchased as recently as 1902 for £4000 -from Baron d’Albenas, after having been for many years in Spain. This -pupil or follower of the Ouwater master was a native of Leyden, and -worked at Haarlem. He took his name from the commandery of the Knights -of St. John at Haarlem for whom he worked, as we see from the careful -inscription, “_Gerardus Leydanus pictor ad S. Io. Baptist. Harlem -pinxt_,” on his triptych at Vienna. - -Among his contemporaries were Cornelis Engelbrechtsen, who was born -in 1468 at Leyden, where he died in 1533, and Lucas van Leyden -(1494-1533). The latter played an important part as an engraver quite -as much as a painter in the university town of Leyden, which now -possesses his large _Last Judgment_ and became famous as the birthplace -of Rembrandt in 1606. The Louvre possesses no picture by either -Engelbrechtsen or Lucas van Leyden. - -Jacob Cornelisz van Oostsanen (fl. 1470-1533) is also unrepresented -here. Portraits by painters in this group are often confused, as in -the case of the _Portrait of the Duke of East Friesland_, in the -Oldenburg Gallery, which has been attributed to both Lucas van Leyden -and Jacob Cornelisz. A pupil of the latter may have painted the _Cana -of Galilee_ (No. 2640C). It is safe to assign to “the Master of the -Female Half Figures,” the _Young Lady Reading_ (No. 2641C), which has -a close analogy with the well-known picture in the Harrach collection -at Vienna, representing half-length figures of three young ladies in -crimson velvet dresses cut square at the neck, and singing to the -accompaniment of a flute and a lute. The name of this painter is -not known, but his pictures, which are neither numerous nor of any -conspicuous merit, are easily recognisable. - -To this period of transition and mediocre painting belongs Jan Scorel -(1495-1562), whose _Portrait of Paracelsus the Doctor_ (No. 2567A) is -inscribed: - - “FORMOSO DOCTOR PARASELSUS,” - -and is in every way superior to the _Portrait of a Man_ (No. 2641B), -which is labelled with the name of Scorel, but catalogued as being by -an unknown artist. From Scorel, a much travelled Dutch artist, who at -one time worked at Nuremburg with Albrecht Dürer and visited Venice -and the East, we naturally pass to Jan Mostaert of Haarlem. Mostaert -of Haarlem is unrepresented at the Louvre, a remark which equally well -applies to the anonymous “Pseudo-Mostaert,” who painted so much in his -style that a large number of inferior productions have been credited to -him from time to time. Pictures of this type vary so considerably that -the name “Pseudo-Mostaert” is little more than a generic designation -for unassignable Flemish and Dutch pictures of the middle of the -sixteenth century; such pictures bear some relationship to the _Christ -bearing His Cross_ (No. 2299), and the _Abraham’s Sacrifice_ (No. -2300), officially attributed to the little-known and quite negligible -painter Alart Claeszoon (1498-1564) of Leyden. - - - SIR ANTONIS MOR - -From Leyden we may pass to Utrecht, which was the birthplace of the -much-travelled, distinguished, and cosmopolitan painter, Antonis Mor -(1512-1578?). He was a pupil of Jan Scorel, but soon freed himself -from the hard manner he acquired under that master by his study in -Italy of the best works of the Venetians. Indeed, some of his pictures -have passed as the work of Calcar, the pupil of Titian. Mor, or Moro, -excelled as a painter of vigorous and truthful portraits, and the -portraits and replicas he painted of Queen Mary are well known. The -Prado Gallery at Madrid and the Vienna Gallery contain good examples -of his art, and he is fairly well represented in the Louvre. While he -was in the service of Philip II. of Spain he lived in much splendour, -and was amply paid for his work. His close intimacy with the monarch -induced him on one occasion to take the liberty of touching with a -brush dipped in red paint the hand of the king. This serious breach -of Court etiquette created a profound impression on the courtiers -present; and, although the painter sued for pardon and obtained it from -the king, he soon recognised that he had made himself obnoxious to the -Inquisition, who asserted that Moro had got from the heretic English, -while painting the portrait of Queen Mary, a charm that enabled him to -bewitch the Spanish monarch. Being thus compelled to leave Spain, he -settled in Antwerp, where he died between 1576 and 1578. - -The pictures of Mor, who was the contemporary of Titian, at different -periods of his art bear traces of the Dutch, Spanish, and Flemish -schools. He in turn also had an influence on the portrait painters of -Spain half a century before the birth of Velazquez. The _Portrait of a -Man_ (No. 2478), which is signed and dated: - - “_ANT MORO pingebat, 1565_,” - -was in the past held by some writers to bear the features of Sir -Francis Drake, who was, however, at the date here given only twenty-one -years of age. The two large paintings in the Duchâtel Bequest which -pass as the _Portrait of Louis de Rio_ and _His Wife_ (No. 2480 and No. -2481) are, judging by the attitudes of the figures and the shape of the -panels, the wings of a large altarpiece. _The Dwarf of Charles V._ (No. -2479) reminds us that the painter, while still young, was taken into -the service of that emperor. _The Portrait of Edward VI. of England_ -(No. 2481A) bears a very suspicious-looking inscription. - - - SPANISH OPPRESSION - -The political events of the reign of Philip II. of Spain, the mistaken, -mischievous, and oppressive policy he adopted with regard to his -territory in the Netherlands, and the contempt with which he treated -his Dutch subjects, soon alienated their sympathies; but the Duke of -Alva by his harshness and bigotry incited them to frenzy. When he set -forth in 1567, all hope of peace and mercy fled before him, and within -a short period his tyranny and ferocity fanned the flame of rebellion, -which after a struggle of eighty years was to end in the Peace of -Münster of 1648. In that year Spain ignominiously surrendered, and -the independence of the northern Netherlands was recognised. During -the long period which elapsed between the Union of Utrecht in 1579 -and the negotiations at Osnabrück and Münster in 1648 must have been -destroyed innumerable religious pictures, the loss of which renders it -almost impossible for us to estimate the full significance of artistic -endeavour in Holland in the closing years of the sixteenth century. - -A new era in Dutch history, social life and art was beginning to -open out by the year 1612, when Abraham Blomaert (1564-1651) painted -and signed his very large _Nativity_ (No. 2327), which was formerly -attributed to Bernardino Fassolo. Blomaert’s _Portrait of a Man_ (No. -2327A) is also a signed work. - - - HISTORY AND PORTRAIT PAINTERS - -Blomaert’s contemporary, Michiel Jansz Mierevelt (1567-1641), who -was at one time Court painter to the Princes of Orange at The Hague, -and was with undue flattery hailed as the “New Xeuxis of Delft,” is -represented by the _Portrait of Olden Barnevelt_ (No. 2465) and three -other portraits, one of which (No. 2466) is in a very bad state. Stiff -but characteristic is the _Portrait of a Woman_ (No. 2534), which was -painted by Jan van Ravesteyn (1572-1657) in 1633, while his initials -are also found on a panel (No. 2535) which was commissioned of him in -the following year. Although Gerard Verspronck (1600-1651) was many -years his junior, and in 1641, in the period of his maturity, achieved -the _Portrait of a Lady_ (No. 2576A), the top corners of which have -been added, he painted on the lines of tradition, and showed little -originality. He came under the influence of Frans Hals, under whose -name his pictures often pass. - - - CORNELIS JANSSEN - -Nor can it be said that the numerous portraits which Cornelis Janssen -van Ceulen (1593-1664?) undertook in England, give signs of the new -artistic impulse which was daily manifesting itself in Holland in the -early works of Frans Hals. Janssen, who was baptized at the Dutch -Reformed Church, Austin Friars, London, throve until the establishment -in England of Van Dyck, before whom he quickly had to give way; -although he withdrew to Kent and lived in retirement, he did not -receive the Speaker’s warrant to pass beyond seas until 1643. That -“Cornelius Johnson Picture Drawer” made use of pallid flesh tones and -lifeless grey tones, is obvious from the two portraits (No. 2338 and -No. 2339) exhibited in the Louvre. - -The very modern looking _Portrait of a Young Man_ (No. 2303A), signed -“D. BAILLY,” is officially held to be the work of a Leyden painter of -that name who would appear to have been a contemporary of Cornelis -Janssen. - - - FRANS HALS - -Although the great Dutch painter, Frans Hals (1580?-1666) was born -at Antwerp, his parents were natives of Haarlem, whither he removed -about 1600, and where he settled for the remainder of his eventful, -irregular, and improvident career. This lusty and unromantic master by -his forceful characterisation, his rapid wielding of his brush, and his -frank realism, in a few years transformed the earlier portrait-making -of Holland, and the rendering of the commonplace and obvious -likeness of an individual, as seen in the works of Moreelse and -others, into the region of great art. He was by about a quarter of -a century the senior of Rembrandt, who is the greatest genius among -Dutch painters, and developed his art on logical lines. It is, however, -necessary to know the outstanding facts of his personal history, the -fluctuating circumstances under which he worked, and the grinding -poverty of his latest period. Perhaps no other painter in the whole -range of art was so affected by his environment as Hals. - - [Illustration: - PLATE XXVII.—FRANS HALS - - (1580?-1666) - - DUTCH SCHOOL - - No. 2384.—THE GIPSY GIRL - - (La Bohémienne) - - She wears a red dress, which is open at the neck; she smiles as she - turns her eyes to the right; half-length figure. - - Painted in oil on canvas. - - 2 ft. 6 in. × 2 ft. 3 in. (0·76 × 0·68.)] - -Whether he was a pupil of Cornelis Cornelissen, Hendrick Goltzius, and -Karel van Mander (the Dutch Vasari), is not known with any certainty, -and no picture painted by him earlier than 1613, when he may have been -thirty-three years of age, is known to-day. Early in the year 1616, -when he painted his famous _Banquet of the Officers of the St. Joris -Shooting Guild_, one of his early masterpieces still preserved in the -small gallery at Haarlem, he was summoned before the Burgomaster of the -“town of the tulip,” and reprimanded for his cruelty to his first wife. -Exactly a year later he married a second time, and as the years went on -he became the father of at least six sons who adopted the profession -of the painter but earned no permanent success. The Louvre possesses -no example of his Doelen-pieces of archer-groups which won him his -earliest fame in his own country, but is fortunate enough to contain -the famous _Gipsy Girl_ (No. 2384, Plate XXVII.), which alone would -have earned for him the title of “the master of the laugh.” It passed -through the Ménars sale in 1792 for 301 livres. The three pictures of -the Beresteyn family were bought for £4000 in 1884, when his paintings -were not as highly prized as they are to-day. They give an excellent -idea of the virility his art had attained by about 1629. The best of -these is the _Portrait of Nicolaes van Beresteyn_ (No. 2386), which is -inscribed, “AETAT SUAE 40. 1629.” His hands are superbly painted; while -the companion _Portrait_ (No. 2387) of his wife is equally striking. -The large and imposing _Portrait-Group of the Beresteyn Family_ (No. -2388) is marred by the excessive use in places of a strong red, and has -been enlarged by the addition down the right side of the canvas of a -strip about fourteen inches broad, but yet shows a certain felicity of -grouping, and a joyous and exuberant outlook. _The Portrait, of René -Descartes, the French Philosopher_ (No. 2383) is so simple in treatment -and so easy in pose, that it makes an instant appeal to the student. -Another _Portrait of Descartes_ (No. 78), by Sébastien Bourdon, is -in this gallery, and a third was in the Arsène Houssaye collection. -The _Portrait of a Lady in a Black Dress_ (No. 2385, Plate XXVIII.) -is unaffected and lifelike, while the subtle and hasty brushing in of -the gloves could only have been done by a great painter. It seems to -have been generally overlooked that a study for this picture is in the -collection of Lord Ronald Gower, and has for some time past been on -loan to the FitzWilliam Museum, Cambridge. In the study, however, the -artist had not yet thought of the gloves. - -In 1654, Hals had to appear before a public notary of Haarlem at the -instance of his landlord, who sued him for debt. The great Dutch -painter in his testimony affirmed that his only possessions were two -pictures by Vermander and Van Heemskerck, and three by himself and one -of his sons, as well as three mattresses and bolsters, a cupboard and a -table! The Louvre exhibits no pictorial record of Hals’s latest phase, -when he was deserted by his friends, neglected by art patrons, and no -longer possessed any inner moral support. - -The colouring of his early portraits is vigorous, the tone deep, -and the execution careful; gradually he employs richer colouring, -subordinates the local colours, and becomes broader in treatment. From -about 1650 his olive-greens gradually take on a more ash-grey hue, -until we are inclined to the belief that if the master had been -able to dispense with colour altogether, he would have willingly done -so. It is then that the colours on his palette, like the outer world, -became grey and black for him. - - [Illustration: - PLATE XXVIII.—FRANS HALS - - (1580?-1666) - - DUTCH SCHOOL - - No. 2385.—PORTRAIT OF A LADY IN A BLACK DRESS - - (Portrait de Femme) - - A middle-aged woman wearing a black dress, with white collar, cuffs - and cap, is seen at three-quarter length, standing and turned - three-quarters to the left; in her hands, which are superposed, she - holds her gloves. - - Painted in oil on canvas. - - 3 ft. 3½ in. × 2 ft. 7½ in. (1·00 × 0·80.)] - -This great master of the brush some time before his death had to avail -himself of poor relief granted by the municipality of Haarlem, and -after his death, in 1666, his widow received an allowance of fourteen -sous a week! Such was the tragic end of one of the most accomplished of -portrait painters in the whole range of art. - - - DUTCH INDEPENDENCE - -Holland after a terrible struggle had ultimately succeeded in throwing -off the Spanish yoke before the art of Hals was on the wane. Dutch -art then became gradually more independent, self-centred, democratic -in outlook, and Protestant in tendency. Religious subjects became -less frequent, and domestic scenes dealing with indoor and outdoor -life were before long largely on the increase. Before we pass to the -detailed study of the most striking characteristics of art in Holland -in the last half of the seventeenth century, we must examine at some -length the far-reaching influence and the world-famous achievements of -Rembrandt, for whom Hals may be said to have prepared the way. - - - REMBRANDT - -As his name denotes, Rembrandt Harmensz van Rijn (1606-1669) was born -on the banks of the Rhine, his father being a miller at Leyden. When -fourteen years of age he entered the university of his native town and -had a classical education, which stood him in good stead through his -long and troubled career. Although he was at first placed as a pupil -of Jacob van Swanenburgh, he at an early age removed to Amsterdam. -There he worked under Pieter Lastman (1583-1633), whose _Abraham’s -Sacrificing Jacob_ (No. 2443A) of 1616 is hung opposite the works -of his illustrious pupil. The independent spirit of Rembrandt soon -asserted itself, and as early as 1627 he placed his name on pictures -which still exist, notably in the Berlin and Stuttgart museums. His -earliest picture in the Louvre is the _Old Man Reading_ (No. 2541A), -which is signed and dated 1630, and was presented by M. Kaempfen, a -former Director of this gallery, on his retirement. Three years later -came the two small and very similar versions (No. 2540 and No. 2541) -of the _Philosopher in Meditation_, the former of which is signed and -dated; in 1633 was painted the _Portrait of the Artist_ (No. 2552), -while another oval picture of the same subject (No. 2553) is inscribed -1634. In this early period the artist was in the habit of portraying -members of his own family, who were naturally his most accessible -models. - -At this moment of his career Rembrandt had to measure himself with -many rivals in Amsterdam, notably with Thomas de Keyser (1596?-1667), -whose _Portrait of a Man_ (No. 2438A) was formerly in the Rodolphe -Kann collection, while a half-length _Portrait of a Man_ (No. 2438B), -also by de Keyser, was formerly at Versailles. From the trammels -and restrictions which the art of de Keyser would have been likely -to impose on a less gifted and original mind, Rembrandt readily set -himself free; and he must have had great hopes for the future when, in -1634, he took to wife the wealthy Saskia van Uylenborch. However, the -oval _Portrait of Himself wearing a black cap_ (No. 2554), dated 1637, -is of marked inferiority to the dignified and deeply religious panel, -_The Archangel Raphael leaving Tobias and his Father Tobit_ (No. 2536), -of the same year. A year later he must have painted the _Portrait of an -Old Man_ (No. 2544), and his first pure landscape. - -The influence of domestic bereavements on Rembrandt’s art is -clearly reflected in the choice of his subjects, in their more -intimate setting, and in the deep feeling which evidently inspired -them. No better example of this side of his character and his art could -be found than the _Holy Family in the Carpenter’s Shop_ (No. 2542), -which he painted in 1640. In that year his mother died, an event which -followed rapidly on the death of his two infant daughters and his son, -and his wife’s frequent illness. He, however, still went on painting -such varied compositions as the _Portrait of a Man_ (No. 2546), of -1645, and the _Woman Bathing_ (No. 2550), which he achieved two years -later. - - [Illustration: - PLATE XXIX.—REMBRANDT - - (1606-1669) - - DUTCH SCHOOL - - No. 2539.—THE PILGRIMS AT EMMAUS - - (Les Pèlerins d’Emmaüs) - - In a lofty room in front of a shallow niche in a wall, Christ and - the two disciples sit at table; a young serving-man enters from the - right, carrying a dish. Christ, whose bare feet are seen underneath - the table, gazes heavenward as He breaks bread, by which act the - disciples recognise Him as their Lord. The room is lit from the - left. - - Painted in oil on panel. - - Signed below on the left:—“_Rembrandt f. 1648._” - - 2 ft. 2¾ in. × 2 ft. 1¾ in. (0·68 × 0·65.)] - -The famous _Night-Watch_, in the Amsterdam Gallery, testifies to his -inventive faculty in 1642, the year in which the death of his beloved -Saskia caused him intense grief. From this he never really recovered, -as we see from the frequency with which during the remainder of his -life he painted pathetic subjects. What artist in the whole history -of painting has been able to impart to his rendering of the _Good -Samaritan_ the kindly solicitude of the principal character in this -parable, and the feeling of complete collapse seen in the body of the -wounded man, as Rembrandt has done in his superb canvas (No. 2537) of -1648 in this gallery? No less poignant is the grief depicted on the -face of the barefooted Man of Sorrows in the _Christ and the Pilgrims -at Emmaus_ (No. 2539, Plate XXIX.) of the same year. Here we see -convincing proof of the dexterous use that the Dutch “magician-painter” -could make of chiaroscuro, which he has handled with such masterly -effect in the _Portrait of Hendrickje Stoffels_ (No. 2547, Plate XXX.). -All these paintings belong to the same period as the soul-moving -_Polish Rider_, which in 1910 passed from the collection of Count -Tarnowski at Dzikow in Galicia into that of Mr. H. C. Frick in New -York for £60,000. The _Portrait of a Man holding a Bâton_ (No. 2551), -in the La Caze collection in this gallery, was painted three years -later than the _Bathsheba_, or _Woman Bathing_ (No. 2549), of 1654. -The wonderfully realistic and in no way repellent _Carcase of an Ox_ -in this gallery (No. 2548), like the picture of the same subject at -Glasgow, is an achievement of a very different kind, and belongs to the -year 1655. - -The Louvre authorities have been well advised in recent years in -hanging all the pictures by Rembrandt in this collection in one Bay of -the Long Gallery. Here now we may study the _Portrait of a Young Man_ -(No. 2545), the wonderful and rather later _Portrait of the Artist at -his Easel at the age of Fifty-four_ (No. 2555), and the striking _St. -Matthew_ (No. 2538) of 1661. Before these three works were painted, the -great Dutch master had been declared bankrupt, the sale of his most -treasured possessions realising a ridiculously small sum in the winter -of 1657. - -Although Rembrandt’s own standard of morality offended his neighbours, -and his relations with Hendrickje Stoffels seem to have caused much -scandal in Amsterdam, we are not concerned with the morals of one of -the greatest and most esteemed of the world’s painters, but only with -his _œuvre_, a high place in which must be accorded to the _Portrait of -Hendrickje Stoffels and her Child as Venus and Cupid_ (No. 2543), which -was painted in 1662, the year that the large _Syndics_, now in the -Amsterdam Gallery, was completed. - -He is also to be credited with the alternative version of the _Pilgrims -at Emmaus_ (No. 2555A), a painting of the same date, which for many -years was at Compiègne, where, however, it passed only as a school -picture. This profoundly creative painter, who learnt as time went on -to handle his chiaroscuro with increased effect, was also an etcher of -the highest order. - -We may here note that the art of Jan Lievens (1607-1674), a -fellow-pupil with Rembrandt under Pieter Lastman, is seen in the large -but far from imposing _Visitation_ (No. 2444). - - [Illustration: - PLATE XXX.—REMBRANDT - - (1606-1669) - - DUTCH SCHOOL - - No. 2547.—PORTRAIT OF HENDRICKJE STOFFELS - - (Portrait de Hendrickje Stoffels) - - She is seated, and looks at the spectator. Over her rich brown - hair she wears a grey cap with narrow red ribbons; pearl pendants - are in her ears, and she wears a brooch on her breast. Life-size - half-length figure. - - Painted in oil on canvas. - - 2 ft. 4½ in. × 1 ft. 11¾ in. (0·72 × 0·60.)] - - - THE PUPILS OF REMBRANDT - -That Govaert Flinck (1615-1660) was a pupil of Rembrandt, is evident -from his _Announcement to the Shepherds_ (No. 2372) rather than from -his _Portrait of a Young Lady_ (No. 2373), a signed work of 1641. -Ferdinand Bol (1617-1680) was a pupil and imitator of the great Dutch -master, and his _Portrait of a Mathematician_ (No. 2330) is one of his -best paintings; but his _Philosopher in Meditation_ (No. 2328) compares -most unfavourably with Rembrandt’s two early pictures of the same -subject which hang opposite it. - -The ineffectual productions of Jan Victoors (1620-1670) include the -_Portrait of a Young Lady_ (No. 2371), a typical example of the “niche” -portrait which became so popular, and a large _Isaac blessing Jacob_ -(No. 2370), which vividly recalls his small canvas in the Dulwich -College Gallery that in less critical days passed as a Rembrandt. - -G. van den Eeckhout (1621-1674) in his picture (No. 2364) shows his -dependence on Rembrandt; and Cornells Drost’s repulsive _Bathsheba_ -(No. 2359A) has no claim to be regarded as a “_fort bonne peinture_,” -as a French critic has thought fit to term it. - - - VAN DER HELST - -Bartholomeus van der Heist (1612-1670), a native of Haarlem, who -painted under the early Dutch master, Nicholas Elias, surnamed -Pickenoy, and subsequently worked at Amsterdam, has fully signed his -_Shooting Prize_ (No. 2394, Plate XXXI.), which is dated 1653. It has -been regarded as a replica on a very reduced scale of _The Officers -of the Brotherhood of St. Sebastian at Amsterdam_, in the Amsterdam -Gallery, which, curiously enough, bears the date 1657, and is also -signed on a slate. - -Pieter van der Faes, who is better known as Sir Peter Lely -(1618-1680), after painting at Haarlem in the school of Pieter de -Grebber, went to England in 1641. He there succeeded Van Dyck as Court -painter, and at the Restoration became the favourite Royal painter. The -affectation and mannerism of his _Windsor Beauties_, now at Hampton -Court, is well known. He had a certain facility in painting - - “The sleepy eye that spoke the melting soul.” - -Three pictures (Nos. 2367-2369) are placed to his credit here, but - - “The bugle eyeball and the cheek of cream” - -have done their magic now. - -The name of H. van Vliet (1611?-1675) is, doubtless, correctly -connected with two portraits on canvas (Nos. 2605 and 2605A), while his -contemporaries, Cornelis Saftleven (1606-1681) and D. van Santvoort -(1610-1680), are represented by _The Artist’s Portrait_ (No. 2562) -and the _Pilgrims at Emmaus_ (No. 2564) respectively. Jakob van Loo -(1614-1670), who became a naturalised Frenchman, may be judged by his -diploma picture (No. 2451) and a very poor _Nude Female_ (No. 2452). - -Such mediocre producers of uninspired and unconvincing panels as Dirk -Hals (1591-1656), the brother and pupil of Frans Hals, whose _Festive -Repast_ (No. 2389) hangs in Room XXIII.; Cornelis van Poelenburg -(1586-1667), whose art is here admirably illustrated (Nos. 2518-2523); -Hendrick Pot (1585-1657), who evidently derived some satisfaction from -the elaborate inscription he has placed on his quite ineffectual, but -fortunately diminutive, _Portrait of Charles I._ (No. 2525); and the -little-known and less-esteemed L. F. Zustris (1526-1600), whose absurd -_Venus and Love_ (No. 2640) shows what a waste of time it was for him -to study under Titian in Italy—these and many more worked as “business -artists” for undiscriminating patrons. In the same category come -Adriaen van de Venne (No. 2601), Pieter Codde (No. 2339A), Jacob -Duck (No. 2360-2361), and A. Palamedesz (No. 2515A). - - [Illustration: - PLATE XXXI.—VAN DER HELST - - (1613-1670) - - DUTCH SCHOOL - - No. 2394.—THE SHOOTING PRIZE - - (Les Chefs de la Gilde des arbalétriers) - - The four officers of the Brotherhood of St. Sebastian at Amsterdam - are seated at a table in the foreground, with the insignia of the - Brotherhood displayed before them. By the side of the officer who, - seated to the right, is addressing his companions, is a slate on - which are inscribed their names. In the background to the right - are three young men with bows and arrows. From the left enters a - maid-servant with a drinking-horn. - - Signed on the slate:—“BARTHOLOMEUS VAN DER HELST FECIT, 1653.” - - Painted in oil on canvas affixed to panel. - - 1 ft. 7¾ in. × 2 ft. 2½ in. (0·50 × 0·67.)] - - - GENRE PAINTERS - -This rough sketch must suffice for our study of the History and -Portrait Painters of Holland. Although, of course, portraiture played -a most important part throughout the whole range of Dutch art, we must -now deal with those of their contemporaries and successors who are -classed as painters of genre subjects, Interiors, Conversation-pieces, -and Rustic Scenes. The compositions of these men at first show high -technical excellence, and a refined feeling for light and shade; -they depict simple scenes and homely incidents which make a wide -appeal in any age. By the end of the seventeenth century their scenes -become festive, and eventually boisterous, and so degenerate into -unimaginative renderings of far-fetched incidents which are treated -with a parade of mere imitative skill. In the last phase of their art -the subjects become even more uninviting, the panels are smoothly -painted, and all originality disappears. - - - ADRIAEN VAN OSTADE - -Adriaen van Ostade (1610-1685), as a pupil of Frans Hals at Haarlem, -occupies an important position in his school. He is seen to very great -advantage at the Louvre. From his early _Interior of a Cabaret_ (No. -2506), which is signed on a form - - “A. V. OSTADE 1641,” - -we see the direction his life’s work was to take; and his _Interior of -a Cottage_ (No. 2498) of the following year, strengthens that view. -Although _Reading the Gazette_ (No. 2505), of 1653, is painted on -a very small panel, it heightens our appreciation of this able and -careful painter, who, a year later, must have spent a long time in -the completion of a _Family Group_, which traditionally passes as the -_Family of the Artist_ (No. 2495). The _Toper_ (No. 2401), of 1668, and -the intensely realistic _Smoker_ (No. 2500), are highly characteristic, -while the _Schoolmaster_ (No. 2496) shows great observation. The _Fish -Market_ (No. 2497), the _Business Man in his Study_ (No. 2499), the -_Man Drinking_ (No. 2502), the _Man Reading_ (No. 2503), the _Reading_ -(No. 2504), and the _Interior of a School_ (No. 2507), are both in -subject and handling good examples of his methods, which were affected -by a study of Adriaen Brouwer and Rembrandt. - -Adriaen van Ostade was the elder brother and the master of Isack van -Ostade (1621-1649), who is equally well represented at the Louvre. -Although he painted two _Interiors_ (Nos. 2512 and 2514), a _Toit à -porcs_ (No. 2513), a _Halt_ (No. 2509), and an overcrowded _Travellers -Halting_ (No. 2508), his best works, here as elsewhere, represent -landscapes and frozen river scenes. - -Adriaen van Ostade had also as pupils Cornelis Bega (1620-1664), by -whom the Louvre possesses a very late _Rustic Interior_ (No. 2312), of -1662; and H. M. Sorgh, called Rokes (1611?-1670), three of whose panels -(Nos. 2571-2573) are exhibited. - - - GERARD DOU - -Gerard Dou (1613-1675) was in his day a highly popular and prosperous -painter of petty tragedies. As a boy of fifteen he entered the studio -of “the skilled and far-famed Mr. Rembrandt,” who was, however, his -senior by only seven years. One is apt to tire of his irritating -parade of cleverness in the manipulation of light and shade effects, -and over-scrupulous and niggling treatment of detail. Yet it is these -very qualities that brought him financial success when in later life -Rembrandt was receiving scanty treatment at the hands of the art -patrons of Holland. The _Dentist_ (No. 2355) is an early work. Dou’s -_Portrait of an Old Lady_ (No. 2358) is now held to be a _Portrait of -Rembrandt’s Mother_, and is regarded as the companion picture to the -_Old Man Reading_ (No. 2567), by Dou’s pupil, Godfried Schalcken. The -_Grocer’s Shop_ (No. 2350), which has been, with needless precision, -“ranked about the seventh best of this master’s productions,” is signed -in full on the slate, and dated 1647 on the mortar, while the _Cook -with a Dead Cock_ (No. 2353) is signed on the window-sill, and dated -1650. - - [Illustration: - PLATE XXXII.—GERARD DOU - - (1613-1675) - - DUTCH SCHOOL - - No. 2348.—THE DROPSICAL WOMAN - - (La Femme Hydropique) - - In a well-appointed room, lighted by an arched window on the left, - an old woman is seated in an arm-chair. The sick woman, who raises - her eyes to heaven and is taking a spoonful of medicine from a - young woman, gives her right hand to a girl who kneels on the left - by her side. Towards the right stands the doctor, who holds up to - the light a glass full of liquid. A chandelier hangs in the centre, - and on the right are a large tapestry curtain and a wine-cooler. - - Signed on the edge of the book placed on the reading-desk in the - left foreground:— - - “1663. G. DOV. OVT. 65 JAER.” - - Painted in oil on panel. - - 2 ft. 8¾ in. × 2 ft. 2½ in. (0·83 × 0·67.)] - -The _Trumpeter_ (No. 2351) is perhaps the pendant to the _Girl at a -Window_, of 1657, now in the Rothschild collection at Waddesdon Manor. -On the window-ledge in the _Trumpeter_ we see the same silver flagon -and a dish that also appear in the _Dropsical Woman_ (No. 2348, Plate -XXXII.), a world-famous, but not on that account a great, picture. It -bears a somewhat enigmatical inscription: - - “1663. G. DOV. OVT. 65 JAER” - -on the edge of the book placed on the reading-desk. Dou in 1663, the -year here given, was only fifty years of age, and the statement of -age in the second half of the inscription may be a later addition, or -capable of another interpretation. The light comes in from the window -on the left. The woman who is dying of dropsy is receiving a dose of -medicine, while her daughter in grief kneels and kisses her hand, and -the doctor holds up to the light the vial, the contents of which he -is carefully examining. The artist in this his largest picture is at -much pains to show the dexterity with which he can paint the fabric -of the dresses, the large tapestry hanging in folds on the right, -and the reflection of light on the chandelier. This panel, which is -Dou’s masterpiece and is in an excellent state of preservation, was -originally contained in an ebony case, the outside of which (in two -pieces) was formerly the still-life painting of a _Silver Ewer and -Dish_ (No. 2349). - -The _Man weighing Gold_ (No. 2354) is signed in full, and dated 1664; -elaborate care and much time have been expended, if not wasted, on -every wrinkle in his face, and every hair in his white beard. It -has points of analogy with Quentin Matsys’s _Banker and his Wife_ -(No. 2029), which was painted in Flanders nearly a century and a -half earlier. Dou’s meticulous art is also exemplified in the _Old -Man Reading_ (No. 2357), _Reading the Bible_ (No. 2356), the _Dutch -Cook_ (No. 2352), and the highly characteristic but quite negligible -_Portrait of the Painter_ (No. 2359). In many respects this type of -picture warns us that within a few years of Dou’s death, in 1675, the -art of Holland passed into decadence. - - - DOU’S PUPILS - -He had several pupils. Of these Quiryn van Brekelenkam (1620?-1668) -holds a respectable place among the Small Masters of Holland, as we -see from his _Consultation_ (No. 2337) in this collection rather than -from his _Monk Writing_ (No. 2338). Herman van Swanevelt (1620-1655), -who from his journeys south earned the name of Herman of Italy, gives -us three _Landscapes_ (Nos. 2584-2586). Karel de Moor (1656-1738), -a native of Leyden, who has signed his _Dutch Family_ (No. 2477), -worked under both Dou and Frans van Mieris the Elder (1635-1681). The -latter owes much of his technique and meticulous work to Dou, as is -revealed by a hasty inspection of his _Tea Party_ (No. 2471), with two -over-dressed women taking tea, and three other panels (Nos. 2469, 2470, -and 2472). Ary de Vois (1632-1680) was a pupil of the German painter N. -Knupfer and of his own countryman Abraham van den Tempel (1622-1672), -who is here represented by a _Portrait of a Lady with an Apple_ (No. -2586A); but he also came under the influence of the painter of the -_Dropsical Woman_ (Plate XXXII.), as is testified by his small interior -_Portrait of a Man_ (No. 2606), his _Portrait of a Painter at his -Easel_ (No. 2607), and his feeble _Woman cutting a Lemon_ (No. 2608). -Traces of Dou’s art are seen in J. A. van Staveren’s (1624?-1668) -_Philosopher in his Study_ (No. 2577); but P. C. van Slingelandt -(1640-1691) was a direct pupil. His _Dutch Family_ (No. 2568) is said -to have been bought by Louis XVI. from an English brewer, and the -_Portrait of a Man_ (No. 2569) and _Kitchen Utensils_ (No. 2570) have -long been in the collection. The _Magdalene_ (No. 2570A) and _St. -Jerome_ (No. 2570B) were bequeathed to the Louvre. - - [Illustration: - PLATE XXXIII.—TERBORCH - - (1617-1681) - - DUTCH SCHOOL - - No. 2589.—THE CONCERT - - (Le Concert) - - A young lady in white satin dress and yellow bodice is seated - in the centre before a table covered with a richly coloured - tablecloth. She is singing to the accompaniment of a lady in the - left background; a page-boy enters from the right. - - Painted in oil on panel. - - 1 ft. 6¾ in. × 1 ft. 5 in. (0·47 × 0·43.)] - - - GERARD TERBORCH - -Gerard Terborch (1617-1681) was the creator of the -“Conversation-piece,” and one of the earliest to portray the well born -engaged in music lessons and similar occupations; he was one of the -greatest of the Dutch “small-masters,” and in every way the superior -of the uninspired Dou. Terborch invites us to join him in the fine -decorum of a noble chamber where the appointments are carefully tended, -while its occupants give themselves up to cultured, if not perhaps -deeply intellectual, pursuits. We forget all about the carousing and -bestial profligates who people the taverns of Jan Steen and much -less accomplished painters, and watch the refined fingers stray over -the keyboard of the open spinet or sweep the strings of a well-made -mandoline, as in the _Concert_ (No. 2589, Plate XXXIII.). Equally fine -are the two _Music Lessons_ (No. 2588 and No. 2591), the former being -signed and dated 1660. - -The _Military Galant_ (No. 2587) exhibits Terborch’s dexterity in the -rendering of reflected light on a red tablecloth, although the subject -has an innuendo which hardly adds to its charm. The _Ecclesiastical -Assembly_ (No. 2590) is only a small sketch on panel, and affords but -a feeble echo of this painter’s masterpiece, the _Ratification of the -Peace of Münster_, in the National Gallery. Terborch was a pupil of -his father, who had visited Italy, and he studied also under Pieter -Molyn the Elder at Haarlem previous to visiting England in 1635. He -travelled much more extensively than most of his contemporaries, and -went to Spain during the best period of art in the Peninsula. He does -not seem to have been dependent on his professional success for his -living, which was passed in easy circumstances. Nor did he busy himself -as a teacher, his only direct pupil being Caspar Netscher (1639-1684), -who gives us a _Music Lesson_ (No. 2486), of the approved stamp, and a -_Violoncello Lesson_ (No. 2487). - - - JAN STEEN - -It is not known for certain whether Jan Steen (1626?-1679) was a pupil -of Nicholaes Knupfer, a native of Leipzig who resided for a time at -Leyden, but he certainly worked under Adriaen van Ostade at Haarlem, -and later became a pupil of Jan van Goyen, whose daughter Margaretha -he married as his first wife. Steen certainly leased a brewery in -Delft for six years, and he is frequently mentioned in the archives of -that town about 1656; he subsequently kept a tavern in the Langebrug -in Leyden in 1672. His art is vivacious if not boisterous, and the -strength and versatility he displayed in the nine hundred pictures with -which he is justly credited give him a high place among the artists of -Holland in the seventeenth century. The frequency with which he painted -the _Interior of a Tavern_ (No. 2578) has suggested that he carried -on the tradition of the Flemish-Dutch roysterer Adriaen Brouwer; but -such scenes, magnificently as they are handled, are apt to become -boring in time. This large canvas is dated 1674, and the coat of arms -of Charles V. is fastened on to the balcony in which are spectators. -The _Merry Company at Table_ (No. 2579) is somewhat sketchy in parts, -but the lighting is well regulated, and the canvas is signed in full -on the back of a blue-covered chair to the right. That the _Bad -Company_ (No. 2580, Plate XXXIV.) is admirably painted will be conceded -by all, but refinement is not its distinguishing feature. A young -man dressed in a red jacket is sleeping with his head on the lap of -a girl, while another girl is relieving him of his watch. The scene -is laid in a tavern, on the floor of which are painted with wonderful -precision a number of tiny objects. It was not Steen’s habit to paint -representations of cultured society such as Terborch delighted in. - - [Illustration: - PLATE XXXIV.—JAN STEEN - - (1626?-1679) - - DUTCH SCHOOL - - No. 2580.—BAD COMPANY - - (La Mauvaise compagnie) - - The scene takes place in a tavern. A young man has fallen asleep - with his head in the lap of a girl, who is seated to the right - of the composition, and holds a glass of wine in her right hand. - Another girl has just taken the young man’s watch from his pocket - and is giving it to an old woman, who receives it with evident - glee. On the left a man sits at a table smoking his pipe, and - another is playing the fiddle. - - Signed in full in the left bottom corner. - - Painted in oil on panel. - - 1 ft. 6¾ in. × 1 ft. 2¼ in. (0·47 × 0·36.)] - - - PIETER DE HOOCH - -The Louvre contains only two paintings by Pieter de Hooch, who was born -in 1629 at Rotterdam, a town which played a relatively unimportant part -in Dutch painting. He also lived at Delft and Leyden. The _Interior -of a Dutch House, with a Woman preparing Vegetables_ (No. 2414), is -a good example, and is fully signed in the bottom left-hand corner. -The _Dutch Interior, with a Lady playing Cards_ (No. 2415, Plate -XXXV.), is full of incidents, contains six figures, and is signed -on the base of one of the columns supporting the mantelpiece in the -left foreground. No museum in the world exhibits the art of Pieter de -Hooch in such excellence as does the National Gallery, which contains -three masterpieces from his hands that have indirectly been the cause -of assessing the whole of the artist’s life-work on too generous a -basis. It is indisputable that during the last ten years of his life, -of which nothing is known later than the signature and date, 1677, -on the _Music Party_ in the collection of Baron H. A. Steengracht at -The Hague, his art deteriorated very considerably both in colouring -and draughtsmanship. He may well have been a pupil of Karel Fabritius -(1624-1654), but it is almost incredible that he can have been a pupil -of the Italianiser Nicholaes Berchem, as Houbraken ventured to assert. -This museum contains nothing by Ochtervelt, many of whose pictures have -from time to time been accepted as the work of Pieter de Hooch. - -From the shortlived artist Karel Fabritius derives the almost -incomparable master Jan Vermeer van Delft (1642-1675), whose fifty -authentic pictures are to-day among those most coveted by collectors. -As a _painter_ skilled in the technicalities of his profession Vermeer -must be accorded the highest rank. The subtle and mysterious handling -of his _Lace Maker_ (No. 2456, Plate XXXVI.), with its cool colour -scheme and dominant tones of blue and lemon-yellow, make it difficult -for us to realise that until twenty years ago his works were neglected. -Indeed, this small canvas was acquired in 1870 at the Vis Blokhuyzen -sale for the ridiculous sum of £290. Jan Vermeer (or Van der Meer) -van Delft is not to be confused with Jan Van der Meer of Haarlem -(1628-1691), who is included in the official catalogue as the painter -of the _Outside of an Inn_ (No. 2455, marked No. 2022 on the frame). It -is fully signed, and bears the date 1652. - - - NICOLAS MAES - -One of the last lingering influences of Rembrandt is seen in the -art of Nicolas Maes (1632-1693). The genre pictures of his early -period are so vastly superior to his later portraits that it was -formerly assumed that there might well have been two artists of the -same name. He certainly delighted in painting several versions, -which vary considerably in size, of _Grace before Meat_ (No. 2454). -In his pictures we see the mind that broods, and women who meditate -rather than act. The best examples of his domestic scenes are finely -graduated, although the sadness of advancing age becomes monotonous in -time. - - [Illustration: - PLATE XXXV.—PIETER DE HOOCH - - (1629-1677?) - - DUTCH SCHOOL - - No. 2415.—DUTCH INTERIOR WITH A LADY PLAYING CARDS - - (Intérieur hollandais) - - By the fireplace to the left a lady is seated. She is playing cards - with a gentleman, and shows her hand to a cavalier who stands - beside her. In the background stand two lovers, and a boy is - entering the room, a richly appointed room, hung with gilt leather. - - Signed on the base of one of the columns supporting the - mantelpiece:—“P. D. HOOCH.” - - Painted in oil on canvas. - - 2 ft. 2½ in. × 2 ft. 6½ in. (0·67 × 0·77.)] - - - GABRIEL METSU - -A high place among the painters of “Conversation-pieces” must be -accorded to Gabriel Metsu (1630?-1667), a shortlived artist who was -born at Leyden and learnt the first principles of his art from Dou. As -early as 1644 he seems to have earned some reputation as a painter, -his signature appearing on his _Court Physician_ in that year. He came -under the influence of Rembrandt, and in later life practised as a -painter at Amsterdam, where he died. - -Metsu, whose work is at first sight not easily distinguishable from -Terborch’s, acquired a facility in the control of the expression and -the ever-varying gesture of the hands in his pictures, that was denied -to many of his contemporaries. Instances of this are the figure of the -Christ writing a long Latin inscription on the ground in the _Woman -taken in Adultery_ (No. 2457), the ease with which the young lady in -a white satin dress runs her fingers over the keys of the spinet in -the _Music Lesson_ (No. 2460), and the treatment of the _Dutch Lady_ -(No. 2462), who holds a jug in her right hand. The last-named panel is -evidently the companion to the very thinly painted _Dutch Cook peeling -Apples_ (No. 2463), which is signed “G. METSU.” Perhaps his best -outdoor scene of humble life is the _Vegetable Market at Amsterdam_ -(No. 2458), although his handling of the trees suggests that his forte -was the Conversation-piece of Dutch tradition, and that he would not -have risen to high rank as a landscape painter. The placing of the -signature on a letter, which in this instance lies on the ground, is -a favourite device with Metsu. He has derived much pleasure from the -treatment of the textures of the tablecloth, the curtain, and the chair -in the _Officer visiting a Lady_ (No. 2459). The _Alchemist_ (No. 2461) -may be the companion picture to the _Sportsman_ in the Gallery at The -Hague. Much speculative criticism has been indulged in by critics as -to whether the so-called _Portrait of Admiral Cornelis Tromp_ (No. -2464) represents that admiral, and some doubt has also been cast on its -attribution to Metsu. - - - LANDSCAPE PAINTERS - -The naturalistic treatment of the landscape background in the religious -pictures of Jan van Eyck and his successors, Memlinc, Bouts, Hugo van -der Goes, and other painters in the Netherlands, in time brought about -the promotion of landscape painting to an independent art. Among the -earlier Dutch artists who approached the study of Nature were Arent -Arentzen (1586?-1635?), as we see from his _Landscape with a Fisherman_ -(No. 2300A), and Roeland Roghman, who was born a year later than Jan -van Goyen, and lived as late as 1685. He painted the _Landscape_ (No. -2555B), which was formerly in the Paul Mantz collection. Indeed, -several Dutchmen of the period sought to commit to panel views of -nature, as in the case of Pieter de Bloot (1600-1652), who gives us a -_Landscape with a River_ (No. 2327B). - -The romantic feeling which so often pervades the background of -Rembrandt’s paintings, and is so apparent in such etchings as the -_Three Trees_, can only be touched on here. This new tendency is best -exemplified in the works of Jan van Goyen (1596-1656), who may be -regarded as the founder of a self-centred school of landscape painting -in Holland; but it was his ever handy sketch-book that enabled him to -outstrip his rivals in this branch of Dutch art. He is seen to great -advantage in his very fine _Banks of a Dutch River_ (No. 2375), his -superb _River View with eight Men in a Boat_ (No. 2378), a signed and -dated work of 1649, a large light-brown-toned _River in Holland_ (No. -2377), a good _Banks of a Canal_ (No. 2379), as well as a _Dutch Canal_ -(No. 2376) and a _Dutch River_ (No. 2377). - - [Illustration: - PLATE XXXVI.—JAN VER MEER VAN DELFT - - (1632-1675) - - DUTCH SCHOOL - - No. 2456.—THE LACE MAKER - - (La Dentellière) - - A girl, wearing a yellow bodice and a blue skirt, is seated behind - a table. She is bending her head over a light-blue lace pillow as - she adjusts the bobbins with both hands. A dark-blue cushion and a - book are on the table to the left. - - Signed in the upper right-hand corner:—“J. V. MEER,” the first - three letters being intertwined. - - Painted in oil on canvas. - - 9½ in. (0·24) square.] - -Aert van der Neer (1603-1677) painted with strong contrasts of light, -as in his _Banks of a Dutch Canal_ (No. 2483); and his monogram is -to be found on the seat at the foot of a tree in his _Dutch Village_ -(No. 2484), where his propensity for painting moonlight scenes is well -illustrated. Herman Saftleven’s (1609-1685) _Banks of the Rhine_ (No. -2563); Jan Asselyn’s _View of the Lamentano Bridge on the Teverone_ -(No. 2301), _Landscape_ (No. 2302), and _Ruins in the Roman Campagna_ -(No. 2303); and the two _Landscapes_ (Nos. 2332 and 2333) by Jan Both -(1610-1652), who worked in Rome and painted Italian landscapes under -the influence of the French artist Claude Lorrain, show the gradual -introduction of foreign influences. Joris van der Hagen (died 1669) -takes a new line in the representation of a very low horizon in his -_Environs de Haarlem_ (No. 2382); but his _Landscape with Peasants -crossing a Ford_ (No. 2381) is dull in tone and composed of unrelated -parts. - -The _Banks of a River_ (No. 2561D) is a superb example of the art of -Salomon van Ruysdael (1600?-1670), one of the founders of the Haarlem -school of landscape, and the uncle of Jacob van Ruisdael. The _Large -Tower_ (No. 2561C) gives a better idea of his power than the _Ford_ -(No. 2561B). Another painter in the same school, Cornelis Decker -(1618?-1678), has a _Landscape_ (No. 2346). Although Isack van Ostade -at times gave himself up to trivial subjects, as we have already -seen, the merit of his frozen river scenes (Nos. 2510, 2511, 2515) is -firmly established, and the happy way in which he combined a genuine -appreciation of nature with great skill in the placing and treatment of -his figures has earned for him a high place among the Dutch landscape -painters. - - - AELBERT CUYP - -Unlike most of the artists of his time in Holland, Aelbert Cuyp -(1620-1691) was highly esteemed by his contemporaries, his social -position and his good fortune in money matters freeing him from the -poverty which Hobbema and others endured. He painted portraits with -much skill, as we see from his _Portrait of a Man_ (No. 2345A) and his -_Portrait of a Boy and a Girl with a Goat_ (No. 2344); but he is best -known as a cattle painter, his sturdy cattle being artistically grouped -in thick green pastures flooded with sunshine, as in his _Herdsman -with Cattle_ (No. 2341). He attained much success also with his riding -pictures, and the _Starting for the Ride_ (No. 2342) and the _Riding -Party_ (No. 2343) are in every way preferable to his _Boats on a Rough -Sea_ (No. 2345). Following his usual habit, he has placed no date on -any of these six pictures. He had no pupil in the proper sense of the -term; but a host of imitators, such as Jacob van Stry and the much -later English Royal Academician Sidney Cooper, failed ignominiously in -their feeble attempts to copy his methods. - -Jan Wynants was another landscape painter in the Haarlem School, -although he settled in Amsterdam and died there in 1682. His _Outskirts -of a Forest_ (No. 2636) is signed and dated 1668, and is superior to -the _Landscape_ (No. 2637) which bears his own signature as well as -that of Adriaen van de Velde, who on numerous occasions inserted the -figures for him. Wynants has also placed his name on a small _Landscape -with Sportsman and Falconer_ (No. 2638). - -Adriaen van de Velde has been careful to sign and date each of the -seven pictures by which he is represented (Nos. 2593-2599). By Allart -van Everdingen (1621-1675), who travelled in Norway and painted rocky -scenes and waterfalls, we find two _Landscapes_ (Nos. 2365 and 2366). - - - JACOB VAN RUISDAEL - -The greatest of all Dutch landscape painters, with the possible -exception of Jan van Goyen, is Jacob van Ruisdael (1628?-1682), who -occupied himself more especially with rushing waterfalls and undulating -country. His _Storm on the Coast_ (No. 2558) is a fine achievement, but -his best picture in this collection is the _Landscape_ (no No.), which -was bequeathed by Baron Arthur de Rothschild. His _Woody Landscape_ -(No. 2559), the _Road_ (No. 2559A), _Landscape_ (No. 2561), and the -_Entrance to a Wood_ (No. 2561A), cannot, however, compare with his -_Sunny Landscape_ (No. 2560), which bears the artist’s monogram. - - - HOBBEMA - -The talents of Meindert Hobbema (1638-1709) were so disregarded by his -countrymen that in disgust he, at the age of thirty, took a humble -post in the Customs. His woody scenes seen in the pale sunlight of the -early afternoon are not copied from any chance scenery, but composed; -and his _Water Mill_ (No. 2404), fine though it is, contains passages -that will be met with elsewhere. The _Farm_ (No. 2404A) is a very good -picture, as also is the _Landscape_ (No. 2403) from the Nieuwenhuys -collection. A very large number of painters, including Wyntrack, who -gives us a _Farm_ (No. 2639), painted the figures into the foregrounds -of Hobbema’s best works. - - - PHILIPS WOUWERMAN - -In a large number of Philips Wouwerman’s pictures the landscapes are -of secondary importance to the figures; and although the execution -is careful and conscientious, the frequenter of picture galleries is -apt to tire of his make-believe genre-pieces, landscapes with horses, -riders, sportsmen, soldiers, robbers, gipsies, and the like. The Louvre -presents an imposing array of fifteen of the twelve hundred or more -pictures by Philips Wouwerman (1619-1668), and his brother and pupil -Pieter is credited with a poor but historically interesting _View of -the Porte de Nesles, Paris_, in 1664 (No. 2635). - -It will be convenient here to group Adam Pynacker (1622-1673) with his -three pictures, Willem Romeyn (1624?-1696?) with one, Abraham Begeyn -(1637?-1697) with one, Guilliam de Heusch (1625?-1692) with one, Dirk -van den Berghen (1645-1690?) with two, and Glauber (1646-1726) with -a single _Landscape_ (No. 2374) in which the figures are inserted by -Gerard de Lairesse. Mention must, however, be made of Paul Potter, -the highly esteemed cattle painter, who died in 1654 at the early age -of twenty-nine. One of his latest canvases is the _Cows and Sheep in -a Field_ (No. 2527), of 1652; but his _Horse in a Field_ (No. 2528) -of the following year, and the _Wood at The Hague_ (No. 2529), give -an excellent idea of his art. These and the _Horses at the Door of a -Cottage_ (No. 2526) show that Paul Potter had a sound knowledge of -animal anatomy. He is seen at his best in small compositions such as -are here exhibited, in which the construction and _mise-en-scène_ are -simple and the details delicately rendered. It is a popular fallacy -that his chief contribution to the fame of Dutch art was his large -_Bull_ of 1647, which measures 8 ft. by 12 ft., in The Hague Gallery. -He did not live long enough to form a “school.” - - - THE ITALIAN INFLUENCE - -The Italianising influence was already beginning to make itself felt, -to the lasting detriment of Dutch painting, and the typical example -of this downward movement is Nicolaes Berchem (1620-1683), who was -founded on his father, Pieter Claesz, and on Pieter de Grebber, and Jan -Wils at Haarlem, while he also was impressed by Claes Moyaert and J. -B. Weenix at Amsterdam, where he removed in 1677. There is scarcely a -well-furnished gallery in Europe that does not seek to pride itself on -possessing one of Berchem’s renderings of _Crossing the Ford_, or a -_Woman upon an Ass in conversation with another Person_. The Louvre is -no exception to this rule, and exhibits his _Cattle crossing a Ford_ -(No. 2315) and nine other canvases and panels, nearly all of which bear -his much-vaunted signature. His art is to-day deservedly out of fashion -with discerning collectors. - -Berchem’s pupil, Karel du Jardin (1622-1678), who is invariably at -much pain to sign his pictures, is seen to some advantage in his very -Italian and in every way characteristic _Italian Charlatans_ (No. -2427), the typical _Ford in Italy_ (No. 2428), and eight other works. -His attempts to depict a _Calvary_ (No. 2426) have not been crowned -with success, as the composition is overcrowded and undramatic; nor do -we experience any emotion on regarding his _Portrait of Himself_ (No. -2434), a small production on copper. - -Breenberg (1599-1659?), who was born at Deventer, the home of Terborch, -has depicted a _View of the Campo Vaccino at Rome_ (No. 2334), and a -_Ruins of the Palace of the Cæsars_ (No. 2335) in the Italian manner -beloved by Berchem and Pieter van Laer. The latter, who is also -named Bamboccio, is represented by two small oval panels. Lingelbach -(1622-1674), who frequently collaborated with other Dutch artists, may -be judged by his _Vegetable Market at Rome_ (No. 2447) and three other -canvases, and Frédéric de Moucheron (1633?-1686) by a _Leaving for the -Hunt_ (No. 2482). It will be convenient to mention here Reynier Nooms, -whose _View of the Old Louvre from the Seine_ (No. 2491) has some -historical interest. - - - ARCHITECTURAL PAINTERS - -A limited number of painters busied themselves in making faithful -transcripts of the streets and the exterior appearance of the -buildings. Jan van der Heyden (1637-1712) was perhaps the most -successful in this direction, and his _View of the Town Hall of -Amsterdam_ in 1688 is an excellent example of his methods, while -the Louvre also possesses three small panels by him. Jan Abrahamsz -Beerstraten (1622-1666), the son of a cooper at Amsterdam, travelled -to Italy and the Mediterranean, proof of which is afforded by his _Old -Town Gate at Genoa_ (No. 2310). The typical architectural painter is, -however, Gerrit Berckheyde (1638-1698). Although he never went to -Italy, his _View of Trajan’s Column_ (No. 2324) is a welcome relief -from the many versions he painted, with conspicuous success, of _The -Market-Place of Haarlem_. - -Hendrik van Steenwyck (1580-1648) almost invariably contented himself -with reproducing the _Interiors of Churches_ (Nos. 2582, 2583); but -his _Christ in the House of Martha and Mary_ (No. 2581) is an unusual -subject with him, and must be his masterpiece. The _Vestibule of a -Palace_ (No. 2490), by Isaac van Nickelle (fl. 1660), is very good of -its kind; but the _Interior of a Guard-Room_ (No. 2453), by Aart van -Maes, is a poor attempt at dramatic action. - - - MARINE PAINTERS - -The fact that the Dutch had fought with swamp and water and possessed -a large maritime commerce, is reflected in the _Seascapes_ of Simon de -Vlieger (1600-1660), and in the art of Ludolf Backhuysen (1631-1708), -who is represented by a _Stormy Sea_ (No. 2309) and five other -canvases; but one of the best works of this class in the Louvre is -the _Marine-piece_ (No. 2600) by Willem van de Velde the Younger -(1633-1707), who crossed over to England, and after a long career died -at Greenwich. These men sought to carry on the earlier tradition of Jan -van Goyen and the two Ruisdaels, but they showed less originality and -power. - - - STILL-LIFE PAINTERS - -Much appreciation and some extravagant praise has been lavished on -the still-life painters who, at the time when the higher aims of -artistic endeavour began to die out in Holland, displayed remarkable -ability. The cultivation of horticulture at Haarlem, the centre of the -tulipomania fever in the middle of the seventeenth century, may have -had an influence on the artistic presentation of inanimate nature; -this feeling was no doubt stimulated by the display made by the -goldsmiths in an age of great prosperity. Willem Claesz Heda, who was -born 1594, is among the earliest of the Dutch still-life painters, and -his picture (No. 2390) is dated 1637; he, however, did not die until -more than forty years later. Jan Davidsz de Heem (1606-1684), the -painter of _Fruit and a Vase on a Table_ (No. 2391) and of another and -much larger picture (No. 2392), was the pupil of his father, David de -Heem; as he spent many years at Antwerp, he is sometimes regarded as -a Flemish painter. That Abraham van Beyeren (1620-1675?), who painted -several sea-pieces, was specially fond of copying the appearance of -fish, is seen from his _Still-life: Fish_ (No. 2326A), at the Louvre, -which has in recent years also acquired another work (No. 2312A) by -him. Willem Kalf (1621?-1693) may have studied under H. G. Pot, the -Haarlem genre-painter. He was evidently impressed with the chiaroscuro -of Rembrandt, and often placed the drinking-cups, wine-glasses, and -fruit on a richly-coloured tablecloth. He is here represented by four -examples, of which the _Dutch Interior_ (No. 2436) is the best. Eight -pictures by Jan Huysum (1682-1749), two by Jan van Os (1744-1808), -and one by C. van Spaendonck (1756-1839) belong to the latest phase -of art in Holland, and mark the decadence in full operation. It will -be noticed that the Louvre has a much larger selection of still-life -pictures than the National Gallery, which seems to regard achievements -of this kind with disdain. - -Melchior Hondecoeter (1636-1695), the painter of the farmyard, gives -unmistakable proof of his power in his large signed _Eagle swooping -down on a Farmyard_ (No. 2405), and two rather smaller pictures (Nos. -2406-7). - -Jan Weenix (1640-1719), who usually concerns himself with dead game -and birds, is working on the usual lines in three (Nos. 2610, 2611, -and 2612A) of his four pictures in the great French museum; the -other represents _A Seaport_ (No. 2612). He was the fellow-pupil -of Hondecoeter in the studio of his father, Jan Baptist Weenix -(1621-1660), who studied for a time under the early Dutch master, -Abraham Blomaert, and worked in Italy for four years. For that reason -the latter has adopted an Italian mode of signing his only picture (No. -2609) in the Louvre. - - - THE DECLINE - -Although Gerard Honthorst (“Gerard of the Night”) was born as early as -1590, and was a pupil of Blomaert, he may he relegated to the period -of decline. Almost invariably he resorted to the trick of lighting the -figures in his pictures, whether he was painting religious subjects, -portraits, or conversation-pieces, with a candlelight effect. This -habit he had acquired in Italy by studying the style of Caravaggio. Of -his five pictures here, the best is perhaps the _Portrait of Charles -Louis, Duke of Bavaria_ (No. 2410), of 1640. His _Concert_ (No. 2409), -painted sixteen years earlier, is an ill-balanced and overloaded -composition. - -Such artists as Abraham Hondius, who paints a _Man Selling Pigeons_ -(No. 2407A); Karel de Moor, who was a pupil of G. Dou, and gives -us an insignificant _Dutch Family_ (No. 2477); Eglon van der Neer, -whose name is signed on a small panel, _A Man Selling Pigeons_ (No. -2485); Egbert van Heemskerck, whose _Interior_ (No. 2393) is in the La -Caze collection; Jan Verkolie, whose _Interior_ (No. 2602) has been -engraved; H. van Limborch, whose _Pleasures of the Golden Age_ (No. -2446) was in the collection of Louis XVI.; Louis de Moni, the painter -of a _Family Scene_ (No. 2476); and Willem van Mieris, a replica of -whose _Soap Bubbles_ (No. 2473) is at The Hague,—all these mediocre -painters are the despair of the critic, and afford merely momentary -entertainment for the curious. - -It is apparent that by this period the art of Holland was marked -by mechanical inventions, the surface of these eighteenth-century -paintings being highly fused and metallic in appearance. The four -panels of Adriaen van der Werff (1659-1722), which include an -unpleasant _Magdalene in the Desert_ (No. 2617) and a repulsive -_Dancing Nymph_ (No. 2619), are characteristic examples of his -monotonous art. The _Disembarkation of Cleopatra_ (No. 2441) and the -_Hercules between Vice and Virtue_ (No. 2443) of Gerard de Lairesse -(1640-1711), have the enamel-like smoothness and meaningless expression -of academic art, although they have their usefulness as museum pieces. - -It is a remarkable fact that the Louvre does not contain a single -example of the revival of art in Holland in the third quarter of the -nineteenth century. - - - - - THE EARLY FRENCH SCHOOL - - -The early phases of the French school of painting—perhaps it would -be more correct to say of painting in France—present one of the most -interesting problems to the student of art history. It was not really -until the great Exhibition of French Primitives held in Paris in 1904 -that any serious attempts were made to construct a history of Early -French painting; but the learned arguments that have been brought -to bear upon the tangled question have so far failed to establish -the existence of an important autochthonous school in the fifteenth -century. It is true that contemporary records mention the names of a -few painters who seem to have enjoyed great repute at the Courts at -which they were employed, but it has been impossible to connect any -notable extant pictures with their names; whilst those other “French” -painters who have left tangible proofs of their activity are almost -without exception of Flemish birth and training. Indeed, most of these -early pictures show no characteristics that may be described as French, -save the types of the faces, which would naturally be taken from the -country where the artists worked. - -The difficulty of dealing with the Early French pictures at the Louvre -is considerably increased by the uncertainty of their authorship, -the attributions being in most cases tentative and much disputed. -Throughout we feel the lack of a definite basis for comparative -criticism—the absence of properly authenticated works by the very -masters whose names have been recorded in contemporary documents. One -of the earliest of these masters is Jean Malouel, a Fleming, whose -real name was Malwaele, and who worked in the service of the Dukes of -Burgundy at Dijon, where he died in 1415. To him has been attributed, -without sufficient proof, the tondo of _The Dead Christ supported by -the Eternal Father_ (No. 996) and mourned by the Virgin, St. John and -Angels. - -Equally uncertain is the attribution of the _Last Communion and -Martyrdom of St. Denis, First Bishop of Paris_ (No. 995), on which are -seen, against a gold background, in the centre, the Crucified Saviour -and the Eternal Father surrounded by cherubs; on the left, Christ -giving the Communion to the imprisoned bishop, with a praying angel -in the foreground; and on the right, the Decollation of St. Denis and -his two companions, St. Rusticus and St. Eleutherius. An attempt has -been made to identify this interesting picture with one ordered by -Jean-sans-Peur, Duke of Burgundy, from Jean Malouel, and finished after -that master’s death by Henri Bellechose, another Flemish painter, born -in Brabant, who worked at Dijon between 1415 and 1431. - -_The Entombment_ (No. 997) is the work of an unknown and presumably -Flemish painter, who shows a certain affinity with the painter of the -famous _Parement d’autel de Narbonne_ (No. 1342 _bis_) of about 1374. -This altar-front is supposed to be by Girard d’Orléans and his son -Jean, under whose name both the _Parement_ and the _Entombment_ were -shown at the Exhibition of French Primitives in 1904. But all these -attributions are largely conjectural. - - - THE MAÎTRE DE MOULINS - -Chauvinistic French critics have made much capital out of the important -national school that is supposed to have flourished towards the end -of the fifteenth century at Moulins, and especially of the mysterious -“Maître de Moulins,” so called from a famous triptych at Moulins which -cannot be proved to be the work of a French painter, and shows very -marked Italian characteristics, although the types of the faces are -distinctly French. Italian painters had been working in France ever -since Simone Martini (1285?-1344) was employed to decorate the Pope’s -Palace at Avignon; and in the absence of definite documentary evidence -it will always remain a difficult matter to decide whether certain -pictures, Italian in style and French as regards the types, are the -work of Italian masters painting in France, or of Frenchmen trained by -Italians. - -To the Maître de Moulins have been loosely ascribed certain pictures -in the Louvre collection, especially since attempts have been made, in -the face of great improbability, to identify him with Jehan Perréal, -or Jehan de Paris, one of the few painters of that period whose -French nationality has been satisfactorily established. Perréal was -born at Lyons, and became Court painter in Paris to Charles VIII. and -Louis XII. In this capacity he was sent to England at the time of the -marriage of Louis XII. with Princess Mary Tudor, to design the bride’s -toilettes. If Perréal be the painter of _The Virgin between Two Donors_ -(No. 998D, formerly No. 1048, and now labelled No. —48), which bears -upon the pilasters of a balustrade the letters “I P,” he is certainly -not identical with the Maître de Moulins to whom have been attributed -the portraits of _Pierre II., Sire de Beaujeu, Son-in-Law of Louis -XI._ (No. 1004), and his wife, _Anne of France, Duchess of Bourbon, -Daughter of Louis XI._ (No. 1005), which are apparently the wings of a -triptych of which the centre panel has disappeared. They are utterly -lacking in charm of colour and are anything but masterly in treatment. -Both the personages are portrayed kneeling, the husband being presented -by his Patron Saint and the wife by St. John the Evangelist. The -_Portrait of Pierre_ was bought in 1842 by Louis Philippe for £20. The -companion panel was presented to the Louvre in 1888 by M. Maciet. M. -L. Dimier has rightly pointed out that there is no evidence whatever -to prove these two pictures to have been painted by a French master. -_The Virgin between Two Donors_ (No. 998D) has lately been tentatively -attributed to the “Master of the Ursula Legend.” - - - THE DE SOMZÉE “MAGDALEN” - -To the Maître de Moulins has also been attributed the somewhat -overrated _Magdalen with a Female Donor_ (No. 1005A), which was -formerly in the de Somzée collection at Brussels, and was, some time -after the Exhibition of French Primitives in 1904, bought from Messrs. -T. Agnew & Son for £5000. The supposed similarities that have been -noticed between this picture and the Moulins triptych on the one hand, -and Jehan Perréal’s authenticated design for the tomb of the Duke of -Brittany at Rennes on the other hand, are not sufficiently convincing -either to arrive at a definite conclusion as regards the authorship of -this _Magdalen_, or to establish the identity of the Maître de Moulins -with Jehan Perréal. - -Of an even more problematic nature are the _Pietà_ (No. 998C, formerly -No. 998) and the _Calvary_ (No. 998A), of which it is only safe to -affirm that both were painted in France, the background showing in the -case of the former the Abbey of Saint-Germain-des-Prés, the Seine, -the Louvre, and the Butte Montmartre; and in the latter an equally -distinguishable view of the Seine, the Louvre, and other buildings. -Both pictures appear to be the work of Flemish painters who were not -entirely uninfluenced by Italian art. This _Calvary_ is labelled -“_Retable du Parliament de Paris_,” and was formerly in the Palais de -Justice in Paris. - -We need not dwell at any length upon the school of Douai, which should -be considered as a branch of the Flemish rather than a national French -school. Jean Bellegambe (_c._ 1470-1535) is its chief representative, -and presumably the author of the small wing of a triptych depicting the -figure of _St. Adrian_ (No. 13A) which was formerly catalogued as being -of the German school (No. 2739). - - - JEAN FOUQUET - -Of far greater importance is the school which flourished at Tours, for -here at last we meet with clearly marked personalities whose names are -definitely connected with extant works, even if the character of their -art remains essentially Flemish. The best known artist of this group -is Jean Fouquet (_c._ 1425-1480?), who was Painter to Charles VII. and -Louis XI. and wrought the wonderful miniatures in the famous Book of -Hours at Chantilly. He was distinctly more successful as an illuminator -than as a painter, although his masterpiece, the Chevalier diptych (of -which one wing is at the Antwerp and the other at the Berlin Museum), -is a work of considerable merit. The Louvre owns an interesting -painting from his brush—the portrait of the corpulent Chancellor of -France, _Guillaume Juvénal des Ursins, Baron de Trainel_ (No. 288). -He is depicted in three-quarter profile to the right, dressed in a -fur-edged red robe, with hands folded in prayer, before an open book on -a cushion. The pilasters in the rich architectural setting terminate -in two bears supporting the Chancellor’s coat of arms. This important -picture was bought in 1835 for the sum of £36. It was then attributed -to Michael Wohlgemuth! - -Fouquet is known to have painted Charles VII. in 1444; but the -_Portrait of Charles VII., King of France_ (No. 289), with the -inscription along the top, “LE TRÈS GLORIEUX ROY DE FRANCE,” and below, -“CHARLES SEPTIESME DE CE NOM,” cannot certainly be identified with the -picture referred to in contemporary records. The Louvre picture was -acquired in 1838 for £18. - -The name of Jean Fouquet has for a long time been connected with -the admirable little portrait known as _The Man with the Wineglass_ -(No. 1000, formerly No. 1000A). It was shown as a work of Fouquet at -the Exhibition of French Primitives; and the attribution is still -maintained by many French critics, although in the official Catalogue -the picture is given to an Unknown French painter of the fifteenth -century known as “The Master of 1456” from a dated picture in the -Liechtenstein Gallery in Vienna. The whole style of the painting would, -however, point to German origin, the only thing French about the -picture being the type of the personage represented. It is interesting -to note that this portrait, which was bought from a Paris dealer in -1906 for £7600, was formerly in the collection of Count Wilczek in -Vienna, and was bought by its former owner at Ulm. It is probably the -work of a painter of the Swabian school. - - - NICOLAS FROMENT - -Nicolas Froment, the painter of the diptych _King René and his Second -Wife, Jeanne de Laval_ (No. 304A), is frequently mentioned by those who -have constituted themselves champions of a supposed important Early -French national school. The few pictures with which he may be credited -include the _St. Siffrein_, now in the Seminary at Avignon, the -_Raising of Lazarus_, now in the Kaufmann collection at Berlin, and the -_Burning Bush_, which includes the Portraits of King René and Jeanne de -Laval, as the Donors who ordered the picture for the Cathedral at Aix, -where it still is. But the Louvre diptych is an inferior work. Nothing -is known about the dates of his birth and death. He flourished between -1460 and 1480, and was employed by good King René, who was himself a -painter of some distinction, if contemporary chroniclers are to be -believed. Froment died at Avignon, where he appears to have worked some -considerable time, allowing his art to absorb those distinctly Italian -tendencies which distinguished the productions of the Avignon school -ever since Simone Martini had early in the fourteenth century worked in -the Provençal city of the Popes. - -A very typical instance of this Avignon school, with its blending of -Northern realism and the noble sense of style of the early Italians, -is the _Pietà_ (No. 1001B). The group of the Virgin with the rigid body -of Christ across her knees, St. John on the left and the Magdalen on -the right, has a sculpturesque dignity and grandeur not to be found in -the Northern art of that period. The Donor on the extreme left rather -destroys the balance of the composition. The mourners and the landscape -are silhouetted against a gold background. The picture was formerly -in the Chartreuse of Villeneuve near Avignon, and was bought by the -Société des Amis du Louvre for the great French national collection at -the price of £4000. A well-known Spanish critic has claimed that this -is one of the very rare works by the Spanish artist Bartolomé Bermejo. - -Of the same school, but vastly inferior in conception and execution, is -the much restored _Christ rising from the Tomb, with a Donor and St. -Agricola_ (No. 1001C). There are in Gallery X. (Salle Jean Fouquet) a -few more anonymous fifteenth-century paintings, which need not here be -discussed as they are of no real significance. - - - - - THE SIXTEENTH-CENTURY FRENCH SCHOOL - - -The mere fact that many of the drawings and paintings which are now -with good reason believed to be the work of Jean or Jehan Clouet -(called Jehannet) passed, at a time when art criticism followed methods -less scientific than those which prevail at present, under the name -of Holbein, should suffice to indicate that Clouet’s art belongs -essentially to the Renaissance, and that the Primitive or Gothic period -had come to a close when he arrived in France from the Netherlands, -where he was born about 1475. He apparently worked first at Tours, -where his presence in 1516 is testified by documentary evidence; and he -went to Paris before 1529. Although he was never naturalised, he became -Groom of the Chamber to François I., and enjoyed an enormous reputation -for his skill in portraiture. He died in 1540 or 1541. - - - JEAN CLOUET’S DRAWINGS - -Not a single drawing or painting that has come down to us from this -period, which was remarkable for its enormous production in Court -portraiture, bears the signature of Jehan Clouet; but as a number of -the best portrait drawings in the famous Chantilly collection—notably -that of the _Preux de Marignan_—are obviously from the same hand, and -extend, as can be proved from the age of the personages portrayed, from -1514 to 1540,—the very years when Jean Clouet is known to have worked -in France,—it is quite reasonable to assume that artist to be the -author of this group of drawings. Their superiority over all the other -drawings of the period would account for the fame enjoyed by the elder -Clouet among his contemporaries. - -On the strength of these drawings it has been possible to ascribe -to Jean Clouet a few painted portraits which are obviously based -on the drawings and show, apart from such differences as must -necessarily result from the use of a different medium, the same -characteristics—firm draughtsmanship, a sure delicate touch in the -delineation of the features, and also a certain stiffness and hardness -of contour which are never to be found in the otherwise very similar -but always supple and masterly handling of Holbein. It is now known -that practically all the painted portraits of the period were executed -from the delicate drawings in black and red chalk, of which so vast a -number have come down to our day. But the fact that the vast majority -of these drawings served as models to different painters leaves the -question of attribution in a state of uncertainty. The mere tracing -back of a picture to some extant drawing of acknowledged authenticity -cannot be taken as proof of their common origin. - -Two pictures at the Louvre are attributed to Jean Clouet. Both are -portraits of _François I., King of France_, but only the smaller one -(No. 127) appears to be from his hand. Clouet’s royal patron is here -depicted in three-quarter profile to the right, at the age of about -thirty, so that the picture may be assumed to have been painted about -the year 1524. It is based on a drawing in the Chantilly collection. -The larger _Portrait of François I._ (No. 126) has at various times -been attributed to Jean Clouet, Mabuse, and Joost van Cleef, but is, as -has been pointed out by M. Dimier, pronouncedly Italian in colour and -in the treatment of the costume and hands. - - - FRANÇOIS CLOUET - -Towards the end of his life Jean Clouet was assisted in the execution -of his numerous commissions by his brother Clouet de Navarre, to whom -is attributed the _Portrait of Louis de Saint-Gelais, Lord of Lansac, -Captain of one of the “Compagnies des cent Gentilshommes” under Charles -IX._ (No. 134), and by his son François Clouet (1500?-1572). It has -been stated that François Clouet, who was to become after his father’s -death the favourite portrait painter of François I., Henri II., -Catherine de Médicis, François II., and Charles IX., was born at Tours; -but it is far more likely that he too was born in the Netherlands, -and, while still young, accompanied his father to France. Practically -nothing is known of his life before the year 1541, when François I. -renounced to Clouet his kingly right to the artist’s inheritance, which -could have been claimed by the Crown as the estate of a foreigner. In -the same year François Clouet was appointed Groom of the Chamber and -Painter-in-Ordinary to the King. - -The Louvre is fortunate in possessing one of the exceedingly rare -signed pictures by this artist in the _Portrait of Pierre Quthe_ (No. -127A), which was found in Vienna a few years ago by M. Moreau-Nélaton -and presented to the Gallery by that active and patriotic institution, -the Société des Amis du Louvre. Pierre Quthe was a notable burgher and -apothecary of Paris, who owned one of the finest gardens in that city. -He was an intimate friend and neighbour of François Clouet in the rue -St. Avoye. In the Louvre painting, which bears in the left-hand bottom -corner the inscription - - FR. IANETII OPVS - E. QUTTO AMICO SINGVLARI - AETATIS SVE XLIII 1562 - -he is depicted three-quarter-length life size, dressed in a doublet of -black velvet with lace insertions, with a herbarium. The picture hangs -at present on a screen in Gallery XV. - -Another unquestionably authentic work is the charming _Portrait of -Elizabeth of Austria, Wife of Charles IX._ (No. 130), of which a -preparatory study in chalk, dated 1571, is to be found in the Paris -Print Cabinet. The face is drawn and modelled with rare delicacy, and -every detail of the richly jewelled gold brocade costume is rendered -with faultless and miniature-like precision. - -Yet another precious little picture from the same hand is the small -three-quarter-length _Portrait of Charles IX., King of France_ (No. -128), which is a reduced replica of the signed life-size version in the -Vienna Museum. Both pictures were originally in Vienna, whence they -were removed by Napoleon in 1809, but only the larger picture was taken -back to the Austrian capital in 1815. - -The _Portrait of Claude de Beaune_ (No. 133A) is possibly another, -though not very important, work from the master’s own brush; but -neither the _Portrait of François de Lorraine, Duc de Guise_ (No. -131), nor the _Portrait of Henri II., King of France_ (No. 129), are -of sufficient merit to justify their attribution to François Clouet; -whilst the portraits of _Charles IX._ (No. 132) and _Elizabeth of -Austria_ (No. 133) are frankly admitted to be copies after originals by -the master. - - - CORNEILLE DE LYON - -François Clouet’s chief rival in royal favour was another Netherlander -domiciled in France, who, from the city in which he spent the years of -his greatest activity, has become known as Corneille de Lyon. He was -apparently the head of a busy workshop at Lyons, from which were turned -out large numbers of thinly painted, daintily touched-in three-quarter -profile heads, executed almost transparently on a light ground. -Although these portraits are now generally described under the generic -name of Corneille de Lyon, only the best among them can be accepted as -the master’s own handiwork. Room XI. at the Louvre contains several -insignificant and badly repainted portraits of this type. They are of -no importance, as they are only copies or studio productions. Corneille -became naturalised in 1547, in which year he was appointed Painter to -the King. He died about 1575. - - - THE SCHOOL OF FONTAINEBLEAU - -The death of Perréal and Bourdichon a few years after the accession -of François I. had left France without any artists of note, save -the few foreign portrait painters employed by the Court. François -I., an enthusiastic art lover, who had seen and admired the great -Italian masters in their own country, spared no effort to attract the -leading masters to France. We have seen that he actually succeeded -in securing the services of the aged Leonardo da Vinci, and that -for a brief span Andrea del Sarto worked at his Court. When, about -1530, that art-loving king turned his attention to the decoration -of his palace at Fontainebleau, there was not a single painter of -French nationality, or artist living in France, who could have been -entrusted with so formidable a task, and François I. was again forced -to enlist the best Italian painters available for the purpose. Having -first engaged Pellegrino and other third-rate artists, he succeeded, -in 1531, in inducing the Florentine Rosso to undertake the execution -and supervision of the decorative work at Fontainebleau; and in the -following year the Bolognese Primaticcio entered his service. Both -belong to the Italian eclectic schools, and only concern us here in so -far as their example led to the founding of what has been called the -“School of Fontainebleau,” which was really an offshoot of the Italian -eclectic school. - -In the early years of Rosso’s and Primaticcio’s activity at -Fontainebleau practically all the work was done by these two painters -and their Italian assistants, whose band was joined by Niccolò dell’ -Abbate. It was only after the death of François I. that the teaching -of the Italian eclectics at Fontainebleau produced a generation of -French artists capable of doing justice to the decorative tasks -for which an ever-increasing demand had meanwhile arisen. That the -Louvre is singularly poor in works by these painters may partly be -accounted for by the comparative scarcity of easel pictures painted by -artists who were chiefly employed for interior decoration. There is -no reason for crediting any Frenchmen with the three anonymous school -of Fontainebleau pictures in Gallery XI.: _Diana_ (No. 1013), _The -Chastity of Scipio_ (No. 1014), and _The Toilet of Venus_ (No. 1014A). -_The Chastity of Scipio_ in particular would appear to be the work of -Niccolò dell’ Abbate. - - - JEAN COUSIN - -The most famous of all the French painters of the school is Jean -Cousin, who from the _Last Judgment_ (No. 155) at the Louvre—the only -known painting from his brush that has been preserved—has been called -“The French Michelangelo.” Nothing is known of his life, save that he -was born at Soucy, near Sens, that he worked in Paris in the third -quarter of the sixteenth century, and that he was still alive in 1583. -Comparison of his picture with Michelangelo’s great work in the Sistine -Chapel only helps to accentuate the absurd over-estimation to which -he owes his sobriquet. He was merely a follower of Primaticcio, an -excellent draughtsman with great knowledge of anatomy, but lacking in -taste, imagination, and real power. - -Ambroise Dubois (1543-1614) was born at Antwerp, but is generally -counted among the French painters of the school of Fontainebleau. He -was entrusted by Henri IV. with several important series of paintings -for the decoration of the apartments at Fontainebleau, notably with -eight scenes illustrating Tasso’s “_Gerusalemme Liberata_” for one of -the Queen’s rooms, and fifteen scenes from “_Theogenes and Chariclea_” -by Heliodorus for the “King’s Great Closet.” One from each series has -found its way into the Louvre collection: _The Baptism of Clorinda_ -(No. 272), and _Chariclea, undergoing the Ordeal of Fire, is recognised -by her Parents, King Hydaspes and Queen Persina_ (No. 271). - -The only other painter of this group who is represented at the Louvre -is Martin Fréminet (1567-1619), who was only indirectly connected with -the school of Fontainebleau, as he had received his art education in -Florence. His best known work is the ceiling of the Trinity Chapel at -Fontainebleau. His picture at the Louvre represents _Mercury ordering -Æneas to leave Dido_ (No. 304). - -The decline of the school of Fontainebleau was so rapid and complete -that, when Marie de Médicis decided to have the great gallery of the -Luxembourg Palace decorated, in 1620, there was not a single painter -left in France capable to undertake this important work, which was -eventually entrusted to Rubens. But the whole direction to be taken by -French seventeenth-century art had been determined by François I., and -the influence of the Late Italians remained paramount until the dawn of -the new era which was to be initiated by Watteau. - - - - - THE SEVENTEENTH-CENTURY FRENCH SCHOOL - - -Throughout the seventeenth century the impulse for the artistic -activity of France emanated from Rome. But before discussing the -dominating personalities of the age we must refer to a few painters who -occupy a more or less isolated position in the art of their country. - -The naturalism of Caravaggio was introduced into France by two of -his followers, Jean de Boulongne, called Le Valentin (1591-1634), -and Simon Vouet (1590-1649), who was also slightly influenced by the -Venetians. Valentin spent the best part of his life in Rome, where he -died in 1634. The Louvre owns, among eight pictures from his brush -(not all of which are exhibited), his masterpiece, _The Innocence of -Susannah recognised_ (No. 56), which has the vigorous handling and bold -chiaroscuro of the Neapolitan school. - -Simon Vouet, who came to England at the age of fifteen, and -subsequently travelled in Turkey and Italy, where he remained until -his appointment as Painter to the King took him back to Paris in 1627, -tried to combine the naturalism of Caravaggio with the colouring of the -Venetians, an endeavour in which he was only partially successful, as -he was not equipped by nature with a sensuous appreciation of beautiful -colour. The Louvre owns a dozen Scriptural subjects and allegorical -figures by Vouet; but even the best of them, _The Presentation of Jesus -in the Temple_ (No. 971), is but a dull and heavy performance; whilst -his _Portrait of Louis XIII._ (No. 976) is wholly devoid of artistic -merit. Perhaps he owes his fame chiefly to the fact that he was the -master of the absurdly overrated Le Sueur and of that art despot of the -Louis XIV. era, Charles Le Brun. - - - THE BROTHERS LE NAIN - -Of far greater artistic significance are the three brothers, Antoine, -Louis, and Matthieu Le Nain, who were born at Laon, and flourished -in Paris during the first half of the seventeenth century. Antoine -and Louis died in 1648, and Matthieu in 1677. Very little is known of -their history, but the splendid array of their works in Gallery XIII. -proves them to have had close affinities with the contemporary Dutch -and Flemish schools, even if their manner of composition suggests close -acquaintance with Spanish art. Their subjects, too, like those of many -of the Northern masters of their time, are taken from the daily life of -the people, which is rendered with naïve honesty, and at times with a -real appreciation of beautiful pigment. So far it has been impossible -to distinguish between the works of the three brothers, as even the -signatures “LE NAIN, fecit 1647,” on the _Portraits in an Interior_ -(No. 543), and “LE NAIN, fecit anno 1642,” on the _Peasants at their -Meal_ (No. 548, La Caze Gallery), afford no clue to the solution of the -problem. The striking differences in brushwork and colouring, which -are to be noticed in the eleven Le Nain pictures at the Louvre, would -certainly suggest that the three brothers did not, or did only rarely, -collaborate on the same pictures. The painter of _The Return from -Haymaking_ (No. 542), with its prophetic suggestion of the _plein-air_ -effects of late nineteenth-century art, cannot have had much in common -with the painter of the dull and dingy _Denial of St. Peter_ (No. 547). - - - NICOLAS POUSSIN - -The founder of the Classicist school of French painting, which has -had official approval and support from his time to the present day, -was Nicolas Poussin (1594-1665). Born at Les Andelys in Normandy, he -went to Paris at the age of eighteen, and became so fascinated by the -examples of antique sculpture that, in spite of his extreme poverty, -he determined to continue his studies in Rome. It is unnecessary here -to relate the struggles that preceded his arrival at Rome in 1624. -He frequented the school of Domenichino; but what was more decisive -for the formation of his style was his unceasing study of antique -sculpture, in which he was guided and encouraged by his friend, the -sculptor Duquesnoy. After some years of continued poverty, he found -at last liberal patronage, and rose to such fame that on his return -to Paris in 1640 he was appointed Painter-in-Ordinary to the King. -However, the duties and restrictions attached to this position proved -so irksome to Poussin, that after two years he returned to Rome, where -he spent the rest of his life. - -At the Louvre is to be found an imposing array of forty canvases by -Poussin, whose art is as typical an expression of French genius as -the poetry of Corneille. It is essentially intellectual, based on -theoretical rules of design and composition, not in the least sensuous -or emotional, but always coldly classical. The vast majority of his -paintings at the Louvre are in such a deplorable state of deterioration -and neglect that it is almost impossible to form an adequate idea -of their original colour, but even the most ardent admirers of the -master do not maintain that he was a great colourist. His pictures are -entirely dependent on beauty of form and rhythmic design. They might -almost be described as painted reliefs. This applies at least to his -treatment of the human figure. His conception of landscape, though -still severely classical, is more pictorial and testifies to a genuine -love of Nature—Nature idealised by a lofty imagination. To appreciate -his greatness as a landscape painter, one has only to examine the -glorious setting to his _Orpheus and Eurydice_ (No. 740). The figures -here are really of quite subordinate importance—mere incidents in a -landscape painted with consummate mastery, perfect in linear and aerial -perspective. - -_The Shepherds in Arcadia_ (No. 734, Plate XXXVII.) may be quoted to -illustrate the calculated rhythm of his design and his indebtedness -to classic art from which he derived his nobility of form. Real -dramatic action was beyond Poussin’s range. His famous _Rape of the -Sabine Women_ (No. 724) is a striking instance of his failure to -grasp the significant difference between dramatic movement and mere -heroic posturing. Far more inspired, and therefore more natural and -dramatically effective, is the superb circular painting for a ceiling -commissioned by Cardinal Richelieu and representing _Time rescuing -Truth from the Attacks of Envy and Discord_ (No. 735). The allegory is -said to have been intended as an allusion to the circumstances which -induced Poussin to leave Paris for good. The design has more real -vitality than is generally to be found in Poussin’s work; the action of -the figures is more natural; and the colour music is not drowned by the -prevalence of dingy browns. The decorative effect heralds in a strange -way the art of the next century, and particularly that of Boucher. - -To see Poussin in the right perspective as regards the world’s great -masters, one need only compare his two _Bacchanals_ (Nos. 729 and -730) with Titian’s rendering of a similar theme. The comparison is -disastrous for the eclectic Frenchman. A _Portrait of the Painter_ (No. -743) from Poussin’s own brush is to be found in Room XIV., where no -fewer than thirty-seven of his pictures are on view. - - [Illustration: - PLATE XXXVII.—NICOLAS POUSSIN - - (1594-1665) - - FRENCH SCHOOL - - No. 734.—THE SHEPHERDS IN ARCADIA - - (Les Bergers d’Arcadie) - - In the centre of a landscape with receding ranges of hills, three - shepherds, leaning on their long staves, and a maiden in classic - garb, are gathered around an ancient tomb surrounded by trees. - An inscription on the tomb, “_Et in Arcadia Ego_,” engages their - attention. One of the shepherds is kneeling and reading the - inscription to his companion on the left, whilst the third man of - the group leans forward to point out to the maiden the significance - of the inscription. - - Painted in oil on canvas. - - 2 ft. 9½ in. × 3 ft. 11½ in. (0·85 × 1·21.)] - - - CLAUDE LORRAIN - -Strangely enough, the otherwise very complete collection of French -pictures at the Louvre does not contain a single example of Poussin’s -brother-in-law, Gaspard Dughet, better known as Gaspard Poussin -(1613-1675), who devoted himself more exclusively to landscape than -did his more illustrious relative. Nicolas Poussin’s influence also -became decisive for the formation of the style of Claude Gellée, -called Le Lorrain (1600-1682), who is represented at the Louvre by -seventeen pictures (Nos. 310-326), most of which also have suffered -considerably from discoloration and neglect. Claude, who was the child -of poor parents, started life as a cook. In this capacity he went to -Rome, where his talent for art was discovered by the landscape painter -Agostino Tassi, to whom he served as cook and apprentice. Having -learned all he could from his master, he returned to France in 1625, -but, like Poussin, preferred to go back to Rome after two years spent -in his native country. In the Papal city he lived the rest of his days, -and rose to fame and affluence. - -He was essentially a landscape painter. The historical and legendary -incidents introduced in such pictures as _The Disembarkation of -Cleopatra at Tarsis_ (No. 314), or _Ulysses restoring Chryseis to her -Father_ (No. 316), were to him a mere excuse for painting classic -landscapes and imaginary buildings of noble proportion bathed in a -golden atmosphere, which has hardly been rivalled by any contemporary -or later painter. It is only on rare occasions, as in the _View of -the Campo Vaccino at Rome_ (No. 311), that he applied his gifts to -the portrayal of nature. As a rule, his views are carefully arranged -combinations of architectural and landscape elements brought together -arbitrarily, and generally disposed in the manner of the wings and -backcloth of a stage scene, but connected by the unity of light and -atmosphere. Considering this method, it is amazing that his memory -enabled him to invent such imaginary scenes with so great a degree -of truth. _The View of a Sea Port_ (No. 317, Plate XXXVIII.), in the -subdued light of a misty day, is a magnificent instance of his masterly -management of aerial perspective. It is signed and dated “CLAUDE IN -ROMA, 1646.” It is generally known how much Turner in his first manner -owed to the example of Claude. That even Watteau was indebted to him -may be gathered from such pictures as _The Village Fête_ (No. 312), -which, signed and dated, “CLAUDIO, inv. Romæ, 1639,” contains in germ -the elements that constituted the greatness of the eighteenth-century -master. - - - LE SUEUR - -Whilst Poussin and Claude were working in Rome, two pupils of Vouet -reaped the highest honours in France. Eustache Le Sueur (1617-1655), -whom his compatriots in their incomprehensible over-estimation of his -mediocre gifts have called the “French Raphael,” certainly strove -to emulate the divine Urbinate; but how badly he succeeded in this -endeavour is to be gathered from the fifty-two paintings, by the -placing of which his memory is retained at the Louvre. What dignity -there is in the simple flow of line in his designs, is completely -ruined by the offensive crudeness of his colour. Even allowing for the -inevitable fluctuations of taste in matters of art, it is difficult -now to understand how enthusiasm could ever have been aroused by the -works that were considered his masterpieces, _St. Paul preaching at -Ephesus_ (No. 560), which at the beginning of last century was valued -at £10,000 (!), and the twenty-two _Scenes from the Life of St. Bruno_ -(Nos. 564-585), painted between 1645 and 1648 for the small cloister -of the Carthusians in Paris. This series, which is a severe tax on -the patience of the conscientious visitor, fills the whole of Gallery -XII., whilst other paintings connected with it intrude into the -adjoining room, which is consecrated to the brothers Le Nain. - - [Illustration: - PLATE XXXVIII.—CLAUDE GELLÉE, CALLED CLAUDE LORRAIN - - (1600-1682) - - FRENCH SCHOOL - - No. 317.—VIEW OF A SEAPORT - - (Vue d’un Port de Mer: Effet de Brume) - - In the foreground, on the beach, are groups of men occupied with - unloading merchandise and cattle. Sailing ships are at anchor in - the port, and boats are floating on the rippling water. On the left - a monumental staircase leads from the landing-steps to a palace, - beyond which is seen a fort; a classic temple on the right. Sunset - effect, the power of the sun being softened by a mist over the far - distance. - - Painted in oil on canvas. - - Signed on a stone in the left foreground:—“CLAUDE IN ROMA, 1646” - - 3 ft. 10¾ in. × 4 ft. 11 in. (1·19 × 1·50.)] - -Before passing on to Vouet’s most famous pupil, Charles Le Brun, -whose despotic power imposed upon French painting during the “_grand -siècle_” its pompous rhetorical character, mention should be made of -Sébastien Bourdon (1616-1671), who, but for his prolonged sojourn in -Rome, which fed his ambition to excel in the “grand style,” would -have been one of the most remarkable artists of his century. This -conclusion is, at least, justified by his precious little painting of -a group of _Beggars_ (No. 76), which is perhaps unrivalled in French -seventeenth-century art for quality of paint and appreciation of -tone values; and by his excellent _Portrait of the Philosopher René -Descartes_ (No. 78), who was also painted by Frans Hals (No. 2383). In -his treatment of scriptural and historical subjects he does not rise -above the dull level of his contemporaries. - - - CHARLES LE BRUN - -Charles Le Brun (1619-1690) studied first under Vouet, but, attracted -by Poussin’s stronger personality, followed that master to Rome in -1642, and continued his studies under his guidance. When Le Brun -returned to Paris four years later, his reputation was already firmly -established. Patronised by Louis XIV.’s powerful minister, Colbert, he -was placed at the head of the newly founded Academy of Painting, and of -the Gobelins Manufactory, became First Painter to the King and “Prince” -of the French Academy in Rome; and was, in fact, given absolute power -in all matters concerning the fostering of the arts and art industries. -This despotic power explains how it was possible that Le Brun, who -notwithstanding his brilliant executive skill and extraordinary -facility never rose above the level of mediocrity, could impose his -uninspired personality upon every phase of French artistic activity of -his time. - -His enormous canvases at the Louvre, which probably occupy more space -than has been allotted to any other painter, vainly endeavour to -conceal the lack of real emotion and of a central motif by theatrical -gestures and overcrowding. His masterpiece at the Louvre is _The Tent -of Darius_ (No. 511), which represents the family of Darius imploring -Alexander the Great for mercy. But even here one feels the absence of -dramatic inspiration and concentration. Less successful are the other -scenes from the history of Alexander: _The Passage of the Granicus_ -(No. 509), _The Battle of Arbela_ (No. 510), _Alexander and Porus_ -(No. 512), _Alexander entering Babylon_ (No. 513). The whole series -was painted between 1661 and 1668 for execution in tapestry and was -exhibited at the Salon in 1673, the year in which for the first time -an official catalogue was compiled. Besides many scriptural and -mythological subjects, and a few portraits from Le Bran’s brush, there -are at the Louvre his decorative paintings on the ceiling of the -Galerie d’Apollon in which the magnificent centre panel was added two -centuries later by Delacroix. - - - PIERRE MIGNARD - -Le Bran’s successor in the direction of the Academy and the Gobelin -works, Pierre Mignard (1612-1695), called “Le Romain” owing to his long -domicile in Rome after the completion of his studies under Vouet, did -not have his precursor’s large decorative faculty and sweeping ease of -execution. Yet the excessively affected grace and the careful finish -of his pictures, of which _The Virgin of the Grapes_ (No. 628) is a -thoroughly characteristic instance, helped to raise him to an exalted -position in the opinion of his contemporaries. To this day the affected -style of prettiness of which he was the high priest is known as -“_mignardise_.” His power was altogether insufficient for the ambitious -decorative tasks he set himself in emulation of Le Brun. If he has any -claim to the esteem of posterity, it is for having left the world a -portrait gallery of the notable men and women of his time—portraits -which are by no means free from flattery and mannered grace, but -constitute, nevertheless, a valuable historical record. Of these the -Louvre owns the _Portrait of the Artist at Work in his Studio_ (No. -640); the _Portrait of Françoise d’Aubigne, Marquise de Maintenon_ (No. -639); and the life-size group of _Louis of France, Son of Louis XIV., -his Wife, and their three Children_ (No. 638). - -Colbert and Le Brun had succeeded but too well in carrying out the -powerful minister’s ambition to direct French art towards industrial -and decorative aims, to train an army of capable producers, and to -place the whole organisation on what may be called a business basis. -The system was, however, not favourable for the growth of independent -genius. With few exceptions, the whole generation of painters that -grew up under Le Brun’s régime are of no significance to the history -of art. There were among them many capable craftsmen, but they only -repeated in a feebler way what Le Brun had done on a more imposing and -dazzling scale. Whole dynasties of painters arose, like the Boulognes -and the Coypels, who, under official patronage, filled acres of canvas -with florid, theatrical renderings of scriptural subjects, and with the -bombastic mock-heroics of classic history and mythology seen through -baroque spectacles. - - - LE BRUN’S FOLLOWERS - -It would be giving undue importance to these painters of the Louis XIV. -period if we were to go beyond a mere enumeration of their leaders and -their chief works at the Louvre. None of them possessed any marked -individuality; and most of them were linked together, not only by -similar aims and ambitions, but also by family ties. Four members of -the Coypel family rose to great eminence among their fellow-artists, -and to important official positions. Noël Coypel (1628-1707), the -painter of the four historical compositions, _Solon defending his Laws -before the Athenians_ (No. 157), _Ptolomy Philadelphus giving the Jews -their Freedom_ (No. 158), _Trajan giving a Public Audience_ (No. 159), -and the _Foresight of Septimus Severus_ (No. 160), all of which were -originally executed for the Council Chamber at Versailles; his sons -Antoine Coypel (1661-1722), whose best known pictures at the Louvre are -the _Susannah and the Elders_ (No. 169) and the _Democritos_ (No. 174), -which recalls Jordaens in its exuberant life, and Noël Nicolas Coypel -(1692-1734), whose goddesses and nymphs already reflect the taste which -dominated the eighteenth century; as well as Antoine’s son, Charles -Antoine Coypel (1694-1752), whose uninspired art may best be studied in -the _Perseus delivering Andromeda_ (No. 180). - -_The Triumph of Bacchus_ (No. 447) and _The Annunciation_ (No. 445), -by Charles de La Fosse (1636-1716); _Hercules fighting the Centaurs_ -(No. 53), by Bon Boulogne (1649-1717); and _The Marriage of St. -Catherine_ (No. 55), by his brother Louis Boulogne (1654-1733), only -serve to illustrate the mediocrity of their respective authors. The -impersonality of Bon Boulogne’s art had at least the advantage that his -teaching left free scope for personal expression to his many pupils. - -Even the still-life painting of the “_grand siècle_,” which found its -chief exponent in Jean Baptiste Monnoyer (1634-1699), partakes of the -love of pomp and display that characterises this period. Gold and -silver vases, precious stuffs and furniture generally accompany his -flowers, which are painted without real appreciation of their natural -beauty, and in purely local tints without a hint of the effect of each -colour upon its surroundings. The _Flowers_ (No. 648), in the La Caze -Gallery, may be mentioned as a typical example. - - - BATTLE PAINTERS - -The battle painter, Jacques Courtois (1621-1676), called Borgognone -and Le Bourguignon, though born in France, was so completely under the -spell of the art of Italy, the country where he spent almost his entire -life, that he can scarcely be reckoned as belonging to the French -school. His furious cavalry _mêlées_, though entirely imaginative (as -such confused encounters of horsemen piercing each other’s ranks have -never taken place in actual warfare), are painted, like the _Cavalry -Fight_ (No. 151), with a touch as swift as it is sure and expressive, -and full of exuberant vitality. - -Joseph Parrocel (1678-1704), who, during a prolonged visit to Rome had -benefited by Borgognone’s teaching, could not, after his return to -France in 1675, escape the current of thought which dominated his time, -and introduced the stage-heroic note into his master’s sham realism. -The glorification of his king is the purpose of such pictures as _The -Passage of the Rhine by Louis XIV._ (No. 678). The chief interest is -centred in the richly apparelled group on their prancing steeds in the -foreground. - - - JEAN JOUVENET - -_The Descent from the Cross_ (No. 437), by Jean Jouvenet (1644-1717), -which has been honoured by a position among the masterpieces in the -Salon Carré, is certainly one of the most estimable compositions -produced in France during this active but uninspired century. Not only -in the general disposition of the design, but also in the use of colour -as a constructive element, Jouvenet here acknowledges his indebtedness -to Rubens, although he could never rival the luminous glow of the great -Fleming’s palette. Most of his other pictures suffer from dull heavy -shadows and exaggerated expression. His strong and honest painting -of the kneeling group in _The Abbé Delaporte officiating at the High -Altar of Nôtre-Dame_ (No. 440), makes us regret that he did not devote -himself more to subjects taken from the life of his time. - -An artist who was less tied to the tyranny of the official school, and -imbued with a really profound sense of the beautiful, was Jean Baptiste -Santerre (1658-1717). The delicate perfection of form of the nude in -_Susannah and the Elders_ (No. 835) approaches him to David and Ingres -at their best. But this very perfection carries the germ of decay, -because it is incapable of progress, and stagnation in art signifies -death. As regards his technique, Santerre was extremely careful and -conscientious. He reduced his palette to but five colours, and waited -ten years after the completion of a picture before putting on the final -coat of varnish. - - - THE PORTRAIT PAINTERS - -The two great portrait painters who flourished under the “Grand -Monarque,” Rigaud and Largillière, were preceded by an artist to whom, -perhaps owing to the relative scarceness of his works, history has -done but scant justice. Whilst the Louvre contains thirteen portraits -by Largillière and seventeen by Rigaud, only two pictures stand to the -name of Claude Lefebvre (1632-1675); but his _Portraits of a Master -and his Pupil_ (No. 529) and the _Portrait of a Man_ (No. 530), are -distinguished by a penetrating insight into character and an incisive -vigour of style that form a striking contrast to the shallow bombast -introduced even into portraiture by the fashionable painters to the -Court. Lefebvre has been compared with Van Dyck. The _Portrait of a -Man_ (No. 530) has more in common with the brilliant audacity of Frans -Hals’s brushwork. Lefebvre worked for some years in London, where he -was a favourite at the Court of Charles II. - -Rigaud’s manner of portraiture has none of these serious, manly -qualities, but his skill in arranging the sumptuous accessories which -play so important a part in his portraits,—as important, at least, -as the actual features of the sitters,—secured him the patronage of -the pomp-loving, haughty nobility. Hyacinthe Rigaud y Ros (1659-1743) -was born at Perpignan and educated at Montpellier and Lyons. It was -the advice of Le Brun that saved him from the customary pilgrimage to -Rome and its inevitable consequences. It was Le Brun who recognised -Rigaud’s bent for portraiture, and launched him on the brilliant -career which gained for him the title of “the French Van Dyck.” Rigaud -was enormously productive. Between 1681 and 1698 he is said to have -painted six hundred and twenty-three portraits. And he had then another -forty-five years before him! - -Rigaud’s best known picture at the Louvre is the stately _portrait -d’apparat_ of _King Louis XIV._ (No. 781), a life-size full length, -in which the spirit of the time, the curious blending of supercilious -haughtiness, love of display, and affected grace of manner, are -happily expressed in the monarch’s attitude and in the whole setting. -The picture is signed and dated, “PEINT PAR HYACINTHE RIGAUD, 1701.” -The same tendencies are to be noted in the full length _Portrait of -Bossuet, Bishop of Meaux_ (No. 783), in which it is surprising that -the prelate’s personality is not completely smothered by the splendid -profusion of the accessories. His gifts appear, however, in a better -light in his excellent _Portraits of Marie Serre, the Artist’s Mother_ -(No. 784), with the same head, honestly and soberly painted, twice on -the same canvas, once in sharp profile looking to the right, and again, -facing this, a three-quarter profile to the left. Wholly unexpected -is the delicacy and softness of one of his pictures in the La Caze -Room: the _Portrait of the Duke of Lesdiguières as a Child_ (No. 792). -His solitary excursion into the domain of “grand art” at the Louvre -is at the same time his last work: _The Presentation in the Temple_ -(No. 780), which in grouping and lighting owes much to the study of -Rembrandt. - -Nicolas de Largillière (1656-1746) was born in Paris, but was taken -when still an infant to Antwerp, where he became a pupil of Goebouw. -From 1674 to 1680 he worked in London as an assistant of Sir Peter -Lely, from whom he acquired the clever tricks and mannerisms in the -painting of draperies and the textures of silks and velvets and other -materials, which were to form so important a part of his artistic -equipment. After Lely’s death Largillière went to Paris, where he not -only shared with Rigaud the patronage of the Court as portrait painter, -but secured many important commissions for historical paintings which, -perhaps to the advantage of his fame, are now all but forgotten. -Largillière was not without distinction as a brilliant and daring -colourist. Nor was he incapable, on occasion, of seizing the subtleties -of his sitters’ character. But his praiseworthy qualities are more than -balanced by his unpleasant affectations and by the baroque squirminess -of his line. This tendency carried him to such insufferable excesses as -the conglomeration of lumpy bosses which does duty for a hand in his -_Portrait of M. Du Vaucel_ (No. 484), in the La Caze Room. - -His boastful skill in the management of the satins and velvets in the -overrated portrait group of _Largillière with his Wife and Daughter -in a Garden_ (No. 491), cannot atone for the singularly unfortunate -and clumsy composition, and for the self-conscious affectation of each -individual pose. More satisfactory, in spite of the superabundance of -accessories and outward pomp, which in this case is a fitting attribute -to the character of the sitter, is the _Portrait of Charles Le Brun, -First Painter to King Louis XIV._ (No. 482), who is depicted in a -colossal wig, seated before an easel, and wearing a superbly painted -red velvet cloak. - - - LANDSCAPE PAINTERS - -It almost goes without saying that landscape art, which, even in its -most artificial and “classic” phase is inspired by the love and study -of nature, was sadly neglected in so artificial an age. Among its -leading exponents must be mentioned the two Patels, father and son, of -whose life we have but scant knowledge, and whose pictures resemble one -another’s so closely that it is often difficult to determine which is -by Pierre Patel, the father (1620?-1676), and which by Pierre Antoine -Patel, the son (1648-1708), especially as both adopted the signature, -“P. PATEL.” In the case of the older artist’s _The Exposure of Moses -on the Nile_ (No. 680), and _Moses burying the Egyptian whom he had -Slain_ (No. 681), and his son’s four landscapes representing the -months, _January_ (No. 684), _April_ (No. 685), _August_ (No. 686), -and _September_ (No. 687), all doubts are set aside by the dates which -accompany the signature. Both artists were close followers of Claude -Lorrain, although their precise technique suggests the influence of -Adam Elsheimer. - -A truer perception of nature came to France from the North, whence, -indeed, throughout the history of French painting vitality was infused -into an art that was cramped by officially imposed canons of Italian -perfection. As far back as the time of Le Brun, Félibien and Roger de -Piles had begun in the field of literary polemics the long struggle -between the _Poussinistes_ and _Rubenistes_, the adherents of an art -dominated by design and perfect drawing, against the partisans of -colour as a vital element. During the whole seventeenth century the -Poussinistes, who commanded all the official support, held the field, -though the Netherlandish strain was represented by some of the finest -painters of that period, like the brothers Le Nain, C. Lefebvre, -and Philippe de Champaigne. In the eighteenth century the Northern -influence became supreme through Watteau and Chardin on the one hand, -and on the other through Boucher and Fragonard, both of whom were -powerfully influenced by the study of Rubens’s works. - - - DESPORTES - -In landscape the healthy opposition to the prevailing classic style -appears first in the work of the Flemish battle painter Van der Meulen, -whose backgrounds, sketched on the spot, show a fine feeling for -aerial perspective and atmospheric effects. But his example apparently -attracted no followers. Though not, strictly speaking, a landscape -painter, François Desportes (1661-1743), who owed less to his early -training under Nicasius, a third-rate Fleming, than to his habit of -using his own eyes and studying nature direct, treated landscape with -similar freedom in the backgrounds to his portraits and pictures of -the chase. In his paintings of animals, dead or alive, limp bodies of -hares and birds arranged as still-life with flowers and fruits, or in a -very frenzy of movement in his hunting pieces, he endeavours to emulate -Snyders, without quite rivalling the Flemish master. Of his twenty-five -pictures at the Louvre, twenty-three (Nos. 225-248) belong to this -genre, but not all of them are actually exhibited. The _Portrait of a -Huntsman_ (No. 224), and the _Portrait of the Artist_ (No. 249) seated -under a tree, holding a gun in his right, and caressing with his left -hand a hound whose paw is resting on a pile of dead game, serve to -prove that he knew how to manage portraiture with the same bold, frank -spirit and summary breadth. He was particularly happy in rendering, -without laboured detail, the varying textures of fur and plumage. - -Desportes’s only successful rival as a painter of animals and hunting -scenes was Jean Baptiste Oudry (1686-1755). How closely his style -resembled that of the elder painter is to be seen from his _Wolf Hunt_ -(No. 667), the _Dog watching Dead Game_ (No. 668), and one or two -similar pieces at the Louvre. Oudry was first taught by his father, -and subsequently by Largillière, who encouraged him in the painting of -still-life, and directed his study particularly to the observation of -tone values and of the interchange of colour that takes place between -objects in close proximity to each other. In 1734, Oudry was appointed -Director of the Beauvais Tapestry Works, which took a new lease of life -under his able management. It was he who supplied the designs for the -_Fables of La Fontaine_, which figure so frequently in the tapestries -woven at that great establishment. Perhaps his most interesting picture -at the Louvre is the large landscape _The Farm_ (No. 670), signed and -dated 1750, one of the earliest examples in French art of a rustic -scene painted for its own sake, without any attempt at ennobling the -landscape by forcing it into a formal arrangement. - - - - - THE EIGHTEENTH-CENTURY FRENCH SCHOOL - - - GENRE PAINTERS - -It is quite in accordance with the tendencies displayed by these -masters, that towards the end of the seventeenth and the beginning -of the eighteenth century an increasing number of artists preferred -to devote their talent to recording the life of their own days to -the endless repetition of the “grand-manner” subjects which had -occupied the energy of the preceding generations. Thus Jean Alexis -Grimou (1678-1740), who was Swiss by birth and entirely self-trained, -introduced into French art the drinking scenes beloved of the Flemish -masters. From his painting of _A Drinker_ (No. 385) and the two -_Portraits of Young Soldiers_ (Nos. 386 and 387), it may be seen how -little he was in sympathy with the official art of his time; this is -scarcely to be wondered at, since, instead of undergoing the customary -course of academic training, he had formed his style by copying the -works of Rembrandt and other Northern masters. - -Pierre Subleyras (1699-1749) was not quite so emancipated. In his large -religious compositions he still follows the affectations of the grand -style. His chief work of this kind is the _Mass of St. Basil_, at Sta. -Maria degli Angeli in Rome, of which No. 857 at the Louvre is a reduced -version. Of far more artistic significance are his small genre pieces, -in which he attains to a rich quality of pigment and a justice of -tone-values unique in French painting of his period. Subleyras is said -to have been of Spanish descent; and there are in his scenes from La -Fontaine’s “Fables”—notably in _The Hermit_ (No. 862)—clear indications -of his intimate acquaintance with Spanish art. The best of all his -pictures at the Louvre is _The Falcon_ (No. 861), which, apart from its -general quality of tone, contains some still-life passages worthy of -the brush of Chardin. - - - RAOUX AND DE TROY - -Just as Subleyras should be judged by his genre scenes rather than by -his scriptural subjects, so Jean Raoux’s (1677-1734) real significance -lies in the intimate note he introduced into his fancy portraits, and -not in his moderately successful excursions into mythology, like the -_Telemachus relating his Adventures to Calypso_, at the Louvre (No. -764). The _Young Woman reading a Letter_ (No. 765), in the La Caze -Room, is perhaps the most charming of many similar pictures from his -brush. In sentiment it belongs entirely to the amorous century of Louis -XV., which was to produce a Fragonard and a Greuze. Raoux was one of -the first French painters of contemporary life. Brought up in the old -tradition, he was in his last years influenced by the personality of -the great Watteau. - -If Raoux was the somewhat sentimental painter of bourgeois life, Jean -François de Troy (1679-1752) played not infrequently the chronicler -of the elegant life of the leisured classes. Unfortunately this -interesting phase of his art is not represented at the Louvre, which, -besides the three _Portraits_ (Nos. 886-888) in the La Caze collection, -contains two of his famous designs for tapestry, representing scenes -from the _History of Esther_ (Nos. 884-885); and his large historical -painting, _The First Chapter of the Order of the Holy Ghost, held by -Henri IV. in 1595_ (No. 883). - - - WATTEAU - -The master who was to break definitely with the cold, majestic, -uninspired art of the seventeenth century, and who in leading -French painting into new paths reached the very limits of poetic -expressiveness imposed by material means, was Antoine Watteau -(1684-1721). Born at Valenciennes six years before that city became -French through the peace of Nymwegen, Watteau, the son of a poor -Flemish tiler, was French, as it were, by accident only. In his early -years, when he studied in his native town under Gérin, a mediocre -local painter, he must have had occasion to become closely acquainted -with the paintings of the Flemish masters. On the death of Gérin, in -1702, he went to Paris, where he became assistant to the scene-painter -Métayer. Watteau suffered dire poverty, and completely undermined his -health through privation before his talent attracted the attention of -his next master, Claude Gillot, with whom he stayed until 1708, when he -became assistant to Claude Audran, a decorative artist of great repute -and Keeper of the Luxembourg collections. At the Luxembourg Palace he -was enabled to study the masterpieces of Rubens, Titian, and Paolo -Veronese, from which he benefited as much as from his work from nature -in the Luxembourg gardens. - -It was perhaps fortunate that he failed in the competition for the -Prix de Rome in 1709, and was dissuaded from going to Italy. He -was received by the Academy in 1717, when he painted his “diploma -picture.” _The Embarkation for the Island of Cythera_ (No. 982, Plate -XXXIX.), which may be considered an epitome of his art. Sketchy as -it is, this picture, which he painted in seven days, exceeds in -poetic charm and in the beauty of its entrancing sparkle of mellow -tones the more highly finished later version in the German Emperor’s -collection. It is the most striking instance of a purely imaginary -scene of unworldly happiness, tinged with that peculiarly Watteauesque -vague melancholy,—the consumptive’s _maladie de l’infini_ to which -M. Mauclair has drawn attention,—represented with such absolute -atmospheric truth as to make it appear an incomparably beautiful -reality. Technically, this picture, like _L’Indifférent_ (No. 984) -and _La Finette_ (No. 985) in the La Caze Room, embodies in germ -the theories which in the second half of the next century were -scientifically worked out by the French Impressionists. - -Some time in 1719 or 1720, Watteau was in England to consult a famous -physician. But his illness took a turn for the worse, and he had to -return to his native country. After six months spent in Paris, he went -to live at Nogent-sur-Marne, where he died on July 18, 1721. Watteau’s -influence upon eighteenth-century art was prodigious; but his work -remained unapproached by any of his followers and imitators, who too -often sacrificed artistic considerations to a desire to please the -lascivious tastes of a corrupt, pleasure-loving society. The _Faux Pas_ -(No. 989) is one of the rare instances where Watteau allowed a certain -suggestiveness to enter into his work; but even here “the smallness of -the subject is swallowed up in the greatness of the painting.” - - [Illustration: - PLATE XXXIX.—ANTOINE WATTEAU - - (1684-1721) - - FRENCH SCHOOL - - No. 982.—THE EMBARKATION FOR THE ISLAND OF CYTHERA - - (L’Embarquement pour Cythère) - - On a mound in the foreground, under a group of trees on the right, - by a garlanded terminal figure of Venus, are seated a young woman - and a pilgrim; at their feet is Cupid, whose wings are covered by a - black cape. To the left a cavalier helps a young woman to rise from - the lawn. In the centre of the composition another pilgrim leads - away his partner, encircling her waist with his arm. On the left, - in the middle distance, is a procession of lovers in pairs moving - towards a gilt barge with a chimera at the prow and two semi-nude - rowers. Cupids are floating in the air above the barge. In the - background a lake surrounded by bluish mountains. - - Painted in oil on canvas. - - 4 ft. 2 in. × 6 ft. 3½ in. (1·27 × 1·92.)] - - - THE WATTEAUS IN THE LA CAZE GALLERY - -It is a strange fact that but for the generosity of La Caze, _The -Embarkation_ would be the only example at the Louvre of the greatest -master produced by France. The reason for this extraordinary neglect -may be found in the scant esteem in which Watteau was held until -his eclipsed fame was resuscitated by the de Goncourts. The superb -life-size painting of _Gilles_ (No. 983), one of ten pictures by or -attributed to Watteau in the La Caze collection, was sold at public -auction in 1826 for £26; whilst _L’Indifférent_ and _La Finette_ -together realised the sum of £19 at the Marquis de Ménars’ sale! Of -the eleven pictures in the La Caze collection that were originally -attributed to Watteau, _L’Escamoteur_ (No. 622A, formerly No. 987) is -now acknowledged to be by his imitator Philippe Mercier (1689-1760), -who was born in Berlin of French parents, and spent the most productive -years of his life in London, where he died in 1760. The still-life -piece _Dead Game_ (No. 993), officially assigned to Watteau, has -rightly been doubted; but the aspersions thrown upon the authenticity -of the delicious _Pastoral_ (No. 992) do not seem sufficiently -justified. The profound influence of Rubens upon Watteau’s art is -nowhere more pronounced than in the sketch _The Judgment of Paris_ (No. -988), and in the beautiful oval composition _Jupiter and Antiope_ (No. -991), which has, however, also much in common with Titian. The superb -nude figure symbolising _Autumn_ (No. 990), and another _fête galante_, -entitled _Gay Company in a Park_ (No. 986), are no less creditable to -the master’s genius. - - - WATTEAU’S FOLLOWERS - -Although Watteau indicated the direction that French art was to follow -in a century when it had to cater no longer for the stateapartment but -for the boudoir, he left no follower worthy to carry on his tradition. -Nicolas Lancret (1690-1743), who had studied under Dulin and Gillot, -based his style upon Watteau, whom he almost rivalled as a draughtsman. -But he was an inferior colourist, and wholly lacking in poetic -inspiration. One has only to compare his _Actors of the Italian Comedy_ -(No. 470) with Watteau’s _Gilles_ (No. 983), or his _Music Lesson_ (No. -468) and _Innocence_ (No. 469) with their prototypes created by that -master, to realise the inferiority of these thin, vulgarised versions -of Watteau subjects. - -Jean Baptiste Pater (1695-1736), who, like Watteau, was born at -Valenciennes, became a pupil of his fellow-townsman in Paris, and -benefited considerably by his guidance. Although inferior as a -draughtsman to Lancret, whom he did not rival either in originality, he -far surpassed him as a colourist. With Lancret, colour was generally -an afterthought; with Pater, it entered into the primary conception -of the picture. His Academy diploma piece, the _Fête Champêtre_ (No. -689), is painted in the Watteau manner with true pictorial feeling, -even if it lacks the master’s precious, jewel-like quality of pigment. -The _Fête Champêtre_ (No. 203), by Bonaventure Debar (1700-1729), holds -promise of a considerable talent in a similar direction, cut short by a -premature death. - - - THE VAN LOO FAMILY - -No fewer than five members of the Flemish Van Loo family, which -flourished in France from about 1660 until the death of Julius Cæsar -Van Loo in 1821, are represented in the Louvre collection. The most -distinguished among them were Louis Van Loo’s sons, Jean-Baptiste -and Charles André, better known as Carle. Both of them were brought -up in the academic tradition; but their Flemish blood and the taste -of a time that had seen the master-work of Watteau, gave their art -more vigour and sensuousness than is to be found in the paintings -of their academic precursors. Still it is unnecessary to linger over -their historical and mythological compositions. The picture which does -most credit to Carle Van Loo (1705-1765) is _The Hunt Picnic_ (No. -899), which, in spite of a certain crudeness of colour, attracts by -the science of the composition, the Watteau feeling of the landscape -background, and by its fascinating reality as a record of contemporary -life among the leisured, pleasure-loving classes. - -François Le Moine (1688-1737) constitutes a link between the decorative -style of the preceding generation, which had become dull and ponderous, -and the art of Watteau and his followers. In this position he heralds -his great pupil François Boucher, whose characteristics, deprived of -his elegant grace and suave rhythm of design, are more than hinted -at in the _Juno, Iris and Flora_ (No. 536). The _Olympus_ (No. 535), -the sketch for a ceiling, recalls in its joyful decorative colour and -bravura of brush work the art of Tiepolo and Ricci. - - - FRANÇOIS BOUCHER - -Whilst such painters as Jean Restout (1692-1768) still continued to -follow the tradition of the Bolognese eclectics, as may be seen in -his _Herminia and the Shepherd_ (No. 775), the art of the Louis XV. -period was given its final stamp by François Boucher (1703-1770). This -favourite of Mme. de Pompadour, having gained the Prix de Rome in 1723, -went to Italy in 1727, whence he returned to Paris four years later. At -the age of thirty his _Rinaldo and Armida_ (No. 38A) caused him to be -“received” by the Academy—the first of many honours that fell to his -share, as he became in turn First Painter to the King, Director of the -Academy, and Inspector of the Beauvais Tapestry Manufactory. He was the -ideal painter of the age that was dominated by the personality of the -Pompadour, who kept him employed with commissions for the decoration -of her boudoir. Boucher was the true child of his time—licentious, -pleasure-loving, light-hearted, and without moral scruples. The -astonishing thing is that his pursuit of pleasure did not affect -his enormous productivity. His art is in perfect harmony with his -character—frankly sensual, exuberant, and unreliable; at times rising -to superb decorative splendour of the airy, graceful type demanded by -his patrons, and then again careless to the point of slovenliness. - -Boucher was not a great colourist in the sense in which this term is -applied to masters like Titian or Rubens. Indeed, more often than -not his application of purely local colours unaffected by their -surroundings is apt to result in the crudeness noticeable in his -_Pastoral_ (No. 33), and in the domestic scene called _The Breakfast_ -(No. 50A). Other pictures like the _Pastoral_ (No. 34) owe their -present tapestry-like mellowness to the fading of the pigments. But -it would be unfair to disregard the artist’s intention and to judge -his capacity as a colourist from the present appearance of his works -at the Louvre or in their usual environment in a public gallery. They -were intended for definite decorative purposes, and in their proper -Louis XV. setting fulfilled their function in admirable fashion. Few -artists excelled Boucher in rhythmic harmony of composition, although -it must be confessed that his emphatic insistence on triangular design -is apt to become monotonous. This predilection is to be noted in the -_Rinaldo and Armida_ (No. 38A), _Venus disarming Cupid_ (No. 44), -_The Rape of Europa_ (No. 39), the _Pastorals_ (Nos. 33, 34, and 35), -_Vulcan presenting Arms to Venus_ (No. 36, Plate XL.), and, indeed, -in the vast majority of his twenty-two exhibited pictures at the -Louvre. His mastery in flesh painting is best illustrated by the more -unconventionally designed _Diana leaving the Bath_ (No. 30), and the -brilliant sketch of _The Three Graces_ (No. 47) in the La Caze Room. -Among his other masterpieces at the Louvre, _Venus demanding Arms from -Vulcan_ (No. 31), which like No. 36 was designed for execution -in tapestry, and the charming _Portrait of a Young Woman_ (No. 50), -deserve special attention. It is unfortunate that they are not hung in -the rooms that contain the magnificent furniture of the period, instead -of being piled sky-high among pictures that seem to be primarily -regarded by the officials as mere museum specimens of the art of -painting. Boucher is better hung, and so may be much more effectively -studied in the Wallace collection in London. - - [Illustration: - PLATE XL.—FRANÇOIS BOUCHER - - (1703-1770) - - FRENCH SCHOOL - - No. 36.—VULCAN PRESENTING ARMS TO VENUS - - (Vulcain présentant à Vénus des Armes pour Énée) - - On the right, Vulcan, seated on a tiger-skin with his left elbow - resting on an anvil, presents a sword to Venus, who, supported by a - nymph, is resting on a cloud in the centre of the composition. In - the background, over the head of Vulcan, are two cupids carrying - a helmet with a blue plume; between them and Venus, two nymphs on - clouds under a rock. Cupids and doves are fluttering around the - central group. In the foreground, on the left, are the chariot - of Venus, doves, and cupids, one of whom, immediately below the - goddess, is holding a garland of white roses. - - Painted in oil on canvas. - - Signed:—“F. BOUCHER.” - - 10 ft. 6 in. × 10 ft. 6 in. (3·20 × 3·20.)] - -A little drier in touch than Boucher’s nudes, and considerably less -coherent in design, but still painted with remarkable ability, are -the figures of the goddess and her attendants in _The Triumphs of -Amphitrite_ (No. 863), by Boucher’s contemporary, Hugues Taraval -(1728-1785). - - - SIMÉON CHARDIN - -If Boucher and the army of painters of _fêtes galantes_ and boudoir -decorations reflect the tastes of the corrupt society of Louis XV.’s -age, Jean-Baptiste Siméon Chardin (1699-1779) is the painter _par -excellence_ of the lower bourgeoisie. His was an uneventful, colourless -life of unremitting work after the completion of his studies under -Cazes and N. N. Coypel. He never went to Rome; he never sought after -distinction in the “grand manner”; he never hankered after Court -patronage. He simply devoted himself to recording with the utmost -technical perfection the peaceful and domestic life of the lower middle -class, to which he himself belonged, with all his tastes and habits -of life, and to the painting of still-life, in which branch of art he -stands without a rival. There are among his thirty-two pictures at the -Louvre twenty paintings of _Still-life_ (Nos. 89, 90, 94, 95, 96, 98, -100, 105-116, and the doubtful No. 118), all equally remarkable for -their inimitable skill in the rendering of the most varied textures and -reflections; for subtle observation of the mutual effect of coloured -objects upon each other through the interchange of coloured rays; and, -above all, for that “sense of intimacy, of life behind the scene,” with -which he knew how to invest even inanimate objects. - -This same sense of intimacy and of absolute pictorial unity is also -the great merit of his domestic genre pieces, into which enters, in -addition, the element of spiritual unity, of the absorption of each -person in his or her occupation. In the deservedly famous _Grace before -Meat_, at the Hermitage in St. Petersburg, of which the Louvre owns -two admirable replicas (No. 92, Plate XLI., and No. 93), the most -casual observer cannot fail to notice that intimate bond between the -mother and the two children, which gives the impression of a scene -accidentally overlooked, without anybody being aware of the intruder’s -presence. _La Mère laborieuse_ (No. 91), _La Pourvoyeuse_ (No. 99), -and even the cat in the still-life piece _The Cat in the Larder_ (No. -89), are equally innocent of “posing,” and absorbed in their respective -occupations. _The Boy with the Top_ (No. 90A) and the _Young Man with -the Violin_ (No. 90B), under which titles we have the portraits of -the two children of the jeweller Charles Godefroy, were bought by the -Louvre in 1907 for £14,000. These two pictures and the _Castle of -Cards_ (No. 103) are sufficient to establish Chardin’s supremacy in -child portraiture. - - - FRAGONARD - -Chardin for but a few months, and Boucher for two years, were the -masters who taught Jean Honoré Fragonard (1732-1806) before, having -gained the Prix de Rome in 1752 and worked three years under Van Loo, -he set out for Rome, where under Natoire’s guidance he applied himself -to the copying of old masters. More important for the formation of -his style were the sketches he made in the company of his friend -Hubert Robert in the romantic gardens of the Villa d’Este, and the -deep impression created upon his mind by Tiepolo’s decorative -paintings in Venice, which city he visited before his return to Paris -in 1761. He scored his first great success in 1765 with the large and -still somewhat academic composition _Coresus and Calirrhoë_ (No. 290), -which was bought by Louis XV. for 24,000 livres for reproduction at his -tapestry works. - - [Illustration: - PLATE XLI.—JEAN-BAPTISTE SIMÉON CHARDIN - - (1699-1779) - - FRENCH SCHOOL - - No. 92.—GRACE BEFORE MEAT - - (Le Bénédicité) - - In the centre of a room, by a round table with a white tablecloth, - stands a woman, about to pour the soup from a saucepan into a - plate. She turns her head to the left towards her two little girls, - who, with folded hands, are saying grace. A drum is suspended from - the back of the chair on which the younger child is sitting. In the - background, on the left, a dresser with pewter and crockery; on the - right, a shelf with a canister, a bowl, and some bottles. - - Painted in oil on canvas. - - 1 ft. 7¼ in. × 1 ft. 3½ in. (0·49 × 0·41.)] - -Patronised by Mme. du Barry, the dancer Marie Guimard, and other -priestesses of Venus, Fragonard now devoted his exceptionally facile -and spontaneous talent to subjects that in licentious frivolity, -voluptuousness, and suggestiveness had never been equalled even by his -master Boucher. It is only his marvellous technique, ranging from the -liquid transparency of his swift oil sketches to the rich luminous -impasto of the _Sleeping Bacchante_ (No. 294); from the elegant -arabesque of the _Bathing Women_ (No. 293), so full of _joie de vivre_ -and youthful fire, to the almost brutal strength of the portrait of -a writer or poet, known under the title of _Inspiration_ (No. 298). -But in all these, as well as in the charming _Music Lesson_ (No. 291, -Plate XLII.), _The Student_ (No. 297) and the _Young Woman_ (No. 300), -Fragonard proves himself one of the greatest colourists produced by -the French School. It was Fragonard’s sad fate to outlive his fame, to -witness the collapse of the ancient régime and the triumph of his pupil -David’s classicism, and to die in obscurity and neglect. - - - GREUZE - -Twenty-three paintings represent at the Louvre the art of Jean-Baptiste -Greuze (1725-1805), who trod the safe path of flattering the taste of -the multitude by the mawkish sentimentality of his genre-pieces and the -prettiness and half-concealed sensuality of his “fancy portraits” of -young women, which in their suggestiveness are perhaps more insidious -than the frank improprieties of Boucher and Fragonard. The sentimental -and melodramatic side of Greuze’s art is strikingly revealed in _The -Village Engagement_ (No. 369), in _The Paternal Curse_ (No. 370), and -in _The Punished Son_ (No. 371), which aroused the enthusiasm of that -singularly misguided critic Diderot. But it is the painting of pictures -like _The Broken Pitcher_ (No. 372, Plate XLIII.), _The Milkmaid_ (No. -372A), and _The Dead Bird_ (No. 372C; a replica of the picture in the -Scottish National Gallery), that has made him the idol of a certain -undiscriminating section of the public, and established him among the -world’s most popular painters. - - - PORTRAIT PAINTERS - -The leading position among the portrait painters of Louis XV.’s corrupt -Court was occupied by Jean Marc Nattier (1685-1766), who was a good -colourist, but was utterly lacking in sincerity, and placed his able -brush at the service of the basest flattery. He has left a whole -gallery of Court beauties posing as, and invested with the attributes -of, Greek goddesses and allegorical personifications in the manner of -the group of _Mdlle. de Lambesc and the Comte de Brienne_ (No. 659) as -Minerva preparing the hero for warlike exploits. The _Magdalen_ (No. -657) is probably another contemporary portrait in fancy costume. His -best picture at the Louvre is the _Portrait of a Young Woman_ (No. -661A). - -François Hubert Drouais (1725-1775), the painter of the group of the -_Comte d’Artois (afterwards Charles X.) and Madame Clotilde, afterwards -Queen of Sardinia_ (No. 266), who received a good share of Court -patronage, showed considerable ability when he had sufficient strength -to resist the temptation to flatter his sitters. But unfortunately he -too often followed the example of Nattier in this respect. - - - TOCQUÉ, VESTIER, AND LÉPICIÉ - -A portrait painter of a very different stamp was Nattier’s son-in-law, -Louis Tocqué (1696-1772). Although he, too, was a favourite not -only at the French, but also at the Russian and Danish Courts, the -examples of his art at the Louvre suggest that he was but indifferently -successful—from the artistic point of view—with his “official” -portraits, like the _portrait d’apparat_ of _Marie Leczinska, Queen of -Louis XV._ (No. 867), or the affected _Portrait of the Dauphin Louis at -the age of ten_ (No. 868). On the other hand, when he was not weighed -down by the importance of his task, he attained to a solidity of style, -strength of character painting, and beauty of technique that place -him at the head of the French portraitists of his period. Tocqué was -apparently never in England, but such masterpieces from his brush as -the _Mme. Danger embroidering_ (No. 868A), and the supposed portrait of -_Mme. de Graffigny_ (No. 869), show distinct affinity with Allan Ramsay -and Hogarth, with superadded French _finesse_ and suavity. - - [Illustration: - PLATE XLII.—JEAN HONORÉ FRAGONARD - - (1732-1806) - - FRENCH SCHOOL - - No. 291.—THE MUSIC LESSON - - (La Leçon de Musique) - - A fair-haired young girl in a low-cut white dress is seated, in - profile towards the right, before a spinet. A youth, standing at - her left, behind the instrument, is holding with his left hand the - score, whilst his right is clasping the back of the girl’s chair. - In the foreground a chair on which are a cat and a mandoline. - - Painted in oil on canvas. - - 3 ft. 9½ in. × 3 ft. 11½ in. (1·10 × 1·20.)] - -In the case of Antoine Vestier (1740-1824) the pronounced leaning -towards the English style of the period is to be accounted for by that -artist’s lengthy sojourn in England. The _Portrait of a Young Woman_ -(No. 961), in the La Caze Room, might on superficial inspection pass -for a work of Francis Cotes. Even in the _Portrait of the Painter’s -Wife_ (No. 959), which was painted in 1787, long after Vestier’s return -to his native country, the figure of a boy caressing a dog has a -curiously English flavour. - -Honesty of purpose and serious concern with artistic problems mark the -art of Nicolas Bernard Lépicié (1735-1784), whose _Portrait of Carle -Vernet_ (549A) is a picture of precious quality. He devoted himself -more particularly to the domestic genre, which he treated without the -sentimentality and theatricality of a Greuze. Indeed, if there is any -contemporary painter with whom he shows affinity, it is Siméon Chardin. -That he was a landscape painter of no mean ability may be gathered from -his _Farmyard_ (No. 549), which, in spite of the predominating brown, -is remarkable for its luminous transparency. - - -M^{ME.} VIGÉE LE BRUN - -Before turning to the landscape painters Joseph Vernet and Hubert -Robert, we must close the chapter of eighteenth-century portraiture -with Elisabeth Louise Vigée Le Brun (1755-1842), since her art, -although her life extended far into the nineteenth century, belongs -essentially to the degenerate days of the _ancien régime_—an art not -devoid of grace, but exceeding in shallowness and insipidity the -shallowest and most insipid productions of pre-Davidian days. Of the -many masters from whom Vigée, herself the daughter of a painter, -received advice, Greuze appears to be the one with whom she was -most in sympathy. Married at an early age to Le Brun, a painter and -picture-dealer from whom she was divorced after many years of wretched -conjugal life, her career, of which she has left a full account in -her autobiography, was one of adventure and truly extraordinary -professional success. - -She was the favourite painter of Marie Antoinette, had to leave Paris -during the Terror, and made an almost triumphal progress from Court -to Court before she definitely settled in Paris in 1809. At Naples, -Vienna, Dresden, St. Petersburg, Berlin, London, and other centres, -Royalty and the world of fashion crowded to her studio; and her art -even gained the unstinted approval of a judge like Sir Joshua Reynolds, -which is the more surprising as Vigée Le Brun’s colour was almost -invariably cold and unsympathetic. Her personal charms may have been -partly responsible for her universal success, if reliance is to be -placed on the questionable honesty of her flattering brush from which -the Louvre owns two _Portraits of the Artist and her Daughter_ (No. 521 -and No. 522, Plate XLIV.). Among her other pictures in the Louvre are -the _Peace bringing Abundance_ (No. 520), her reception piece at the -Academy, and a portrait of her early friend and master, _Joseph Vernet_ -(No. 525). - - [Illustration: - PLATE XLIII.—JEAN-BAPTISTE GREUZE - - (1725-1805) - - No. 372.—THE BROKEN PITCHER - - (La Cruche Cassée) - - A young girl, in white dress and gauze fichu, stands facing the - spectator, holding with both hands some loose flowers in the - gathered-up folds of her dress. She carries a broken pitcher on her - right arm. In the background, on the right, is a fountain with a - crouching lion. - - Painted in oil on canvas. - - Oval, 3 ft. 10½ in. × 2 ft. 9½ in. (1·18 × 0·85.)] - - - JOSEPH VERNET - -One has to realise that the art of landscape painting had become almost -extinct in France, and that the art of seascape had never existed, if -one wishes to account for Diderot’s enthusiasm with regard to Claude -Joseph Vernet (1714-1789), which made him exclaim, “What pictures! He -rivals the Creator in celerity, Nature in truth!” Our cooler judgment -cannot so easily pass over all that is cold and formal in his art. -But, taken in relation to his contemporaries, he deserves respect for -his emotional attitude towards nature, for a sense of the dramatic -that approaches Salvator Rosa’s, and for his admirable drawing of the -figures introduced into his landscapes. Vernet’s love of the sea awoke -when at the age of eighteen he journeyed to Rome, where he became -imbued with the classic tradition. He only returned to Paris in 1752, -and soon afterwards received from Louis XV. the commission to paint the -large series of _French Seaports_ (Nos. 940-954) which are now to be -seen in the rooms in this collection given up to the Musée de Marine. -In his other marines and landscapes (Nos. 912-939), not all of which -are actually exhibited, he allowed his imagination freer play than in -the _Seaports_, which were naturally of more topographic character. - -Both his son Carle Vernet (1758-1836), a historical painter who -excelled in the rendering of horses in movement, and his grandson -Horace Vernet (1789-1863), a popular battle painter, are represented at -the Louvre, the former by the _Stag Hunt in the Forest of Meudon_ (No. -955), and the latter by the _Barrière de Clichy (Defence of Paris in -1814)_ (No. 956), and the uninspired _Judith and Holofernes_ (No. 957). - - - HUBERT ROBERT - -Hubert Robert (1733-1808), of whose classic landscapes the collection -contains nineteen examples (Nos. 797-815), was not, as might be -imagined from the general character of his paintings, influenced by the -art of Claude Lorrain, but derived his love of antique buildings and -landscapes peopled with classic figures from the general atmosphere of -archæological enthusiasm engendered by the excavations on the site of -Herculaneum, which prevailed in Rome when the young artist arrived at -that Mecca of his profession in 1754. Robert lived and worked in Italy -for twelve years, and became thoroughly imbued with this antiquarian -spirit. Unlike Claude, he rarely, if ever, drew upon his imagination -for the details of his classic landscapes, which are faithful -transcripts of existing ruined or half-ruined buildings, though not -infrequently they are arranged for greater pictorial effect. Of this -half-realistic, half-classic nature—the introduction of people in -classic garb among the ruins of buildings, which in classic times wore -a very different aspect, is a pardonable anachronism—are the _Interior -of the Temple of Diana at Nimes_ (No. 799), and several similar pieces -at the Louvre. In his smaller pictures, of which the best are the -_Fountain under a Portico_ (No. 812) and the _Winding Staircase, with -three Figures_ (No. 813), in the La Caze Room, he rivals the rich -quality of pigment and mellow tone of Guardi at his best. Robert was -Fragonard’s constant companion in Rome, and exercised considerable -influence upon his friend, as may be seen from Fragonard’s landscape -drawings. - -There is scarcely a trace of Italian classicism in the superb _View -in the Neighbourhood of Paris_ (No. 650), by Louis Gabriel Moreau -(1740-1806), which in its silvery-grey tonality, in its sense of -atmosphere, and in the treatment of the receding distances, rather -recalls the manner of the Dutchman Philips de Koninck. That Moreau, who -also worked in England, was not always free from conventionality, is -proved by the rather formal composition of the _View of the Hills of -Meudon from Saint-Cloud_ (No. 651). - - [Illustration: - PLATE XLIV.—ELISABETH LOUISE VIGÉE LE BRUN - - (1755-1842) - - No. 522.—PORTRAIT OF THE ARTIST AND HER DAUGHTER - - (Portrait de Mme. Le Brun et de sa Fille) - - The artist, in a white bodice with purple sleeves and a yellow - satin skirt, is seated on a green sofa. Her head is inclined - towards her right shoulder. She presses towards her, with both - arms, her little girl, who is resting on her lap, with her head - turned towards the spectator. - - Painted in oil on canvas. - - 3 ft. 5½ in. × 2 ft. 9½ in. (1·05 x 0·85.)] - - - LOUIS DAVID - -The boudoir art of the _ancien régime_ came to a natural end through -the great social upheaval of the Revolution, of which Jacques Louis -David (1748-1825) is the very personification in the realm of painting. -As a pupil of Boucher, David in his early years was essentially a child -of the eighteenth century. That he became the founder and head of a -new classicist school, as tyrannical in his sway as had been Le Brun -during the reign of Louis XIV., was due to the teaching of Joseph Marie -Vien, whom he accompanied to Rome in 1775, the year in which Vien was -appointed Director of the École de Rome. Vien was an eclectic and a -purist of greater ability than would appear from his two dull pictures -at the Louvre, _St. Germain and St. Vincent_ (No. 964) and _The -Sleeping Hermit_ (No. 965). - -David’s participation in the events of the year 1789 and his ardent -republicanism did not, as has often been stated, attract him to -subjects from Republican Roman history. Indeed, he had already painted -_The Oath of the Horatii_ (No. 189) and _The Lictors taking to Brutus -the Corpse of his Sons_ (No 191), for Louis XVI., and was only -following the current of taste in devoting himself to the study of the -antique and to antiquarian research. These two pictures, in spite of -their cold classicism and theatricality, met with sensational success -on their first appearance at the Salon. It is not in such works as -these, nor in the _Rape of the Sabine Women_ (No. 188), compared with -which even Poussin’s version of the same theme appears like a glimpse -of actual life, that David’s talent found its happiest expression, but -in the unaffected and irresistibly charming _Portrait of Mme. Récamier_ -(No. 199, Plate XLV.) reclining on an Empire sofa. Whatever this -picture may owe to the sitter’s grace and beauty and to the fact that -it was never finished, and thus retained the freshness of a sketch, -it is certainly one of the most attractive masterpieces of the French -school. Here, as in the group of _Three Ladies of Ghent_ (No. 200A), -in which the luminous quality of the fresh tones is enhanced by the -general greyness of the scheme, we have the work of a real painter, -whilst David’s bombastic historical compositions are scarcely more than -tinted cartoons. - - - THE “CORONATION” PICTURE - -When Napoleon rose to power, David became his favourite painter. The -erstwhile Jacobin was chosen to paint the official _Coronation_ picture -(No. 202A), an enormous canvas, which, like most ceremonial pictures of -this kind, has more historical than artistic significance. The lifelike -portraiture of the numerous personages surrounding the central group of -Napoleon placing the crown on Josephine’s head, is the chief point of -interest. On the restoration of the Bourbons in 1815, David was sent -into exile. He died at Brussels in 1825; but his influence is reflected -in official French art to this day. It was he who imposed upon the -modern academic school a rigid canon of formal classic beauty which is -fatal to evolution and progress, because it does not permit personal -emotional expression. - -Less severely classic in form, and showing at least an attempt at -approaching a little nearer to truth than David, is the painting of -the figures of _The Three Graces_ (No. 769), by David’s rival, J. -B. Regnault (1754-1829), in the La Caze collection. The worst type -of academic art is represented in the bituminous reconstructions of -classic antiquity by his pupil, P. N. Guérin (1774-1833), whose _Return -of Marcus Sextus_ (No. 393) enjoyed, perhaps owing to its supposed -political allusion to the return of the emigrants, a success which -cannot be accounted for on artistic grounds. - - [Illustration: - PLATE XLV.—JACQUES LOUIS DAVID - - (1748-1825) - - No. 199.—PORTRAIT OF MME. RÉCAMIER - - (Portrait de Mme. Récamier) - - The sitter wears a white Empire dress, the train of which - hangs down to the ground from the Empire sofa on which she is - half reclining, with her left elbow resting on a pair of round - horse-hair bolsters. Her face is turned towards her right shoulder. - A wide black riband is tied round her fair curled hair. A low - footstool in front of the sofa on the right, and a standing - candelabrum of classic design on the left. - - The candelabrum is said to have been painted by Ingres. - - Painted in oil on canvas (unfinished). - - 5 ft. 7 in. × 7 ft. 10½ in. (1·70 × 2·40.)] - - - BARON GÉRARD - -Among the numerous pupils and followers of David who rose to fame, -honours, and wide popularity before Ingres became the acknowledged -head of the official school, the most distinguished were Gérard, -Girodet, and Gros. Baron F. P. S. Gérard (1770-1837), whilst following -on the whole the principles laid down by his master, knew how to -invest his work with more individual character, which stood him in -particular good stead in his portraiture. That this was recognised -by his contemporaries is proved by the fact that he became the -portrait painter _par excellence_ of the First Empire and the Bourbon -restoration, although his inclination drew him towards allegory and -mythology. There is undeniable distinction and fine characterisation -in such portraits as _The Painter Isabey and his Daughter_ (No. 332). -The nature of the subject debarred him from showing the strongest side -of his talent in the chillingly unemotional, but undeniably graceful, -_Psyche receiving Cupid’s First Kiss_ (No. 328), and in the _Daphnis -and Chloë_ (No. 329), which was bought in 1825 for £1000. They have -their counterpart in the cold and antique French sculpture of the -period. - -A. L. Girodet de Roucy-Trioson (1767-1824) was of all David’s artistic -progeny the one painter who devoted himself to the purely pictorial -problem of concentrated light and shade, without, however, being able -to free himself from the domination of linear design. The compromise -of the two principles led to such unfortunate results as _The Sleep -of Endymion_ (No. 361) and _The Burial of Atala_ (No. 362). In _The -Deluge_ (No. 360), which was painted later, he shows pronounced -leanings towards a crude naturalism which exceeds in horror the most -cruel inventions of Ribera’s genius. - - - BARON GROS - -Antoine Jean Gros (1771-1835), though a classicist by training, was -forced by circumstances, and by the patronage of Napoleon who ennobled -him, to devote his brush to an important phase of contemporary life—the -glorification of his hero’s warlike achievements. He was by no means a -realist; and although he followed Napoleon on many of his campaigns and -presumably brought back with him rich material in sketches and vivid -recollections, his forceful compositions accentuate the heroic aspect -and the imaginative appeal of warfare, and are not spontaneous glimpses -of actuality. The whole glamour of the Napoleonic legend is expressed -in the group of wounded soldiers who, oblivious of their suffering, -cheer their great captain in _Napoleon at the Battle of Eylau_ (No. -389). The sense of the heroic is as pronounced in the large painting, -_Napoleon visiting the Plague-stricken at Jaffa_ (No. 388), in the -_Bonaparte at Arcole_ (No. 391), and even in the impressive _Portrait -of Lieutenant-General Fournier-Sarlovèze_ (No. 392A), silhouetted -against a smoke-filled battlefield. A careful inspection of this large -canvas shows _pentimenti_ in the painting of the legs, of which the -General seems now to have two pair! Gros’s weakness, like that of all -David’s pupils, was his neglect of colour. His popularity waned rapidly -after the fall of Napoleon. He became a victim to melancholia, and -drowned himself in the Seine in 1835. - - - PIERRE PRUD’HON - -Though not entirely detached from the ruling school of the period, -Pierre Prud’hon (1758-1823) occupies a unique position among his -contemporaries. Having absolved his preliminary studies at Dijon, he -became the pupil of the old masters—of Correggio and Leonardo—first -in Paris and then in Rome, where he worked for seven years before -definitely settling at Paris in 1789. To his sympathy with the -Italian masters he owed that mellowness of colour and understanding -of chiaroscuro which escaped the grasp of the Davidists. He was a -real _painter_ as distinguished from the classicist _draughtsmen_ of -the official school. Even if it is impossible to share to-day the -enthusiasm at one time evoked by the somewhat grotesque allegory, -_Justice and Divine Vengeance pursuing Crime_ (No. 747), this picture, -which was intended for the Palais de Justice, rises immeasurably above -the average of the “imaginative” paintings produced by Prud’hon’s -contemporaries. - -Vastly superior as regards pictorial quality and the whole conception, -is the _Abduction of Psyche by Zephyrus_ (No. 756). In the -_Crucifixion_ (No. 744), his last picture, Prud’hon rises to telling -dramatic effectiveness of colour, and heralds the advent of Delacroix. -But the most masterly of his seventeen paintings at the Louvre is the -magnificent _Portrait of a Young Man_ (No. 753), which the Louvre was -fortunate enough to secure for £35 in 1895. It is a strangely living -evocation of a personality, searching, intimate, and mysterious—a -portrait not so much of the superficial features, but of the inner life -of the sitter. The large _Portrait of the Empress Joséphine_ (No. 751) -suffers from comparison with this masterpiece. The pose is affected, -the background dingy, and the red of the shawl introduces a harsh and -disconnected note of colour. - - - - - THE NINETEENTH-CENTURY FRENCH SCHOOL - - - GÉRICAULT - -The revolutionary movement of the Romanticists, which was to find a -strong leader in Eugène Delacroix, may be said to have been initiated -by Géricault’s epoch-making picture _The Raft of the Medusa_ (No. 338, -Plate XLVI.). Théodore Géricault (1791-1824), a pupil of Carle Vernet -and Guérin, was an unusually gifted draughtsman, who from the outset -strove to go beyond the dead perfection of the David school, and to -infuse into his work the spark of life. The _Raft of the Medusa_, which -caused an enormous stir at the Salon of 1819, was inspired by a tragic -incident from actual life; and Géricault was the first who dared to -represent in all its horrible reality this scene of human suffering—the -survivors of a shipwreck driven by hunger to madness and mutual -destruction. He set aside all arbitrarily ignored canons of formal -beauty and the “grand style,” and applied himself to depicting fierce -passions and emotions. - -Géricault was a passionate lover of horses; but his knowledge of equine -anatomy did not prevent him, in his portrait of an _Officer of the -Guard_ (No. 339), from exaggerating the action of the charging horse to -a point dangerously near the border-line between the sublime and the -ridiculous. Most of his other pictures at the Louvre are studies of -soldiers, and horses on the race-course or in the stable. He died in -1824 from the effects of a fall from a horse. - - - DELACROIX - -The topical interest of the _Raft of the Medusa_ had caused the public -to receive this picture with favour, in spite of its daring departure -from the generally accepted canons of the “grand style.” The case was -different when Delacroix showed at the Salon of 1822 the _Dante and -Virgil_ (No. 207, Plate XLVII.), which was inspired by Géricault’s -great picture, but applied that artist’s principles to a subject taken -from literature,—from Dante’s “Inferno,”—and was therefore considered -as a direct challenge to the academic host. To-day it is difficult to -understand the indignation aroused by the young artist, who became -forthwith the acknowledged head of the so-called Romanticist school, -although he refrained from taking part in any propaganda. In this, -his first important exhibited picture, he proved himself a true -painter in the sense in which Rubens was a painter—that is to say, -he no longer gave primary importance to drawing, with colour added -afterwards in the manner of a tinted cartoon. In the _Dante and Virgil_ -colour and the actual sweep of the brush assumed at once a vital and -constructive function, no longer separable from drawing and design. - - [Illustration: - PLATE XLVI.—JEAN LOUIS ANDRÉ THÉODORE GÉRICAULT - - (1791-1824) - - No. 338.—THE RAFT OF THE MEDUSA - - (Le Radeau de la Méduse) - - The raft of the wrecked Medusa, with the survivors of the crew, - is floating on the stormy sea. In the foreground on the left, - surrounded by dead sailors, a father is holding with his left hand - the nude body of his dying son. On the right, a corpse is partly - resting on the raft, partly floating on the water. Farther back the - officer, Corréard, is seen pointing out to the surgeon, Savigny, - the brig _Argus_, which appears on the far horizon under the - clouded sky. At the far end of the raft a mulatto and a sailor have - hoisted themselves on to some barrels to wave some rags, so as to - attract the attention of the distant ship. - - Painted in oil on canvas. - - 16 ft. 1½ in × 23 ft. 6 in. (4·91 × 7·16.)] - -Eugène Delacroix (1798-1863), who belonged to a family that had given -to France many distinguished statesmen and soldiers, was a pupil -of Guérin, whose conventional teaching, however, was little to the -taste of a young man whose passionate nature had been fired by his -extensive reading of romantic literature, and who preferred to form -his style on the works of Rubens and other old masters at the Louvre, -and to benefit from his intercourse with Géricault and Bonington. The -_Dante and Virgil_, which is now in a deplorable state of neglect, was -bought by the State at the not very generous price of £50. Delacroix’s -next Salon picture, _The Massacre of Scio_ (No. 208), caused an even -greater storm of abuse of the young artist who had dared to depict the -horrors of this scene from the Greek War of Independence, as it was -thought, in all their crudeness, without the heroical and theatrical -poses that were deemed necessary for pictorial “histories.” The -magnificent atmospheric background owes its origin to Delacroix’s -first acquaintance with the _Hay Wain_ and two other pictures sent by -Constable to the Salon of 1824, which caused the impetuous young artist -to repaint in a few days the sky and landscape. The picture was again -bought by the State, the price this time being raised to £240. A superb -study for the dead mother and child in the right-hand corner has been -bequeathed by M. Cheramy, the present owner, to the National Gallery, -where it is to be hung next to “the best Constable.” - -It is impossible here to give a full account of the twenty-one -paintings by Delacroix at the Louvre, to which should be added his -decorative masterpiece, the centre of the ceiling in the Galerie -d’Apollon. We must content ourselves with a brief reference to his -more important canvases, first of which in order of date is _The 28th -of July 1830: Liberty leading the People_ (No. 209), better known as -_The Barricade_. The introduction of a bourgeois with a top-hat in this -stirring scene of contemporary heroism was another act of defiance. -But the dramatic power of the conception, which suffers but is by no -means destroyed by the wretched allegorical figure of Liberty, and -the artist’s appeal to political passion, caused the picture to be an -enormous success. - - - DELACROIX’S ORIENTAL PICTURES - -Delacroix’s journey to Morocco, with Count Morney’s mission in 1832, -was of the greatest benefit to the artist’s progress as a colourist. -Although he had no time during his travels to paint any pictures, he -brought back with him a wealth of rapid sketches which, with his vivid -recollections of Eastern life and colour, led to the production of such -masterpieces as the _Algerian Women in their Apartment_ (No. 210), the -_Jewish Wedding in Morocco_ (No. 211), and _The Entry of the Crusaders -into Constantinople_ (No. 213). In the sumptuous scheme of _Crusaders_ -the last traces of the influence of Gros’s colourless palette have -vanished. The picture was commissioned by Louis Philippe for the -Château at Versailles, the remuneration being fixed at £400. A copy of -the picture is in one of the Salles des Croisades at Versailles, and -a small sketch is at Chantilly. The _Algerian Women_ is particularly -remarkable for the luminous sparkle of rich pigment through the ambient -of silvery atmosphere. - -Among Delacroix’s masterpieces must be counted the _Portrait of -the Artist_ (No. 214), which he left on his death to his servant, -Jenny le Guillon, stipulating that she should give it to the Louvre -on the day of the restoration of the Orléans family—an event which -never happened, though the picture reached its destination in 1872 -through the generosity of Mme. Durien. _The Shipwreck of Don Juan_ (No. -212), painted in 1840, is based on Lord Byron’s epic poem, of which -it is, however, by no means a literal illustration. It is one of the -most stirring renderings of human passion and despair in the whole -history of art, the livid light and general sombre scheme of colour -contributing towards the tragic effect, as though Nature herself were -entering into the mood of the horrible scene. - -Although, on the whole, an unsatisfactory picture, Delacroix’s _Roger -delivering Angelica_ (No. 2845) may serve to illustrate the true -significance of his art in its relation to the official school, as -there is in the same collection another rendering of the identical -subject (No. 419) by his great antagonist Ingres, the greatest -draughtsman of his century, and the acknowledged leader of the -Classicist school. Comparison between the two works will show that -Delacroix’s version, with all its obvious imperfections, far surpasses -Ingres’s in emotional intensity and fierce vitality. The academic -perfection and exquisite finish of Ingres’s picture only accentuate the -dulness and lifelessness of his conception. - - [Illustration: - PLATE XLVII.—FERDINAND VICTOR EUGÈNE DELACROIX - - (1798-1863) - - No. 207.—DANTE AND VIRGIL - - (Dante et Virgile aux Enfers) - - In a boat, steered by Charon across the river Styx, Virgil, - laurel-crowned and dressed in a red cloak, holds with his right - hand the left hand of Dante, who, in a blue cloak with a red - hood, raises his right arm in a gesture of horror at the sight - of the Damned, who, half-buried in the turbulent waters, cling - despairingly to the sides of the boat. In the background are seen - the towers of the burning city of Dite. - - Signed:—“EUGÈNE DELACROIX.” - - Painted in oil on canvas. - - 5 ft. 11 in. × 7 ft. 10½ in. (1·80 × 2·40.)] - - - INGRES - -Jean Auguste Dominique Ingres (1780-1867) was a pupil of David. Having -gained the Prix de Rome in 1801, he did not leave for Italy until 1806, -but spent the next eighteen years in Rome and Florence, returning to -Paris in 1824. Although Ingres was brought up in the cold tradition -of the David school, he had a much clearer perception of the true -spirit of Greek art than his master. When he became acquainted with -the work of Raphael in Rome, he found it the very acme of perfection, -and henceforth frankly strove to emulate that master, seeking to -arrive at an eclectic ideal of the human form which in its dogmatic -rule of the proportions that constitute absolute beauty, allowed none -of the accents and variations which make for life and character. -Himself greater than his theories, Ingres achieved that perfection -of grace and beauty in his deservedly famous _The Spring_ (No. 422, -Plate XLVIII.), one of the few “gems” in the Salle Duchâtel, and in -the very Raphaelesque _Odalisque_ (No. 422B), which was purchased in -1899 from the Princesse de Sagan for £2400. On the other hand, the -imposition of an inflexible, rigid ideal of form did incalculable harm -to his numerous and less gifted followers, in whom every spark of -individuality was extinguished by the tyranny of the dogma. - -Yet Ingres, when he applied himself to portraiture, was as -uncompromising a realist as Holbein, of whose sensitive, subtle drawing -and plastic modelling, without the introduction of entirely unnecessary -shiny high lights, we are forcibly reminded by the _Portrait of -the Painter’s Friend, M. Bochet_ (No. 428A). Something of the same -perfection of modelling, suggested rather by the sensitive contour than -clearly stated by pronounced lights and shadows, is to be noticed in -the nude figure of _The Odalisque_, and in the creamy white drapings -of the oval _Portrait of Mme. Rivière_ (No. 427). Perhaps his best -portrait at the Louvre is the one of _M. Bertin, Founder of the Journal -des Débats_ (No. 428B), a masterpiece of character painting, in which -the marvellously drawn fleshy hands, with their tapering fingers, are -as expressive as the fine head. This portrait was acquired in 1897 for -the sum of £3200. - -The less admirable side of Ingres’s talent is illustrated by the -circular composition of the _Virgin of the Host_ (No. 416), a -crude scheme of “Sassoferrato blue” and red, on entirely conventional -lines; and by the _Apotheosis of Homer_ (No. 417), a tame Raphaelesque -design in which Homer is seen enthroned in the centre, with allegorical -figures of the _Iliad_ and _Odyssey_ seated on the steps of the throne, -and a winged goddess placing a laurel wreath on his head. To the left -of the central group are the figures of Hesiod, Æschylus, Apelles, -Raphael, Virgil, Dante, Tasso, Corneille, and Poussin; to the right, -Pindar, Plato, Socrates, Alexander, Camoens, Racine, Molière, and -Fénelon. There is a touch of the grotesque in the combination of rather -mechanical dry portraiture with trite allegory that constitutes the -design of the terribly cracked _Portrait of the Composer Cherubini_ -(No. 418). His failings as a colourist are most aggressively obvious in -the _Christ handing the Keys to St. Peter_ (No. 415). Ingres died in -Paris on the 14th January 1867. - - [Illustration: - PLATE XLVIII.—JEAN AUGUSTE DOMINIQUE INGRES - - (1780-1867) - - No. 422.—THE SPRING - - (La Source) - - A nude figure of a fair-haired young maiden stands facing the - spectator, the background being formed by a perpendicular rock - partly overgrown with clinging plants. She raises her right arm - over her head to hold the foot of a tilted vase, the mouth of which - is supported by her left hand, and from which issues a streamlet of - water that falls into a pool at the base of the rock, in which are - reflected the feet of the maiden. - - Signed on a stone on the left:—“INGRES, 1856.” - - Painted in oil on canvas. - - 5 ft. 5 in. × 2 ft. 7½ in. (1.65 × 0.80.)] - - - DELAROCHE AND SCHEFFER - -Among the painters who were influenced by Delacroix, and whose name was -associated with the Romanticist movement, none rose to greater fame -than Paul Delaroche (1797-1856), a pupil of Gros, and the Dutchman Ary -Scheffer (1795-1858), who, like Delacroix, studied under Guérin. But -neither of these artists managed wholly to shake off the trammels of -the academic tradition, and both became popular for the very reasons -for which a more critical generation has denied them the right to -figure among the world’s great artists: Delaroche for the theatricality -of his historical anecdotes, of which _The Death of Queen Elizabeth_ -(No. 216) and _The Princes in the Tower_ (No. 217) are typical -examples; and Scheffer for the sickly sentimentality displayed in such -pictures as _St. Augustine and St. Monica_ (No. 841). - -Contemporary with the fighters in the great battle between the -Romanticists and the Classicists were a group of able painters who were -not connected with either of these main currents of artistic thought, -but drew their inspiration from the Dutch genre painters. _The Arrival -of a Diligence at the Messageries_ (No. 28), by Louis Leopold Boilly -(1761-1845), and _The Interior of a Kitchen_ (No. 261), by Martin -Drolling (1752-1817), may be quoted as characteristic instances of -these “small masters” without possessing the luminosity of their Dutch -exemplars. - - - DECAMPS - -Something of the precious quality of pigment and of the luminosity -of these Dutchmen is to be found in the genre pictures of Alexandre -Gabriel Decamps (1803-1860), of which a large number form part of -the Thomy Thiéry Bequest—notably _The Knife-Grinder_ (No. 2831) -and _The Gipsy Encampment_ (No. 2833). Decamps owes his historical -importance to his position as the head of the Orientalists. Unlike his -contemporary explorer of the East for pictorial purposes, Delacroix, -he found the facts of Eastern life, scenery, and customs sufficiently -attractive to be satisfied with the realistic statement of his visual -impressions, instead of making them the basis for the invention of -romantic incidents. Yet the _Street in Smyrna_ (No. 2827) and similar -works are by no means of merely topographic interest, for Decamps was -a great painter to whom pigment yielded beauty independent of the -subject represented. _The Rat retired from the World_ (No. 2834) vies -in quality with the still-life pictures of Chardin. Decamps was also -the greatest animal painter of his time, as may be gathered from his -_Chevaux de halage_ (No. 204), _The Bull-Dog and Scotch Terrier_ (No. -206), and the precious little genre piece, _The Kennel-Boy_ (No. 2838). - - - THE ORIENTALISTS - -Brought up in the tradition of the Classicist school, Prosper Marilhat -(1811-1847) only “formed himself” when the world of colour was -discovered to him under the glowing sky of the Holy Land and Egypt, -where he painted _The Mosque of the Khalif Hakem, at Cairo_ (No. -615). Another Orientalist of great distinction, who, after being a -favourite pupil of Ingres, became attracted by the fiery romanticism -of Delacroix, was the Creole Théodore Chassériau (1819-1856). His -works at the Louvre illustrate the earlier better than the later phase -of his art. Chassériau was still entirely under the spell of Ingres -when he painted, in 1844, the decoration of the Cour des Comptes, -which building was destroyed under the Commune. _Peace_ (No. 121A) is -a fragment of this important decorative work, which may be said to -constitute a link between Ingres and Puvis de Chavannes. _The Chaste -Susannah_ (No. 121) and the _Portrait of Father Lacordaire, Dominican -Preacher_ (No. 121B), are again clear evidence of Ingres’s influence -upon Chassériau at the beginning of his brief career. - -A man of profound culture and rare critical acumen, Eugène Fromentin -(1820-1876) was perhaps greater as a critic than as a painter. He, too, -travelled repeatedly in Algeria and Egypt, where he found abundant -material both for his brush and pen. He did not look upon the East -with the curiosity of the traveller, nor did he let the strange land -work upon his romantic imagination. His pictures, somewhat timid in -technique but marked by great refinement, reveal, on the other hand, a -thorough understanding of the sad monotony of the sun-parched desert, -and the chivalrous, noble bearing of its Arab inhabitants. His refined -talent shows to best advantage in _Hawking in Algeria_ (No. 305). - - - REGNAULT - -The Orient was by no means the uncontested field of the Romanticists. -But the followers of the official school who devoted themselves to -the depicting of Eastern life and scenery, approached these subjects -in the same spirit of _parti pris_ which robs all their work of real -significance—unless, like Henri Regnault (1843-1871) in his famous -and often reproduced _Moorish Execution_ (No. 771), they treated them -as rank melodrama. Regnault is, however, not to be judged by this -overrated piece of sensationalism. Killed in the Franco-German War in -1871 at the early age of twenty-eight, this young painter gave rare -promise of brilliant achievement in an altogether unacademic direction -in his superb equestrian portrait of _General Prim_ (No. 770). There is -something truly heroic in the way the Spanish general sits his horse, -arresting its forward movement with a sudden jerk at the reins; but -the ruggedness and unkempt appearance of the rider displeased General -Prim to such an extent that Regnault, who would not alter the picture, -preferred to keep it on his hands. - - - ACADEMIC PAINTERS - -It will suffice here merely to indicate the names and chief works at -the Louvre of the principal artists who carried on, about the middle of -the nineteenth century, the academic tradition,—capable painters all, -but without clearly-marked individuality. Thomas Couture (1815-1879), -a pupil of Gros and of Delaroche, in painting the huge composition, -_Romans of the Decadence_ (No. 156), produced a picture which may be -taken as typical of the ambitions and failings of the whole school—of -their literary tendencies, theatricality, and uninspired dulness. He -was, however, an accomplished master of technique, which is more than -can be said of Joseph Devéria (1805-1865), the painter of _The Birth -of Henri IV._ (No. 250); or of Ingres’s pupil, the dull Hippolyte -Flandrin (1809-1864), who is only represented by two _Portraits_ (Nos. -284 and 285). Nor is it possible to-day to grow enthusiastic over the -historical paintings of Joseph Nicolas Robert-Fleury (1797-1890), whose -_Conference at Poissy_ (No. 2982), _Galileo before the Inquisition_ -(No. 2983), and _Christopher Columbus received by Ferdinand and -Isabella on his Return from America_ (No. 2984), can only be regarded -as unnecessarily large coloured illustrations. - - - MICHEL AND HUET - -In the much-neglected branch of landscape painting the classic -tradition of Claude ruled supreme until a new conception arose with -the victory of the romantics in the third decade of the nineteenth -century. Two names only need be mentioned before we pass on to the -new movement—the return to nature—which was inaugurated by the group -of painters vaguely known as the Barbizon school. Both Georges Michel -(1763-1843) and Paul Huet (1804-1868) may be regarded as forerunners -of that great movement; and both have only in recent years received -the recognition which is their due. Michel developed his style in -copying and closely studying the Dutch landscape masters, and must -in his maturity have been well acquainted with the art of Constable, -who exercised, together with Bonington, a prodigious influence on the -whole course of French landscape painting. If Michel’s breadth of -style, which may be judged from _Near Montmartre_ (No. 626), had been -accompanied by a greater range of subject-matter, he would probably -rank more highly in the roll of French artists; but he contented -himself with the endless repetition of the same motifs which he found -close to Montmartre, where he spent his whole life. The care with which -he studied the works of Jacob van Ruisdael earned for him the nickname -of “the Ruisdael of Montmartre.” - -Huet, again, learnt more from the old masters and from his friends, -Bonington and Delacroix, than from his actual teachers. He, too, -thrust aside the recipes of composing classic or “noble” landscapes, -and was inspired by an altogether emotional outlook upon nature, calm -and serene, as in _The Still Morning_ (No. 413), or threatening and -tempestuous, as in _The Inundation at St. Cloud_ (No. 412), or in his -masterpiece, _The Breakers at Granville_ (No. 2952). - - - THE BARBIZON SCHOOL - -The term “Barbizon school” has been extended from its narrower meaning, -in which it merely comprises Rousseau, Diaz, Millet and the disciples -who joined them, to form a little artistic colony on the edge of the -Forest of Fontainebleau, to a less accurate but now generally accepted -wider application, embracing “the men of 1830,” who collectively and -individually set out, inspired indirectly by Constable, upon the -conquest of light and atmosphere through intimate communion with -nature. In a pedantic survey of this Barbizon school, Rousseau would -have to take honour of place as the leader of the group, whilst Corot -and Daubigny, neither of whom actually worked at Barbizon, would have -to be altogether excluded. But in the more liberal interpretation of -the term, which we have here adopted, Jean Baptiste Camille Corot -(1796-1875) must be given first place as the doyen of the whole group, -since he alone was born before the eighteenth century had run its -course. - - - COROT - -Corot, the son of a _coiffeur_ and a _modiste_ in comfortable -circumstances, was destined in his youth for the drapery trade, and -was only enabled to follow his bent for the artistic profession when, -at the age of twenty-five, he entered into possession of a small -annual allowance, sufficient to meet his modest requirements and to -save him from the desperate struggle for very existence which was the -fate of some of his later friends and companions. His early work from -nature had already laid the foundations for his subsequent style when -he entered the studio, first of the academic painter Michallon, and -then of Bertin. In 1825 Corot went to Rome, where he painted, among -many pictures of equally rich luscious quality, the _View of the Forum -Romanum_ (No. 139), and the _View of the Coliseum_ (No. 140), which -he himself bequeathed to the State. Although these early works have -none of the elusive charm and lyrical feeling of his mature style, -and are of rather topographic character, they reveal in every touch -the artist enamoured of atmosphere and of the quality of pigment. The -touch is precise, but not tight. The two pictures were painted in 1826, -but already they hold more than a hint of that unrivalled mastery of -tone-values which found supreme expression in _A Street in Douai_ (No. -141F), painted in 1871. - -From the precision of his early manner Corot gradually advanced to -freedom and airy looseness of touch; from statement of fact, to the -suggestion of the very spirit and essence of nature in terms of paint -that, more than any other artist’s work, justify the expression -“colour music.” His later canvases are filled with the soft shimmer -of vibrating atmosphere and with the tender poetry of dawn and dusk. -Whilst retaining a truly classic sense of style, and adapting nature -to his purposes by arrangement and generalisation, he never fails to -convince the beholder of the reality of the scene represented. Even -if his glades are peopled with dancing nymphs and satyrs, as in _A -Morning_ (No. 138), these mythical beings no longer suggest classic -statuary, but they belong as much to the landscape as do the trees -and shrubs and clouds, as do the peasant woman and the cow in _The -Dell_ (No. 2801, Plate XLIX.), or the piping shepherd in the exquisite -_Souvenir d’Italie: Castel Gandolfo_ (No. 141B). Of the twenty-two -paintings by the master at the Louvre, no fewer than twelve form -part of the Thomy Thiéry Bequest to which the great French national -collection owes so many of its chief treasures of nineteenth-century -art. - - - T. ROUSSEAU - -The real head of the Barbizon school was Théodore Rousseau (1812-1867), -who was one of the first exponents of the “romantic” as opposed to the -“classic” landscape. If Corot was the lyric, Rousseau was the epic -poet of Nature. In his early works he was considerably influenced -by Constable, but he failed for a long time to gain the approval of -the public and of the Salon juries. Fourteen times in succession his -pictures were refused admission to the Salon, and success only came to -him late in life. In 1851, at about the same time as Millet, he settled -at Barbizon, on the outskirts of the Forest of Fontainebleau, where -henceforth he found the subjects for his pictures. Rousseau was a most -conscientious artist, who “constructed a group of trees with the care -that an Academician puts into the construction of a nude figure.” His -love of accurate detail did not, however, make him lose sight of the -general effect. His insistence on bold silhouettes made him favour the -sunset hour when, as in his masterpiece, _An Opening in the Forest at -Fontainebleau_ (No. 827), the trees would form effective dark masses -against the glowing sunset sky. More characteristic of his favourite -manner of composition is the imposing group of oak trees in the middle -of a plain in the picture known as _Les Chênes_ (No. 2900). In this, -as in _Marais dans les Landes_ (No. 830), which was bought in 1881 for -£5160, and, indeed, in all the pictures where cattle are introduced, -it will be noticed that the animals form part and parcel of the -landscape, and are no longer individual “portraits” of animals, as they -were apt to be in the pictures by the earlier Dutch cattle-painters. -The same unity of vision is to be noted in all his sixteen pictures at -the Louvre. - - [Illustration: - PLATE XLIX.—JEAN-BAPTISTE CAMILLE COROT - - (1796-1875) - - No. 2801.—THE DELL - - (Le Vallon, avec des paysannes et une vache) - - A grass-covered hill descends from the horizon line on the left - to the right-hand bottom corner of the picture. A low hedge with - a clump of trees in the centre divides the grassy plot from the - field rising beyond towards the horizon-line, from which projects - a church in the far distance. The sun is behind the trees, which - throw a deep shadow on the dale. A cow occupies the centre of the - foreground. To the left a group of three peasant women and a child; - to the right a farm labourer. - - Signed on left:—“COROT.” - - Painted in oil on canvas. - - 1 ft. 1¾ in. × 1 ft. 9¼ in. (0·35 × 0·54.)] - - - C. TROYON - -This oneness of inanimate and animate nature is less completely -realised in the art of Constant Troyon (1810-1865), who, having been -trained as a porcelain-painter, was subsequently attracted by the -romanticism of Dupré, but followed such Dutch masters as Paul Potter in -subordinating the landscape to the cattle. It is for this reason that -Troyon is known to the public as a “cattle-painter” rather than as a -landscape painter. At the same time, he was a close observer of the -effects of light on fields and meadows, which he rendered with a skill -only rivalled by the solidity, the suggestion of weight and movement, -the well-accentuated forms and sinuosities of his cattle. The huge -canvas _Oxen going to Work_ (No. 889) is an unrivalled achievement of -its kind—a piece of realism that is not without poetry and grandeur. -Next to it in importance ranks the _Return to the Farm_ (No. 890). -Among the eleven Troyons (Nos. 2906-2916) of the Thomy Thiéry Bequest, -the _Morning_ (No. 2909) strikes a more cheerful and hopeful note than -is this artist’s wont. - -Another artist of this group, who devoted himself almost exclusively -to the painting of sheep, is Charles Jacque (1813-1894), from whose -brush the Louvre owns the _Flock of Sheep in a Landscape_ (No. 430A), a -characteristic work of unusually large dimensions. - - - J. DUPRÉ - -Jules Dupré (1811-1889) began, like Troyon, as a china-painter, and, -like Rousseau, with whom he was for years on terms of intimate -friendship, benefited by the example of Constable, whose art he had -presumably occasion to study during a visit to England. It was from him -that he acquired the sense of movement in nature, which is so much more -pronounced in his landscapes than in Rousseau’s, whom he exceeded in -breadth of touch and in power. More particularly in his later manner he -loved to apply his colours in a thick impasto laid on to every part of -the canvas, including the sky. Only on rare occasions did he adopt the -more fluid, suave manner shown in _Morning_ (No. 2940) and _Evening_ -(No. 2941), the two decorative panels executed for Prince Demidoff, and -acquired by the Louvre in 1880 at the San Donato sale. More typical of -his virile, forceful style are the twelve signed pictures by Dupré in -the Thomy Thiéry Bequest (Nos. 2864-2875), especially the fine autumn -landscape _The Pond_ (No. 2867, Plate L.), the intensely sad, sunless -_Flock in the Landes_ (No. 2871), _The Large Oak_ (No. 2873), and -_The Sunset on a Marsh_ (No. 2874), with the golden glow of the sky -reflected in the water. - -Before turning to Diaz, who has been aptly called “the most romantic of -the Romanticists,” we must briefly mention Eugène Isabey (1804-1886), -who connects the art of the First Empire with Romanticism, and who -knew how to invest his historical paintings with genuinely pictorial -interest at a time when that class of subject was generally treated -from the literary and anecdotal point of view. His exuberant -temperament led him not infrequently to exaggerated movement. The -twelve pictures which bear his signature at the Louvre (Nos. 2878-2884, -2953-2956, and 2953A) are illustrative of every phase of his art. As a -landscape painter he may be considered a forerunner of Rousseau. - - - DIAZ - -Narcisse Diaz de la Peña (1809-1876) was born at Bordeaux, the son of -political fugitives from Spain, and, like so many artists of this -group, started his artistic career as a china-painter. He afterwards -gained considerable success with his romantic figure pictures of -mythological and Oriental subjects, like the _Nymphs in a Wood_ (No. -2854), _Venus and Adonis_ (No. 2858), _Venus disarming Cupid_ (No. -2859), and above all the _Fée aux Perles_ (No. 256). As a landscape -painter he delighted in rendering the sparkle of sunlight penetrating -through the dense foliage of forest and brushwood. Diaz must be placed -between Isabey and Millet, who followed his example in his early figure -pieces; but he was also influenced by Rousseau and by Delacroix. Among -his eighteen pictures at the Louvre are several landscapes of superb -quality, notably the _Study of a Birch Tree_ (No. 252), _Sous Bois_ -(No. 253), and _Dogs in the Forest_ (No. 257A). - - [Illustration: - PLATE L.—JULES DUPRÉ - - (1811-1889) - - No. 2867.—THE POND - - (La Mare) - - Autumnal landscape with a pond in the middle distance on the left, - bordered on the right, in the centre of the composition, by a group - of oak trees. In the foreground some cattle and a cowherd. Cloudy - sky. - - Signed on left:—“JULES DUPRÉ.” - - Painted in oil on canvas. - - 1 ft. 1 in. × 1 ft. 6½ in. (0·32 × 0·46.)] - - - DAUBIGNY - -Of all the Barbizon painters and their artistic kinship, Charles -François Daubigny (1817-1878) is the one who approached nature with the -most reverent spirit. He is in a way the least subjective of them all, -because his love of nature even in her simplest aspects prevented him -from imposing his own personality upon her; and for this very reason he -is more varied in his range of landscape subjects than any of the other -masters of this important group. The most fugitive effects of light -and atmosphere were seized by him with a masterly sureness which found -expression in every touch of his summary brush. Every hour of the day, -every season of the year, every mood of nature appealed to him with -equal intensity, although the choice of his subjects is most frequently -inspired by serene optimism. - -Daubigny belonged to a family of artists. He received his first -instruction from his father, and afterwards studied under Delaroche. -Before he began to paint landscapes in the neighbourhood of Paris, -he gained his livelihood by painting sweet-boxes! He found his best -subjects on the banks of the Oise, but worked also in other districts -of France, in Italy, and in England. Of his sojourn in England we are -reminded by _The Thames at Erith_ (No. 2821), one of the thirteen -Daubignys bequeathed to the Louvre by Thomy Thiéry, which also include -the sun-flooded _Weir Gate at Optevoz_ (No. 2818, Plate LI.), _The -Pond with Storks_ (No. 2815), _Les Péniches_ (No. 2820), _Morning on -the River_ (No. 2824), and _The Banks of the Oise_ (No. 2823). _The -Vintage in Burgundy_ (No. 184), which was bought by the State at -the ridiculously low price of £400, is a picture of unusually large -dimensions for an artist who generally needed but a small surface to -express his ardent worship of nature. The delicious _Spring_ (No. -185), with its blossoming apple trees and young grass, must be counted -among his finest achievements. It is a picture that fills the heart -of the beholder with the joy and contentment engendered by the blithe -atmosphere of a bright spring day in the country. - - - MILLET - -The Louvre is fortunate in possessing no fewer than a dozen pictures by -Jean François Millet (1814-1875), the great painter of the peasant’s -unceasing struggle with the forces of nature to gain his livelihood -from the soil. Millet himself was the son of a peasant, and was kept -busy with farm work until he had attained the age of twenty, when -he began to study art at Cherbourg. His studies were repeatedly -interrupted before he definitely took up art as his profession. Before -he went to Barbizon, in 1849, to devote himself exclusively to the -genre in which he was to achieve immortal fame, he gained popular -favour and admission to the Salon by following the eighteenth-century -tradition of mythological art, and painted a number of nude studies -of nymphs, goddesses, and cupids, not unlike in style to those -of Diaz, but already marked by that firmness of design and by the -monumental character that are so remarkable in his later work. The -study of _Bathing Women_ (No. 642) belongs to that period. - - [Illustration: - PLATE LI.—CHARLES FRANÇOIS DAUBIGNY - - (1817-1878) - - No. 2818.—THE WEIR GATE AT OPTEVOZ - - (La Vanne d’Optevoz) - - In the limpid clear water of the river, in the foreground, are - reflected the blue sky and the opposite river bank, which, from a - grassy slope on the left changes abruptly, near the weir gate, into - a steep, low, sandstone cliff, on the crest of which some trees and - bushes are silhouetted against the sky. On the left some ducks are - swimming on the mirror-like water. - - Signed on left:—“DAUBIGNY, 1859.” - - Painted in oil on canvas. - - 1 ft. 7¾ in. × 2 ft. 4¾ in. (0·49 × 0·73.)] - -After he had settled at Barbizon, Millet, whose peasant origin was -probably the cause of his intense sympathy with the struggles and -hardships of the field labourers’ fatiguing work, devoted his brush -to creating that profoundly moving record of labour and toil which -constitutes his claim to be considered one of the world’s great -masters. He knew how to invest scenes of humble life with truly -monumental grandeur, and brought out the hopeless monotony and cruel -hardships of the life led by the tillers of the soil with such incisive -strength, that he was accused of propagandist tendencies. Nothing, -however, was further from his aim. He was an artist pure and simple, -who, in following his own unpopular ideal, preferred to suffer neglect -and extreme poverty to a compromise with the taste of the vulgar. - -The _Women Gleaning_ (No. 644, Plate LII.) may be considered his -supreme achievement, and an epitome of his whole art. Millet alone -could have invested so bald and unpromising a subject with so much epic -grandeur. There is in the rhythmic repetition of the action of the -two women in the centre of the composition a sense of the inevitable -hopeless monotony of labour in the fields, even if the picture is -not “a plea against the misery of the people.” The same struggle for -existence and the resulting physical fatigue are admirably expressed -in the statuesquely silhouetted figure of _The Weed-burner_ (No. -2890). _The Woodcutter_ (No. 2895), _The Strawbinders_ (No. 2892), and -_The Winnower_ (No. 2893) all exemplify this phase of Millet’s art. -The domestic life of the peasantry is treated with equally profound -sympathy in _Maternal Precaution_ (No. 2894), _La Couseuse_ (No. 644A), -and _La Lessiveuse_ (No. 2891). Among his comparatively rare pure -landscape subjects _The Church of Gréville_ (No. 641), which was found -in an unfinished state in the artist’s studio after his death, takes -very high rank. It is as remarkable for the simple telling truth with -which the normal aspect of the landscape is rendered, as the _Spring_ -(No. 643) is for the realisation of a more uncommon effect—a rainbow -and the shrill accent of sunlight in the orchard under the leaden grey -of the departing thunder clouds. - - - DAUMIER - -What Millet did for the life of the country, Honoré Daumier (1808-1879) -did for the life of the town, of which he was a shrewd and critical -observer. But his long practice as a caricaturist made him look upon -the types that engaged his brush with a certain cruel bitterness which -is far removed from Millet’s human sympathy. With a palette restricted -almost to black and grey, Daumier yet proved himself a great colourist -through the infallible accuracy of his tone-values and the suggestion -of rich colour in his almost monochrome schemes. His design is as -massive and monumental as Millet’s. The touch of the _macabre_, which -is so characteristic of Daumier’s art, is very evident in _The Thieves -and the Donkey_ (No. 2937). The _Portrait of the Painter Théodore -Rousseau_ (No. 2938) holds a hint of the caricaturist’s vision. - - - COURBET - -Equally far removed from, and hostile to, Classicism and -Romanticism was Gustave Courbet (1819-1877), who as head and -founder of the Realistic school exercised a prodigious influence -upon nineteenth-century art. He was essentially a fighting spirit, -determined to overcome official hostility to his revolutionary -principles. Excluded from public exhibitions, he held a private show -of his own works, and defended his theories by spoken and written -arguments. His just claim was that it did not matter _what_ you paint, -but _how_ you paint what you actually see; and in conformity with -his loudly proclaimed principles he often chose subjects that were -offensive to the taste of his day. At the same time we can see now that -he was endowed with a keen instinctive feeling for pictorial fitness, -and that most of his pictures are far from being haphazard snapshots -of actuality. In his student years he had copied many masterpieces by -Rembrandt, Velazquez, Hals, and Van Dyck. How much he benefited from -the example of the old masters is to be judged from his portrait of -himself, known as _The Man with the Leather-belt_ (No. 147). - - [Illustration: - PLATE LII.—JEAN FRANÇOIS MILLET - - (1814-1875) - - No. 644.—WOMEN GLEANING - - (Les Glaneuses) - - In a harvest-field three female gleaners, seen in profile to the - left, are occupied with picking up blades of corn. Two of them are - bending right down, with their right hands touching the ground; the - third woman is half erect. In the background some ricks, a cart and - horses, harvesters, a farm building, and a horseman. - - Signed on right:—“J. F. MILLET.” - - Painted in oil on canvas. - - 2 ft. 8¾ in. × 3 ft. 8¼ in. (0·82 × 1·12.)] - -By far his most famous picture is the gigantic _Funeral at Ornans_ -(No. 143), which, as a study of the life and types in a small French -provincial town, has aptly been compared with Flaubert’s great novel -_Madame Bovary_. Each individual head in this vast composition is -a marvellous study of facial expression. In his landscapes, again, -he was by no means photographic, and he never failed to consider -the decorative effectiveness of his pictures. His influence upon -Whistler’s early work is to be judged from _The Wave_ (No. 147A). If -his landscapes retain to a certain extent the atmosphere of the studio, -such pieces as _La Remise des Chevreuils_ (No. 145A) and _Le Ruisseau -du Puits noir_ (No. 146A) clearly show that he possessed a sound -understanding of the way in which colours react upon, and modify, each -other. Courbet’s revolutionary tendencies made him take part in the -political movement of the Commune, and forced him to leave his native -country. He died in Switzerland in 1877. - - - MEISSONIER - -It was realism of a very different kind that made public opinion place -Jean Louis Ernest Meissonier (1815-1891) on a pinnacle, from which he -has only in recent years been transferred to the more modest position -due to him, for the exquisite minute care he bestowed upon the working -out of insignificant details. Meissonier was a draughtsman and an -illustrator rather than a painter. As a colourist he does not count. -He had no appreciation of values, textures, substances, and surfaces. -Nothing could be more to the point than Manet’s mordant remark that in -Meissonier’s pictures “everything is of iron except the cuirasses.” -Still, the mind that finds delight in small things will dwell with -pleasure upon the microscopic details of his little costume pictures -_The Flute Player_ (No. 2887), _The Poet_ (No. 2889), and several -similar “gems” at the Louvre. Strangely enough the _Portrait of Mme. -Gerriot_ (No. 2965), which he painted at the age of nineteen, has more -breadth and real character than any of his later works. The chief task -of Meissonier’s life was the glorification of Napoleon I.’s campaigns. -Of this famous series the Louvre includes no example. On the other -hand, the collection owns three important historical pictures from his -brush in _Napoleon III. at Solferino_ (No. 2957), which long hung in -the Luxembourg Gallery, _Napoleon III. surrounded by his Staff_ (No. -2958), and _The Siege of Paris_ (No. 2969), in the painting of which he -had at least the advantage of personal experience, as he had followed -the Emperor’s army on the Italian campaign, and was in Paris during the -siege. Altogether the Louvre owns no fewer than twenty-nine paintings -by Meissonier. - - - RICARD - -If Meissonier is beginning to find his proper level after having been -grossly overrated, Louis Gustave Ricard (1824-1873), one of the most -remarkable portrait painters of his century, has only just in recent -years been rescued from almost complete oblivion. A pupil of L. -Cogniet, Ricard spent several years in copying the works and analysing -the technical methods of the old masters, and in travelling in Italy, -Belgium, Holland, and England. It was not before his return to Paris -in 1850 that he began to exhibit. Ricard was exclusively a portrait -painter. Technically his early studies enabled him to arrive at a -method of singular morbidezza and warm luminosity. There is a certain -truth in a modern critic’s description of Ricard’s pigments as being -composed of “crushed jewels, flower juice, and gold and silver powder.” -The great merit of Ricard’s portraits is, however, his extraordinary -insight into his sitters’ psychology. To him a portrait meant more than -a correct record of the model’s superficial aspect: he endeavoured to -paint the very soul in so far as it can be read from eyes and lips. In -this respect he is the descendant of Giorgione and the forerunner of -Watts and Carrière. The portraits of _The Painter Heilbuth_ (No. 778A), -of _Mme. de Calonne_ (No. 778E), of _His Own Portrait_ (No. 778), and -the badly cracked _Portrait of Paul de Musset_ (No. 778B), may be -quoted as admirable instances of his art. - - - MANET - -We must close this necessarily fragmentary survey of French art at the -Louvre with the mention of Edouard Manet (1832-1883), whose _Olympia_ -(No. 613A, Plate LIII.) is the first, and so far the only painting of -the Impressionist school that has gained access to this gallery. It -was formerly exhibited at the Luxembourg. Hung as it is now in Gallery -VIII. amid the works of David, Gros, Ingres, Delacroix, Delaroche, and -other early nineteenth-century painters, this _Olympia_ fully explains -the sensation, but certainly not the indignation, caused by its first -appearance at the Salon of 1865. It sings out with such brilliant -purity of colour and is so emphatic in the patterning of its design, so -daring in the placing side by side of almost unmodulated but infallibly -accurate colour masses, that everything around appears more or less -dingy and artificial. Manet’s _Olympia_ marks the dawn of a new era, -not because it is based on a revolutionary rejection of tradition, but -because it is true to the _spirit_ of the best tradition, which is not -carried on by literal and mechanical imitation, but by evolution and -adaptation to modern life and thought. - - [Illustration: - PLATE LIII.—ÉDOUARD MANET - - (1832-1883) - - No. 613A.—OLYMPIA - - A nude woman, with blue-edged yellow satin slippers on her feet, - a narrow black riband round her neck, and a gold bracelet on her - right arm, is reclining on a bed, her right arm resting on the - cushion. Beneath her is spread a yellowish, flowered Indian shawl. - A black cat with raised tail stands at her feet on the bed. Behind - the bed is seen a negress, who brings a large bouquet of flowers to - her mistress. - - Signed on left:—“ED. MANET, 1865.” - - Painted in oil on canvas. - - 4 ft. 2 in. × 6 ft. 3 in. (1·27 × 1·90.)] - - - - - THE BRITISH SCHOOL - - -If the representation of French art at the National Gallery in London -is admittedly meagre and inadequate, the British section at the Louvre -can scarcely be considered worthy of serious consideration. Its entire -removal, with the exception of about half a dozen pictures, would not -only entail no serious loss to the collection, but would be an act of -justice to the reputation of several great artists who are here made -responsible for pictures upon which they presumably never set eyes. -Under these circumstances it is quite impossible to illustrate the -progress of British art by the two-score or so examples in the Long -Gallery, part of which is devoted to the English pictures. Of the -leading masters, Hogarth (1697-1764) and Gainsborough (1727-1788) will -be vainly looked for, since the two _Landscapes_ (Nos. 1811 and 1811B) -attributed to the latter in the La Caze Room are inferior conventional -compositions in Italian taste, which can no more be connected with the -name of Gainsborough than the wretched _Still Life_ which has lately -been added to the Louvre collection. - - - CONSTABLE AND HIS IMITATORS - -In view of the powerful influence exercised by Constable and the -British Landscape school in general upon modern French art, it is -surprising that no attempts should have been made to secure a few -examples of greater importance and more certain authenticity than the -ones now exhibited. Six pictures are catalogued under the name of John -Constable (1776-1837); the only one that can be unreservedly accepted -as the work of his brush is the little view of _Hampstead Heath_ (No. -1809, Plate LIV.), which was presented to the Louvre in 1877 by the -painter’s son, Mr. Lionel Constable. It is a fresh, masterly study for -the picture in the Sheepshanks collection at the Victoria and Albert -Museum. - -The _Weymouth Bay_ (No. 1808), which realised as much as £2240 at the -Marquis de la Rochebrune’s sale in 1873, has been enthusiastically -commented upon by Bürger, but cannot pass the ordeal of searching -criticism. It is incoherent, and in the details of the foreground and -the painting of the figures and sheep lacks the purposeful sureness of -touch which is the hall-mark of Constable’s art. _The Cottage_ (No. -1806) has the same provenance. Mr. P. M. Turner, in an article in the -_Burlington Magazine_, suggests that F. W. Watts, a feeble imitator -of Constable, is the real author of this timidly executed painting—an -attribution which is certainly more convincing than the one in the -official catalogue. The _Glebe Farm_ (No. 1810) tallies closely, as -regards the superficial aspect, with the picture of the same title at -the National Gallery, to which it is, however, so inferior as to put -Constable’s authorship out of the question. _The Windmill_ (No. 1810A), -a gift of Mr. Sedelmeyer, seems to be a copy of the _Spring_ at the -Victoria and Albert Museum. _The Rainbow_ (No. 1807) may possibly be -by Constable, although its authorship has been questioned by several -reliable authorities. - -James Webb (1825?-1895), a painter of undeniable talent for imitating -the manner of artists greater than himself, is beyond much doubt -responsible both for the _Landscape_ (No. 1820), which is officially -given to Richard Wilson (1714-1782), and for the view of the _Pont -Neuf_ (No. 1819), which is still exhibited as an example by the -greatest English landscape painter J. M. W. Turner (1775-1851). -Unfortunately Turner’s name has to be added to Hogarth’s and -Gainsborough’s in the list of eminent British masters who are not -represented at the Louvre. - - [Illustration: - PLATE LIV.—JOHN CONSTABLE - - (1776-1837) - - No. 1809.—HAMPSTEAD HEATH - - (Vue de Hampstead Heath) - - A wide-spreading landscape view, with little incident, from - Hampstead Heath looking in a northerly direction. - - Painted in oil on canvas. - - 1 ft. 1¼ in. × 1 ft. 2¼ in. (0·26 × 0·36.)] - - - BONINGTON - -That Richard Parkes Bonington (1801-1828) should be seen to better -advantage in this collection, is only natural in view of the fact -that by his training at the École des Beaux-Arts in Paris and under -Gros he belongs to the French rather than to the English school. -He was closely allied by the bond of friendship to Delacroix, and -played an important part in the romantic movement. The two little -pictures _François I. and the Duchesse d’Etampes_ (No. 1802) and -_Mazarin and Anne of Austria_ (No. 1803) are conceived quite in the -spirit of the French Romanticists. Bonington’s genius as a colourist -is, however, best displayed in the sparkling and animated _View of -Venice_ (No. 1805). Admirable, too, in their spontaneous freshness are -the _View of the Gardens at Versailles_ (No. 1804) and the _View of -the Coast of Normandy_ (No. 1804A). _The Old Governess_ (No. 1805A), -one of Bonington’s rare attempts at portraiture, is remarkable for -the accentuation of the modelling, which somehow suggests the broad -treatment of the planes adopted by a wood-carver. - -The picture which is catalogued as _La Halte_ (No. 1814), by George -Morland (1763-1804), is merely a poor copy of that artist’s painting -_The Public-house Door_, engraved by Ward. It was presented to the -Louvre by the proprietors of the magazine _L’Art_. - -When we come to the great school of British portrait painting, we have -to record at least two or three masterpieces worthy of being included -in a great museum. A picture of unquestioned authenticity and great -charm is the _Portrait of Master Hare_ (No. 1818B) by Sir Joshua -Reynolds (1723-1792), who in this, as in other similar pieces, proved -himself the painter _par excellence_ of childhood in all its innocence -and ingenuousness, even though this picture is by no means impeccable -as regards draughtsmanship. The _Master Hare_ was bequeathed to the -Louvre by Baron Alphonse de Rothschild in 1905. The badly repainted -_Portrait of a Lady_ (No. 1818A) in a white dress, and with powdered -hair, is certainly not the work of Sir Joshua, under whose name it -figures in the catalogue. - - - RAEBURN - -Among the recent additions to the Louvre collection is the excellent -life-size portrait of _Captain Robert Hay of Spot_, by Sir Henry -Raeburn (1756-1823), which still hangs on a screen in Gallery XV. and -has not yet been provided with a number. It is a full-length portrait -of the sitter, in uniform of scarlet coat, white breeches, black -gaiters, and fur busby, his hand resting upon his gun, standing against -a conventional landscape background with a sky of characteristic tawny -hue. The picture was formerly in the collection of Mr. Sanderson, at -the sale of which, in 1908, it was bought by Messrs. Agnew for 650 gs. -To Raeburn are also ascribed the extremely puzzling _Portrait of an Old -Sailor_ (No. 1817), which, in spite of certain technical affinities -with the British eighteenth-century school, is so un-English in spirit -that it would be rash to ascribe it to any master of that school; the -negligeable _Portrait of Anna Moore, Authoress_ (No. 1817A); also the -utterly commonplace and wretchedly drawn _Mrs. Maconochie and Child_ -(No. 1817B), which was bought in 1904, together with the equally -questionable _Portrait of a Lady and a Young Boy_ (No. 1812B), by -Hoppner, for £4000. - - - SIR THOMAS LAWRENCE - -The strangely exaggerated estimation in which Sir Thomas Lawrence -(1769-1830) is held by French connoisseurs, is to a certain extent -to be accounted for by the superb quality of the picture by which he -is best known in France: the portrait group of _J. J. Angerstein and -his Wife_ (No. 1813A) at the Louvre, which was acquired in 1896 for -£3000. This fine group displays all his bravura and pleasing freshness -and brightness of colour, without any of the vulgar tricks and -shallow mannerisms of his later years. Next to it should be mentioned -the charming half-length life-size _Portrait of Mary Palmer_ (No. -1813C), in a yellow dress, seated in a garden. The completely wrecked -_Portrait of Lord Whitworth, English Ambassador to France in 1802_ (No. -1813), and the _Portrait of a Man_ (No. 1813D), are of no artistic -significance. - -Neither is it necessary to dwell upon the mediocre _Brother and -Sister_ (No. 1801), by Sir William Beechey (1753-1839); the _Portrait -of Charlotte Sophia of Mecklenburg-Strelitz, Princess of Wales_ (No. -1818), by Allan Ramsay (1713-1784); and the _Portrait of Lamartine, -French Poet and Politician_ (No. 1816A), by Henry Wyndham Phillips -(1820-1868). _The Woman in White_ (No. 1816) is at least a sound piece -of craftsmanship, even if the attribution to John Opie (1761-1807), -“the Cornish Wonder,” is subject to doubt. - - - OTHER PORTRAIT PAINTERS - -We have already mentioned the portrait group (No. 1812B), a picture in -deplorable condition, to which the name of John Hoppner (1758?-1810) -has been attached without sufficient reason. No less doubtful is the -authenticity of the _Portrait of the Countess of Oxford_ (No. 1812A), a -meretricious picture which serves to show the mannerisms and striving -after prettiness of Lawrence’s rival, rather than the more estimable -qualities by which his better achievements are distinguished. - -George Romney (1734-1802), on the other hand, is seen in his -most serious mood in the _Portrait of Sir John Stanley_ (No. -1818C)— a thoroughly honest “likeness,” well drawn, and painted -straight-forwardly, without tricky accents and mechanical recipes. On a -screen in Gallery XV. has been temporarily placed a recently acquired -_Portrait of the Artist_, by Romney. He is seated, palette in hand, in -a landscape background. The features are well modelled, and the light -and shade managed with considerable skill. - -Strangely enough the most remarkable English picture at the Louvre -is by a little known painter, who is not represented in any of the -leading British galleries. Charles Howard Hodges (1764-1837), who was -born in London, but went at the age of twenty-four to Holland, where -he spent the rest of his life, was really a mezzotint engraver, in -which craft he had been trained by John Raphael Smith. He produced many -plates after pictures by the Dutch masters, and also painted a few -portraits, among them the masterly _Portrait of a Woman_ (No. 1812), -at the Louvre. At a time which was too much given to conventionality -and to the desire to please by concessions to a popular craving for -prettiness, this picture strikes a note of almost brutal realism. It -is painted with surprising vigour and with an appreciation of correct -tone-values, in a low key, which heralds the art of the Glasgow school -in the later decades of the nineteenth century. - -With _The Bathing Woman_ (No. 1810B), by William Etty (1787-1849), and -_The Watering Place_ (No. 1815), by William Mulready (1786-1863), we -reach the full decadence of the British school in early Victorian days -before the great revival initiated by the pre-Raphaelites. - - - - - INDEXES - - - I. INDEX OF ARTISTS - - Albani, Francesco, 5, 119. - - Albertinelli, 11, 43, 46. - - Altichieri, Altichiero, 79, 85, 105. - - “Alunno di Domenico,” 34, 42. - - Amberger, C., 133. - - Ambrogio da Fossano, 94. - - Ambrogio da Predis, 35, 97. - - “Amico di Sandro,” 41. - - Andrea dal Castagno, 25, 28, 30. - - Andrea de Milan, 193. - - Andrea del Sarto, 2, 3, 45-46, 186, 239. - - Angelico, Fra, 10, 22-24, 26-27, 126. - - Anguissola, Sofonisba, 103. - - Anselmi, Michelangelo, 47. - - Antonello da Messina, 65, 95. - _Portrait of a Condottiere_, Plate IX. - - Antoniazzo Romano, 55-56. - - Arellano, Juan de, 190. - - Arentzen, Arent, 216. - - Artois, Jacob van, 154. - - Asselyn, Jan, 217. - - Audran, Claude, 261. - - - Bacchiacca, 46. - - Backhuysen, Ludolf, 222. - - Bagnacavallo, H., 60, 115. - - Baldovinetti, Alessio, 28, 30-32, 53. - - Balducci, Matteo, 50. - - Balen, Hendrick van, 137, 146, 149,156. - - Bamboccio, 221. - - Baroccio, 117. - - Bartolo di Maestro Fredi, 17. - - Bartolommeo di Giovanni, 34. - - Bartolommeo, Fra, 43, 44. - - Bartolommeo Veneto, 66. - - Bassano, Jacopo, 73, 76, 173. - - Bassano, Leandro, 73, 190. - - Bastiani, Lazzaro, 65. - - Beccafumi, 50. - - Beechey, Sir Wm., 307. - - Beerstraten, Abrahamsz, 222. - - Bega, Cornells, 208. - - Begeyn, Abraham, 220. - - Beham, Hans Sebald, 162. - - Bellechose, Henri, 228. - - Bellegambe, Jan, 230. - - Bellini, Gentile, 61-63, 65-66, 68, 69, 109. - - Bellini, Giovanni, 61-64, 66, 68-69, 95. - - Bellini, Jacopo, 61-65, 80, 85, 105. - - Bellini, Niccolosia, 80. - - Belotto, Bernardo, 78. - - Benozzo Gozzoli, 11, 25. - - Benson, Ambrosius, 130. - - Benvenuti, Giovanni Battista, 91. - - Berchem, Nicolaes, 213, 220-221. - - Berckheyde, Gerrit, 222. - - Bermejo, Bartolomé, 233. - - Berreguete, 172. - - Berrettini, Pietro, 87. - - Bertin, N., 291. - - Besozzo, Michelino da, 93. - - Bianchi, Francesco, 11, 107, 113. - - Bicci di Lorenzo, 21. - - Bicci, Lorenzo di, 21. - - Blomaert, Abraham, 197, 224. - - Bloot, Pieter de, 216. - - Boccaccino, Boccaccio, 103. - - Bol, Ferdinand, 205. - - Boltraffio, 10, 66, 98. - - Bonifazio Veronese, 73. - - Bonington, R. P., 281,289-290, 305. - - Bono da Ferrara, 86. - - Bononi, Bartolommeo, 99. - - Bonsignori, 92. - - Bordone, Paris, 10, 72. - - Borgognone (Ambrogio da Fossano), 94-96. - - Borgognone (Le Bourguignon), 253. - - Bosch van Aeken, Hieronymus, 130, 154. - - Both, Jan, 217. - - Botticelli, 29, 34, 39-41. - _Giovanna degli Albizzi and the Three Graces_, Plate V. - - Botticini, Francesco, 42. - - Boucher, François, 246, 258, 265-269. - _Vulcan presenting Arms to Venus_, Plate XL. - - Boulogne, Bon, 251-252. - - Boulogne, Louis, 251-252. - - Boulongne, Jean de, 243. - - Bourdichon, 239. - - Bourdon, Sébastien, 200, 249. - - Bouts, Dierick, 125-126, 154, 193, 216. - - Bramante, 58, 91, 92. - - Bramantino, 92. - - Breenberg, 221. - - Brekelenkam, Quiryn, 210. - - Bril, Matthias, 138. - - Bril, Paul, 137-138. - - Broederlam, Melchior, 123. - - Bronzino, Agnolo, 11, 46. - - Brouwer, Adriaen, 152-153, 208, 212. - - Brueghel, “Hell,” 149. - - Brueghel, Jan, 137, 141, 167. - - Brueghel the Elder, Pieter, 136-137, 152. - - Brueghel the Younger, Pieter, 137. - - Brunelleschi, 27. - - Brusasorci, Domenico, 85. - - Brusasorci the Younger, 77. - - Bruyn, Bartolomäus, 161. - - Bugiardini, 43. - - Buonconsiglio, Giovanni, 109. - - Butinone, Bernardino, 92. - - - Calcar, Giovanni, 72, 195. - - Calvaert, Denis, 115. - - Campi, Bernardino, 100, 103. - - Campin, Robert, 124-125. - - Canale, Antonio, 78. - - Canaletto, 78. - - Cantarini, S., 120. - - Caravaggio, Michelangelo, 120, 151, 177, 224, 243. - - Cardi, Lodovico, 47. - - Carducho, Vincente, 190. - - Cariani, 68. - - Caroto, Francesco, 87. - - Carpaccio, Vittore, 10, 65. - - Carpi, Alessandro da, 107. - - Carracci, Agostino, 118. - - Carracci, Annibale, 5, 6, 10, 119, 138. - - Carracci, Antonio, 119. - - Carracci, Lodovico, 118. - - Carreño de Miranda, Juan, 183, 190. - - Carrière, 301. - - Casanova, François, 78. - - Castagno, Andrea dal, 25, 28, 30. - - Castiglione, G. B., 118. - - Catena, Vincenzo, 66. - - Caterina di Vigri, 116. - - Cavedone, Jacopo, 107. - - Cazes, 267. - - Cellini, Benvenuto, 2. - - Cenni de’ Pepi, Giovanni, 19. - - Cerquozzi, M. A., 118. - - Cesare da Sesto, 39, 97. - - Champaigne, Philippe de, 155, 258. - - Chardin, J. B. S., 13, 258, 260, 267-268, 271. - _Grace before Meat_, Plate XLI. - - Cigoli, H., 47. - - Cima, Giovanni Battista, 11, 64. - - Cimabue, 11, 15, 19. - - Civerchio, 105. - - Claesz, Pieter, 220. - - Claeszoon, Alart, 195. - - Claude, 6, 157, 217, 247-248, 257, 274, 289. - _View of a Sea Port_, Plate XXXVIII. - - Clouet, François, 237. - - Clouet, Jean, 235-236. - - Codde, Pieter, 207. - - Cogniet, L., 301. - - Collantes, Francisco, 190. - - Coltellini, Michele, 92. - - “Compagno di Pesellino,” 30. - - Constable, John, 281, 289-290, 292, 294, 303-304. - _Hampstead Heath_, Plate LIV. - - Conti, Bernardino de, 38, 97. - - Cooper, T. Sidney, R.A., 218. - - Coques, Gonzales, 150, 154. - - Corneille de Lyon, 238. - - Cornelissen, Cornelis, 199. - - Corot, J. B. C., 290-292. - _The Well_, Plate XLIX. - - Correggio, 7, 9, 107, 113-114, 117, 177, 278. - _Marriage of St. Catherine_, Plate XV. - - Cossa, Francesco, 90, 101. - - Costa, Lorenzo, 5, 90-91, 101-102, 115. - - Coter, Colin de, 133. - - Cotes, Francis, 271. - - Cottignola, Zaganelli da, 60. - - Courbet, Gustave, 298. - - Courtois, Jacques, 253. - - Cousin, Jean, 240. - - Couture, Thomas, 288. - - Coxie, Raphael van, 151. - - Coypel, Antoine, 252. - - Coypel, Charles Antoine, 252. - - Coypel, Noël, 252. - - Coypel, Noël Nicolas, 252, 267. - - Craesbeeck, Joos van, 152. - - Cranach the Elder, Lucas, 162. - - Cranach the Younger, Lucas, 163. - - Crayer, Gaspar de, 151. - - Credi, Lorenzo di, 11. - - Crespi, G. M., 120. - - Crivelli, Carlo, 64, 80. - - Cuevas, Pedro de las, 190. - - Cuyp, Aelbert, 8, 217. - - - Dalmau, Luis de, 171-172. - - Daniele da Volterra, 47. - - Daubigny, Charles François, 295-296. - _The Weir Gate at Optevoz_, Plate LI. - - Daumier, H., 298. - - David, Gerard, 128-130, 193. - _Marriage at Cana_, Plate XVIII. - - David, Jacques Louis, 254, 269, 275-276, 278. - _Portrait of Mme. Récamier_, Plate XLV. - - De La Fosse, Charles, 252. - - Debar, B., 264. - - Decker, Cornelis, 217. - - Delacroix, Eugène, 250, 279, 281-283, 285, 290, 295. - _Dante and Virgil_, Plate XLVII. - - Delaroche, Paul, 285, 288, 295. - - Delli, Dello, 171. - - Denner, Baltasar, 167. - - Desportes, François, 258. - - Devéria, Joseph, 289. - - Diamante, Fra, 28. - - Diaz de la Peña, N., 290, 294-295. - - Diepenbeeck, Abraham van, 151. - - Dietrich, Christian W., 168. - - Dolci, Carlo, 118. - - Domenichino, 5, 10, 119, 245. - - “Domenico, Alunno di,” 34. - - Domenico Veneziano, 26, 31. - - Donatello, 27, 31, 79-80. - - Donducci, G. A., 120. - - Dossi, Dosso, 65, 91-92. - - Dou, Gerard, 208-211, 215. - _The Dropsical Woman_, Plate XXXII. - - Drake, Sir Francis, 196. - - Drost, Cornelis, 205. - - Drouais, F. H., 270. - - Dubois, Ambrose, 241. - - Duccio di Buoninsegna, 15, 19. - - Duchâtel Collection, 30. - - Duchatel, François, 154. - - Duck, Jacob, 207. - - Dulin, 264. - - Dupré, Jules, 293-294. - _The Pond_, Plate L. - - Duquesnoy, 245. - - Dürer, Albrecht, 159, 161-162, 195. - - - “Eclectics,” 117-119. - - Eeckhout, G. van den, 205. - - Elias, Nicholas, 205. - - Elsheimer, Adam, 167, 257. - - Engelbrechtsen, Cornelis, 194. - - Ercole de’ Roberti Grandi, 90-91. - - Ercole Roberti, 90-91. - - Escosura, 183, 189. - - Ettore de’ Bonacossi, 89. - - Etty, William, R.A., 308. - - Everdingen, Allart van, 218. - - - Fabritius, Karel, 213, 214. - - Faes, Pieter van der, 205. - - Farinati, Paolo, 87. - - Fassolo, Bernardino, 197. - - Fei, Paolo di Giovanni, 171. - - Ferramola, Floriano, 105-106. - - Ferrari, Defendente, 111. - - Ferrari, Francesco Bianchi, 107, 113. - - Ferrari, Gaudenzio, 111. - - Feti, Domenico, 117. - - Fiorenzo di Lorenzo, 30, 50, 53. - - Flandrin, Hippolyte, 289. - - Flinck, Govaert, 205. - - Floris, Frans, 138. - - Foppa, Vincenzo, 93-94, 105. - - Fosse, Charles de La, 252. - - Fouquet, Jean, 231, 233. - - Fragonard, J. H., 258, 260, 268-269, 274. - _Music Lesson_, Plate XLII. - - Francesca, Piero della, _or_ Franceschi, Piero dei, 13, 30, 31, 53, - 86. - - Francesco di Giorgio, 50. - - Francia, Francesco, 46, 55-56, 102, 105, 115. - - Francia, Giacomo, 102. - - Franciabigio, 46. - - Franck, Frans, 138. - - Franck the Third, Frans, 138. - - Franck the Younger, Frans, 138. - - Francken, Sebastiaen, 157. - - Franco Bolognese, 99. - - Fréminet, Martin, 241. - - Froment, Nicolas, 232. - - Fungai, Bernardino, 50. - - Fyt, Jan, 151. - - - Gaddi, Agnolo, 21. - - Gaddi, Taddeo, 21. - - Gainsborough, T., R.A., 303-304. - - Garofalo, 91. - - Geertgen tot S. Jans, 193. - - Gentile de Fabriano, 11, 53, 62, 85. - - Gérard, Baron F. P. S., 277. - - Gerard of Haarlem, 193. - - Géricault, J. L. A. Théodore, 281-282, - _The Raft of the “Medusa,”_ Plate XLVI. - - Gérin, 261. - - Ghiberti, Lorenzo, 26. - - Ghirlandaio, Benedetto, 33. - - Ghirlandaio, Davide, 33. - - Ghirlandaio, Domenico, 11, 24, 32-34. - _Portrait of an Old Man and his Grandson_ (“_The Bottle-nosed - Man_”), Plate III. - - Ghirlandaio, Ridolfo, 34, 46, 57. - - Giambono, Michele, 61. - - Gillot, Claude, 261, 264. - - Giltinger, Gumpold, 166. - - Giordano, Luca, 121, 171, 191. - - Giorgione, 6, 40, 46, 64, 66, 68-70, 73. - _Pastoral Symphony_, Plate X. - - Giottesques, 20, 61. - - Giotto, 11, 16, 19-21, 27, 69, 79, 101. - - Giovanni d’Allemagna, 63. - - Giovanni di Paolo, 17, 50. - - Giovanni Francesco da Rimini, 53. - - Giovenone, Girolamo, 111. - - Girard d’Orleans, 228. - - Girodet de Roucy-Trioson, A. L., 277. - - Girolamo da Carpi, 90. - - Girolamo dai Libri, 87. - - Girolamo di Benvenuto, 50. - - Giulio Romano, 56, 58-60, 115, 117. - - Glauber, 220. - - Goebouw, 256. - - Goltzius, Hendrick, 199. - - Gossart, Jan, 132-134, 236. - - Goya, 191-192. - - Gozzoli, Benozzo, 11, 25. - - Grandi, Ercole de’ Roberti, 90-91. - - Grebber, Pieter de, 206, 220. - - Greco, El, 173-176. - - Greuze, J. B., 269-272. - _The Broken Pitcher_, Plate XLIII. - - Grief, Anton, 157. - - Grimaldi, G. F., 120. - - Grimou, J. A., 259. - - Gros, Baron A. J., 277, 278, 282, 288, 305. - - Grünewald, M., 162-163. - - Guardi, Francesco, 78, 274. - - Guercino, 10, 120. - - Guerin, P. N., 276, 279, 281, 285. - - - Hals, Dirk, 206. - - Hals, Frans, 152, 198-201, 206, 249, 299. - _The Gipsy Girl_, Plate XXVII.; - _Portrait of a Lady in Black_, Plate XXVIII. - - Heda, Willem Claesz, 223. - - Heem, David de, 167, 223. - - Heem, J. Davidsz de, 223. - - Heemskerck, Egbert van, 224. - - Heinsius, Johann E., 168. - - Herrera “the Old,” Francisco, 175, 180. - - Heusch, Guilliam de, 220. - - Hobbema, Meindert, 219. - - Hodges, C. H., 308. - - Hogarth, W., 271, 303-304. - - Holbein the Elder, Hans, 163. - - Holbein the Younger, Hans, 38, 159, 161, 163, 236, 284. - _Portrait of Erasmus_, Plate XXIV. - - Hondecoeter, Melchior, 224. - - Hondius, Abraham, 224. - - Honthorst, Gerard, 224. - - Hooch, Pieter de, 213-214. - _Dutch Interior_, Plate XXXV. - - Hoppner, John, R.A., 306-307. - - Huet, Paul, 289. - - Huysmans, Cornelis, 154. - - Huysum, Jan, 223. - - - Ingegno, L’, 56. - - Ingres, J. A. D., 254, 277, 283-285. - _The Spring_, Plate XLVIII. - - Innocenzo da Imola, 115. - - Isabey, Eugène, 277, 294, 295. - - Isenbrant, Adriaen, 129. - - - Jacobello del Fiore, 61, 66-67. - - Jacque, Charles, 293. - - Janssen, Cornelis, 198. - - Janssens, Abraham, 151. - - Jardin, Karel du, 221. - - Jordaens, 10, 66, 150, 252. - - Jouvenet, Jean, 253. - - - Kalf, Willem, 223. - - Kauffmann, Angelica, 168. - - Knupfer, N., 210, 212. - - Koeck, Pieter, 136. - - Koninck, Philips de, 274. - - - Laer, Pieter van, 221. - - Lairesse, Gérard de, 220, 225. - - Lancret, N., 264. - - Largillière, Nicolas de, 254, 256, 259. - - Lastman, Pieter, 202, 204. - - Lawrence, Sir T., _P_.R.A., 306. - - Le Brun, Charles, 5, 75, 244, 249-251, 257, 273. - - Le Brun, Mme. Vigée, 272. - _Portrait of the Artist and her Daughter_, Plate XLIV. - - Lefebvre, Claude, 254. - - Le Guillon, Jenny, 283. - - Lely, Sir Peter, 205, 256. - - Le Moine, F., 265. - - Le Nain, Antoine, 244, 248-249, 258. - - Le Nain, Louis, 244, 248-249, 258. - - Le Nain, Matthieu, 244, 248-249, 258. - - Leonardo da Vinci, 2, 3, 6, 23, 34-40, 64, 95, 97, 117, 162, 239, - 278. - _Portrait of Mona Lisa_, Plate IV. (_Frontispiece_). - - Lépicié, N. B., 271. - - Le Sueur, Eustache, 8, 244, 248. - - Liberale da Verona, 86. - - Lievens, Jan, 204. - - Limborch, H. van, 225. - - Lingelbach, 221. - - Lippi, Filippino, 29, 43-44. - - Lippi, Fra Filippo, 11, 27-30, 39, 41. - _Madonna and Child with Angels and Two Abbots_, Plate II. - - Lodi, Calisto Piazza of, 106. - - Lomellini, Orazio, 103. - - Lorenzetti, Ambrogio, 17. - - Lorenzetti, Pietro, 17. - - Lorenzo de’ Fasoli, 100. - - Lorenzo di Bicci, 21. - - Lorenzo di Credi, 11, 34-35, 39. - - Lorenzo di Pavia, 100. - - Lorenzo Monaco, 22-23, 27. - - Lotto, Lorenzo, 64, 153. - - Lucas van Leyden, 194. - - Luini, Bernardino, 96. - - Lutero, Giovanni, 89, 91-92. - - - Mabuse, Jan, 132-134, 236. - _Portrait of Jean Carondelet_, Plate XX. - - Maes, Nicolas, 214. - - Mainardi, Bastiano, 32, 33-34. - - “Maître de Flémalle,” 124-125. - - “Maître de Moulins,” 228-230. - - Malouel, Jean, 227. - - Malwaele, Jan, 227. - - Manet, Edouard, 300-302. - _Olympia_, Plate LIII. - - Manfredi, Bartolommeo, 98, 151. - - Manni, Giannicola, 56, 60. - - Mantegna, Andrea, 5, 11, 55, 61, 80-83, 105. - _Parnassus_, Plate XIV. - - Maratta, Carlo, 118. - - Martini, Simone, 16-17, 229, 232. - _Christ bearing His Cross_, Plate I. - - Masaccio, 17, 22-23, 27, 29, 31. - - Masolino, 22. - - Massone, Giovanni, 100. - - “Master of 1456.” - - “Master of St. Severin,” 160. - - “Master of the Bartholomew Altar,” 159-160. - - “Master of the Death of Mary,” 160. - - “Master of the Female Half Figures,” 194. - - “Master of the Ursula Legend,” 161, 230. - - Matsys, Quentin, 130-131, 210. - _The Banker and his Wife_, Plate XIX. - - Matteo di Giovanni, 50. - - Mazo, J. B. del, 184, 189. - - Mazzolino, Lodovico, 91. - - Meissonier, J. L. E., 299-300. - - Meldolla, Andrea, 72. - - Memlinc, Hans, 13, 125-128, 131, 216. - _Portrait of an Old Lady_, Plate XVII. - - Memmi, Lippo, 17. - - Mengs, Raphael, 168-169, 191. - - Mercier, P., 263. - - Metsu, Gabriel, 8, 215-216. - - Meulen, A. F. van der, 258. - - Michallon, A. E., 291. - - Michel, Georges, 289. - - Michelangelo, 23, 40, 42, 76, 117-118, 240. - - Michelino da Pavia, 91. - - Miel, Jan, 157. - - Mierevelt, Michiel Jansz, 197. - - Mignard, Pierre, 250. - - Mignon, Abraham, 167. - - Millet, Francisque, 157. - - Millet, J. F., 290, 292, 295-298. - _Women Gleaning_, Plate LII. - - Modena, Barnaba da, 107. - - Modena, Tommaso da, 107. - - Molyn the Elder, Pieter, 211-212. - - Moni, Louis de, 225. - - Monnoyer, J. B., 252. - - Montagna, Bartolommeo, 109. - - Montagna, Benedetto, 109. - - Moor, Karel de, 210, 224. - - Mor, Sir Antonis, 195-196. - - Morales, Luis, 172-173. - - Moreau, Louis Gabriel, 274. - - Moreelse, Paulus, 199. - - Moretto, Alessandro, 10, 106. - - Morland, George, 305. - - Moroni, Giambattista, 106. - - Mostaert, Jan, 195. - - Moyaert, Claes, 220. - - Mulready, William, 308. - - Munari, Pellegrino, 107. - - Murillo, B. E., 8, 12, 185-189. - _The Immaculate Conception_, Plate XXVI. - - - Natoire, 268. - - Neefs, Pieter, 157. - - Neer, Aart van der, 217. - - Neer, Eglon van der, 224. - - Neri di Bicci, 21. - - Netscher, Caspar, 212. - - Nicasius, 258. - - Niccolò da Foligno, 54. - - Niccolò dell’ Abbate, 240. - - Nooms, Reynier, 221. - - Nuzi, Alegretto, 53. - - - Oderigi of Gubbio, 101. - - Oggiono, Marco d’, 10, 36, 97. - - Ommeganck, B. P., 187. - - Oostsanen, Jacob Cornelisz van, 194. - - Opie, John, R.A., 307. - - Orbetto, 77. - - Orcagna, Andrea, 22. - - Oriolo, 86. - - Orizonte, 157. - - Orley, Barend van, 133-134. - - Ortolano, 91. - - Oudry, J. B., 259. - - Ouwater, Albert van, 129, 193. - - - Pacchia, Girolamo del, 50. - - Pacchiarotto, 50. - - Palamedesz, 207. - - Palma Vecchio, 67, 73. - _Adoration of the Shepherds, with a Female Donor_, Plate XI. - - Palmezzano, Marco, 60. - - Panetti, Domenico, 91. - - Panini, Giovanni Paolo, 100. - - Paolo di Giovanni Fei, 17. - - Parenzano, Bernardo, 83. - - Parmigianino, 114, 118. - - Parrocel, Joseph, 253. - - Patel, Pierre, 257. - - Patel, Pierre Antoine, 257. - - Pater, J. B., 264. - - Pellegrino, Antonio, 77, 239. - - Pencz, Georg, 162. - - Pereda, Antonio, 190. - - Perréal, Jehan, 229-230, 239. - - Perugino, 5, 11-12, 46, 50-51, 54-56. - _St. Sebastian_, Plate VI. - - Peruzzi, Baldassare, 50. - - “Pesellino, Compagno di,” 30. - - Pesellino, Francesco, 11, 28-29, 53. - - Phillips, H. W., 307. - - Piazza, Calisto, 106. - - Piazza, Martino, 106. - - Pickenoy, 205. - - Piero di Cosimo, 11, 27, 34, 42-43. - - Pietro da Cortona, 87. - - Pinturicchio, 50, 55-56. - - Piombo, Sebastiano del, 3, 46, 67-68. - - Pisanello, Antonio, 62, 79, 85, 86, 103. - - Poelenburg, C. van, 206. - - Polidoro Lanzani, 72. - - Pollaiuolo, Antonio, 31, 40. - - Pollaiuolo, Piero, 31-32. - - Pontormo, Jacopo da, 46. - - Pot, Hendrick, 206, 223. - - Potter, Paul, 10, 220, 293. - - Pourbus the Younger, Frans, 138. - - Poussin, Gaspard, 248. - - Poussin, Nicolas, 5, 138, 157, 245-246, 275, 285. - _The Shepherds in Arcadia_, Plate XXXVII. - - Prandino, Ottaviano, 105. - - Pre-Raphaelites, 308. - - Primaticcio, 2, 59, 115, 118, 239-240. - - Prud’hon, Pierre, 278-279. - - “Pseudo-Boccaccino,” 103. - - “Pseudo-Mostaert,” 195. - - Pynacker, Adam, 220. - - - Raeburn, Sir H., R.A., 306. - - Raffaelino del Garbo, 11, 42. - - Raffaelle dei Carli, 42. - - Raimondi, Marc Antonio, 115. - - Ramenghi, Bartolommeo, 60. - - Ramsay, Allan, 271, 307. - - Raoux, Jean, 260. - - Raphael, 2, 5, 7, 9, 12, 23, 29, 40, 46, 55, 56-60, 66-68, 114, - 117-118, 134, 248, 284-285. - _La Belle Jardinière_, Plate VII.; - _Portrait of Baldassare Castiglione_, Plate VIII. - - Ravesteyn, Jan van, 197. - - Regnault, Henri, 288. - - Regnault, J. B., 276. - - Rembrandt, 8, 10, 58, 66, 135, 167, 194, 199, 201-205, 208, - 214-216, 223, 256, 260. - _Christ and the Pilgrims at Emmaus_, Plate XXIX.; - _Portrait of Hendrickje Stoffels_, Plate XXX. - - Reni, Guido, 5-6, 10, 119. - - Reynolds, Sir J., _P_.R.A., 272, 305-306. - - Ribalta, 177. - - Ribera, 120, 176-179, 191, 277. - - Ricard, L. G., 300-301. - - Ricci, Sebastiano, 77. - - Ricciarelli, 47, 117. - - Riccio, Felice, 77. - - Rigaud y Ros, Hyacinthe, 254, 255. - - Robert, Hubert, 268, 273-274. - - Robert-Fleury, J. N., 289. - - Roberti, Ercole, 90-91. - - Roelas, Juan de las, 176. - - Roghman, Roeland, 216. - - Rokes, 209. - - Romanino, 103. - - Romano, Giulio, 56, 58-60, 115, 117. - - Romney, George, 307-308. - - Rondinelli, Niccolò, 68. - - Roos, P. P., 167. - - Rosa de Tivoli, 167. - - Rosa, Salvator, 120, 273. - - Rosselli, Cosimo, 11, 32, 42. - - Rosselli, Matteo, 47. - - Rosso Fiorentino, 2, 46, 239. - - Rosso, Francesco, 46. - - Rosso, Giovanni Battista, 2, 46, 239. - - Rottenhammer, Johann, 137, 167. - - Roucy-Trioson, A. L. Girodet de, 277. - - Rousseau, Théodore, 290, 292, 294-295, 298. - - Roymerswaele, Marinus van, 131. - - Rubens, P. P., 3, 7, 10, 66, 111, 125, 131, 135-139, 141, 146, 149, - 151-153, 155, 171, 241, 254, 258, 263, 266, 281. - _Henry IV. leaves for the War_, Plate XXI.; - _Hélène Fourment and two of her Children_, Plate XXII. - - Ruisdael, Jacob van, 8, 218, 222, 290. - - Ruthart, Carl, 167. - - Ruysdael, Salomon van, 217, 222. - - Ryckaert, David, 151. - - - Sacchi, Pier Francesco, 99. - - Saftleven, Cornelis, 206. - - Saftleven, Herman, 217. - - Salaino, 37-38, 95. - - Salviati, 46. - - Sano di Pietro, 49. - - Santerre, J. B., 254. - - Santi, Giovanni, 56. - - Santvoort, D. van, 206. - - Sassetta, 17, 49. - - Sassoferrato, 118. - - Savoldo, Giovanni Girolamo, 63-64, 105. - - Scarsellino, 90. - - Schalcken, Godfried, 209. - - Scheffer, Ary, 285. - - Schiavone, Andrea, 72. - - Schiavone, Gregorio, 80, 92. - - Schidone, Bartolommeo, 107. - - Schoevaerts, Mathys, 157. - - Schöngauer, Martin, 131. - - Schweickhardt, Heinrich Wilhelm, 168. - - Scorel, Jan, 194-195. - - Scotto, Stefano, 96. - - Seghers, David, 151. - - Sellaio, Jacopo del, 41. - - Semitecolo, Niccolò, 61. - - Seybold, Christian, 168. - - Siberechts, Jan, 155. - - Signorelli, 50. - - Simone Martini, 16, 17. - _Christ bearing His Cross_, Plate I. - - Slingelandt, J. A. van, 211. - - Snyders, Frans, 149, 151, 258. - - Sodoma, 50, 111. - - Sogliani, 46. - - Solario, Andrea, 95-96. - - Solario, Cristoforo, 95. - - Sorgh, H. M., 208. - - Southwell, Sir Richard, 165. - - Spaendonck, C. van, 223. - - Spagnoletto, 120, 176-179, 191, 277. - - Spanzotti, Martino, 111. - - Speranza, Giovanni, 109. - - Squarcione, Francesco, 80, 94, 105. - - Starnina, 22, 171. - - Steen, Jan, 211-213. - _Bad Company_, Plate XXXIV. - - Steenwyck, Hendrik van, 222. - - Stefano da Zevio, 28. - - Suardi, Bartolommeo, 94. - - Subleyras, P., 260. - - Sustermans, Justus, 156. - - Swanenburgh, Jacob van, 201. - - Swanevelt, Herman van, 210. - - - Taddeo di Bartolo, 17. - - Taraval, H., 267. - - Tassi, Agostino, 247. - - Tempel, A. van den, 210. - - Teniers the Elder, David, 153. - - Teniers the Younger, David, 6, 153-154. - - Terborch, Gerard, 8, 211-213, 221. - _Concert_, Plate XXXIII. - - Testorino, Bartolommeo, 105. - - Theotocopuli, D., 173-176. - - Tibaldi, Pellegrino, 115, 118. - - Tiepolo, 77, 269. - - Tintoretto, 74, 76-77, 117, 167, 173. - - Tisi, Benvenuto, 91. - - Titian, 4, 6, 9, 38, 66-72, 76, 87, 106, 118, 135, 146, 153, 173, - 246, 261, 263, 266. - _Man with a Glove_, Plate XII.; - _Entombment_, Plate XIII. - - Tocqué, Louis, 270-271. - - Trioson, 277. - - Tristan, Luis, 175. - - Troy, J. F. de, 261. - - Troyon, Constant, 293. - - Tura, Cosimo, 89-90, 107. - - Turchi, Alessandro, 77. - - Turner, J. M. W., R.A., 248, 304. - - - Uccello, Paolo, 26-27, 31, 42. - - Ugolino da Siena, 17. - - - Valentin, Le, 243. - - Van Balen, 137, 146, 149, 156. - - Van den Berghen, Dirk, 220. - - Van Beyeren, A., 223. - - Van Bloemen, Jan Frans, 157. - - Van Breda, Jan, 157. - - Van Cleef the Elder, Joos, 160-161, 236. - - Van Dyck, 10, 66, 146-150, 155-156, 190, 198, 206, 254-255, 299. - _Portrait of Charles I._, Plate XXIII. - - Van Eyck, Hubert, 124-125, 130. - - Van Eyck, Jan, 10, 65, 123-126, 129-130, 172, 216. - _The Virgin and Child and the Chancellor Rolin_, Plate XVI. - - Van Falens, Carl, 157. - - Van der Goes, Hugo, 216. - - Van Goyen, Jan, 8, 212, 216, 218, 222. - - Van Goyen, Margaretha, 212. - - Van der Hagen, Joris, 217. - - Van Heemskerck, 200. - - Van der Heist, Bartholomeus, 8, 205. - _Shooting Prize_, Plate XXXI. - - Van Hemessen, Jan, 133. - - Van der Heyden, Jan, 221. - - Van Leyden, Lucas, 125. - - Van Loo, Carle, 265. - - Van Loo, Charles André, 265. - - Van Loo, J. B., 264. - - Van Loo, J. C., 264. - - Van Loo, Jacob, 206. - - Van Mander, Karel, 199. - - Van der Meer van Delft, Jan, 214. - - Van der Meer of Haarlem, Jan, 214. - - Van der Meulen, Adam Frans, 154-156. - - Van Mieris the Elder, Frans, 210. - - Van Mieris, Willem, 225. - - Van Mol, Pieter, 151. - - Van der Neer, Aart, 217. - - Van Noort, Adam, 140, 150. - - Van Oost the Elder, Jacob, 157. - - Van Oostsanen, Jacob Cornelisz, 194. - - Van Orley, Barend, 133, 193. - - Van Ostade, Adriaen, 207, 212. - - Van Ostade, Isack, 8, 208, 217. - - Van Ouwater, Albert, 129, 193. - - Van Roymerswaele, Marinus, 131. - - Van Staveren, J. A., 211. - - Van Stry, Jacob, 218. - - Van Veen, Otto, 139-140. - - Van de Velde, Adriaen, 218. - - Van de Velde the Younger, Willem, 222. - - Van de Venne, Adriaen, 207. - - Van Vliet, H., 206. - - Van der Weyden, Roger, 124, 126, 129, 131, 133, 160. - - Vanni, Francesco, 51. - - Vanni, Turino, 21. - - Varotari, Alessandro, 77. - - Vecchia, Pietro della, 77. - - Vecchietta, 49-50. - - Velazquez, 135, 174, 176, 179-186, 190, 299. - _Portrait of Infanta Margarita_, Plate XXV. - - Veneto, Bartolommeo, 66. - - Veneziano, Bartolommeo, 66. - - Veneziano, Domenico, 26, 31. - - Veneziano, Stefano, 61. - - Venius, Octavius, 139-140. - - Verbruggen, G. P., 157. - - Verhaecht, Tobias, 139. - - Verkolie, Jan, 224. - - Vermander, 200. - - Vermeer van Delft, Jan, 214. - _The Lace-Maker_, Plate XXXVI. - - Vernet, Carle, 273, 279. - - Vernet, Claude Joseph, 273. - - Vernet, Horace, 273. - - Vernet, Joseph, 272-273. - - Veronese, Bonifazio, 73. - - Veronese, Paolo, 5, 6, 74-77, 87, 261. - - Verrocchio, Andrea del, 30-31, 34, 39. - - Verspronck, Gerard, 197. - - Vestier, Antoine, 271. - - Vicenza, Battista da, 107. - - Victoors, Jan, 205. - - Vien, J. M., 275. - - Vigée Le Brun, Mme., 272. - _Portrait of the Artist and her Daughter_, Plate XLIV. - - Vinci. _See_ Leonardo da Vinci. - - Viti, Timoteo, 55, 56, 102. - - Vivarini, Alvise (or Luigi), 63-64, 93, 109. - - Vivarini, Antonio, 62-63. - - Vivarini, Bartolommeo, 63. - - Vlieger, Simon de, 222. - - Volterra, Daniele da, 47, 117. - - Von Calcar, Johan Stephan, 72, 195. - - Vos, Paul de, 151. - - Vouet, Simon, 243, 248-250. - - - Watteau, Antoine, 241, 248, 259-264. - _Embarkation for the Island of Cythera_, Plate XXXIX. - - Watts, F. W., 304. - - Watts, G. F., 301. - - Webb, James, 304. - - Weenix, Jan, 224. - - Weenix, J. B., 221, 224. - - Werff, Adriaen van der, 225. - - Wils, Jan, 220. - - Wilson, Richard, 304. - - Wohlegmut, Michael, 161, 231. - - Wouwerman, Philips, 8, 219. - - Wouwerman, Pieter, 219. - - Wynants, Jan, 218. - - Wyntrack, 219. - - - Ysenbrant, Adriaen, 129. - - - Zacchia, Paolo, 47. - - Zaganelli da Cottignola, 60. - - Zenale, 94. - - Zoppo, Marco, 92. - - Zuccato, Sebastian, 69. - - Zurbarán, 176-177. - - Zustris, L. F., 206. - - - II. GENERAL INDEX - - - Academy of Arts, French, 6. - - _Adoration of the Lamb_, at Ghent, 10. - - Aix, Cathedral at, 232. - - Albizzi, Giovanna degli, 33, 40. - - Albrecht, Archduke, 144, 148. - - Albrecht of Mayence, Archbishop, 162. - - Alexander IV., Pope, 25. - - Alexander VI., Pope, 70. - - Alexander the Great, 250. - - Alfonso da Ferrara, 69, 70. - - Alfonso d’Avalos, 71, 75. - - Allied Powers, 10, 19. - - Alva, Duke of, 197. - - Amboise, 39. - - Amsterdam, 201-220. - - André, Mme., 127. - - Anne of Austria, 143. - - Antonio Litta Visconti Arese, 97. - - Antwerp, 16, 129-130, 133-134, 138-139, 141, 146, 148, 152, 196, - 198, 223, 231, 241, 256. - - Archduke Leopold William, 153. - - Arenberg Collection, 140. - - Arezzo, 15. - - Armagnac, General d’, 127. - - Aschaffenburg, 125. - - Ascoli, 64. - - Augsburg, 163. - - Autun, 124. - - Avignon, 229, 232. - - Aytona, Francisco d’, 147. - - - Badajoz, 172. - - Baltazar Carlos, Don, 184. - - Bamberg, Felix, 86. - - Barbadori Chapel, 29. - - Barbizon, 13, 290, 292, 296-297. - - Barnevelt, Olden, 197. - - Basle, 164. - - Bavaria, Charles Louis, Duke of, 224. - - Bavaria, Rupert, Prince of, 149. - - Beauvais Tapestry, 259, 265. - - Benson, Mr. R. H., 90. - - Bentivoglio Family, 101. - - Berenson, Mr. B., v, 17, 30-31, 34, 38, 41, 43. - - Berenson, Mrs., 30. - - Beresteyn and Family, Nicolaes, 199-200. - - Berlin, 10, 16, 25, 66, 128, 202, 231-232, 272. - - Bermudez, Céan, 188. - - Bernardo di Salla, 63. - - Blackfriars, 148. - - Bodenhausen, Freiherr von, 128. - - Bologna, 9, 99, 115-116, 118-120. - - Bologna, Treaty of, 9. - - Bonaparte, Lucien, 128. - - Borghese Gallery, 147. - - Borgia, Lucrezia, 70. - - Borromeo, Cardinal Federigo, 137. - - “_Bottle-nosed Man_,” 24. - - Bourgeois Sale, 172. - - Brancacci Chapel, Florence, 22, 27. - - Brant, Isabella, 140. - - Brera, 93. - - Brescia, 93, 105. - - Browning, 22. - - Bruges, 125-130, 172. - - Brussels, 10, 125, 136, 141, 276. - - Buckingham, Duke of, 37. - - Buen Retiro Palace, 190. - - Burnet, Bishop, 166. - - Buti, Francesco, 28. - - Buti, Lucrezia, 28. - - Buti, Spinetta, 28. - - Byron, Lord, 283. - - Byzantine Miniaturists, 15. - - Byzantinism, 61. - - - _Caisse des Musées_, 13. - - Cambridge, 200. - - Campana Collection, 12, 41, 62, 87. - - Campo Formio, Peace of, 75. - - Carondelet, Jean, 132-133. - - Casio Family, 96. - - Castiglione, Baldassare, 58. - - Cavenaghi, Prof., 36. - - Celier, John du, 126. - - Cento, 9. - - Chantilly, 231, 235-236, 282. - - Charles I. of England, 4, 37-38, 58, 67, 69, 70, 148, 150, 206. - _His Portrait_, Plate XXIII. - - Charles II., 255. - - Charles III. of Spain, 168, 191. - - Charles V., 1, 76, 115, 132, 196, 212. - - Charles VII., 231. - - Charles VIII., 229. - - Charles IX., 237-238. - - Charles X., 12, 270. - - Charles d’Amboise, 94. - - Château Gaillon, 95. - - Chatsworth Sketch-book, 147. - - Christie’s, 133. - - Christus (or Cristus) Petrus, 124. - - Cloves, Anne of, 166. - - Cloux, Manor House of, 39. - - Clovis, 173. - - Cluny Museum, Paris, 161. - - Colbert, 6, 156, 251. - - Colmar, 163. - - Cologne, 126, 161, 172. - - Colonna Palace, Rome, 90. - - Colonna, Vittoria, 76. - - Compiegne, 204. - - Constantinople, 62. - - Cook, Mr. Herbert, 68, 77. - - Cook, Sir Frederick, 70. - - Corneille, 245. - - Cosimo II., Grand-Duke, of Tuscany, 157. - - Cossío, Señor, 174. - - Covarrubias, Diego and Antonio, 174. - - Crivelli, Lucrezia, 38. - - Croft, Jeronimo, 73. - - Cromwell, Oliver, 4, 70, 113. - - - Dandolo, Doge Enrico, 61. - - Dantzig, 131. - - Darius, 250. - - Darnley, Lord, 145. - - Davidists, 279. - - Delamarre, M. L., 56. - - Delft, 212, 213. - - Descartes, René, 200, 249. - - Devonshire, Duke of, 77. - - Dijon, 228. - - Dolce, L., 68. - - Douai, 230. - - Drawing in the Louvre, 38, 131. - - Dresden, 78, 272. - - Du Barry, Madame, 149, 269. - - Duchâtel, 12, 131, 133, 196, 284. - - Dulwich College Gallery, 141, 154, 205. - - Dutch Independence, 201. - - - “Eclectics,” 117-119. - - Ecouen, Château d’, 36. - - Edward VI. of England, 196. - - Elector of Saxony, Johann Friedrich III., 163. - - Elector Palatine, Charles Louis, 149. - - Eleonora of Austria, 76-77. - - Elissa, M. H. R., 183. - - Elizabeth of Austria, 238. - - Emperor, German, 262. - - Empire, Second, 12. - - Erasmus, 38. - - Eremetani, Church of the, 80. - - Escorial, 173. - - Este, Beatrice d’, 38. - - Este Family, 89. - - Este, Ginevra d’, 86. - - Este, Isabella d’, 55. - - Este, Leonello d’, 62, 86. - - Este, Niccolò d’, 86. - - _Este, The Court of Isabella d’_, 5, 101. - - Exposition Universelle of 1900, 13. - - - _Family of the Virgin_, 100. - - Fausti, Andrea, 45. - - Félibien, 257. - - Ferdinand, Infante, 151. - - Ferrara, 9, 83, 89, 101. - - Ferron, 38. - - Ferronière, La Belle, 38. - - Fesch, Cardinal, 41. - - Floreins, James, 127. - - Florence Academy, 53. - - Foix, Gaston de, 103. - - Fondaco de’ Tedeschi, 68. - - Fontainebleau, Chateau de, 2-3, 6, 35, 37, 58, 67, 142, 239, 241, - 290. - - Fourment, Hélène, 145. - _Her Portrait_, Plate XXII. - - Fourment, Susanne, 144. - - Fournier-Sarlovèze, Lieutenant-General, 278. - - François I., 2-3, 35, 37, 58, 59, 67, 115, 235, 237, 239, 240. - _His Portrait_, 71, 76. - - François II., 3, 237. - - French Primitives, Exhibition of, 227, 228, 231. - - Frick, Mr. H. C., 203. - - Frizzoni, Dr., 87. - - - Galileo, 289. - - Garriga, 130. - - Gattamelata, 79. - - Gatteaux, M., 12, 127. - - Gautier, Théophile, 38. - - Gay, Mr. Victor, 24. - - Genoa, 118, 146-147. - - George of Amboise, Cardinal, 95. - - Ghent, 10, 123, 130. - - Giovanni da Bologna, 73. - - Glasgow, 204. - - Gobelins Manufactory, 6, 156, 249. - - Godefroy, C., 268. - - Gonzaga, Federigo, 70. - - Gonzaga, Francesco, 101. - - Gonzaga, Vincenzo, Duke of Mantua, 140. - - Gotha, 141. - - Goths, The, 79. - - Gower, Lord Ronald, 290. - - Grandidier, 13. - - Greenwich, 222. - - Guastavillani, Filippo, 102. - - Guidobaldo, Duke of Urbino, 57. - - Guillaume de St. Amour, 25. - - Guillemardet, 192. - - Guimard, Marie, 269. - - - Haarlem, 193, 198, 223. - - Hague, 184, 197, 213, 225. - - Hague, Potter’s _Bull_ at the, 10, 220. - - Hampton Court, 206. - - Harrach Collection, 194. - - Heath, Mr., 127. - - Henri II., 3, 237-238. - - Henri IV., 3, 37, 139, 142, 261, 289. - - Henrietta Maria, 37. - - Henry VIII., 76, 166. - - Heraclius, Emperor, 22. - - Hermitage Gallery, St. Petersburg, 143, 268, 272. - - Herz, Mr., 127. - - His de la Salle, M., 12, 39. - - Houbraken, 213. - - Houssaye Collection, Arsène, 200. - - Howard, Earl of Surrey, Henry, 165. - - - Iconoclasts, 135. - - Infanta Margarita, 181. - - Innocent III., Pope, 20, 24. - - Inquisition, Spanish, 135, 171, 196, 289. - - Isabella Clara Eugenia, 148. - - Isabella, Infanta, 144. - - Italy, Van der Weyden in, 125. - - - Jabach, Eberhard, 4-5, 38, 67, 69-71. - - Jean-sans-Peur, Duke of Burgundy, 228. - - _Joconde, La_, Plate IV. (_Frontispiece_), 36. - - Johanna of Austria, 144. - - Josephine, Empress, 276. - - Julius II., Pope, 43, 57, 100. - - - Kaempfen, M., 202. - - Kann Collection, 202. - - Kann, M. Rodolphe, 13. - - Keyser, Thomas de, 202. - - Kleinberger, M., 128. - - Kratzer, Nicolas, 164-165. - - Krüdner, Baroness von, 168. - - - _La Belle Ferronière_, 97. - - _La Belle Jardinière_, 2, 46, 57, 59, 66. - - La Caze, Dr., 12, 153. - - La Fontaine, 260. - - _La Joconde_, Plate IV. (_Frontispiece_), 36. - - Lallemant, M., 13. - - Lambeth Palace, 165. - - Laura de’ Dianti, 69, 70. - - Leczinska, Marie, Queen of Louis XV., 271. - - Lennox, James Stuart, Duke of, 149. - - Leo X., Pope, 57-58, 60, 115. - - Les Andelys, 245. - - Leyden, 193-194, 212. - - Leys Sale, 137. - - Liechtenstein Gallery, 232. - - Lille, 131. - - Liverpool, 134. - - Loeches, Convent of, 144. - - Lopez, Don Alfonso, 58. - - Loreto, 9. - - Louis IX., 24, 25. - - Louis XI., 231. - - Louis XII., 76, 229. - - Louis XIII., 3, 38, 142, 244. - - Louis XIV., 3-8, 38, 58, 67, 130, 156, 244, 249, 251, 253, 255, - 257, 275. - - Louis XV., 7, 149, 260, 269-270, 273. - - Louis XVI., 8, 168, 211, 225, 275. - - Louis XVIII., 11. - - Louis Philippe, 11, 229, 282. - - Louvre, Spoliation of the, 10. - - Lucrezia Borgia, 70. - - Luxembourg, Palais de, 3, 7, 139, 142, 144, 261. - - Lyons, 11, 58, 229, 238. - - - Maciet, M., 13, 229. - - Maconochie, Mrs., 306. - - _Madonna della Sedia_, 9. - - Maintenon, Marquise de, 251. - - Malatesta, Pandolfo, 62. - - Malatesta, Parisina, 86. - - Malatesta, Sigismondo, 62, 86. - - Manetti, Antonio, 27. - - “Mannerists,” 117. - - Mansard, François, 156. - - Mantua, 70-71, 83, 99, 115, 138. - - Mantua, Duke of, 4, 140. - - Maria Theresa, 168, 182. - - Mariana of Austria, 181-182. - - Marie Antoinette, 272. - - _Marriage at Cana_, by Paolo Veronese, 75. - - Marseilles, Gallery at, 11. - - Martin V., Pope, 18. - - Mary Cleophas, 33. - - Mary of England, 76, 196. - - Maubeuge, 132. - - Mazarin, Cardinal, 5-6, 57-58, 71. - - Meazzu Collection, 128. - - Medici, Casa, 26. - - Medici, Cosimo de’, 26. - - Medici Family, 30. - - Medici, Francesco de’, 143-144. - - Médici Leopold de’, 157. - - Médici, Lorenzo de’, 58-59. - - Médicis, Catherine de’, 3, 237. - - Médicis, Marie de’, 3, 93, 138-139, 142, 144, 241. - - Médicis Series of paintings by Rubens, 142. - - Milan, 66, 71, 105, 128. - - Mocenigo, Pietro, 74. - - Modena, 9, 90, 107. - - Mömlingen, 125. - - _Mona Lisa, Portrait of_, Plate IV. (_Frontispiece_), 36. - - Moncada, Marqués de, 147. - - Montmorency, Constable de, 36. - - More, Sir Thomas, 164. - - Morgan, Mr. J. Pierpont, 33. - - Morris Moore, 12, 55. - - Moulins, 228. - - Munich, 39, 143. - - Münster, Peace of, 197, 211. - - Murano School, 63. - - - Naples, 137, 177, 179, 243, 272. - - Napoleon I., 9, 19, 53-54, 75, 119, 124, 187, 238, 276, 278, 300. - - Napoleon III., 300. - - Narbonne, Autel de, 228. - - Nardus, M., 128. - - National Art-Collections Fund, 13. - - National Assembly, 8. - - National Convention, 8. - - National Gallery, 25-26, 35, 40, 57, 64, 86, 90, 91, 94, 97, 144, - 193, 211, 213, 223, 281, 303. - - “Naturalists,” 117, 120-121. - - Nuremberg, 161, 195. - - - Oldenburg, 194. - - Olivarez, Count Duke of, 180, 184. - - Osnabrück, 197. - - Ossuña, Duke of, 189. - - Otlet Sale, 134. - - - Padua, 79, 94. - - Panigarola, 93. - - Paracelsus, 194. - - Paris, 138. - - Parma, 9, 107, 113. - - Passeri, Marchesa, 90. - - Pavia, 93, 99, 105. - - Pazzi, Church of S. Maria Maddalena dei, 33. - - Pereire, Isaac, 174. - - Perrault, Claude, 156. - - Perugia, 9. - - Pesaro, 9. - - Philip II., 69, 71, 173, 195-196. - - Philip III., 140. - - Philip IV., 4, 176, 180, 183, 189. - - Philippe-Auguste, 1. - - Piacenza, 9. - - Picault, 45. - - Pieve di Cadore, 72. - - Piles, Roger de, 257. - - Pinacoteca Estense at Modena, 107. - - Pisa, 15, 19, 25. - - Pitti Palace, 9, 57. - - Pompadour, Mme. du, 265. - - Porter, Endymion, 148. - - Potocki, Count, 71. - - Pourtalès-Gorgier Sale, 65. - - Poussinistes, 257. - - Pozzo, Cassiano del, 37. - - Prato, 28. - - Prim, General, 288. - - Primitive Italian Pictures, 10. - - Primitives, Exhibition of French, 227-228, 231. - - - Quevedo, 189. - - Quthe, Pierre, 237. - - - Ravenna, 9. - - Récamier, Mme., 275. - - Renan, M. Ary, 30. - - René, King, 232. - - Rennes, 230. - - Republic, Second, 12. - - _Retable du Parliament_, 230. - - Riccardi Palace, 26. - - Richardot, Jean Grusset, 146. - - Richelieu, Cardinal, 5, 37, 246. - - Richmond, Duke of, 149. - - Rimini, 9, 85. - - Rio, Louis de, 196. - - Rolin, Chancellor Nicholas, 124. - - Rome, 9, 15, 18, 24-25, 115, 120, 137-138, 167, 173, 177, 243, 247, - 249, 260, 273-274, 278, 283, 291. - - Rospigliosi, Marie Madeleine, 118. - - Rothschild, Baron Arthur de, 219. - - Rothschild, Baroness N. de, 41. - - Rothschild Collection at Waddesdon Manor, 209. - - Rothschild Family, 13. - - Rovere, Cardinal Giuliano della, 100. - - Roverella Family, 89. - - Royal Academy, London, 36. - - Rubenistes, 257. - - _Rucellai Madonna_, 15. - - Ruskin, 40. - - Ruyter, Admiral de, 150. - - - St. Bruno, 248. - - St. Cosmo and St. Damian, 30-31. - - St. Denis, 228. - - St. Gregory the Great, 17-18. - - St. Jerome, Legend of, 49. - - St. Omer, 133. - - Saint-Yenne, M. de la Fonte de, 7. - - Salon of 1673, 250. - - Salon, the, 8. - - San Gimignano, 25. - - Santa Fiora, Contessa di, 90. - - Saskia van Uylenborch, 203. - - Scrovegno, Enrico, 79. - - Sebastiani, General, 144. - - Sedelmeyer, M., 13, 304. - - Seville, 187, 188. - - Sforza, Anna, 70. - - Sforza, Francesco, 35. - - Sforza, Lodovico (Il Moro), 35-36, 38, 97, 105. - - Siena, 15, 111. - - Sigmaringen, 131. - - Sixtus IV., Pope, 100. - - Sketch-books of Jacopo Bellini, 62. - - _Société des Amis du Louvre_, 13, 30, 237. - - Somzée Collection, 230. - - Soult, Marshal, 12, 186-187. - - Spain, 22, 120, 127, 132, 135, 144, 171, 211, 244, 294. - - Steen, Castle of, 145. - - Steengracht, Baron H. A., 213. - - Stockholm, 130. - - Stoffels, Hendrickje, 203-204. - _Her Portrait_, Plate XXX. - - Stuttgart, 66, 202. - - Sultan Soliman, 76. - - Surrey, Henry Howard, Earl of, 165. - - - Tarnowski, Count, 203. - - Temple Newsam, 160. - - Thompson, Mr. F. Yates, 55. - - Thomy Thièry, 13, 292-293, 296. - - Toledo, 172-173. - - Tolentino, Treaty of, 9. - - Tornabuoni, Giovanna, 40. - - Tornabuoni, Lorenzo, 40. - - Tournai, 125. - - Tours, 11, 231, 235, 237. - - Toussaint, Abbé, 133. - - Trainel, Baron de, 231. - - _Transfiguration_, Raphael’s, 9. - - Trémoïlle, Duc de la, 30, 131. - - Tromp, Admiral Cornelis, 216. - - Tuileries, Palace of the, 3, 12. - - Tulipomania, 223. - - Turin, 125, 128. - - Turkey, 243. - - Tuscany, Duke of, 33. - - - Uffizi Gallery, 41, 57, 165. - - Ulm, 232. - - Ursins, Guillaume Juvénal des, 231. - - Utrecht, Union of, 135, 197. - - - Vair, Guillaume du, 139. - - Valladolid, 172. - - Van Asselen, 58. - - Vandeul, 13, 46. - - Vatican, 9. - - Venice, 93. - - Venice, Doge’s Palace, 74, 77. - - Venice, Gallery at, 10, 38, 75. - - Venturi, Dr., 30. - - Vercelli, 111. - - Verona, 83, 105. - - Verona, Church of San Zeno at, 11. - - Versailles, Château de, 6-7, 9, 12, 37, 58, 67, 77, 156, 252, 282. - - Vicenza, 109. - - Vicq, Baron Henri de, 144. - - Victoria and Albert Museum, 161, 304. - - Vienna, 123, 184, 194-195, 232, 238, 272. - - Vienna Academy, 141. - - Villa Lemmi frescoes, 40. - - Villa Magliana, 60. - - Villa Pelucca, 97. - - Villeneuve near Avignon, Chartreuse of, 233. - - Visconti Arese, Antonio Litta, 95. - - - Wallace Collection, 267. - - Warham, Archbishop of Canterbury, William, 165. - - Weale, Mr. W. H. James, 126, 129. - - Westminster, Marquis of, 145. - - Whitehall, 145. - - Wignacourt, Alof de, 120. - - Wilczek Count, 232. - - William II. of Holland, 128. - - Windsor Castle, 63, 148. - - Windsor, Royal Library, 38. - - Wittenberg, 162-163. - - Wood, Hon. Edward, 160. - - Woverius, 140. - - - _Printed by_ MORRISON & GIBB LIMITED, _Edinburgh_ - - - - - * * * * * * - - - - -Transcriber’s note: - - - Blank pages have been removed. - - - Obvious typographical errors have been silently corrected. - - - Some missing or mismatched chapter headings have been corrected - to match the table of contents. - - - -***END OF THE PROJECT GUTENBERG EBOOK THE LOUVRE: FIFTY PLATES IN COLOUR*** - - -******* This file should be named 63719-0.txt or 63719-0.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/6/3/7/1/63719 - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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- margin-bottom: 1em; - word-spacing: 0em; - letter-spacing: 0em; - line-height: 1; } - h2.pgx { text-align: center; - clear: both; - font-weight: bold; - font-size: 135%; - margin-top: 2em; - margin-bottom: 1em; - word-spacing: 0em; - letter-spacing: 0em; - page-break-before: avoid; - line-height: 1; } - h3.pgx { text-align: center; - clear: both; - font-weight: bold; - font-size: 110%; - margin-top: 2em; - margin-bottom: 1em; - word-spacing: 0em; - letter-spacing: 0em; - line-height: 1; } - h4.pgx { text-align: center; - clear: both; - font-weight: bold; - font-size: 100%; - margin-top: 2em; - margin-bottom: 1em; - word-spacing: 0em; - letter-spacing: 0em; - line-height: 1; } - hr.pgx { width: 100%; - margin-top: 3em; - margin-bottom: 0em; - margin-left: auto; - margin-right: auto; - height: 4px; - border-width: 4px 0 0 0; /* remove all borders except the top one */ - border-style: solid; - border-color: #000000; - clear: both; } - </style> -</head> -<body> -<h1 class="pgx" title="">The Project Gutenberg eBook, The Louvre: Fifty Plates in Colour, by Paul -G. (Paul George) Konody and Maurice W. Brockwell, Edited by T. Leman Hare</h1> -<p>This eBook is for the use of anyone anywhere in the United States -and most other parts of the world at no cost and with almost no -restrictions whatsoever. You may copy it, give it away or re-use it -under the terms of the Project Gutenberg License included with this -eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a>. If you are not -located in the United States, you'll have to check the laws of the -country where you are located before using this ebook.</p> -<p>Title: The Louvre: Fifty Plates in Colour</p> -<p>Author: Paul G. (Paul George) Konody and Maurice W. Brockwell</p> -<p>Editor: T. Leman Hare</p> -<p>Release Date: November 13, 2020 [eBook #63719]</p> -<p>Language: English</p> -<p>Character set encoding: UTF-8</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK THE LOUVRE: FIFTY PLATES IN COLOUR***</p> -<p> </p> -<h4 class="pgx" title="">E-text prepared by Turgut Dincer, Robert Tonsing,<br /> - and the Online Distributed Proofreading Team<br /> - (https://www.pgdp.net)<br /> - from page images generously made available by<br /> - Internet Archive<br /> - (https://archive.org)</h4> -<p> </p> -<table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> - <tr> - <td valign="top"> - Note: - </td> - <td> - Images of the original pages are available through - Internet Archive. See - https://archive.org/details/louvrefiftyplate00konorich - </td> - </tr> -</table> -<p> </p> -<hr class="pgx" /> -<p> </p> -<p> </p> -<p> </p> - - <div class="figcenter epub-hide"> - <img src="images/cover.jpg" alt="" /> - </div> - - <div class="figcenter" id="i_plate04"> - <img class="illow66" src="images/frontispiece.jpg" alt="" /> - <div class="caption">PLATE IV.—LEONARDO DA VINCI<br /> - <span class="small">(1452–1519)</span><br /> - FLORENTINE SCHOOL<br /> - No. 1601.—PORTRAIT OF MONA LISA<br /> - <span class="small">(La Joconde)</span></div> - </div> - <p class="description">The portrait of Lisa di Anton Maria di Noldo Gherardini, third wife - of Francesco di Bartolommeo de Zenobi del Giocondo. She is seated in - a chair on which her left arm rests, her right hand superposed on the - left. She is turned three-quarters to her right. Her hair, divided - in the centre and seen under a transparent veil, falls in curls on - her shoulders; her dark almond-shaped eyes look out at the spectator; - the mouth is smiling. She wears a dark-green dress with golden-brown - sleeves; a dark cloak is draped over her shoulders. The background is - formed by a mountainous landscape full of incident.<br /><br /> - - Painted in tempera on panel, and restored in oil.<br /><br /> - - 2 ft. 6½ in. × 1 ft. 9 in. (0·79 × 0·53.)</p> - - <hr class="page" /> - <div class="titlepage"> - <h1><span class="xxxlarge gespertt2">THE LOUVRE:</span><br /> - <span class="xxlarge">FIFTY PLATES IN COLOUR</span></h1> - - <div class="xlarge"><b>By PAUL G. KONODY</b></div> - - <div class="small mt1"><b>AND</b></div> - - <div class="xlarge mt1"><b>MAURICE W. BROCKWELL</b></div> - - <div class="small"><b>JOINT-AUTHORS OF “THE NATIONAL GALLERY: ONE HUNDRED PLATES IN COLOUR”</b></div> - - <div class="mlarge mt5"><b>Editor: T. LEMAN HARE</b></div> - - <img class="mt10" src="images/i_title.jpg" alt="" /> - - <div class="mt10 mb5 lh1"><b>NEW YORK<br /> - <span class="large">DODGE PUBLISHING COMPANY</span><br /> - 214–220 EAST 23RD STREET</b> - </div> - </div> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_v">v</span> - <h2 id="PREFACE">PREFACE</h2> - </div> - - <p class="drop-cap">THOSE who wish to make a thorough, comprehensive, and systematic study - of the pictures of the great national collection contained in the - Louvre, which extend from the early years of the fourteenth century - down to almost the present day, will be well advised to deal with the - artists by the countries, schools, and periods to which they belong. - That is the scheme which we have followed here.</p> - - <p>We do not hesitate to refer to painters, especially those of the - Italian schools, under the names by which they are generally known to - modern critics, as opposed to those under which they are officially - catalogued by the Louvre authorities. Thus, Raphael, Titian, and Giulio - Romano, and not Santi, Vecelli, and Pippi, are the names which we shall - use in this book. Special attention is drawn to the fact that the - official attributions of a certain number of the pictures, mainly of - the Italian schools, and notably several by Raphael, Leonardo da Vinci, - and Titian, are not accepted by us.</p> - - <p>The authors of any critical book on a large national collection which - includes several hundred Italian paintings of varying importance - must of necessity be under heavy obligations to Mr. Berenson, whose - scholarly, scientific, and constructive criticism, following on that of - Morelli, has entirely revolutionised the study of Italian art.</p> - - <p>It will be noticed that in many instances the dates used in these - pages do not coincide with those given in the official Catalogues<span class="pagenum" id="Page_vi">vi</span> and - repeated in a large number of text-books, while in a few cases it has - been thought desirable to draw the attention of the student to the - questionable accuracy of some of the titles and “pedigrees.”</p> - - <p>The illustrations which have been selected represent, as far as - possible, the whole range of the art of each country and school - comprised within the limits of the fifteenth to the nineteenth - centuries. The Plates are arranged in the order in which reference is - made to them in the text, but it has been found impossible to place - them opposite the pages on which the critical remarks are given.</p> - - <p>In the descriptions of the pictures the terms <em>right</em> and <em>left</em> are - used in reference to the right and left of the spectator, unless - the text obviously implies the contrary. Moreover, in the titles of - pictures containing the Madonna and several Saints, the names of the - Saints are given in the order they occupy in the composition regarded - from left to right. The titles we have used are descriptive rather than - mere translations of those contained in the official Catalogue. The - official numbers are those marked in large figures and placed at the - top of the frames; the numbers in small figures affixed to the bottom - left corner of some of the frames are obsolete.</p> - - <p>The surface measures of the pictures are for convenience given in feet - and inches as well as in metres, the height preceding the width. The - technical conditions as to panel or canvas and tempera or oil are also - noted.</p> - - <p>Most of the Rooms containing pictures are open:—</p> - - <ol> - <li>On Sundays all the year round, 10 a.m. to 4 p.m.</li> - - <li>On Tuesdays, Wednesdays, Fridays, and Saturdays from April 1 to - September 30, 9 a.m. to 5 p.m.</li> - - <li>On Tuesdays, Wednesdays, Fridays, and Saturdays from October 1 - to March 31, 10 a.m. to 4 p.m.</li> - - <li>On Thursdays in the Summer Months, 1 p.m. to 5 p.m., and in the - Winter Months, 1 p.m. to 4 p.m. </li> - - <li><span class="pagenum" id="Page_vii">vii</span>Rooms IX.–XIII., which contain French pictures and Rooms - XIX.–XXXV., which contain Flemish and Dutch pictures are not open - before eleven o’clock.</li> - - <li>The Louvre is closed on Mondays all the year round, and on - January 1, July 14, and Ascension Day; it is also closed on the - Feast of the Assumption (August 15), All Saints Day (November 1), - and Christmas Day, unless these last three days fall on a Sunday.</li> - </ol> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_ix">ix</span> - <h2 class="gespertt1" id="CONTENTS">CONTENTS</h2> - </div> - - <ul class="index"> - <li class="indx"><a href="#Page_v">PREFACE</a></li> - <li class="indx"><a href="#Page_1">INTRODUCTION</a></li> - <li class="indx"><a href="#EARLY_SIENESE_SCHOOL">EARLY SIENESE SCHOOL</a></li> - <li class="isub2"><a href="#DUCCIOS_FOLLOWERS">Duccio’s Followers</a></li> - <li class="indx"><a href="#THE_FLORENTINE_SCHOOL">THE FLORENTINE SCHOOL</a></li> - <li class="isub2"><a href="#THE_GIOTTESQUES">The Giottesques</a></li> - <li class="isub2"><a href="#FRA_ANGELICO">Fra Angelico</a></li> - <li class="isub2"><a href="#PAOLO_UCCELLO">Paolo Uccello</a></li> - <li class="isub2"><a href="#THE_GOLDSMITH_PAINTERS">The Goldsmith Painters</a></li> - <li class="isub2"><a href="#LEONARDO_DA_VINCI">Leonardo da Vinci</a></li> - <li class="isub2"><a href="#MONA_LISA">Mona Lisa</a></li> - <li class="isub2"><a href="#BOTTICELLI">Botticelli</a></li> - <li class="isub2"><a href="#ALBERTINELLI">Albertinelli</a></li> - <li class="isub2"><a href="#ANDREA_DEL_SARTO">Andrea del Sarto</a></li> - <li class="indx"><a href="#THE_LATER_SIENESE_SCHOOL">THE LATER SIENESE SCHOOL</a></li> - <li class="indx"><a href="#THE_UMBRIAN_SCHOOL">THE UMBRIAN SCHOOL</a></li> - <li class="isub2"><a href="#PERUGINO">Perugino</a></li> - <li class="isub2"><a href="#RAPHAEL">Raphael</a></li> - <li class="indx"><a href="#THE_VENETIAN_SCHOOL">THE VENETIAN SCHOOL</a></li> - <li class="isub2"><a href="#THE_BELLINI">The Bellini</a></li> - <li class="isub2"><a href="#GIORGIONE">Giorgione</a></li> - <li class="isub2"><a href="#TITIAN">Titian</a></li> - <li class="isub2"><a href="#TITIANS_FOLLOWERS">Titian’s Followers</a></li> - <li class="isub2"><a href="#PAOLO_VERONESE">Paolo Veronese</a></li> - <li class="indx"><a href="#THE_PADUAN_SCHOOL">THE PADUAN SCHOOL</a></li> - <li class="isub2"><a href="#ANDREA_MANTEGNA">Andrea Mantegna</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_VERONA">THE SCHOOL OF VERONA</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_FERRARA">THE SCHOOL OF FERRARA</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_MILAN">THE SCHOOL OF MILAN</a></li> - <li class="isub2"><a href="#ANDREA_SOLARIO">Andrea Solario</a></li> - <li class="isub2"><a href="#BERNARDINO_LUINI">Bernardino Luini</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_LOMBARDY">THE SCHOOL OF LOMBARDY</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_FERRARA-BOLOGNA">THE SCHOOL OF FERRARA-BOLOGNA</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_CREMONA">THE SCHOOL OF CREMONA</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_BRESCIA">THE SCHOOL OF BRESCIA</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_MODENA">THE SCHOOL OF MODENA</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_VICENZA">THE SCHOOL OF VICENZA</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_VERCELLI">THE SCHOOL OF VERCELLI</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_PARMA">THE SCHOOL OF PARMA</a></li> - <li class="indx"><a href="#THE_SCHOOL_OF_BOLOGNA">THE SCHOOL OF BOLOGNA</a></li> - <li class="indx"><a href="#THE_DECADENT_SCHOOLS">THE DECADENT SCHOOLS</a></li> - <li class="isub2"><a href="#THE_MANNERISTS">The “Mannerists”</a></li> - <li class="isub2"><a href="#THE_ECLECTICS">The “Eclectics”</a></li> - <li class="isub2"><a href="#THE_NATURALISTS">The “Naturalists”</a></li> - <li class="indx"><a href="#THE_EARLY_FLEMISH_SCHOOL">THE EARLY FLEMISH SCHOOL</a></li> - <li class="isub2"><a href="#JAN_VAN_EYCK">Jan van Eyck</a></li> - <li class="isub2"><a href="#THE_SCHOOL_OF_TOURNAI">The School of Tournai</a></li> - <li class="isub2"><a href="#HANS_MEMLINC">Hans Memlinc</a></li> - <li class="isub2"><a href="#MEMLINCS_VIRGIN_AND_CHILD_WITH_DONORS">Memlinc’s “Virgin and Child, with Donors”</a></li> - <li class="isub2"><a href="#GERARD_DAVID">Gerard David</a></li> - <li class="isub2"><a href="#HIERONYMUS_BOSCH">Hieronymus Bosch</a></li> - <li class="isub2"><a href="#THE_ANTWERP_SCHOOL">The Antwerp School</a></li> - <li class="isub2"><a href="#BAREND_VAN_ORLEY">Barend van Orley</a></li> - <li class="indx"><a href="#THE_LATE_FLEMISH_SCHOOL">THE LATE FLEMISH SCHOOL</a></li> - <li class="isub2"><a href="#PIETER_BRUEGHEL">Pieter Brueghel</a></li> - <li class="isub2"><a href="#JAN_BRUEGHEL">Jan Brueghel</a></li> - <li class="isub2"><a href="#THE_FRANCK_FAMILY">The Franck Family</a></li> - <li class="isub2"><a href="#PETER_PAUL_RUBENS">Peter Paul Rubens</a></li> - <li class="isub2"><a href="#RUBENS_AT_ANTWERP">Rubens at Antwerp</a></li> - <li class="isub2"><a href="#THE_MEDICIS_SERIES">The Médicis Series</a></li> - <li class="isub2"><a href="#MEDICIS_PORTRAITS">Médicis Portraits</a></li> - <li class="isub2"><a href="#LATE_WORKS_BY_RUBENS">Late Works by Rubens</a></li> - <li class="isub2"><span class="pagenum" id="Page_x">x</span><a href="#ANTHONY_VAN_DYCK">Anthony van Dyck</a></li> - <li class="isub2"><a href="#VAN_DYCKS_SECOND_ANTWERP_PERIOD">Van Dyck’s Second Antwerp Period</a></li> - <li class="isub2"><a href="#LE_ROI_A_LA_CHASSE">“Le Roi à la Chasse”</a></li> - <li class="isub2"><a href="#FRANS_SNYDERS">Frans Snyders</a></li> - <li class="isub2"><a href="#JACOB_JORDAENS">Jacob Jordaens</a></li> - <li class="isub2"><a href="#FOLLOWERS_OF_RUBENS">Followers of Rubens</a></li> - <li class="isub2"><a href="#ADRIAEN_BROUWER">Adriaen Brouwer</a></li> - <li class="isub2"><a href="#DAVID_TENIERS">David Teniers</a></li> - <li class="isub2"><a href="#PHILIPPE_DE_CHAMPAIGNE">Philippe de Champaigne</a></li> - <li class="isub2"><a href="#VAN_DER_MEULEN">Van der Meulen</a></li> - <li class="isub2"><a href="#MINOR_FLEMISH_PAINTERS">Minor Flemish Painters</a></li> - <li class="indx"><a href="#THE_GERMAN_SCHOOL">THE GERMAN SCHOOL</a></li> - <li class="isub2"><a href="#THE_MASTER_OF_THE_BARTHOLOMEW_ALTAR">“The Master of the Bartholomew Altar”</a></li> - <li class="isub2"><a href="#COLOGNE_PAINTERS">Cologne Painters</a></li> - <li class="isub2"><a href="#ALBRECHT_DURER">Albrecht Dürer</a></li> - <li class="isub2"><a href="#DURERS_FOLLOWERS">Dürer’s Followers</a></li> - <li class="isub2"><a href="#LUCAS_CRANACH">Lucas Cranach</a></li> - <li class="isub2"><a href="#HANS_HOLBEIN">Hans Holbein</a></li> - <li class="isub2"><a href="#THE_KRATZER_PORTRAIT">The Kratzer Portrait</a></li> - <li class="isub2"><a href="#PORTRAIT_OF_ANNE_OF_CLEVES">Portrait of Anne of Cleves</a></li> - <li class="isub2"><a href="#THE_SEVENTEENTH_CENTURY">The Seventeenth Century</a></li> - <li class="isub2"><a href="#THE_EIGHTEENTH_CENTURY">The Eighteenth Century</a></li> - <li class="indx"><a href="#THE_SPANISH_SCHOOL">THE SPANISH SCHOOL</a></li> - <li class="isub2"><a href="#LUIS_DE_DALMAU">Luis de Dalmau</a></li> - <li class="isub2"><a href="#LUIS_MORALES">Luis Morales</a></li> - <li class="isub2"><a href="#EL_GRECO">El Greco</a></li> - <li class="isub2"><a href="#THE_SCHOOL_OF_SEVILLE">The School of Seville</a></li> - <li class="isub2"><a href="#ZURBARAN">Zurbarán</a></li> - <li class="isub2"><a href="#RIBERA">Ribera</a></li> - <li class="isub2"><a href="#VELAZQUEZ">Velazquez</a></li> - <li class="isub2"><a href="#THE_INFANTA">The Infanta</a></li> - <li class="isub2"><a href="#MARIANA_OF_AUSTRIA">Mariana of Austria</a></li> - <li class="isub2"><a href="#COPIES_AND_SCHOOL_PICTURES">Copies and School Pictures</a></li> - <li class="isub2"><a href="#THE_MEETING_OF_THIRTEEN_PEOPLE">The “Meeting of Thirteen People”</a></li> - <li class="isub2"><a href="#MURILLO">Murillo</a></li> - <li class="isub2"><a href="#THE_IMMACULATE_CONCEPTION">“The Immaculate Conception”</a></li> - <li class="isub2"><a href="#THE_BIRTH_OF_THE_VIRGIN">“The Birth of the Virgin”</a></li> - <li class="isub2"><a href="#THE_ANGELS_KITCHEN">“The Angels’ Kitchen”</a></li> - <li class="isub2"><a href="#THE_SCHOOL_OF_MADRID">The School of Madrid</a></li> - <li class="isub2"><a href="#GOYA">Goya</a></li> - <li class="indx"><a href="#THE_DUTCH_SCHOOL">THE DUTCH SCHOOL</a></li> - <li class="isub2"><a href="#GERARD_OF_HAARLEM">Gerard of Haarlem</a></li> - <li class="isub2"><a href="#SIR_ANTONIS_MOR">Sir Antonis Mor</a></li> - <li class="isub2"><a href="#SPANISH_OPPRESSION">Spanish Oppression</a></li> - <li class="isub2"><a href="#HISTORY_AND_PORTRAIT_PAINTERS">History and Portrait Painters</a></li> - <li class="isub2"><a href="#CORNELIS_JANSSEN">Cornelis Janssen</a></li> - <li class="isub2"><a href="#FRANS_HALS">Frans Hals</a></li> - <li class="isub2"><a href="#DUTCH_INDEPENDENCE">Dutch Independence</a></li> - <li class="isub2"><a href="#REMBRANDT">Rembrandt</a></li> - <li class="isub2"><a href="#THE_PUPILS_OF_REMBRANDT">The Pupils of Rembrandt</a></li> - <li class="isub2"><a href="#VAN_DER_HELST">Van der Helst</a></li> - <li class="isub2"><a href="#GENRE_PAINTERS">Genre Painters</a></li> - <li class="isub2"><a href="#ADRIAEN_VAN_OSTADE">Adriaen van Ostade</a></li> - <li class="isub2"><a href="#GERARD_DOU">Gerard Dou</a></li> - <li class="isub2"><a href="#DOUS_PUPILS">Dou’s Pupils</a></li> - <li class="isub2"><a href="#GERARD_TERBORCH">Gerard Terborch</a></li> - <li class="isub2"><a href="#JAN_STEEN">Jan Steen</a></li> - <li class="isub2"><a href="#PIETER_DE_HOOCH">Pieter de Hooch</a></li> - <li class="isub2"><a href="#NICOLAS_MAES">Nicolas Maes</a></li> - <li class="isub2"><a href="#GABRIEL_METSU">Gabriel Metsu</a></li> - <li class="isub2"><a href="#LANDSCAPE_PAINTERS">Landscape Painters</a></li> - <li class="isub2"><a href="#AELBERT_CUYP">Aelbert Cuyp</a></li> - <li class="isub2"><a href="#JACOB_VAN_RUISDAEL">Jacob van Ruisdael</a></li> - <li class="isub2"><a href="#HOBBEMA">Hobbema</a></li> - <li class="isub2"><a href="#PHILIPS_WOUWERMAN">Philips Wouwerman</a></li> - <li class="isub2"><a href="#THE_ITALIAN_INFLUENCE">The Italian Influence</a></li> - <li class="isub2"><a href="#ARCHITECTURAL_PAINTERS">Architectural Painters</a></li> - <li class="isub2"><a href="#MARINE_PAINTERS">Marine Painters</a></li> - <li class="isub2"><a href="#STILL_LIFE_PAINTERS">Still-Life Painters</a></li> - <li class="isub2"><a href="#THE_DECLINE">The Decline</a></li> - <li class="indx"><a href="#THE_EARLY_FRENCH_SCHOOL">THE EARLY FRENCH SCHOOL</a></li> - <li class="isub2"><a href="#THE_MAITRE_DE_MOULINS">The Maître de Moulins</a></li> - <li class="isub2"><a href="#THE_DE_SOMZEE_MAGDALEN">The de Somzée “Magdalen”</a></li> - <li class="isub2"><a href="#JEAN_FOUQUET">Jean Fouquet</a></li> - <li class="isub2"><a href="#NICOLAS_FROMENT">Nicolas Froment</a></li> - <li class="indx"><a href="#THE_SIXTEENTH-CENTURY_FRENCH_SCHOOL">THE SIXTEENTH-CENTURY FRENCH SCHOOL</a></li> - <li class="isub2"><a href="#JEAN_CLOUETS_DRAWINGS">Jean Clouet’s Drawings</a></li> - <li class="isub2"><a href="#FRANCOIS_CLOUET">François Clouet</a></li> - <li class="isub2"><a href="#CORNEILLE_DE_LYON">Corneille de Lyon</a></li> - <li class="isub2"><a href="#THE_SCHOOL_OF_FONTAINEBLEAU">The School of Fontainebleau</a></li> - <li class="isub2"><a href="#JEAN_COUSIN">Jean Cousin</a></li> - <li class="indx"><a href="#THE_SEVENTEENTH-CENTURY_FRENCH_SCHOOL">THE SEVENTEENTH-CENTURY FRENCH SCHOOL</a></li> - <li class="isub2"><a href="#THE_BROTHERS_LE_NAIN">The Brothers Le Nain</a></li> - <li class="isub2"><span class="pagenum" id="Page_xi">xi</span><a href="#NICOLAS_POUSSIN">Nicolas Poussin</a></li> - <li class="isub2"><a href="#CLAUDE_LORRAIN">Claude Lorrain</a></li> - <li class="isub2"><a href="#LE_SUEUR">Le Sueur</a></li> - <li class="isub2"><a href="#CHARLES_LE_BRUN">Charles Le Brun</a></li> - <li class="isub2"><a href="#PIERRE_MIGNARD">Pierre Mignard</a></li> - <li class="isub2"><a href="#LE_BRUNS_FOLLOWERS">Le Brun’s Followers</a></li> - <li class="isub2"><a href="#BATTLE_PAINTERS">Battle Painters</a></li> - <li class="isub2"><a href="#JEAN_JOUVENET">Jean Jouvenet</a></li> - <li class="isub2"><a href="#THE_PORTRAIT_PAINTERS">The Portrait Painters</a></li> - <li class="isub2"><a href="#LANDSCAPE_PAINTERS2">Landscape Painters</a></li> - <li class="isub2"><a href="#DESPORTES">Desportes</a></li> - <li class="indx"><a href="#THE_EIGHTEENTH-CENTURY_FRENCH_SCHOOL">THE EIGHTEENTH-CENTURY FRENCH SCHOOL</a></li> - <li class="isub2"><a href="#GENRE_PAINTERS2">Genre Painters</a></li> - <li class="isub2"><a href="#RAOUX_AND_DE_TROY">Raoux and de Troy</a></li> - <li class="isub2"><a href="#WATTEAU">Watteau</a></li> - <li class="isub2"><a href="#THE_WATTEAUS_IN_THE_LA_CAZE_GALLERY">The Watteaus in the La Caze Gallery</a></li> - <li class="isub2"><a href="#WATTEAUS_FOLLOWERS">Watteau’s Followers</a></li> - <li class="isub2"><a href="#THE_VAN_LOO_FAMILY">The Van Loo Family</a></li> - <li class="isub2"><a href="#FRANCOIS_BOUCHER">François Boucher</a></li> - <li class="isub2"><a href="#SIMEON_CHARDIN">Siméon Chardin</a></li> - <li class="isub2"><a href="#FRAGONARD">Fragonard</a></li> - <li class="isub2"><a href="#GREUZE">Greuze</a></li> - <li class="isub2"><a href="#PORTRAIT_PAINTERS">Portrait Painters</a></li> - <li class="isub2"><a href="#TOCQUE_VESTIER_AND_LEPICIE">Tocqué, Vestier, and Lépicié</a></li> - <li class="isub2"><a href="#MME_VIGEE_LE_BRUN">Mme. Vigée Le Brun</a></li> - <li class="isub2"><a href="#JOSEPH_VERNET">Joseph Vernet</a></li> - <li class="isub2"><a href="#HUBERT_ROBERT">Hubert Robert</a></li> - <li class="isub2"><a href="#LOUIS_DAVID">Jacques Louis David</a></li> - <li class="isub2"><a href="#THE_CORONATION_PICTURE">The “Coronation” Picture</a></li> - <li class="isub2"><a href="#BARON_GERARD">Baron Gérard</a></li> - <li class="isub2"><a href="#BARON_GROS">Baron Gros</a></li> - <li class="isub2"><a href="#PIERRE_PRUDHON">Pierre Prud’hon</a></li> - <li class="indx"><a href="#THE_NINETEENTH-CENTURY_FRENCH_SCHOOL">THE NINETEENTH-CENTURY FRENCH SCHOOL</a></li> - <li class="isub2"><a href="#GERICAULT">Géricault</a></li> - <li class="isub2"><a href="#DELACROIX">Delacroix</a></li> - <li class="isub2"><a href="#DELACROIXS_ORIENTAL_PICTURES">Delacroix’s Oriental Pictures</a></li> - <li class="isub2"><a href="#INGRES">Ingres</a></li> - <li class="isub2"><a href="#DELAROCHE_AND_SCHEFFER">Delaroche and Scheffer</a></li> - <li class="isub2"><a href="#DECAMPS">Decamps</a></li> - <li class="isub2"><a href="#THE_ORIENTALISTS">The Orientalists</a></li> - <li class="isub2"><a href="#REGNAULT">Regnault</a></li> - <li class="isub2"><a href="#ACADEMIC_PAINTERS">Academic Painters</a></li> - <li class="isub2"><a href="#MICHEL_AND_HUET">Michel and Huet</a></li> - <li class="isub2"><a href="#THE_BARBIZON_SCHOOL">The Barbizon School</a></li> - <li class="isub2"><a href="#COROT">Corot</a></li> - <li class="isub2"><a href="#T_ROUSSEAU">T. Rousseau</a></li> - <li class="isub2"><a href="#C_TROYON">C. Troyon</a></li> - <li class="isub2"><a href="#J_DUPRE">J. Dupré</a></li> - <li class="isub2"><a href="#DIAZ">Diaz</a></li> - <li class="isub2"><a href="#DAUBIGNY">Daubigny</a></li> - <li class="isub2"><a href="#MILLET">Millet</a></li> - <li class="isub2"><a href="#DAUMIER">Daumier</a></li> - <li class="isub2"><a href="#COURBET">Courbet</a></li> - <li class="isub2"><a href="#MEISSONIER">Meissonier</a></li> - <li class="isub2"><a href="#RICARD">Ricard</a></li> - <li class="isub2"><a href="#MANET">Manet</a></li> - <li class="indx"><a href="#THE_BRITISH_SCHOOL">THE BRITISH SCHOOL</a></li> - <li class="isub2"><a href="#CONSTABLE_AND_HIS_IMITATORS">Constable and his Imitators</a></li> - <li class="isub2"><a href="#BONINGTON">Bonington</a></li> - <li class="isub2"><a href="#RAEBURN">Raeburn</a></li> - <li class="isub2"><a href="#SIR_THOMAS_LAWRENCE">Sir Thomas Lawrence</a></li> - <li class="isub2"><a href="#OTHER_PORTRAIT_PAINTERS">Other Portrait Painters</a></li> - </ul> - - <div class="chapter"> - <span class="pagenum" id="Page_xiii">xiii</span> - <h2 class="gespertt1" id="LIST_OF_ILLUSTRATIONS">LIST OF ILLUSTRATIONS</h2> - </div> - - <table summary="List of Illustrations"> - <thead> - <tr> - <th class="xsmall">NO.</th> - <th class="bl">ITALIAN SCHOOLS</th> - <th class="xsmall bl">PLATE</th> - </tr> - </thead> - <tbody> - <tr> - <td class="tdl3">1601</td> - <td class="tdl1 bl">LEONARDO DA VINCI—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of Mona Lisa La Joconde</cite></td> - <td class="tdc bl"><div><a href="#i_plate04">IV</a></div></td> - </tr> - <tr> - <td class="tdl3">1383</td> - <td class="tdl1 bl">SIMONE MARTINI—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Christ Bearing His Cross</cite></td> - <td class="tdc bl"><div><a href="#i_plate01">I</a></div></td> - </tr> - <tr> - <td class="tdl3">1344</td> - <td class="tdl1 bl">FRA FILIPPO LIPPI—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Madonna and Child, with Angels, and Two Abbots</cite></td> - <td class="tdc bl"><div><a href="#i_plate02">II</a></div></td> - </tr> - <tr> - <td class="tdl3">1322</td> - <td class="tdl1 bl">DOMENICO GHIRLANDAIO—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of an Old Man and his Grandson</cite><br />(“<i>The Bottle-nosed Man</i>”)</td> - <td class="tdc bl"><div><a href="#i_plate03">III</a></div></td> - </tr> - <tr> - <td class="tdl3">1297</td> - <td class="tdl1 bl">BOTTICELLI—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Giovanna Degli Albizzi and the Three Graces</cite></td> - <td class="tdc bl"><div><a href="#i_plate05">V</a></div></td> - </tr> - <tr> - <td class="tdl3">1566<span class="smcap">a</span></td> - <td class="tdl1 bl">PERUGINO—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>St. Sebastian</cite></td> - <td class="tdc bl"><div><a href="#i_plate06">VI</a></div></td> - </tr> - <tr> - <td class="tdl3">1496</td> - <td class="tdl1 bl">RAPHAEL—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>La Belle Jardinière</cite></td> - <td class="tdc bl"><div><a href="#i_plate07">VII</a></div></td> - </tr> - <tr> - <td class="tdl3">1505</td> - <td class="tdl1 bl">RAPHAEL—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of Baldassare Castiglione</cite></td> - <td class="tdc bl"><div><a href="#i_plate08">VIII</a></div></td> - </tr> - <tr> - <td class="tdl3">1134</td> - <td class="tdl1 bl">ANTONELLO DA MESSINA—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of a Condottiere</cite></td> - <td class="tdc bl"><div><a href="#i_plate09">IX</a></div></td> - </tr> - <tr> - <td class="tdl3">1136</td> - <td class="tdl1 bl">GIORGIONE—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Pastoral Symphony</cite></td> - <td class="tdc bl"><div><a href="#i_plate10">X</a></div></td> - </tr> - <tr> - <td class="tdl3">1399</td> - <td class="tdl1 bl">PALMA VECCHIO—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Adoration of the Shepherds, with a Female Donor</cite></td> - <td class="tdc bl"><div><a href="#i_plate11">XI</a></div></td> - </tr> - <tr> - <td class="tdl3">1592</td> - <td class="tdl1 bl">TITIAN—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Man with a Glove</cite></td> - <td class="tdc bl"><div><a href="#i_plate12">XII</a></div></td> - </tr> - <tr> - <td class="tdl3">1584</td> - <td class="tdl1 bl">TITIAN—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Entombment</cite></td> - <td class="tdc bl"><div><a href="#i_plate13">XIII</a></div></td> - </tr> - <tr> - <td class="tdl3">1375</td> - <td class="tdl1 bl">ANDREA MANTEGNA—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Parnassus</cite></td> - <td class="tdc bl"><div><a href="#i_plate14">XIV</a></div></td> - </tr> - <tr> - <td class="tdl3">1117</td> - <td class="tdl1 bl">CORREGGIO—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Mystic Marriage of St. Catherine</cite></td> - <td class="tdc bl"><div><a href="#i_plate15">XV</a></div></td> - </tr> - <tr> - <td><span class="pagenum" id="Page_xiv">xiv</span> </td> - <td class="tdc1 bl"><div><b>FLEMISH SCHOOL</b></div></td> - <td class="bl"> </td> - </tr> - <tr> - <td class="tdl3">1986</td> - <td class="tdl1 bl">JAN VAN EYCK—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Virgin and Child, and the Chancellor Rolin</cite></td> - <td class="tdc bl"><div><a href="#i_plate16">XVI</a></div></td> - </tr> - <tr> - <td class="tdl3"><div><a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a></div></td> - <td class="tdl1 bl">HANS MEMLINC—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of an Old Lady</cite></td> - <td class="tdc bl"><div><a href="#i_plate17">XVII</a></div></td> - </tr> - <tr> - <td class="tdl3">1957</td> - <td class="tdl1 bl">GERARD DAVID—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Marriage at Cana</cite></td> - <td class="tdc bl"><div><a href="#i_plate18">XVIII</a></div></td> - </tr> - <tr> - <td class="tdl3">2029</td> - <td class="tdl1 bl">QUENTIN MATSYS-</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Banker and his Wife</cite></td> - <td class="tdc bl"><div><a href="#i_plate19">XIX</a></div></td> - </tr> - <tr> - <td class="tdl3">1997</td> - <td class="tdl1 bl">JAN MABUSE—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of Jean Carondelet</cite></td> - <td class="tdc bl"><div><a href="#i_plate20">XX</a></div></td> - </tr> - <tr> - <td class="tdl3">2093</td> - <td class="tdl1 bl">RUBENS—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Henry IV. leaves for the Wars</cite></td> - <td class="tdc bl"><div><a href="#i_plate21">XXI</a></div></td> - </tr> - <tr> - <td class="tdl3">2113</td> - <td class="tdl1 bl">RUBENS—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of Hélène Fourment and two of her Children</cite></td> - <td class="tdc bl"><div><a href="#i_plate22">XXII</a></div></td> - </tr> - <tr> - <td class="tdl3">1967</td> - <td class="tdl1 bl">VAN DYCK—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of Charles I. of England</cite></td> - <td class="tdc bl"><div><a href="#i_plate23">XXIII</a></div></td> - </tr> - <tr> - <td> </td> - <td class="tdc1 bl"><div><b>GERMAN SCHOOL</b></div></td> - <td class="bl"> </td> - </tr> - <tr> - <td class="tdl3">2715</td> - <td class="tdl1 bl">HANS HOLBEIN THE YOUNGER—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of Erasmus</cite></td> - <td class="tdc bl"><div><a href="#i_plate24">XXIV</a></div></td> - </tr> - <tr> - <td> </td> - <td class="tdc1 bl"><div><b>SPANISH SCHOOL</b></div></td> - <td class="bl"> </td> - </tr> - <tr> - <td class="tdl3">1731</td> - <td class="tdl1 bl">VELAZQUEZ—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of the Infanta Margarita</cite></td> - <td class="tdc bl"><div><a href="#i_plate25">XXV</a></div></td> - </tr> - <tr> - <td class="tdl3">1709</td> - <td class="tdl1 bl">MURILLO—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Immaculate Conception</cite></td> - <td class="tdc bl"><div><a href="#i_plate26">XXVI</a></div></td> - </tr> - <tr> - <td> </td> - <td class="tdc1 bl"><div><b>DUTCH SCHOOL</b></div></td> - <td class="bl"> </td> - </tr> - <tr> - <td class="tdl3">2384</td> - <td class="tdl1 bl">FRANS HALS—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Gipsy Girl</cite></td> - <td class="tdc bl"><div><a href="#i_plate27">XXVII</a></div></td> - </tr> - <tr> - <td class="tdl3">2385</td> - <td class="tdl1 bl">FRANS HALS—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of a Lady in Black</cite></td> - <td class="tdc bl"><div><a href="#i_plate28">XXVIII</a></div></td> - </tr> - <tr> - <td class="tdl3">2539</td> - <td class="tdl1 bl">REMBRANDT—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Pilgrims at Emmaus</cite></td> - <td class="tdc bl"><div><a href="#i_plate29">XXIX</a></div></td> - </tr> - <tr> - <td><span class="pagenum" id="Page_xv">xv</span>2547</td> - <td class="tdl1 bl">REMBRANDT—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>Portrait of Hendrickje Stoffels</cite></td> - <td class="tdc bl"><div><a href="#i_plate30">XXX</a></div></td> - </tr> - <tr> - <td class="tdl3">2394</td> - <td class="tdl1 bl">VAN DER HELST—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Shooting Prize</cite></td> - <td class="tdc bl"><div><a href="#i_plate31">XXXI</a></div></td> - </tr> - <tr> - <td class="tdl3">2348</td> - <td class="tdl1 bl">GERARD DOU—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Dropsical Woman</cite></td> - <td class="tdc bl"><div><a href="#i_plate32">XXXII</a></div></td> - </tr> - <tr> - <td class="tdl3">2589</td> - <td class="tdl1 bl">TERBORCH—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><cite>The Concert</cite></td> - <td class="tdc bl"><div><a href="#i_plate33">XXXIII</a></div></td> - </tr> - <tr> - <td class="tdl3">2580</td> - <td class="tdl1 bl">JAN STEEN—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Bad Company</em></td> - <td class="tdc bl"><div><a href="#i_plate34">XXXIV</a></div></td> - </tr> - <tr> - <td class="tdl3">2415</td> - <td class="tdl1 bl">PIETER DE HOOCH—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Dutch Interior, with a Lady Playing Cards</em></td> - <td class="tdc bl"><div><a href="#i_plate35">XXXV</a></div></td> - </tr> - <tr> - <td class="tdl3">2456</td> - <td class="tdl1 bl">JAN VER MEER—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Lace-Maker</em></td> - <td class="tdc bl"><div><a href="#i_plate36">XXXVI</a></div></td> - </tr> - <tr> - <td> </td> - <td class="tdc1 bl"><div><b>FRENCH SCHOOL</b></div></td> - <td class="bl"> </td> - </tr> - <tr> - <td class="tdl3">734</td> - <td class="tdl1 bl">NICOLAS POUSSIN—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Shepherds in Arcadia</em></td> - <td class="tdc bl"><div><a href="#i_plate37">XXXVII</a></div></td> - </tr> - <tr> - <td class="tdl3">317</td> - <td class="tdl1 bl">CLAUDE—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>View of a Seaport</em></td> - <td class="tdc bl"><div><a href="#i_plate38">XXXVIII</a></div></td> - </tr> - <tr> - <td class="tdl3">982</td> - <td class="tdl1 bl">WATTEAU—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Embarkation for the Island of Cythera</em></td> - <td class="tdc bl"><div><a href="#i_plate39">XXXIX</a></div></td> - </tr> - <tr> - <td class="tdl3">36</td> - <td class="tdl1 bl">BOUCHER—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Vulcan Presenting Arms to Venus</em></td> - <td class="tdc bl"><div><a href="#i_plate40">XL</a></div></td> - </tr> - <tr> - <td class="tdl3">92</td> - <td class="tdl1 bl">CHARDIN—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Grace before Meat</em></td> - <td class="tdc bl"><div><a href="#i_plate41">XLI</a></div></td> - </tr> - <tr> - <td class="tdl3">291</td> - <td class="tdl1 bl">FRAGONARD—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Music Lesson</em></td> - <td class="tdc bl"><div><a href="#i_plate42">XLII</a></div></td> - </tr> - <tr> - <td class="tdl3">372</td> - <td class="tdl1 bl">GREUZE—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Broken Pitcher</em></td> - <td class="tdc bl"><div><a href="#i_plate43">XLIII</a></div></td> - </tr> - <tr> - <td class="tdl3">522</td> - <td class="tdl1 bl">MME. VIGÉE LE BRUN—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Portrait of the Artist and her Daughter</em></td> - <td class="tdc bl"><div><a href="#i_plate44">XLIV</a></div></td> - </tr> - <tr> - <td class="tdl3">199</td> - <td class="tdl1 bl">DAVID—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Portrait of Mme. Récamier</em></td> - <td class="tdc bl"><div><a href="#i_plate45">XLV</a></div></td> - </tr> - <tr> - <td class="tdl3">338</td> - <td class="tdl1 bl">GÉRICAULT—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Raft of the “Medusa”</em></td> - <td class="tdc bl"><div><a href="#i_plate46">XLVI</a></div></td> - </tr> - <tr> - <td class="tdl3">207</td> - <td class="tdl1 bl">DELACROIX—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Dante and Virgil</em></td> - <td class="tdc bl"><div><a href="#i_plate47">XLVII</a></div></td> - </tr> - <tr> - <td class="tdl3">422</td> - <td class="tdl1 bl">INGRES—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Spring</em></td> - <td class="tdc bl"><div><a href="#i_plate48">XLVIII</a></div></td> - </tr> - <tr> - <td><span class="pagenum" id="Page_xvi">xvi</span>2801</td> - <td class="tdl1 bl">COROT—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Dell</em></td> - <td class="tdc bl"><div><a href="#i_plate49">XLIX</a></div></td> - </tr> - <tr> - <td class="tdl3">2867</td> - <td class="tdl1 bl">DUPRÉ—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Pond</em></td> - <td class="tdc bl"><div><a href="#i_plate50">L</a></div></td> - </tr> - <tr> - <td class="tdl3">2818</td> - <td class="tdl1 bl">DAUBIGNY—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>The Weir Gate at Optevoz</em></td> - <td class="tdc bl"><div><a href="#i_plate51">LI</a></div></td> - </tr> - <tr> - <td class="tdl3">644</td> - <td class="tdl1 bl">MILLET—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Women Gleaning</em></td> - <td class="tdc bl"><div><a href="#i_plate52">LII</a></div></td> - </tr> - <tr> - <td class="tdl3">613<span class="smcap">a</span></td> - <td class="tdl1 bl">MANET—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Olympia</em></td> - <td class="tdc bl"><div><a href="#i_plate53">LIII</a></div></td> - </tr> - <tr> - <td> </td> - <td class="tdc1 bl"><div><b>ENGLISH SCHOOL</b></div></td> - <td class="bl"> </td> - </tr> - <tr> - <td class="tdl3">1809</td> - <td class="tdl1 bl">CONSTABLE—</td> - <td class="bl"> </td> - </tr> - <tr> - <td> </td> - <td class="tdl2 bl"><em>Hampstead Heath</em></td> - <td class="tdc bl"><div><a href="#i_plate54">LIV</a></div></td> - </tr> - </tbody> - </table> - - <div class="footnote"><a id="Footnote_1" href="#FNanchor_1" class="label"> - [1]</a> This picture has not yet received an official number.</div> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_1">1</span> - <h2 id="INTRODUCTION">INTRODUCTION</h2> - </div> - - <p class="drop-cap">TO form a just appreciation of the magnificent collection of paintings - which the Louvre to-day contains would require an exhaustive study - which might be spread over a term of years spent in the famous French - capital itself. In the limited space at our disposal we can only - touch lightly upon the historical events, the sociological causes, - the grandeur of royalty, and the taste of the people, all of which - contributed towards bringing about the formation of the great Musée - National du Louvre as we now know it. It has been our endeavour to - throw into prominent relief the outstanding features in the history - of the Gallery and to sketch them in chronological order. The - architectural claims of the building, its priceless collections of - statuary and of <i lang="fr">objets d’art</i> of every age do not here immediately - concern us; it is to the formation of the superb collection of - paintings that we primarily desire to call our readers’ attention.</p> - - <p>A small part of the building which is to-day known as the Louvre was - first occupied as a royal residence by Philippe-Auguste (reigned - 1180–1223), who converted a hunting-seat of the early French kings on - this site into a feudal fortress with a strong <i lang="fr">donjon</i> or keep, the - exact plan of which may still be traced by the white line marked since - 1868 on the pavement in the southwest corner of the old courtyard. - Charles v. (reigned 1364–80), who may be regarded as the first royal - collector of art treasures in France, greatly enlarged the building - of the Old Louvre as a residential palace; he is also said to have - decorated the building with statues and paintings which have long since - disappeared.<span class="pagenum" id="Page_2">2</span> The real foundations of the collection of <i lang="fr">la maison du - Roi</i> were laid by François <span class="smcap">i.</span> (reigned 1515–47), who during - his Italian campaigns acquired a respect for art that proved to be an - honour to his taste and a dowry for his country. The æsthetic movement - had developed rapidly by 1541, when he laid the foundations of the - present palace<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> and had already begun to form a collection of easel - pictures. François <span class="smcap">i.</span> invited to his court the master-painter - Leonardo da Vinci (1452–1519), who in 1516 left his native land - for France, where he did the king little more than the compliment - of dying in his realm, although not, as an unveracious tradition - recounts, in his arms. Andrea del Sarto (1486–1531) was also employed - at the French court, at which he arrived in 1518. Giovanni Battista - Rosso (1494–1541), a painter of little genius but great ability, was - summoned by François <span class="smcap">i.</span> in 1530 to decorate the Château at - Fontainebleau. Benvenuto Cellini (1500–71), the Florentine goldsmith, - having “determined to seek another country and better luck,” was yet - one more artist who set out for France, where, between 1540 and 1544, - he adorned the royal tables with objects precious in workmanship - and material. Primaticcio (1504–70), who is known to have cleaned - at Fontainebleau in 1530 four of the large reputed Raphaels now in - the Louvre, remained at the French court until his death. The strict - authenticity of these four pictures—<cite>The Holy Family of Francis I.</cite> - (No. 1498), the <cite>St. Margaret</cite> (No. 1501), the large <cite>St. Michael</cite> (No. - 1504), and the <cite>Portrait of Joan of Arragon</cite> (No. 1507)—does not here - concern us. François <span class="smcap">i.</span> also possessed at this date, among - other notable pictures, Raphael’s <cite>La Belle Jardinière</cite> (No. 1496, - <a href="#i_plate07">Plate VII.</a>), Leonardo <span class="pagenum" id="Page_3">3</span>da Vinci’s <cite>Virgin of the Rocks</cite> (No. 1599), and - the same artist’s <cite>Mona Lisa</cite> or <cite>La Joconde</cite> (No. 1601, <a href="#i_plate04">Plate IV.</a>), - while the art of Sebastiano del Piombo, Andrea del Sarto, and other - painters, Flemish as well as Italian, was well represented in the royal - collection during his reign.</p> - - <div class="footnote" lang="fr"><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> - “François <span class="smcap">i.</span> voulant avoir dans Paris un palais - digne de sa magnificence et dédaignant le vieux Louvre et l’hôtel des - Tournelles, amas irrégulier de <em>tournelles</em> (tourelles) et de pavillons - gothiques, avait fait démolir, dès 1528, la grosse tour du Louvre, - ce donjon de Philippe-Auguste duquel relevaient tous les fiefs du - royaume. C’était démolir l’histoire elle-même; c’était la monarchie de - la renaissance abattant la vieille royauté féodale.”—Martin, <cite>Hist. de France</cite>. - </div> - - <p>The example set by François <span class="smcap">i.</span> was followed by his successor, - Henri <span class="smcap">ii.</span> (reigned 1547–59), for whom Niccolò dell’ Abbate - (1515–71), an artist of secondary importance, was working from 1552 - onwards. Henri <span class="smcap">ii.</span>’s queen, Catherine de Médicis, was also a - patron of art, being herself a collector of coins and medals. To her - influence was due the decoration of the Château of Fontainebleau and - the erection of the Palace of the Tuileries,<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> which was subsequently - connected with the Louvre by means of the Long Gallery, now Room VI. - Her eldest son, François <span class="smcap">ii.</span> (reigned 1559–60), the husband of - Mary Queen of Scots, first converted the new buildings of the Louvre - into a royal residence. Henry <span class="smcap">iv.</span> (reigned 1589–1610) enlarged - the Tuileries, and almost completed the Long Gallery, which now - contains such a large proportion of the pictures. Louis <span class="smcap">xiii.</span> - (reigned 1589–1610), his eldest son, seems to have taken little - interest in the royal collection; but his mother, Marie de Médicis, - invited Rubens (1577–1640) to Paris to decorate the Palace of the - Luxembourg with that series of imposing canvases representing her own - life-history which are to-day seen to their best advantage in the Salle - Rubens (Room XVIII.) of the Louvre.</p> - - <div class="footnote"><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> - An inscription on a tablet placed high up on the left of - the Pavillon Sully records that François <span class="smcap">i.</span> began the Louvre - in 1541, and Catherine de Médicis the Tuileries in 1564.</div> - - <p>No complete record has been found of the pictures which formed the - royal collection previous to the year 1642. To that date belongs - a meagre Catalogue of the objects of art which then remained at - Fontainebleau, but it is supposed that when Louis <span class="smcap">xiv.</span> - (reigned 1643–1715) succeeded to the throne he in<span class="pagenum" id="Page_4">4</span>herited about one - hundred pictures, the property of the Crown. With his accession a new - era in the history of art in France began.</p> - - <p>Meanwhile, across the water, a superb royal collection had been formed. - Charles <span class="smcap">i.</span> of England (reigned 1625–49) had begun his career - as a patron of art before his accession, with the acquisition of the - paintings and statues collected by his deceased brother, Henry. During - his matrimonial visit to Madrid in 1623 he was presented by Philip - <span class="smcap">iv.</span> with Titian’s <cite>Venus del Pardo</cite>, now in the Louvre (No. - 1587). Soon after his accession he began to collect systematically, - employing trusty agents to buy for him in different parts of Europe. - His most notable purchase was that of the collection of the Duke of - Mantua, for which he paid £18,280 between 1629 and 1632. He is said to - have possessed in all 1760 pictures by the date of his execution. Most - of them were disposed of at auction by order of Cromwell between 1649 - and 1652.</p> - - <p>One of the most persistent bidders at the sale of Charles <span class="smcap">i.</span>’s - pictures was Eberhard Jabach, a native of Cologne, who settled in Paris - and became a naturalised Frenchman in 1647. He was an enthusiastic - buyer of pictures, and his collection soon surpassed that of the - French king. It was known to all French connoisseurs, and was visited - by all travellers of note. In time, however, Jabach’s energies as a - buyer exceeded his financial resources, and when his debts amounted to - 278,718 <i>livres</i> he offered his collection to Louis <span class="smcap">xiv.</span>, who - was most anxious to distinguish his reign by the formation of a gallery - of pictures which should be in all respects worthy of it. To this end - he purchased Eberhard Jabach’s collection, paying 220,000 <i>livres</i> - for the 5542 drawings and 101 pictures which it contained. The price - originally asked by Jabach was 463,425 <i>livres</i>. Among the masterpieces - thus acquired by the king were Titian’s <cite>Entombment</cite> <span class="pagenum" id="Page_5">5</span>(No. 1584, - <a href="#i_plate13">Plate XIII.</a>), which Jabach had had the good fortune to purchase from - the English royal collection for the absurdly small sum of £128, and - Giorgione’s <cite>Pastoral Symphony</cite> (No. 1136, <a href="#i_plate10">Plate X.</a>), which had also - been among the treasures of the English Crown.</p> - - <p>To Cardinal Richelieu (1585–1642), who founded the French Academy in - 1635, at one time belonged Andrea Mantegna’s <cite>Parnassus</cite> (No. 1375, - <a href="#i_plate14">Plate XIV.</a>), the same painter’s <cite>Wisdom victorious over the Vices</cite> (No. - 1376), Lorenzo Costa’s <cite>The Court of Isabella d’Este in the Garden of - the Muses</cite> (No. 1261), and the same painter’s <cite>Mythological Scene</cite> (No. - 1262), together with Perugino’s <cite>Combat of Love and Chastity</cite> (No. - 1567).</p> - - <p>Another important buyer at the sale of Charles <span class="smcap">i.</span>’s collection - was Cardinal Mazarin (1602–61), who acquired several valuable pictures, - besides statuary, tapestries, and other fabrics. Of Mazarin’s pictures - the Louvre now possesses Raphael’s small <cite>St. Michael</cite> (No. 1502) and - a <cite>Holy Family</cite> (No. 1135), which is catalogued under the name of - Giorgione, but it is more probably from the hand of Cariani.</p> - - <p>It is said that Louis <span class="smcap">xiv.</span> preferred the pictures of his own - court-painter, Charles Le Brun, to those of the Venetian master, Paolo - Veronese, whose large canvas, <cite>The Supper at Emmaus</cite> (No. 1196), was - nevertheless acquired during his reign. Eight pictures by Annibale - Carracci, all of which are not now publicly exhibited in the Louvre - (Nos. 1218, 1220, 1222, 1226, 1231–34), Albani’s <cite>Diana and Actæon</cite> - (No. 1111), nine compositions by Guido Reni (Nos. 1439–55 and 1457), - and ten paintings by Domenichino (Nos. 1609–10 and 1612–19), also - enriched the royal collection during Louis <span class="smcap">xiv.</span>’s reign. - Nor were the great French painters neglected. The four pictures - (Nos. 736–39) of <cite>The Seasons</cite>, by Nicolas Poussin, which had been - commissioned in 1660 by the Duc de Richelieu for the decoration of - the Château de Meudon, together<span class="pagenum" id="Page_6">6</span> with four of the largest Claudes - now in the Louvre (Nos. 312, 314, 316, 317), were obtained for the - royal galleries by the ever-watchful Colbert (1619–83), who had been - appointed Minister of Finance on the death of Mazarin (1602–61). - Flemish art, as seen in the stately pictures of Van Dyck, was - represented by seven examples (Nos. 1961–63, 1970, 1973–75). On the - other hand, Louis <span class="smcap">xiv.</span> is said to have failed altogether to - appreciate the work of Teniers and to have exclaimed, when some of - that artist’s pictures were brought to his notice, “<i lang="fr">Ôtez-moi ces - magots-là!</i>” Only one of the thirty-nine pictures by Teniers now in the - Louvre, the <cite>Interior of a Cottage</cite> (No. 2162), passed into the Gallery - at that date. The almost entire absence of Dutch pictures is also to be - noticed.</p> - - <p>An event of extreme importance in this pompous reign was the - institution of the French Academy of Arts, in 1648, with Charles Le - Brun (1619–90) as Director, the despotic power which he exercised in - art matters bringing about his further appointment as Director of the - Gobelins tapestry works in 1660.</p> - - <p>In 1681 the Crown pictures and other royal art treasures were brought - to the Louvre from Versailles and were temporarily exhibited there, - the king paying a state visit to the capital on December 5 to see his - <i lang="fr">cabinet de tableaux</i>. We read that the walls of eleven rooms were - covered up to the cornices. The collection, putting on one side all - doubts as to strict authenticity, included six paintings by Correggio, - ten by Leonardo da Vinci, eight by Giorgione, twenty-three by Titian, - nineteen by A. Carracci, twelve by Guido Reno, and eighteen by Paolo - Veronese. These treasures, however, did not remain long at the Louvre, - but were “packed up, loaded on rough carts, and taken back over the - paved roads to Versailles,” which had now taken precedence over - Fontainebleau as a royal residence; and at Versailles the Court mainly - resided until the Revolution, although Louis <span class="smcap">xiv.<span class="pagenum" id="Page_7">7</span></span> greatly - enlarged the Louvre Palace and planted the Tuileries Gardens. At the - death of <i lang="fr">le Roi Soleil</i> the Crown pictures numbered 1500.</p> - - <p>The energy of Louis <span class="smcap">xiv.</span> was followed by the apathy of his - degenerate successor, Louis <span class="smcap">xv.</span> (reigned 1715–74), who, - however, added 300 pictures to the royal collection. The <cite>Virgin - with the Blue Diadem</cite> or <cite>Virgin with the Veil</cite> (No. 1497), which - still passes under the name of Raphael, was among the pictures - which then passed out of the collection of the Prince de Carignan - into the possession of the Crown. It was now a sorry moment for the - pictures which, “scattered through the interminable and then ill-kept - country palaces of the French Crown, exposed to every injury of time, - ignorance, and weather, regarded at best in the light of old furniture - and too often in that of old lumber, pleaded in vain for respect and - care. No public Catalogue told of their existence; the generation that - had talked of them had passed away; it was nobody’s business to ask for - them, and few actually knew where they were. Even the new-comers passed - into the same void which had swallowed their predecessors.” Some of - the pictures previously recorded now disappeared completely, without - leaving a clue to their fate. Eventually, in 1746, M. de la Fonte de - Saint-Yenne in a pamphlet directed public opinion to the fact that - these Crown pictures had for fifty years been hidden and neglected in - “<i lang="fr">une obscure prison de Versailles</i>.” As a result of this, in 1750, by - the king’s permission, 110 pictures selected from the different schools - of painting were brought from Versailles to the Palais de Luxembourg, - where the large canvases by Rubens (now in the Salle Rubens at the - Louvre) were regarded as forming a <i lang="fr">centre d’études</i>. Here for the - first time, and for two days only in the week, they were shown under - certain restrictions to a limited public. In 1785 they were again - removed to Versailles.</p> - - <p><span class="pagenum" id="Page_8">8</span></p> - - <p>Although Louis <span class="smcap">xiv.</span>’s well-known grudge against Holland - probably accounted for the almost entire absence of Dutch pictures - from the Crown possessions, Louis <span class="smcap">xvi.</span> had the good taste - to acquire works by Aelbert Cuyp (No. 2341, <cite>Landscape</cite>); Jan van - Goyen (No. 2375, <cite>Banks of a Dutch River</cite>, and No. 2377, <cite>A River - in Holland</cite>); B. van der Helst (No. 2394, <cite>The Officers of the - Arquebusiers of St. Sebastian</cite>); G. Metsu (No. 2461, <cite>The Alchemist</cite>); - Adriaen van Ostade (No. 2495, <cite>The Painter’s Family</cite>[?], and No. 2496, - <cite>The Schoolmaster</cite>); Isaac van Ostade (No. 2510, <cite>A Frozen Canal in - Holland</cite>); Rembrandt (No. 2539, <cite>The Pilgrims at Emmaus</cite>, No. 2540, - and No. 2541, <cite>The Philosopher in Meditation</cite>, No. 2555, <cite>Portrait of - Rembrandt aged</cite>); Jacob van Ruisdael (No. 2559, <cite>Landscape</cite>, and No. - 2560, <cite>Sunny Landscape</cite>); Terborgh (No. 2587, <cite>The Military Gallant</cite>); - and Philips Wouverman (No. 2621, <cite>The Prize Ox</cite>, and No. 2625, <cite>The - Stag Hunt</cite>). Five of the less important of Murillo’s pictures now in - the Louvre (Nos. 1712–15 and No. 1717) were also acquired at this - period, and the series of twenty-two large canvases illustrating - <cite>Scenes from the Life of St. Bruno</cite> by Eustache Le Sueur were also - purchased by Louis <span class="smcap">xvi.</span></p> - - <p>From 1725 onwards the Salon held its Exhibitions in the Salon Carré - (Room IV.), but after 1848 this room was used only for Paintings by the - Old Masters.</p> - - <p>In 1790 a Commission was appointed by the National Assembly “to - register and watch over all that was most valuable,” and on May - 26, 1791 a decree was made that the Louvre should be thenceforward - dedicated to the conservation of objects of science and of art. On - August 26 of the same year a further Commission was appointed by the - National Convention to inspect and gather together the treasures of - art scattered through <i lang="fr">les maisons royales</i>. The Convention decided - that the “Museum of the Republic” should be officially opened in the - Long Gallery of the Louvre on August 10, 1793, and from November 8 of - the same year the<span class="pagenum" id="Page_9">9</span> Museum was open to the inspection of the public - three days in every ten. This, the first public exhibition of art - treasures in the Louvre, was the foundation of the present institution. - The Catalogue of this date contains reference to only 537 pictures, - the greater number of which came from Paris churches and national - buildings. The inhabitants of Versailles now petitioned that their town - should not be despoiled of its pictures, “and so be deprived of its - last attraction in the eyes of the world”!</p> - - <p>The Louvre was now destined to become for a few years the temple of the - <i>spolia opima</i> which the victorious French army brought home. “This - system of levying pictures, statues, and other objects by means of - treaties, so called, in which the conqueror dictated terms to those - incapable of refusing them, was a dishonourable novelty in the annals - of modern warfare. Disdaining the usages of Christian nations and - overleaping especially the traditions of French courtesy and chivalry, - Buonaparte turned back to the ages of pagan history for a precedent for - his measures of spoliation.” By the Treaty of Bologna of June 23, 1796, - and the Treaty of Tolentino of February 19, 1797, he became possessed - of twenty pictures from Modena, twenty from Parma, forty from Bologna, - ten from Ferrara, while Rome, Piacenza, Cento, Ravenna, Rimini, Pesaro, - Ancona, Loreto, and Perugia also had to yield up a portion of their - treasures.</p> - - <p>The first exhibition of this booty was held in the Louvre in January - 1798. Here, during the next few years, were gathered together many of - the world’s most famous pictures, including Raphael’s <cite>St. Cecilia</cite>, - now in the Bologna Gallery; Correggio’s <cite>St. Jerome</cite> and his <cite>Madonna - della Scodella</cite>, now in the Parma Gallery; Raphael’s <cite>Transfiguration</cite>, - now in the Vatican, and his <cite>Madonna della Sedia</cite>, now in the Pitti - Palace at Florence; Domenichino’s <cite>Last Communion of St. Jerome</cite>, now - in the Vatican; Titian’s <cite>Martyrdom of St. Peter Martyr</cite>, destroyed - by fire in 1867,<span class="pagenum" id="Page_10">10</span> and his <cite>Assumption</cite>, now in the Venice Gallery; - Van Eyck’s <cite>Adoration of the Lamb</cite>, now dismembered and distributed - between Ghent, Berlin, and Brussels; Paris Bordone’s <cite>Fisherman of St. - Mark</cite>, now in the Venice Gallery; and Paul Potter’s <cite>Bull</cite>, now at The - Hague. “Here was seen the unexampled sight of twenty-five Raphaels - ranked together, the great master complete in every period and walk of - his art. Here twenty-three Titians glowed in burning row. Here Rubens - revelled in no less than fifty-three pictures and in almost as many - classes of subject. Van Dyck followed his illustrious master with - thirty-three works, while thirty-one specimens of Rembrandt’s brush - shed a golden atmosphere upon the walls. The later Italians especially - were magnificently represented—thirty-six pictures by Annibale - Carracci, sixteen by Domenichino; twenty-three by Guido; including the - largest altarpieces by each; and twenty-six by Guercino, were perhaps - the most popular part of the wondrous show.”</p> - - <p>However, in September 1815, the pictures and other valuable works of - art which France had plundered from her foes had to be given back, and - the spoliation of the Louvre began. In all, 5233 objects, of which 2065 - were pictures, were taken away from the Royal Museum by the Allied - Powers.</p> - - <p>An event rare in the history of public galleries took place in 1813, - when the Louvre received Carpaccio’s <cite>Preaching of St. Stephen</cite> (No. - 1211), Boltraffio’s <cite>Madonna of the Casio Family</cite> (No. 1169), Marco - d’Oggiono’s <cite>Holy Family</cite> (No. 1382), Moretto’s <cite>St. Bernardino of - Siena and St. Louis of Toulouse</cite> (No. 1175), and the same artist’s <cite>St. - Bonaventura and St. Anthony of Padua</cite> (No. 1176), in exchange for five - pictures by Rubens, Rembrandt, Van Dyck, and Jordaens.</p> - - <p>It is curious to notice that at this period very little importance - was attached to Italian primitives, which were, indeed,<span class="pagenum" id="Page_11">11</span> deemed - “barbarous.” Many beautiful works of the very early Italian schools - were actually not considered worth the trouble and expense of - transport, and were therefore left for the lasting glory of the - Louvre. Among them may be mentioned Fra Angelico’s <cite>Coronation of - the Virgin</cite> (No. 1290); the <cite>Madonna and Child and Two Saints</cite>, (No. - 1114), now officially ascribed to Albertinelli; Bronzino’s <cite>Christ and - the Magdalene</cite> (No. 1183); the <cite>Madonna and Angels</cite> (No. 1260), which - passes under the name of Cimabue; Gentile da Fabriano’s <cite>Presentation - in the Temple</cite> (No. 1278); the <cite>Coronation of the Virgin</cite> (No. 1303), - still officially ascribed to Raffaellino del Garbo; <cite>St. Francis of - Assisi receiving the Stigmata</cite> (No. 1312), which still passes under the - name of Giotto; Benozzo Gozzoli’s <cite>Triumph of St. Thomas Aquinas</cite> (No. - 1319); Fra Filippo Lippi’s <cite>Madonna and Child between Two Saints</cite> (No. - 1344); Pesellino’s two small predella pictures (No. 1414); Piero di - Cosimo’s <cite>Coronation of the Virgin</cite> (No. 1416); <cite>The Madonna in Glory - between St. Bernard and St. Mary Magdalene</cite> (No. 1482), which is still - assigned to Cosimo Rosselli; Lorenzo di Credi’s <cite>Madonna and Child with - St. Julian and St. Nicholas</cite> (No. 1263); Cima’s <cite>Madonna and Child</cite> - (No. 1259); Vasari’s <cite>Annunciation</cite> (No. 1575), which is now in one of - the storerooms of the Louvre; the Ferrarese <cite>Madonna and Child with - St. Quentin and St. Benedict</cite> (No. 1167), which is still assigned to - Bianchi; Andrea Mantegna’s <cite>Calvary</cite> (No. 1373) and <cite>Virgin of Victory</cite> - (No. 1374); Domenico Ghirlandaio’s <cite>Visitation</cite> (No. 1321); and - Perugino’s <cite>St. Paul</cite> (No. 1566). Further proof of the slight regard - in which certain pictures that we cherish to-day were then held is - afforded by the readiness with which the authorities sent two panels of - Mantegna’s altarpiece, the centre-part of which is now in the Church of - San Zeno at Verona, to the Museum at Tours, and parted with Perugino’s - altarpieces to the public galleries of Lyons and Marseilles.</p> - - <p>Under Louis <span class="smcap">xviii</span>. (died 1824) 111 pictures were<span class="pagenum" id="Page_12">12</span> purchased - for the national collection at a cost of £26,730, but during the - reign of Charles <span class="smcap">x.</span> (1824–30) only 30 were acquired, £2511 - being expended on them. An outlay of £2965 by Louis Philippe (reigned - 1830–48) enriched the Louvre with 33 more pictures, but that king - concentrated his efforts on the restoration and decoration of the - Château of Versailles, on which he spent £440,000.</p> - - <p>In the early years of the Second Republic a large number of - improvements were effected in the Louvre, and in 1848 £8000 was spent - on restoring several of the rooms now hung with pictures, which were - first systematically arranged three years later. Although the Museum - had at that period an annual grant of £2000 for the purchase of - pictures, special grants in aid were made from time to time, notably - on the occasion of the sale of Marshal Soult, pictures from whose - collection were acquired in 1852 for £24,612. In this way Murillo’s - <cite>Immaculate Conception</cite> (No. 1709, <a href="#i_plate26">Plate XXVI.</a>) passed to the Louvre - from the “Plunder-master-General” of the Spanish campaign.</p> - - <p>During the Second Empire the Musée du Louvre acquired about 200 Italian - primitives from the Campana collection, while seven years later it - was further enriched by the important bequest by Dr. La Caze of 275 - paintings of different schools. Since 1870, when the Palace of the - Tuileries was destroyed, the permanent collection has been increased - by the purchase in 1883 for £8000 of the Morris Moore “Raphael” (No. - 1509), which has since come to be universally regarded as a work by - Perugino; while about 300 other paintings of varying importance have - also been acquired from time to time with Government funds. In recent - years the national collection has benefited largely by the generosity - of private donors, among whom we may mention MM. Duchâtel, Gatteaux, - His de la Salle,<span class="pagenum" id="Page_13">13</span> Lallemant, Maciet, Rodolphe Kann, Sedelmeyer, - Grandidier, Vandeul, and several members of the Rothschild family.</p> - - <p>In 1896, by the sale of a large proportion of the Crown jewels, a - <i lang="fr">Caisse des Musées</i> was organised, and the annual income devoted to - the purchase of pictures notably increased. A year later the <cite>Société - des Amis du Louvre</cite>, which corresponds to the National Art-Collections - Fund in England, was founded to assist in securing pictures and other - works of art for the nation; by that means the <cite>Madonna and Child</cite> (No. - 1300<span class="smcap">a</span> or 1300<span class="smcap">b</span>) which passes under the name of Piero - dei Franceschi was acquired by the Louvre.</p> - - <p>In May 1900, on the inauguration of the <cite>Exposition Universelle</cite>, the - opportunity was taken to rehang a large part of the collection, and - the Galerie de Médicis (Room XVIII.) and the eighteen small cabinets - built round it were first used for the better exhibition of a large - proportion of the Flemish and Dutch pictures. Shortly afterwards, - by the death of M. Thomy Thiéry, an Englishman who had become a - naturalised Frenchman, over 100 paintings, mostly of the school of - Barbizon, became an exceedingly valuable addition to the Louvre, and - filled a void in the history of French painting in the nineteenth - century. During the last two years the most memorable purchases by - the Government have been that of Chardin’s <cite>Child with a Top</cite> (No. - 90<span class="smcap">a</span>), which was acquired together with the same artist’s - <cite>Young Man with a Violin</cite> (No. 90<span class="smcap">b</span>) for £14,000, and Hans - Memlinc’s <cite>Portrait of an Old Lady</cite> (<a href="#i_plate17">Plate XVII.</a>) for £8000.</p> - - <p>The national collection of the Musée du Louvre now includes in its - Catalogue nearly two thousand eight hundred oil and tempera paintings, - about four hundred of which have not been exhibited for many years. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_15">15</span> - <h2 id="EARLY_SIENESE_SCHOOL">EARLY SIENESE SCHOOL</h2> - </div> - - <p class="drop-cap">THIS school of painting, one of the earliest in the history of art in - Italy and probably the earliest with which the ordinary student of - art in Italy will concern himself, was affected throughout the whole - range of its history by the influence of the miniaturists. It was - characterised by naïveté, and in the hands of its earliest painter, - Duccio di Buoninsegna (1255–1319), strove to realise an effect of - hieratic sumptuousness, its precision and grace being that of “a - sanctuary swept and garnished.”</p> - - <p>The Louvre possesses no picture by Duccio, who derived his technique - from the Byzantine miniaturists, although he modified their methods. - Standing between the old world and the new, Duccio occupied an - important position at the head of the school of Siena, which in the - early years of the fourteenth century set a noble example to the other - towns and incipient schools of Tuscany. Passing reference may here be - made to the artistic aims and religious aspirations of the cities of - Rome, Pisa, and Arezzo, but it is Siena which stands out pre-eminently - at this early date as interpreting scenes of quiet rapture and sacred - peace, its own social life being bound up in “chivalry, the meat of - the eye,” and “piety, the wine of the soul.” Both Duccio, who was - first employed by the Government of his native city as early as 1278, - and Cimabue, his senior by fifteen years (if we are to accept the - much contested records), have alike been hailed as the author of the - <cite>Rucellai Madonna</cite> which still hangs in the Church of S. Maria Novella - in Florence. This picture was a generation ago almost unanimously - accepted by responsible critics as the work of the<span class="pagenum" id="Page_16">16</span> Florentine painter, - and those who still advocate the claims of “Florentinism” are loath to - destroy their cherished illusions. It is not our duty here to bring - forward the arguments in favour of its later ascription to Duccio, who, - we are led to believe, painted it early in his career, before he had - learnt to free himself from the stiff gestures and Byzantine types of - a former tradition. Duccio, it must be conceded, never quite succeeded - in giving to his compositions that sense of life, character, and design - which we find in the works of Giotto, his junior by some twenty years, - who was the first artist to accomplish vast schemes of monumental - decoration. Duccio, however, was the bearer of that torch which was - to kindle the flame of religious art both in Siena and Florence. - Nevertheless, Sienese painting was destined, almost from the moment of - its birth, to show signs of dwindling into a school of trite copyists - and shallow quietists. Early in the fourteenth century the lofty ideals - manifested by emotional Siena spread to scientific Florence, and by - the beginning of the fifteenth century the city on the Arno gave - unmistakable signs of becoming the leading art centre in Tuscany.</p> - - <h3 id="DUCCIOS_FOLLOWERS">DUCCIO’S FOLLOWERS</h3> - - <p>The greatest of Duccio’s followers was Simone Martini (1285?–1344), who - was also slightly influenced by Giotto. Simone, whose <cite>Christ bearing - His Cross</cite> (No. 1383, <a href="#i_plate01">Plate I.</a>) is the earliest Sienese picture in the - Louvre, has been well described as “a reactionary who made a whole - beautiful world of his own.” In this small picture the colours stand - out most clearly, although the drawing and perspective are, of course, - faulty. It belongs to a series of which other panels are at Antwerp - and in the Kaiser Friedrich Museum at Berlin. A <cite>Crucifixion</cite> (No. - 1665) that is catalogued as being by an unknown Sienese artist may be - attributed<span class="pagenum" id="Page_17">17</span> to Ugolino da Siena (fl. 1290–1320); it would seem to be - the centre panel of a large and lost altarpiece.</p> - - <div class="figcenter" id="i_plate01"> - <img class="illow62" src="images/i_plate01.jpg" alt="" /> - <div class="caption"><span class="large">PLATE I.—SIMONE MARTINI</span><br /> - <span class="small">(1285?–1344)</span><br /> - SIENESE SCHOOL<br /> - No. 1383.—CHRIST BEARING HIS CROSS<br /> - <span class="small">(Jésus-Christ marchant au Calvaire)</span></div> - </div> - <div class="description"> - <p>Christ, preceded by the executioner, soldiers, and two children, is - bearing His Cross to Calvary. He is attended by a large crowd in which - may be recognised the Virgin Mary, in blue robes, supported by St. - John; St. Mary Magdalene in red, with her long hair falling over her - shoulders, raises her hands in grief.</p> - <p class="noindent">Painted in tempera on panel.</p> - <p class="noindent">10 in. × 4 in. (0·25 × 0·10.)</p> - </div> - - <p>Pietro Lorenzetti (fl. 1305–50) was probably a pupil of Duccio, and - was influenced by Simone Martini, but Pietro and his younger brother, - Ambrogio Lorenzetti (1285?–1348?), who represented a new movement and - endeavoured to set forth the civic ideal, are not represented in this - collection.</p> - - <p>Simone Martini’s brother-in-law, Lippo Memmi (died 1357?), is possibly - the author of the <cite>St. Peter</cite> (No. 1152), a poor picture which is - officially assigned to Taddeo di Bartolo (1362?–1422). The art of - the latter is, in the opinion of Mr. Berenson, seen in the small - <cite>Crucifixion</cite> (No. 1622), which the Louvre authorities modestly - catalogue as being by an unknown fourteenth-century Italian painter.</p> - - <p>To Bartolo di Maestro Fredi (1330?–1410), who came under the influence - of Lippo Memmi and the Lorenzetti, is given a <cite>Presentation in the - Temple</cite> (No. 1151). Paolo di Giovanni Fei (fl. 1372–1410), whose - pictures are rarely met with out of Italy, may be regarded as the - author of the <cite>Madonna and Saints</cite> (No. 1314) which is officially held - to be by an unknown Florentine painter of the school of Giotto. The - Louvre possesses no example of the art of Sassetta (1392–1450), who, - together with Paolo di Giovanni Fei, deeply impressed Giovanni di - Paolo (1403?–1482). The latter may be credited with the small panel - (No. 1659<span class="smcap">a</span>) which is officially entitled <cite>The Entry of Pope - Martin into the Castle of Saint Angelo</cite>, and included in the Catalogue - as being by an unknown Florentine, but labelled “School of Masaccio.” - There can be no doubt that this quaint little picture depicts <cite>Pope - Gregory the Great’s Vision of the Archangel Michael sheathing his Sword - over the Castle of Saint Angelo</cite>. According to the legend, Gregory - had been indefatigable in nursing the plague-stricken in Rome in the - sixth century, and while on his way at the head of a procession<span class="pagenum" id="Page_18">18</span> to - offer up prayer for the cessation of the plague, saw “the warrior of - God” in the attitude here shown. Gregory, after fleeing from those who - wished to make him Pope, was elected to wear the papal tiara under - the title of Gregory the Great. He is chiefly known to us as having - sent missionaries to preach the gospel in England, having been moved - to pity by seeing British captives exposed for sale in Rome, and for - his arrangement of the music of the chants which are after him known - as Gregorians. The official title of the picture, on the other hand, - assumes that we have here Pope Martin <span class="smcap">v</span>., a man of saintly character, - making his entry into Rome in 1421 amid the acclamations of the - people. He had been elected Pope in 1417 on the deposition of John - <span class="smcap">xxiii.</span></p> - - <p>By this time the art of Siena had progressed some distance on the - road that its religious aspirations and technical accomplishments - indicated, but it soon became evident that the more intellectual aims - of Florentine art were shaping the course of all the painters of Italy.</p> - - <div class="chapter"> - <span class="pagenum" id="Page_19">19</span> - <h2 id="THE_FLORENTINE_SCHOOL">THE FLORENTINE SCHOOL</h2> - </div> - - <p class="drop-cap">ALTHOUGH we have begun our study of the art of Italy with a review of - the Sienese School, which owes its importance to Duccio, the earliest - Italian picture in the Louvre is the <cite>Madonna and Angels</cite> (No. 1260), - which may be accepted as a characteristic example of the type of - picture that passes under the name of Cimabue (1240?–1302).</p> - - <p>Giovanni Cenni de’ Pepi, to give him his full name, has been hailed - as “the father of modern painting.” The Louvre <cite>Madonna</cite>, which was - formerly in the Church of San Francesco at Pisa, was carried off to - Paris by Napoleon, but not considered worth the trouble of repacking - when in 1815 the Allied Armies called upon the French to surrender - the pictorial spoils of war. It is known that Cimabue was working at - Pisa at the very end of his life, and, although he was engaged there - as mosaicist rather than as a painter, the <i lang="fr">provenance</i> of this large - painting, which is executed in tempera on panel, has to be taken - into account in any discussion as to its strict authenticity. It is - certainly reminiscent of the <cite>Rucellai Madonna</cite>, and shares much of - its character. The painter has repeated, with certain modifications, - the Byzantine type of Madonna, whose almond-shaped eyes and long, bony - fingers should be noticed. It has been freely restored.</p> - - <p>From the same church in Pisa comes Giotto’s <cite>St. Francis of Assisi - receiving the Stigmata</cite> (No. 1312). According to the descriptive - account handed down to us by the unveracious Vasari, Giotto (1266–1337) - was originally a shepherd boy whose latent talent was recognised by the - discerning Cimabue, who forthwith took him as<span class="pagenum" id="Page_20">20</span> his pupil and taught - him how to paint, the boy’s genius enabling him early to surpass his - master. Although it would be rash unquestioningly to accept this - archaic production as an authentic work by Giotto, it is one which any - national collection would treasure. It depicts the supreme event in - the life of St. Francis, when during his vision virtue passed from the - wounded hands, the wounded feet, and the wounded side of the Christ - into the same parts of the saint’s body. In the predella are three - scenes from the life of St. Francis: (<i>a</i>) <cite>Pope Innocent III. dreaming - that St. Peter reveals to him that unless the Franciscan Order is - founded the Church</cite> (typified here by the Church of S. John Lateran in - Rome) <em>will fall down</em>; (<i>b</i>) <cite>The Pope founding the Order</cite>; and (<i>c</i>) - <cite>St. Francis, wearing the brown robes of his Order, and preaching to - the birds</cite>: “Whenas St. Francis spake these words to them, those birds - began all of them to open their beaks, and stretch their necks, and - spread their wings, and reverently bend their heads down to the ground, - and by their acts and by their songs to show that the Holy Father gave - them joy exceeding great.”</p> - - <h3 id="THE_GIOTTESQUES">THE GIOTTESQUES</h3> - - <p>Four school pictures (Nos. 1313, 1315–1317) illustrate the example set - by Giotto, who influenced very strongly indeed all art-manifestation - during the fourteenth century, an age when the human body was denied - all intrinsic significance. His profound feeling, gay colour, high - dramatic power, and sense of form mark the emancipation of Italian - art from the rigid formalism of the Byzantine manner. He discovered - a style which was admirably suited to the spirit of his time, and - developed for his own purposes a sense of perspective which he employed - with considerable effect, although he never really found a scientific - statement of the artistic principles which he instinctively perceived. - His indefatigable energy and innate genius<span class="pagenum" id="Page_21">21</span> enabled him to distance his - rivals and to bequeath to his countrymen a heritage which profoundly - affected the art of Italy.</p> - - <p>Foremost among his followers, who imitated his mannerisms without - understanding the full significance of his ideas, was Taddeo Gaddi - (1300?–1366), to whom are assigned in the official Catalogue the - predella pictures (No. 1302) of (<i>a</i>) <cite>The Death of St. John the - Baptist</cite>, (<i>b</i>) <cite>Calvary</cite>, and (<i>c</i>) <cite>Judas Iscariot</cite>. Taddeo Gaddi, a - painter and architect, was the godson and pupil of Giotto as well as - the pupil of his father, Gaddo Gaddi. Taddeo’s desire to give suitable - expression to each of his figures often resulted, as in that of the - daughter of Herodias in the second of these panels, in exaggeration.</p> - - <p>Taddeo’s son, Agnolo Gaddi (1333–1396), who was described by Ruskin as - “rather stupid in religious matters and high art,” may be the painter - of the <cite>Annunciation</cite> (No. 1301), in which we see the Virgin seated in - a loggia to the right of the picture. The Archangel Gabriel announces, - by the gesture of the right hand, that the Virgin shall be the Mother - of the Christ. God the Father is shown in the heavens. Notice the - gold background and the mosaics of the loggia. The mechanical methods - and uninspired aims of the Giottesques, the artists who worked during - the century which followed the death of Giotto, are well seen in the - productions of Lorenzo di Bicci (fl. 1370–1409), his son Bicci di - Lorenzo (fl. 1373–1424), and his grandson Neri di Bicci (1419–1491). - Neri is represented by a <cite>Madonna and Child</cite> (No. 1397). He might - justly be described as a mere manufacturer of Giottesque pictures to - order. He brought art down to the level of a trade, his work being flat - and his colour raw and inharmonious.</p> - - <p>A <cite>Virgin and Infant Christ</cite> (No. 1563), inscribed “<span class="smcap">tvrinvs - vannis de pisis me piqsit p</span>,” is evidently by Turino Vanni (fl. - 1390–1398), a rare artist of this group of Florentine painters. The - brief list of his pictures might be increased by having added<span class="pagenum" id="Page_22">22</span> to it - a few panels at Pisa and Assisi, which are erroneously ascribed to - Buffalmacco.</p> - - <p>Andrea Orcagna (1308?–1368?) and his brother Nardo are not represented - in the Louvre, but we have a follower of Agnolo Gaddi in Lorenzo - Monaco (1370?–1425), who is seen to advantage in his <cite>Christ in the - Garden of Gethsemane</cite> and his <cite>Holy Women preparing the Tomb</cite> (No. - 1348<span class="smcap">a</span>), which is inscribed “<span class="smcap">anno dñi</span> 1408,” and - was formerly attributed to Gentile da Fabriano. Lorenzo Monaco is - officially credited with a triple picture (No. 1348) of (<i>a</i>) <cite>St. - Agnes</cite> with her lamb and a martyr’s palm branch; (<i>b</i>) <cite>St. Lawrence</cite>, - the artist’s name-saint, holding in his right hand a book and palm - branch, and enthroned on a gridiron, the symbol of his martyrdom; and - (<i>c</i>) <cite>St. Margaret</cite>, the patron saint of Woman as Mother, standing on - the dragon. Lorenzo Monaco, who is reputed to have been the master of - Fra Angelico, usually depicts long, slender, and sinuous bodies. Below - this picture hangs a small panel, apparently part of the predella of - an unidentified altarpiece. It does not seem to be included in the - official Catalogue, and has neither a number by which to identify - it nor a label to denote its subject or authorship! The picture has - apparently never been referred to or described in any article or book. - It certainly represents the Emperor Heraclius carrying the True Cross - into Jerusalem. The picture appears to have been painted by Giovanni - del Ponte (fl. 1385–1437).</p> - - <p>Neither Starnina (1354–1408), who took the traditions of Early - Florentine painting to Spain, Masolino (fl. 1383–1435), who is rarely - met with out of Italy, nor Masaccio (1401–28), who may be said to - have vitalised Italian art, is represented in the Louvre. Tommaso - Masaccio, the “Hulking Tom” of Browning, gave to Italy and the world - the magnificent series of frescoes which still decorate the Brancacci - Chapel of the Carmine Church in Florence. He imparted to his figures - such natural movement, vivacity<span class="pagenum" id="Page_23">23</span> of expression, free attitudes, simple - draperies, and excellent modelling that he entirely revolutionised the - art of Florence. His figures are, as Vasari said, “so lifelike that - they seem to live and breathe.” This series of frescoes was studied - with enthusiasm by all the great Florentine painters; Leonardo, - Raphael, Michelangelo, and innumerable other artists derived the - greatest possible benefit from them.</p> - - <h3 id="FRA_ANGELICO">FRA ANGELICO</h3> - - <p>On the threshold of the Renaissance stands Fra Angelico (1387–1455), - who was trained in the school of miniaturists and influenced by Lorenzo - Monaco and Masaccio. His life was devoted to “the service of God, the - benefit of the world, and his duty towards his neighbour,” as Vasari - says. He regarded painting as one of the duties of the monastic life, - and never began to paint without first kneeling in prayer. His pictures - are aspirations towards heaven, while the figures with which he peoples - his saintly compositions have faces which show peace, joy, hope, - and communion with God. They are clothed in draperies of the purest - colours, crowned with glories of burnished gold, but are never dramatic - in their action. One of his best easel paintings outside Florence, - where alone his art can be adequately studied, is his early <cite>Coronation - of the Virgin</cite> (No. 1290). This imposing, if overcrowded, composition - is painted to the glory of God and in honour of the Dominican Order, to - which the painter belonged. In the right bottom corner we see St. Agnes - with her lamb, next to her St. Catherine with her wheel, above is St. - Lawrence with his gridiron, and to the latter’s right St. Peter Martyr - in Dominican robes and with wounded head. In the foreground kneels - St. Mary Magdalene in red, her box of ointment in her left hand. St. - Nicholas with the three golden balls at his feet, St. Thomas Aquinas - in Dominican robes and holding the theological<span class="pagenum" id="Page_24">24</span> book from which rays - of golden light issue, St. Louis (Louis <span class="smcap">ix.</span>, King of France), - and St. Dominic himself—all help to swell the heavenly company. In the - predella, or lower part, of this panel picture are depicted <cite>Scenes - from the Life of St. Dominic</cite>, the founder of Fra Angelico’s own Order: - (<i>a</i>) Pope Innocent <span class="smcap">iii.</span> in his vision sees St. Dominic - supporting the falling Church; (<i>b</i>) the Pope receives, through the - agency of St. Peter and St. Paul who hand him a staff and the Gospel, - Divine authority to found the Dominican Order; (<i>c</i>) the Saint brings - back to life a young noble named Napoleon who had been trampled under - foot by a horse; (<i>d</i>) Christ in the tomb, the Virgin and St. John; - (<i>e</i>) St. Dominic challenges heretics whose books are consumed in the - fire, while his own book of the true Gospel issues forth unhurt by the - action of fire; (<i>f</i>) angels descend from heaven to feed the starving - monastery of St. Sabina at Rome immediately after St. Dominic has asked - a blessing; these two blue-clad figures are among the loveliest of all - Fra Angelico’s angelic beings, and perhaps the most inspiring figures - in the whole of the Louvre collection; (<i>g</i>) the death of the Saint at - Bologna and the passing of his soul up to heaven in accordance with the - vision of the monk at Brescia. This early Cinquecento panel picture, - which was formerly in the Church of S. Domenico at Fiesole, near - Florence, was painted before the Beato went to beautify the cells of S. - Marco with frescoes. It is one of the best of the primitive pictures in - the Louvre.</p> - - <p>From the hand of the same saintly painter are the <cite>Adoring Angel</cite> (no - No.), which until 1909 was in the Victor Gay collection, the <cite>Martyrdom - of St. Cosmo and St. Damian</cite> (No. 1293), part of the predella of - a dismembered altarpiece, and the large fresco painting of the - <cite>Crucifixion</cite> (No. 1294) which hangs on the Escalier Daru. The latter - was purchased, together with Domenico Ghirlandaio’s <cite>Bottle-nosed Man</cite> - (No. 1322, <a href="#i_plate03">Plate III.</a>), in 1879 for £1960.<span class="pagenum" id="Page_25">25</span> The <cite>Beheading of St. John - the Baptist</cite> (No. 1291) and the <cite>Resurrection</cite> (No. 1294<span class="smcap">a</span>) are - unauthentic.</p> - - <p>In Benozzo Gozzoli (1420–1498) we have an assistant and follower - of Fra Angelico. He worked at different towns in Italy, notably at - Montefalco, Orvieto, Florence, San Gimignano, Rome, and Pisa, where - he died. Although his earlier work reminds us of Fra Angelico, than - whom he is much more dramatic and much less spiritual, in later life - he depicts the costumes and life of his time in a more realistic and - objective manner. His <cite>Triumph of St. Thomas Aquinas</cite> (No. 1319), - which originally hung in the Cathedral at Pisa, deals with a subject - often met with in the art of the period. The great Dominican teacher, - whom the heathen philosophers, Aristotle on the left, and Plato on - the right, recognise as their master in philosophy, is enthroned, his - books of theological learning on his knees. At his feet, subdued, is - Guillaume de St. Amour, the author of a book entitled <cite>De Periculis - Novissimorum Temporum</cite>, in which he exposed the various abuses then - prevalent among the mendicants. The dramatic action seen in the lower - part of the panel embraces Pope Alexander <span class="smcap">iv.</span> presiding over - the religious council of Agnani, and the envoys of St. Louis (Louis - <span class="smcap">ix.</span> of France) who took steps to end the religious conflicts - of 1256. A large altarpiece (No. 1320) representing the <cite>Madonna and - Child Enthroned</cite>, <cite>St. Cosmo</cite>, <cite>St. Damian</cite>, <cite>St. Jerome</cite>, <cite>St. John - the Baptist</cite>, <cite>St. Francis d’Assisi</cite>, and <cite>St. Lawrence</cite> in the central - panel is also assigned to Benozzo. The frame also contains seven - predella pictures, and at either end is the coat of arms of the Medici - family.</p> - - <p>The great French Museum, which is weaker than the National Gallery, - the Berlin Gallery, and certain other national collections in Italian - primitives, affords us no example of the art of Andrea del Castagno - (fl. 1410–1457), whose compositions are characterised by harsh colour, - hard lines, and crude forms. Nor do we find<span class="pagenum" id="Page_26">26</span> here any painting by that - very rare artist, Domenico Veneziano (1400?–1461), who, it has been - said, was the first Tuscan artist to work in an oil medium.</p> - - <h3 id="PAOLO_UCCELLO">PAOLO UCCELLO</h3> - - <p>Prominent among the masters who were influenced by Donatello, the - sculptor, and Lorenzo Ghiberti, the first metal-worker in elegant - forms, is Paolo di Dono, generally known as Uccello. His profound study - and ultimate discovery of the laws of linear perspective was enhanced - by the inquiries into the laws of aerial perspective that Fra Angelico - studied so deeply. Paolo Uccello (1397–1475) was a pupil and assistant - of Lorenzo Ghiberti, who made the bronze doors for the East Side of - the Baptistery at Florence. He gave himself up to the scientific study - of perspective, the principles of which he was one of the first to - apply to painting, thus rendering incalculable services to art. In his - <cite>Battlepiece</cite> (No. 1273) is seen a mounted soldier in armour with his - sword drawn; on the left are horsemen about to charge with couchant - lances, while on the right cavalry-men are drawn up awaiting orders, - their lances in rest. The correctness of the perspective and the - justice of the foreshortenings and the movements of the foot-men in the - intervals of the cavalry mark an epoch in art. This is the third and - right-hand panel of the series of three battle-pictures which Uccello - painted for the Casa Medici (now the Riccardi Palace) in Florence - for Cosimo de’ Medici about the year 1457, and not, as the official - Catalogue asserts, for the Bartolini family. The best preserved of - these three large panel pictures illustrating the <cite>Rout of San Romano - in 1432</cite> is that in the National Gallery (No. 583), while the second or - centre panel of the series is now in the Uffizi (No. 52). The Louvre - panel is in a deplorable condition, caused by long neglect.</p> - - <p><span class="pagenum" id="Page_27">27</span></p> - - <p>Uccello’s <cite>Portraits of Giotto, Paolo Uccello, Antonio Manetti, and - Filippo Brunelleschi</cite> (No. 1272), whose names are in this order on the - panel, is a work of considerable importance, as marking an early stage - in the development of portraiture. This picture, which is referred - to at some length by Vasari, constitutes a historical document. The - Italian chronicler tells us that Uccello “was a person of eccentric - character and peculiar habits, but he was a great lover of ability - in those of his own art, and, to the end that their memory should - remain to posterity, he drew with his own hand on an oblong picture - the portraits of five distinguished men, which he kept in his house - as a memorial of them. The first of these portraits was that of the - painter Giotto, as one who had given light and new life to the art; - the second was Filippo di Ser Brunellesco, for architecture; the third - was Donatello, for sculpture; the fourth was himself, for perspective - and animals; the fifth was his friend Giovanni (<i>sic</i>) Manetti, for - mathematics. With this philosopher Paolo conferred very frequently, and - held continual discourse with him concerning the problems of Euclid.” - Manetti’s real Christian name, Antonio, is correctly inscribed on the - panel, but is inaccurately given as Giovanni by Vasari and on the - official label.</p> - - <p>The <cite>St. John the Baptist as a Child</cite> (No. 1274), which hangs in the - Long Gallery, is labelled as a picture of the Florentine school, and - catalogued as being by Uccello. It is perhaps by Piero di Cosimo.</p> - - <p>We enter on the first period of the coming Renaissance with Fra Filippo - Lippi (1406–1469), who was trained in the best school of Florentine - painting. He was a pupil of Lorenzo Monaco, came under the influence - of Fra Angelico, and was affected by the magic spell of Masaccio, whom - he must have seen at work in the Brancacci Chapel. In the latter half - of the Quattrocento the cult of love and beauty was rapidly dethroning - the more austere ideals of an earlier age. Filippo Lippi’s stormy and<span class="pagenum" id="Page_28">28</span> - romantic career passes into a new phase with his residence at Prato - in 1452. Four years later he was appointed Chaplain to the nuns of S. - Margherita in that town. The year before his arrival in Prato, Lucrezia - and Spinetta, the orphan daughters (aged eighteen and seventeen - respectively) of Francesco Buti, had, apparently much against their - will, been placed in the Convent, the abbess of which commissioned the - Frate to paint a picture of the <cite>Madonna della Cintola</cite>. Lucrezia posed - to the painter-chaplain for the figure of the Madonna in that picture. - On May 1, 1456, on the occasion of the exhibition of the Holy Girdle of - the Virgin, a precious relic still preserved at Prato, the painter bore - off Lucrezia out of the safe keeping of the convent. A short summary of - these well-known facts is suggested by the view which is put forward in - the official Catalogue of the Louvre, to the effect that the <cite>Madonna - della Cintola</cite> is to be identified with the <cite>Nativity</cite> (No. 1343) - in this Gallery. The weight of evidence is against this theory; in - fact, this large panel picture has little claim to be regarded as the - work of Fra Filippo. One critic has given it as his opinion that the - <cite>Nativity</cite> was begun by Fra Filippo and completed by Fra Diamante, who - succeeded him as Chaplain at Prato. Others have attributed the picture - to Pesellino, Baldovinetti, and Stefano da Zevio respectively. It seems - to show the influence of Andrea del Castagno. The official Catalogue - does not indicate the <i lang="fr">provenance</i> of the picture, although it implies - that it came from the Convent at Prato at the time when it was brought - to Paris by Napoleon. There can be little doubt that the <cite>Madonna della - Cintola</cite> is the painting thus named which still hangs in the place of - honour in the Municipal Gallery at Prato.</p> - - <p>The Louvre does, however, possess in the <cite>Madonna and Child with Angels - and Two Abbots</cite> (No. 1344, <a href="#i_plate02">Plate II.</a>) one of the best of the Frate’s - creations, although the colouring has suffered considerably. It is an - early work, and was painted about 1437 for the <span class="pagenum" id="Page_29">29</span>Barbadori Chapel - in Santo Spirito. It contains beauty of line, freshness of colour, and - much variety in the composition. The cast of the draperies is ample and - the motives are novel and bold, the Renaissance background throwing - into prominent relief the soulful and ideal figure of the Madonna. The - predella panels of this dismembered altarpiece, for which Fra Filippo - received forty gold florins, are now in the Accademia at Florence. They - depict (<i>a</i>) <cite>St. Frediano deviating the Course of the River Serchio</cite>; - (<i>b</i>) <cite>The Virgin receiving the Announcement of her Coming Decease</cite>; - and (<i>c</i>) <cite>St. Augustine in his Study</cite>. The <cite>Madonna and Child</cite> (No. - 1345) is only a school picture.</p> - - <div class="figcenter" id="i_plate02"> - <img class="illow100" src="images/i_plate02.jpg" alt="" /> - <div class="caption"><span class="large">PLATE II.—FRA FILIPPO LIPPI</span><br /> - <span class="small">(1406–1469)</span><br /> - FLORENTINE SCHOOL<br /> - No. 1344.—MADONNA AND CHILD, WITH ANGELS AND TWO ABBOTS<br /> - <span class="small">(La Vierge et l’Enfant Jésus entre deux abbés)</span></div> - </div> - <div class="description"> - <p>The Virgin stands before the throne holding the Infant Christ to the - adoration of two kneeling abbots and surrounded by six angels carrying - lilies. To the left a monk leans over the balustrade, and two small - child-angels flank the composition on either side.</p> - <p class="noindent">Painted in tempera on panel.</p> - <p class="noindent">7 ft. 1½ in. × 8 ft. 0¼ in. (2·17 × 2·44.)</p> - </div> - - <p>In 1457, the year that Fra Filippo’s son Filippino was born, his - household effects and box of colours were seized for debt. He lived on - until October 4, 1469, when he died of a sudden and somewhat mysterious - illness. The Frate, who is the connecting link between Masaccio, the - first blossom, and Raphael, the full flower of Florentine painting, was - the master of Botticelli. A small <cite>Madonna and Child</cite> (No. 1345) has - little claim to be regarded as the work of Fra Filippo.</p> - - <p>In our attempt to unravel the skein of Italian art in this collection - and to sketch its history in strict chronological order we may now - consider two small predella panels of (<i>a</i>) <cite>St. Francis receiving - the Stigmata</cite> and (<i>b</i>) <cite>An Incident in the Life of St. Cosmo and St. - Damian</cite> (No. 1414) by Francesco Pesellino (1422–1457). The former deals - with a subject we have already met with in this Gallery (No. 1312); the - latter is a new theme. St. Cosmo and St. Damian were wealthy men and - spent their time in doing charitable works as doctors without monetary - reward, and are thus sometimes known as “the Holy Money-despisers.” - According to the legend here represented, a Christian was one day - praying to these saints in the church dedicated to them in Rome in - the fervent hope that he might be healed of cancer in the leg. While - thus at prayer he<span class="pagenum" id="Page_30">30</span> imagined that his leg was amputated and replaced by - that of a dead Moor. In this small panel the saints are shown in the - act of placing the black man’s limb on the body of the Christian, who, - no doubt, will before long be healed. St. Cosmo and St. Damian being - patron saints of the Medici family are often met with in Florentine - art. We have already in this collection looked at a picture (No. 1293) - by Fra Angelico illustrating their martyrdom. Pesellino, who studied - the art of Fra Angelico, Masaccio, and Domenico Veneziano, and followed - somewhat closely in the steps of Fra Filippo Lippi, can hardly have - painted the small three-panel picture officially ascribed to him of - (<i>a</i>) <cite>The Dead Christ</cite>, (<i>b</i>) <cite>A Cardinal supporting the Bodies of Two - Men who have been hanged</cite>, and (<i>c</i>) <cite>A Cardinal appearing in a Vision - to a Bishop</cite>. This small work (No. 1415), which was formerly in the - Campana collection, has been claimed by Dr. Venturi and Mr. Berenson to - be by the Umbrian artist, Fiorenzo di Lorenzo.</p> - - <p>The <cite>Madonna and Child and St. Augustin, St. John the Baptist, St. - Anthony, and St. Francis</cite> (No. 1661), which is officially catalogued - as being by an Unknown Florentine artist, and has been variously - attributed to Andrea del Castagno, Fra Filippo Lippi, and Andrea - Verrocchio, may be assigned to that nameless contemporary of Pesellino - whose artistic personality was a few years ago constructed by Mrs. - Berenson under the name of “Compagno di Pesellino.”</p> - - <p>The art of the Umbrian artist, Piero dei Franceschi (1415?–1492), who - is so well represented in the National Gallery, is not seen at the - Louvre, where, however, a <cite>Madonna and Child</cite> passes under his name. - This panel (the official number of which is given in the Catalogue as - 1300B and on the frame as 1300<span class="smcap">a</span>) was formerly in the Duchâtel - collection before passing into that of the Duc de la Trémoïlle, from - whom it was purchased in 1898 for £5200 by the <cite>Société des Amis du - Louvre</cite>. It was recognised over twelve years ago by M. Ary Renan as - the work of Alessio Baldovinetti (1427<span class="pagenum" id="Page_31">31</span>1499), who, like Piero dei - Franceschi, was formed on Domenico Veneziano, and was also influenced - by the discoveries and methods of Uccello.</p> - - <p>Crowe and Cavalcaselle also had made that attribution before the - question was taken up by Mr. Berenson, who on morphological and - æsthetic grounds unhesitatingly ascribes it to Baldovinetti. “Compared - with Baldovinetti,” writes Mr. Berenson, “Piero dei Franceschi is - sterner and harder and more monumental. Piero’s Madonnas have a fixed - and severe physiognomy, massive structure and immobile pose; never a - smile, never a touch of tenderness.” How different from all this is the - <cite>Madonna</cite> by Baldovinetti before us, with her “refined features and - her pensive gaze of adoration—a look that unveils her inner life, a - look that will soon develop into the mystery which we feel in the face - of Leonardo da Vinci’s Mona Lisa.” Vasari tells us that Baldovinetti - was “extremely careful and exact in his work, and of all the minutiæ - which Mother Nature is capable of presenting, he took pains to be the - close imitator. He delighted in the representation of landscape, which - he depicted with the utmost exactitude; thus we find in his pictures - rivers, bridges, rocks, herbs, fruits, paths, fields, cities, castles, - sands, and objects innumerable of the same kind.” A goodly number of - these are included in the background of this picture.</p> - - <p>With Antonio Pollaiuolo (1429–1498) and his brother Piero (1443–1496) - we enter on a more scientific era in Florentine art. Masaccio had - already advanced the study of the nude, and the influence of Donatello - (1386–1466) and other sculptors had drawn the attention of all - art-workers to the fuller significance of the human form. A more - serious attempt was now made by the rising generation of sculptors and - painters, among whom Antonio Pollaiuolo and Verrocchio (1435–1488) - now played the leading parts, to impart to the human figure a more - exact physiological accuracy and so give it greater effectiveness. The - advance made<span class="pagenum" id="Page_32">32</span> by Baldovinetti in landscape tended also to a more real - sense of movement in a natural environment. The Louvre catalogues no - picture under the name of either of the Pollaiuoli, but a <cite>Madonna</cite> - (No. 1367<span class="smcap">a</span>) here credited to Bastiano Mainardi was probably - executed by Piero, who frequently worked on his elder brother’s designs.</p> - - <p>The influence of Alessio Baldovinetti is reflected in the pictures of - Cosimo Rosselli (1437–1507). Nothing is officially ascribed to him in - this collection, but the <cite>Annunciation, with St. John the Baptist, - St. Anthony, St. Catherine, and St. Peter Martyr</cite> (No. 1656), which - is here catalogued as by an Unknown fifteenth-century Florentine - painter, is apparently his work. It is inscribed with the date - <span class="smcap">a.d.m.cccclxxiii</span>.</p> - - <h3 id="THE_GOLDSMITH_PAINTERS">THE GOLDSMITH PAINTERS</h3> - - <p>During the generation which preceded the activity of Domenico - Ghirlandaio (1449–1494) (who appears in the official Catalogue under - the name of Grillandaio) the art of the painter had often been combined - with that of the architect and sculptor. In time the influence of the - goldsmith is seen in the inclination of the more prosaic painters, - among whom Ghirlandaio holds an important place, to subordinate the - pictorial qualities of their compositions to the gold-worker’s love - of ornamental detail and fanciful jewellery. Paintings carried out - in the goldsmith’s shop thus contained in the action of the figures, - the treatment of the draperies, and the fanciful head-dresses, - imitations of silver and bronze work. Domenico Bigordi owed the name - of Ghirlandaio, by which he is now generally known, to his having been - apprenticed to a goldsmith who acquired fame as a maker of the jewelled - coronals (<i lang="fr">ghirlande</i>) that became fashionable. This pupil of Alessio - Baldovinetti, who was a craftsman quite as much<span class="pagenum" id="Page_33">33</span> as a painter, is - to-day best known by the large number of frescoes he painted in Tuscany.</p> - - <div class="figcenter" id="i_plate03"> - <img class="illow74" src="images/i_plate03.jpg" alt="" /> - <div class="caption"><span class="large">PLATE III.—DOMENICO GHIRLANDAIO</span><br /> - <span class="small">(1449–1494)</span><br /> - FLORENTINE SCHOOL<br /> - No. 1322.—PORTRAIT OF AN OLD MAN AND HIS GRANDSON<br /> - <span class="small">(“<span class="smcap">The Bottle-Nosed Man</span>”)<br /> - (Portrait d’un Vieillard et de son petit-fils)</span></div> - </div> - <div class="description"> - <p>An old man, wearing a red robe edged with fur, looks down tenderly at - his golden-haired little grandson who lifts up his face to be kissed. - Through an open casement is seen a landscape.</p> - <p class="noindent">Painted in tempera on panel.</p> - <p class="noindent">2 ft. 0½ in. × 1 ft. 6¼ in. (0·62 × 0·46.)</p> - </div> - - <p>In Ghirlandaio’s <cite>Visitation</cite> (No. 1321) the Virgin, her conventional - robes fastened by a morse such as this goldsmith-painter repeatedly - introduced into his pictures, stoops to greet St. Elizabeth. On the - left is Mary Cleophas, and from the right Mary Salome trips lightly on - to the scene. As always in a painting of this subject, the principal - figures are silhouetted against the arch in the background, through - which the sky is seen. Characteristic of Ghirlandaio’s paintings is the - jewelled architecture which bears the date 1491, three years previous - to his death. The Catalogue suggests that this large picture was - finished by either Davide or Benedetto, the brothers and assistants - of Domenico, but it is possible that his brother-in-law, Bastiano - Mainardi, may have worked on it. The French, having pointed out to the - Duke of Tuscany in 1815 that Florence possessed many better examples of - this painter’s art, were allowed to retain this panel picture, which - had been brought in 1806 from the Church of S. Maria Maddalena dei - Pazzi at Florence.</p> - - <p>The delightful <cite>Portrait of an Old Man and his Grandson</cite> (No. 1322, - <a href="#i_plate03">Plate III.</a>), which is usually known as <cite>The Bottle-nosed Man</cite>, is an - admirable study from life. The winsome attitude of the little boy and - the refined expression of the old man are very pleasing. It is an - incontrovertible, but perhaps not obvious, fact that mere physiological - ugliness can in the hands of an accomplished artist be transformed into - a medium of beauty. The picture has unfortunately been damaged, notably - in the forehead of the principal figure. The certainty of touch and the - delicacy of the modelling indicate that this panel belongs to the last - period of the artist’s activity, when he also executed the magnificent - <cite>Portrait of Giovanna degli Albizzi</cite>, now in the collection of Mr. J. - Pierpont Morgan.</p> - - <p>One of Domenico’s brothers, Benedetto Ghirlandaio (1458–1497)<span class="pagenum" id="Page_34">34</span> is - credited with a <cite>Christ on the Way to Calvary</cite> (No. 1323). His own - son, Ridolfo (1483–1561), painted the <cite>Coronation of the Virgin</cite> (No. - 1324) in 1503, the date being inscribed on the panel. Mainardi (fl. - 1482–1513), the brother-in-law, pupil, and imitator of Domenico, - painted many pictures which usually pass under the name of his more - illustrious relation. This pupil has painted in the tondo of the - <cite>Madonna and Child</cite> (No. 1367) a morse somewhat similar to that seen - in the <cite>Visitation</cite> (No. 1321). In this same group of artists must be - placed a nameless assistant of Domenico. His pictures have been grouped - by Mr. Berenson, who calls him by the descriptive name of “Alunno di - Domenico,” and tentatively identifies him with Bartolommeo di Giovanni, - of whom very little is known. Alunno di Domenico is thus credited with - having executed the companion pictures (No. 1416<span class="smcap">a</span> and No. - 1416<span class="smcap">b</span>) of the <cite>Nuptials of Thetis and Peleus</cite>, a pagan subject - which suggests the advent of the decadence in Florentine art. These two - panels are officially catalogued under the name of Piero di Cosimo.</p> - - <h3 id="LEONARDO_DA_VINCI">LEONARDO DA VINCI</h3> - - <p>We now have to pass from the mediocre artists who worked in the school - of Domenico Ghirlandaio to that great master, Leonardo da Vinci - (1452–1519), whose work in the oil medium can nowhere be studied so - profitably as in the Louvre. This many-sided genius was the natural - and first-born son of a country notary, and became a pupil of the - sculptor-painter, Andrea del Verrocchio, in whose workshop he met - Botticelli, Lorenzo di Credi, and many less distinguished Florentine - painters. His interests and occupations were so various that a - detailed study of his life-work reveals him as scientist, philosopher, - architect, sculptor, military engineer, mathematician, botanist, and - musician. The <cite>Annunciation</cite> (catalogued as No. 1602<span class="smcap">a</span> and - labelled No. 1265), which in the<span class="pagenum" id="Page_35">35</span> official Catalogue is now only - attributed to him after having long passed under the name of Lorenzo - di Credi, is doubtless an early work of about 1472 by Leonardo. Some - ten years later Leonardo entered the service of Lodovico Sforza, Duke - of Milan, in which city he shortly afterwards painted the <cite>Virgin - of the Rocks</cite> (No. 1599). This fine painting—whose virtues are - concealed under a thick coat of chilled varnish—is reputed to have - been in the collection of François <span class="smcap">i.</span>, although it has no - continuous pedigree earlier than the year 1625, when it was in the - royal collection at Fontainebleau. It is very similar to the painting - of the same subject which the National Gallery (No. 1093) purchased - in 1880 for £9000. The points of difference between the two versions - are numerous but trifling. The nimbi in the National Gallery picture - were added much later and are not found in the Louvre panel, which in - the greater perfection of detail, in the treatment of the foreground - and the brushwork, prove it to be an earlier and more authentic work. - A careful examination of the documents which came to light in the - year 1893 shows that a dispute arose as to the price to be paid by - the Brotherhood of the Conception of Milan for the picture now in the - Louvre, and that Ambrogio da Predis and Leonardo da Vinci petitioned - the Duke of Milan to intervene. It would seem that the National Gallery - picture was executed in great part by Ambrogio, who worked under the - supervision of the great Florentine master, in 1494, about twelve - years later than the version in this collection. Leonardo’s greatest - contribution to Florentine art consisted in his practice of the - science of <i lang="fr">chiaroscuro</i>, the laws of which he was the first to fully - investigate.</p> - - <p>Having begun his celebrated “Treatise on Painting” and recommenced his - work on the colossal equestrian statue of Francesco Sforza, which at - the moment of its destruction by the French bowmen in 1500 had earned - him lasting fame as a sculptor, Leonardo<span class="pagenum" id="Page_36">36</span> undertook his <i lang="fr">chef d’œuvre</i>, - <cite>The Last Supper</cite>, at Milan. Executed in tempera on a badly prepared - stucco ground, the painting unfortunately soon began to perish, and - although it was restored in 1908 with great success by Professor - Cavenaghi, only a faint idea of its pristine beauty remains. The Louvre - possesses a contemporary copy (No. 1603<span class="smcap">a</span>) of this fresco by - Marco d’Oggiono, which was commissioned by the Constable de Montmorency - and long hung in the Château d’Ecouen. A similar copy of Leonardo’s - <cite>Last Supper</cite> was purchased from a grocer in Milan in 1793 for £600, - and is now in the Royal Academy, London.</p> - - <h3 id="MONA_LISA">MONA LISA</h3> - - <p>When Lodovico Sforza was conquered by the French and his city occupied - by them, Leonardo set out for Mantua and Florence. It may have been in - the spring or summer of 1500 that he began to work on the <cite>Portrait - of Mona Lisa</cite> (No. 1601, <a href="#i_plate04">Plate IV.</a>) which officially passes under the - title of <cite>La Joconde</cite>. Vasari says that Leonardo worked on this picture - for four years, and finally left it unfinished. The words of Vasari - must not be taken too literally. We know, in fact, that Leonardo did - not work in Florence for four consecutive years during the period to - which the Louvre’s treasured picture belongs, but in 1502 visited - Orvieto, Pœsaro, and Rimini, acting as engineer to Cesare Borgia. - He probably began it in 1500, resumed work on it in 1503, and did - not complete it until the following year. This would make Vasari’s - statement substantially correct. The subject of this world-famous - portrait was Lisa di Anton Maria di Noldo Gherardini, the third wife - of Francesco di Bartolommeo de Zenobi del Giocondo, whom she married - in 1495. It is from the surname of her husband that she derives the - name of “<cite>La Joconde</cite>” by which her portrait is now officially known. - (The title has nothing to do with any reference to her jocund outlook - on life.) A French critic has shown that Mona Lisa’s child died while<span class="pagenum" id="Page_37">37</span> - this portrait was being painted. “Whoever shall desire to see how far - Art can imitate Nature,” says Vasari, “may do so to perfection in - this head, wherein every peculiarity that could be depicted by the - utmost subtlety of the pencil has been faithfully reproduced. The - eyes have the lustrous brightness and moisture which is seen in life, - and around them are those pale, red, and slightly livid circles also - proper to Nature. The nose, with its beautiful and delicately roseate - nostrils, might be easily believed to be alive; the mouth, admirable - in its outline, has the lips uniting the rose tints of their colour - with those of the face, in the utmost perfection, and the carnation of - the cheek does not appear to be painted, but truly flesh and blood.” - This eulogistic criticism may seem to-day to be somewhat excessive, - but allowance must be made for the drastic restorations to which the - panel has been subjected from time to time. As early as 1625 it is - recorded to have been in a bad condition. Tradition says that it was - purchased by François <span class="smcap">i.</span> for 4000 <i lang="fr">écus d’or</i>, equal to-day to - about £1800, and hung in the <cite>Cabinet doré</cite> at Fontainebleau. Cassiano - del Pozzo has left it on record that the Duke of Buckingham, in 1625, - when he was sent to escort Henrietta Maria to England as the bride of - Charles <span class="smcap">i.</span>, expressed the hope that he might be permitted to - take the picture back with him as a present from Henri <span class="smcap">iv.</span> of - France, who was with difficulty prevented by his courtiers from acting - on the suggestion. The picture was at Versailles during the reign of - Louis <span class="smcap">xiv.</span>., and appeared in the Louvre for the first time - at the Revolution. In recent years it has been placed in an excellent - frame of the period.</p> - - <p>By May 1506 Leonardo had returned to Milan, and there entered the - service of the French king. About 1508–12 he seems to have worked upon - the <cite>Madonna, Infant Christ, and St. Anne</cite> (No. 1598), which appears - to have been in part executed by an assistant, possibly Salaino. This - large panel was purchased by Cardinal Richelieu in 1629. A sketch by - Leonardo for part of this picture<span class="pagenum" id="Page_38">38</span> is in the Louvre (Drawing No. 391); - other sketches are in the Venice Academy and in the Royal Library, - Windsor. The name of Andrea Salaino (fl. 1495–1515) has been put - forward as the painter of the mysterious picture entitled <cite>St. John - the Baptist</cite> (No. 1597), which was evidently painted from a female - model. It is difficult to accept the view put forward by Théophile - Gautier that in this androgynous figure we have “another portrait - of <cite>La Joconde</cite>, more mysterious, more strange, freed from material - likeness, and showing the soul through the veil of the body.” The - picture passed into the collection of Charles I. from Louis XIII. in - exchange for Holbein’s <cite>Portrait of Erasmus</cite> (No. 2715, <a href="#i_plate24">Plate XXIV.</a>) - and a now unrecognisable <cite>Holy Family</cite> by Titian, but on the dispersal - of the English king’s collection was purchased for £140 by Jabach, - from whom it ultimately passed to Louis <span class="smcap">xiv.</span> It is a Milanese - production, but not, in all probability, from the hand of Leonardo - himself, although officially so regarded. The same criticism applies - to the so-called <cite>Portrait of Lucrezia Crivelli</cite> (No. 1600). Lucrezia - was a lady-in-waiting to Beatrice d’Este, and in 1496 Lodovico Sforza - became enamoured of her, a historical event which has no bearing on the - identity of this portrait or on its official, although uncertain, claim - to strict authenticity. It has also been described under the misleading - title of <cite>La Belle Ferronnière</cite>, apparently in reference to the wife - of one Ferron, a blacksmith, who had according to tradition been the - mistress of François <span class="smcap">i.</span>, but was already dead when Leonardo - passed into the service of that king and came to France in 1516. The - picture’s pedigree cannot be traced further back than 1645, and the - theories put forward in connection with it are largely conjectural. - It is, however, a Milanese production of the school of Leonardo. <cite>The - Profile Portrait of a Woman</cite> (No. 1605) was also a century ago loosely - described as the <cite>Portrait of La Belle Ferronnière</cite>; it is catalogued - as a school picture, but is regarded by Mr. Berenson as the work of - Bernardino de’ Conti. The same<span class="pagenum" id="Page_39">39</span> critic is of the opinion that the - <cite>Bacchus</cite> (No. 1602) is “based no doubt on a drawing by Leonardo,” - but the Catalogue accepts it unhesitatingly. It seems to have been - originally intended as a St. John the Baptist with a staff, and - subsequently altered into a Bacchus with a thyrsus. The <cite>Madonna and - Child</cite> (No. 1603<span class="smcap">a</span>), an attributed work, is only an old Flemish - copy of a slightly warped panel picture of the <cite>Madonna with the - Carnation</cite> (No. 1040<span class="smcap">a</span>) at Munich. The <cite>Madonna of the Scales</cite> - (No. 1604), which still passes as a school picture, has long been - regarded by responsible critics as being by Cesare da Sesto, a pupil of - Leonardo. <cite>The Holy Family</cite> (No. 1606), which was formerly in the His - de la Salle collection, is not now exhibited.</p> - - <p>In 1516, within three years of his death, the great Florentine left - Italy for the Manor House of Cloux, near Amboise, in Touraine, to enter - the service of the French king. His right hand was paralysed—he was - left-handed and wrote from right to left—and his health was failing - fast. The end of that great life came on May 2, 1519, when every one - lamented the loss of a man and a painter “whose like Nature cannot - produce a second time.”</p> - - <p>The <cite>Madonna and Child, St. Julian, and St. Nicholas</cite> (No. 1263) is - perhaps the masterpiece of Lorenzo di Credi (1456?–1537), who was - another pupil of Verrocchio. He also painted the <cite>Christ appearing to - Mary Magdalene</cite> (No. 1264). The <cite>Annunciation</cite> (No. 1602<span class="smcap">a</span>), - which was formerly assigned to Lorenzo in the Catalogue (No. 1265), is, - as has already been pointed out, an early work by Leonardo da Vinci.</p> - - <h3 id="BOTTICELLI">BOTTICELLI</h3> - - <p>The ever-increasing regard in which pictures by Botticelli (1444–1510) - are held is traceable to the fact that they show the mystic spirit of - mediæval times mingled with a fantasy that is almost modern. He was a - pupil of Fra Filippo Lippi, and studied<span class="pagenum" id="Page_40">40</span> the more scientific methods - which Antonio Pollaiuolo adopted in his treatment of the human figure. - Painting in an age when poets penned canzones to many mistresses, and - lovelorn gallants spoke in impassioned verse of the great platonic - emotions which stirred them to the depth of their love-tormented - souls, Botticelli stands forward as the representative of the later - years of the Medicean age. The mystic tendency of his genius, his - poetic imagination, his highly developed sense of linear design, and - the charm of his colour impart to his works a delicacy and refinement - which distinguish them from the works of his contemporaries, pupils, - and imitators. His fame had long been in eclipse when half a century - ago Ruskin rescued it from oblivion. Botticelli, who now has become the - object of a cult at the hands of fervent enthusiasts, is, however, not - to be ranked as a supreme master. He cannot be placed on the same plane - as Leonardo, Michelangelo, Raphael, and Giorgione.</p> - - <p>Botticelli is inadequately represented at the Louvre, which possesses - only two authentic paintings from his hand. Neither of these is on - panel or canvas, but in fresco. He was commissioned in 1486, the year - following his <cite>Mars and Venus</cite> in the National Gallery (No. 915), to - execute two wall paintings (No. 1297, <a href="#i_plate05">Plate V.</a>, and No. 1298) in the - hall on the <i lang="fr">piano nobile</i> of the Villa Lemmi, at Chiasso Macerelli, - between Fiesole and Florence, to commemorate the marriage of Lorenzo - Tornabuoni and Giovanna degli Albizzi. These exquisite, but much - injured, frescoes were covered over with whitewash until 1873, and - in 1882 they were removed from the wall and sold to the Louvre for - £1860. In the first (No. 1298) of the series <cite>Lorenzo Tornabuoni, - as Bridegroom, is admitted into the Circle of the Liberal Arts</cite>, - who give a gracious welcome to this friend of all the Muses. This - fresco, curiously enough, is in the official Catalogue regarded as - only a school picture. The second of these wonderful creations depicts - <cite>Giovanna Tornabuoni and the Three<span class="pagenum" id="Page_41">41</span> Graces</cite> (No. 1297, <a href="#i_plate05">Plate V.</a>). We - see the Three Graces bringing to Giovanna their gifts of Chastity, - Beauty, and Love, depicted symbolically as flowers. A tragic fate - awaited the loving pair, as Giovanna died within a few years in - childbirth, while Lorenzo was condemned to death in 1497 for conspiracy.</p> - - <div class="figcenter" id="i_plate05"> - <img class="illow100" src="images/i_plate05.jpg" alt="" /> - <div class="caption"><span class="large">PLATE V.—BOTTICELLI</span><br /> - <span class="small">(1444–1510)</span><br /> - FLORENTINE SCHOOL<br /> - No. 1297.—GIOVANNA DEGLI ALBIZZI AND THE THREE GRACES<br /> - <span class="small">(Giovanna Albizzi et les Trois Grâces ou les Vertus)</span></div> - </div> - <div class="description"> - <p>To the right Giovanna, a young woman in a red-brown dress, wearing a - white veil on her golden hair and a necklace of pearls round her neck, - advances towards four lovely maidens clad in delicately-tinted robes. - She holds in her outstretched hands a white linen cloth into which the - four maidens throw flowers symbolic of the Virtues.</p> - <p class="noindent">Fresco painting detached from the wall.</p> - <p class="noindent">7 ft. 3 in. × 9 ft. 4 in. (2·12 × 2·84.)</p> - </div> - - <p>The <cite>Madonna and Child and St. John</cite> (No. 1296), which was formerly - put forward by one critic as a “work of Botticelli’s early years, but - showing collaboration,” and which is still catalogued as being by the - master himself, is now generally recognised as a school picture only. - The background is formed by cypresses and rosebushes. The circular - panel (No. 1295), which is still credited officially to Sandro, is only - a copy of the <cite>Madonna of the Magnificat</cite> now in the Uffizi at Florence - (No. 1267 <i>Bis</i>).</p> - - <p>Authenticity cannot be claimed for the <cite>Fragment of a Predella</cite> (No. - 1300), containing the figures of St. Peter Martyr, the Virgin, St. - Elizabeth, Christ and the Magdalene, David, St. Francis, St. Dominic, - and St. John the Baptist. The <cite>Scene from the History of Virginia</cite> (No. - 1662<span class="smcap">a</span> or No. 1662 <i>Bis</i>), a cassone front, and the <cite>Portrait - of a Young Man</cite> (No. 1663), which was purchased in 1882 for £600, are - catalogued as being by an unknown Florentine painter. These have, - however, been included by Mr. Berenson among the numerous pictures - painted by the nameless imitator of Botticelli, whom the eminent critic - has identified under the significant name of “Amico di Sandro,” <i>i.e.</i> - “The friend of Sandro Botticelli.” The <cite>Madonna and Child adored by - Angels</cite> (No. 1300<span class="smcap">a</span>), bequeathed by the Baroness Nathaniel de - Rothschild, is regarded by the same high authority as a copy by Jacopo - del Sellaio (1442?–1493), a pupil of Fra Filippo Lippi and an imitator - of Botticelli, of a lost picture by “Amico di Sandro.” The unbeautiful - <cite>Venus</cite> (No. 1299) from the Cardinal Fesch and Campana collections - (which is very similar to a picture (No. 916) in the National Gallery), - the <cite>Esther crowned by Ahasuerus</cite> (No. 1643<span class="smcap">a</span>), and the <cite>St. - Jerome</cite><span class="pagenum" id="Page_42">42</span> (No. 1658), must also be included among the mediocre works of - Sellaio. In the same group of Florentine painters is placed Francesco - Botticini (1446–1497), who worked under and was influenced by Cosimo - Rosselli (1437?–1507); <cite>the Virgin in Glory between the Magdalene and - St. Bernard</cite> (No. 1482) is by Botticini although placed under the name - of Rosselli in the Catalogue. Many pictures by Botticini pass in public - galleries under the more illustrious name of Botticelli.</p> - - <p>From Cosimo Rosselli we naturally pass to his pupil Piero di Cosimo - (1462–1521), who derived great pleasure from the painting of such - scenes from classic fable as enabled him to depict grotesque monsters, - strange animals, and fantastic costume. At first sight it might be - assumed that the <cite>Nuptials of Thetis and Peleus</cite> (No. 1416<span class="smcap">a</span> - and No. 1416<span class="smcap">b</span>) were from his brush; but although these two - panels pass under his name in the Catalogue, they are, as we have seen, - by “Alunno di Domenico.” Piero is represented in the Louvre exclusively - by religious pictures, the most imposing of which is the <cite>Coronation - of the Virgin, with St. Jerome, St. Francis, St. Bonaventura, and St. - Louis of Toulouse</cite> (No. 1416). An unpleasing <cite>Madonna</cite> (No. 1662) has - long ago been assigned to Piero di Cosimo, who is also the author of a - <cite>St. John the Baptist as a Child</cite> (No. 1274), which is labelled with - the name of Uccello. The two last pictures hang in the Long Gallery on - either side of the door leading into Room VII.</p> - - <p>The authorities catalogue as the work of Raffaelino del Garbo - (1466–1524) the large <cite>Coronation of the Virgin, with St. Benedict, St. - Salvi, St. John Gualberto, and St. Bernard degli Uberti</cite> (No. 1303), - which is in reality the centre part of a large altarpiece by Raffaelle - dei Carli (1470–1526?), who worked with Garbo and his group.</p> - - <p>The great French Museum does not possess one of the only three easel - paintings which are now assigned by the safest critics to Michelangelo - (1475–1564), who as a painter is best known for his fresco paintings - in Rome. This collection is, however,<span class="pagenum" id="Page_43">43</span> fortunate enough to own the two - sculptures of the <cite>Slaves</cite>, represented as fettered and overcome by - grief at the death of Pope Julius <span class="smcap">ii.</span>, for whose tomb they - were intended.</p> - - <h3 id="ALBERTINELLI">ALBERTINELLI</h3> - - <p>By the end of the fifteenth century, Florence had become the æsthetic - capital of Italy, and painters innumerable were plying their trade - within her walls. As they worked in close contact and unconsciously - reflected the influences which beset them on every side, it becomes - increasingly difficult to assign to any given artist the execution - of certain works. The task becomes even more difficult, and indeed - thankless, when one is brought face to face with such a composite - picture as the <cite>Madonna and Child, St. Jerome and St. Zenobius</cite> (No. - 1114), which is officially ascribed to Albertinelli (1474–1515). The - leading authority on Italian art has given it as his opinion that this - large canvas, which is inscribed:</p> - - <div class="center small lh2"> - MARIOCTI DEBERTINELLIS OPUS<br /> - Ā. D̄. M̊. DVI, - </div> - - <p class="noindent">was “begun by Filippino Lippi, who laid in the St. Jerome, while - Albertinelli was assisted by Bugiardini in the execution of the rest, - especially in the child and landscape.” Albertinelli was the intimate - friend of Fra Bartolommeo, whose partner he eventually became. When it - is remembered that Albertinelli worked in the studio of Cosimo Rosselli - with Piero di Cosimo, who was the master of Fra Bartolommeo and had - some influence on Filippino Lippi, it will be recognised that it is - only the discerning critic of wide experience and consummate <em>flair</em> - that can detect the hand of various painters in a composite picture of - this kind, as Mr. Berenson has done.</p> - - <p><span class="pagenum" id="Page_44">44</span></p> - - <p>The <cite>Christ appearing to the Magdalene</cite> (No. 1115), which passes - officially as the work of Albertinelli, was most probably an early - picture by Fra Bartolommeo (1472–1517), who, having like Botticelli - come under the spell of Savonarola, took the vows of a Dominican in - July 1500, and temporarily relinquished the professional activity of a - painter. The Frate took up his brush again and, while working between - 1509 and 1512 as the partner of Albertinelli, achieved the large and - imposing <cite>Holy Family, with St. Peter, St. Vincent, St. Stephen, and - St. Catherine of Siena on the left, and St. Dominic, St. Francis, and - St. Bartholomew on the right</cite> (No. 1154). It is signed on the base of - the throne, in characteristic manner:</p> - - <div class="center small lh2"> - ORATE PRO PICTORE<br /> - MDXI<br /> - BARTHOLOME FLOREN̄.<br /> - OR. PRAE. - </div> - - <p>Four years later he also completed his Annunciation (No. 1153), which - is inscribed:</p> - - <div class="center lh2"> - <i>F. Bart<sup>o</sup> Floren<sup>s</sup> or<sup>is</sup> pre.<br /> - 1515.</i> - </div> - - <p class="noindent">The introduction of St. Paul, St. John the Baptist, and St. Margaret on - the left, and St. Mary Magdalene and St. Francis on the right, tends to - destroy the full significance of the principal theme. Fra Bartolommeo’s - pictures helped to emancipate Raphael from the mannerisms he had - acquired from Perugino; they mark a late period in the Renaissance art - of Florence. He lived until 1517, when Florentine painting was on the - verge of a fast approaching decadence.</p> - - <p>Equally influential in the art of this period was Filippino Lippi - (1457–1504), whose tendency to over-ornamentation be<span class="pagenum" id="Page_45">45</span>came more - advanced in his later years. In his fascinating pictures spiritual - significance is at times sacrificed to a love of mere display, the - baroque flutterings of his draperies and the air of affectation that - he sometimes imparted to his figures. The Louvre exhibits no example - of the art of Filippino which in its latest phase shows the early, - although unmistakable, signs of decline.</p> - - <h3 id="ANDREA_DEL_SARTO">ANDREA DEL SARTO</h3> - - <p>The highly technical skill and mellow colouring of Andrea del Sarto - (1486–1531) have long been known in France, where he was invited by - François <span class="smcap">i.</span> For that monarch he executed the <cite>Charity</cite> (No. - 1514), which, having been transferred from panel to canvas by Picault - in 1750 when the process was little understood, suffered accordingly. - In its present state we can get little idea of the former brilliance - of the picture which secured to the “faultily faultless painter” in - 1518—the year he arrived in France—a very considerable income. It is - inscribed:</p> - - <div class="center small lh2"> - ANDREAS SARTUS<br /> - FLORENTINTUS ME PINXIT<br /> - MDXVIII. - </div> - - <p>A <cite>Holy Family</cite> (No 1515), by the same facile painter, has been said by - some to portray in the features of the Virgin those of his own infamous - wife Lucrezia del Fede. It has been enlarged, and has suffered in the - operation. Less authentic are the <cite>Holy Family</cite> (No. 1516), which is - said to bear the inscription:</p> - - <div class="center small">ANDREA DEL SARTO FLORENTINO FACIEBAT</div> - - <p class="noindent">followed by a monogram, and a lunette of the <cite>Annunciation</cite> (No. 1517). - The <cite>Portrait of Andrea Fausti</cite>, which is given in the Catalogue under - the name of Sarto, and described as being the<span class="pagenum" id="Page_46">46</span> work of a pupil, is held - by some critics to have been painted by Franciabigio (1482–1525), who - came under the influence of Andrea.</p> - - <p>The insignificant <cite>Portrait of a Young Man</cite> (No. 1506), which since - 1709 has passed under the quite fictitious title of the <cite>Portrait - of Raphael</cite>, and is indeed still catalogued under his name, is an - ill drawn and badly coloured production. It seems to issue from the - influences we have just outlined. Morelli regarded it as the work - of Bacchiacca (1494–1557), who churned up reminiscences of Andrea - del Sarto, Franciabigio, and Perugino. Mr. Berenson has tentatively - assigned it to Sogliani, who imitated Albertinelli and many other - Florentines.</p> - - <p>An unattributed Florentine <cite>Portrait of a Young Man</cite> (No. 1644), - which has been enlarged about three inches all round, had at one time - or another been ascribed without much discrimination to Raphael, - Giorgione, Sebastiano del Piombo, Francesco Francia, Ridolfo - Ghirlandaio, and Franciabigio! It is apparently from the hand of - Giuliano Bugiardini (1475–1554), a mediocre artist who endeavoured to - appropriate all the conflicting influences that he came under. It has - long been hung to the left of Raphael’s <cite>La Belle Jardinière</cite>.</p> - - <p>A Florentine painter of no great accomplishment or originality in the - first half of the sixteenth century was Jacopo da Pontormo (1494–1557), - who painted the <cite>Portrait of an Engraver of Precious Stones</cite> (No. - 1241) and the large <cite>Holy Family</cite> (No. 1240). The <cite>Visitation</cite> (No. - 1242) is a copy by a pupil of his fresco in the Annunziata, Florence. - By another pupil, Agnolo Bronzino (1502–1572), are the <cite>Christ and - the Magdalene</cite> (No. 1183), not now exhibited, and the <cite>Portrait of a - Sculptor</cite> (No. 1184); the <cite>Holy Family</cite> (No. 1183<span class="smcap">a</span> or No. - 1183<span class="smcap">b</span>) which was formerly in the Vandeuil collection is only - a copy. Giovanni Battista Rosso (1496–1541), who is called Rosso - Fiorentino to distinguish him from Francesco Rosso (Il Salviati), came - to work at the French<span class="pagenum" id="Page_47">47</span> Court about 1530; he painted a <cite>Pietà</cite> (No. - 1485), and a <cite>Challenge of the Pierides</cite> (No. 1486), which are hung - among the French pictures. <cite>The Portrait of a Musician</cite> (No. 1608), - by Paolo Zacchia; the <cite>Madonna, St. John and St. Stephen</cite> (No. 1133), - by Michelangelo Anselmi; the <cite>David overcoming Goliath</cite> (No. 1462), - a repulsive production painted by Daniele da Volterra (Ricciarelli) - on both sides of a large piece of slate; a <cite>Flight into Egypt</cite> (No. - 1209), by Lodovico Cardi (Il Cigoli), and Matteo Rosselli’s <cite>Triumph of - David</cite> (No. 1483), are unworthy of comment. They show unmistakably the - characteristics of the Decadence in full operation. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_49">49</span> - <h2 id="THE_LATER_SIENESE_SCHOOL">THE LATER SIENESE SCHOOL</h2> - </div> - - <p class="drop-cap">WE have already sketched the earliest period of the art of Siena, and - seen how for a brief space of time it dominated that of Tuscany. The - greater precision of the Florentine technique, and the wider mental - outlook of its artists in the fifteenth century, placed it in the van - before long.</p> - - <p>Sano di Pietro (1406–1481), a pupil of Sassetta, undoubtedly painted - the five small characteristic panels (No. 1128–32), which illustrate - scenes from the <cite>Life of St. Jerome</cite>, and at one time formed the - predella of a large altarpiece. St. Jerome, with others of his order - who run away, kneels under a portico of the monastery he founded at - Bethlehem, and is extracting a thorn from the lion’s paw. According to - the legend, the lion was afterwards placed in charge of an ass which - the monks employed to carry wood; we see here that while the lion was - asleep in the heat of the day under a clump of trees, the ass was - stolen by merchants. St. Jerome naturally believed that the ass had - not been carried off by a passing caravan, but eaten by the lion, who - subsequently saw his old friend the ass in the possession of the same - merchants that chanced to pass that way again. The lion is here seen - (No. 1130) in the act of compelling, one might almost say pushing, the - ass and the other beasts of burden laden with provisions back into the - monastery, while the merchants flee away in terror.</p> - - <p>The Louvre does not contain any work by Vecchietta (1412–1480), who - was architect as well as painter. A <cite>Birth of the Virgin</cite><span class="pagenum" id="Page_50">50</span> (No. 1660), - catalogued as being by an unknown Florentine artist, is most probably - from the hand of Matteo di Giovanni (1435?–1495), who was most likely - at one time a pupil of Vecchietta. Another of the latter’s pupils, - Francesco di Giorgio (1439–1502), perhaps executed the panel of the - <cite>Rape of Europa</cite> (No. 1640<span class="smcap">a</span> or No. 1640 <i>Bis</i>), which the - cataloguer relegates to the lengthy list of unattributed Florentine - works.</p> - - <p>From these influences spring Girolamo di Benvenuto (1470–1524), whose - <cite>Judgment of Paris</cite> (No. 1668) passes in the Catalogue as a late - fifteenth century Bolognese picture. Bernardino Fungai (1460–1516), who - trod in the steps of Giovanni di Paolo, Francesco di Giorgio, and the - Umbrian artist Fiorenzo di Lorenzo, and yet evinced no real signs of - development from within, is unrepresented in this collection.</p> - - <p>This rapid survey of the School of Siena shows that it is not well - exemplified in the Louvre. The third-rate painters, Pacchiarotto - (1474–1540) and Beccafumi (1486–1551), will not detain us. Another - accomplished late Sienese eclectic, Girolamo del Pacchia (1477–1535?), - has been credited with a <cite>Crucifixion</cite> (No. 1642), but not by the - official cataloguer. Sodoma (1477–1551) also worked in Siena. Towards - the year 1501 other artists of the various schools of Central Italy, - including Pinturicchio, Signorelli, and Perugino, visited the city, - their advent bringing about an artistic revolution. Before long the - religious fervour, the delicate ornamentation, the gesso-embellishment, - the drawing in the flat, and the miniature-like delicacy of an earlier - age became extinct. The artistic glory of Siena was dimmed, and rapidly - passed into a period of decadence.</p> - - <p>Among the last Sienese artists of any distinction were Baldassare - Peruzzi (1481–1536), an architect and painter, and Matteo Balducci (fl. - 1509–1553), to whom we may perhaps ascribe the <cite>Judgment of Solomon</cite> - (No. 1571) and the <cite>Judgment of Daniel</cite><span class="pagenum" id="Page_51">51</span> (No. 1572). In any case - these pictures belong to the Umbro-Sienese period of Central Italian - art; they are officially regarded as being by Perugino himself. When - all originality had passed out of Sienese painting, Francesco Vanni - (1563?–1609) produced his <cite>Repose on the Flight into Egypt</cite> (No. 1561) - and the <cite>Martyrdom of St. Irene</cite> (No. 1562). </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_53">53</span> - <h2 id="THE_UMBRIAN_SCHOOL">THE UMBRIAN SCHOOL</h2> - </div> - - <p class="drop-cap">AT the head of the various local centres of painting which form the - school of Umbria we must place Alegretto Nuzi (died 1385), whose works - are very rarely met with in museums north of Italy. He inherited - the best Giottesque traditions, and became the teacher of Gentile - da Fabriano (1360?–1428), an early master whose influence was more - far-reaching and inspiring than we can to-day trace in any detail. - The Louvre has the good fortune to contain a precious little predella - panel of the <cite>Presentation in the Temple</cite> (No. 1278), which is very - decorative and exhibits a strongly marked appreciation of architecture. - It is the only separated panel from the predella of Gentile’s large - and magnificent altarpiece of the <cite>Adoration of the Magi</cite>, of 1423, - which was seized by Napoleon but was returned in 1815. It is now in the - Accademia at Florence.</p> - - <p>The <cite>Miracle of St. Nicholas giving a Dowry to the Three Daughters - of a Nobleman</cite> (No. 1659), which is officially classed among the - unattributable works of the Florentine school, is now considered to be - by Giovanni Francesco da Rimini, while the <cite>Madonna and Child</cite> (No. - 1300<span class="smcap">a</span> or 1300<span class="smcap">b</span>) which is officially ascribed to Piero - dei Franceschi, the leading painter of his generation in the school of - Umbria, must, as we have seen, be given to Alessio Baldovinetti of the - Florentine school.</p> - - <p>Again, the three-panel picture (No. 1415) which is credited to - Pesellino of Florence is in reality from the hand of the Umbrian - artist Fiorenzo di Lorenzo (1440–1521). The collection is not rich in - the works of the earliest painters of this school, but the <cite>Birth of<span class="pagenum" id="Page_54">54</span> - the Virgin</cite> (No. 1525), a detached panel from a lost or unidentified - altarpiece by Luca Signorelli (1441–1523), gives us some idea of the - great power of this influential master, whose knowledge of composition - and anatomy is best seen in his frescoes at Orvieto. Signorelli’s sense - of complicated movement and crowded action mark an epoch in the art of - Umbria. The <cite>Fragment of a Large Picture</cite> (No. 1527) seems to be imbued - with his spirit, but the large <cite>Adoration of the Magi</cite> (No. 1526) which - comes from Città di Castello, and a <cite>Madonna and Child with St. Louis - of Toulouse, St. Catherine, and other Saints</cite> (No. 1528), contain none - of the vigorous originality of that master from whom even Michelangelo - did not disdain to borrow on occasion. Three predella panels (No. 1120) - have been dismembered from a large altarpiece by Niccolò da Foligno, - and were originally painted for a side altar in the Church of S. - Niccolò at Foligno. In the art of this over-emotional Umbrian, what is - meant for deep religious feeling is by exaggeration almost transformed - into grimacing passion.</p> - - <h3 id="PERUGINO">PERUGINO</h3> - - <p>Niccolò’s most illustrious contemporary in this school was Pietro - Perugino (1446–1523). Over fifty of the religious pictures of this - influential and accomplished master were carried off from Central Italy - by Napoleon. He is well represented in this Gallery. The contemplative - and deeply impressive pictures of his less mannered style are among - the best pictures which Umbria has given us, but there is a tendency, - notably towards the end of his career, to repeat his compositions, - only altering the attitude of a single figure, and so exhibiting a - marked lack of originality. His early <cite>Holy Family with St. Rose and - St. Catherine</cite> (No. 1564), painted about 1491, is a little cramped; - the tondo hardly provides sufficient space to contain the rather - stiff figures, and the treatment<span class="pagenum" id="Page_55">55</span> is unpleasantly conventional. It - also recalls the art of Fiorenzo di Lorenzo. The <cite>St. Sebastian</cite> (No. - 1566<span class="smcap">a</span>, <a href="#i_plate06">Plate VI.</a>), which is inscribed:</p> - - <div class="center small">SAGITTÆ TVÆ INFIXÆ SVNT MICHI,</div> - - <p class="noindent">is a favourite subject with this master, who painted it at least eight - times on a large scale, as well as in a miniature now lent to the - National Gallery by Mr. H. Yates Thompson. The <cite>Holy Family with St. - Catherine</cite> (No. 1565) is said to bear the characteristic signature:</p> - - <div class="center small">PETRUS PERVSINUS PINXIT.</div> - - <p>The <cite>Combat of Love and Chastity</cite> (No. 1567) was commissioned by - Isabella d’Este, Duchess of Mantua, in 1505, and removed at the sack - of that city in 1630 to the Château of Richelieu, where it remained - down to the Revolution. The <cite>St. Paul</cite> (No. 1566) is a very late and - not very attractive work. In his best pictures Perugino loved to paint - a purist landscape with its buoyant spaciousness of view, but too - frequently his figures are insufficiently dramatic and have a tendency - towards sentimentality. A very late <cite>St. Sebastian</cite> (No. 1668<span class="smcap">a</span>), - which is on a much smaller scale than the subject of our illustration - (<a href="#i_plate06">Plate VI.</a>), is officially catalogued as being by an Unknown Umbrian - painter. The <cite>Apollo and Marsyas</cite> (No. 1509), which was purchased at - Christie’s in 1850 for £70 by Morris Moore, with an ascription to - Mantegna, was in 1883 sold to the Louvre for £8000. It long hung in - the Salon Carré as a Raphael, but is now only attributed to him by the - cataloguer. This gem of Umbrian art has successively been ascribed by - critics to Pintoricchio, Timoteo Viti, Francesco Francia, and others, - but is to-day generally regarded as a very fine example of the art - of Perugino. Two pictures (No. 1573 and No. 1573<span class="smcap">a</span>) of the - <cite>Madonna and Child</cite> are by unidentifiable pupils of Perugino.</p> - - <p>One of the most recent acquisitions is a <cite>Madonna</cite> by Antoniazzo<span class="pagenum" id="Page_56">56</span> - Romano (1440?–1508), the gift of M. Lucien Delamarre. The art of - Pintoricchio (1454–1513) is shown in the <cite>Madonna and Child with St. - Gregory and another Saint</cite> (No. 1417), while Lo Spagna (1475?–1528?), - a pupil of Perugino, is represented by a <cite>Nativity</cite> (No. 1539), - a <cite>Madonna and Child</cite> (No. 1540), and by three small pictures - illustrating the <cite>Dead Christ, the Virgin, and St. John</cite> (No. 1568), - <cite>St. Francis of Assisi receiving the Stigmata</cite> (No. 1569), and <cite>St. - Jerome in the Desert</cite> (No. 1570).</p> - - <p>A mediocre pupil of Perugino and Pintoricchio, Giannicola Manni (fl. - 1493–1544), is doubtless responsible for the <cite>Baptism of Christ</cite> (No. - 1369), the <cite>Assumption</cite> (No. 1370), the <cite>Adoration of the Magi</cite> (No. - 1371), and the <cite>Holy Family</cite> (1372) which pass under his name. The - last-mentioned panel was attributed by Villot, apparently without much - reason, to L’Ingegno.</p> - - <h3 id="RAPHAEL">RAPHAEL</h3> - - <p>The majority of the thirteen pictures which in the Louvre are - unreservedly catalogued under the great name of Raphael (1483–1520) - certainly belong to his third or Roman period, and in many of them - he obviously received a large amount of assistance from his pupil, - Giulio Romano. It is this fact, no doubt, which has led the compiler of - the Catalogue to place the “Divine Urbinate” in the Roman school. It - will, however, be readily admitted that such a classification is both - arbitrary and misleading.</p> - - <div class="figcenter" id="i_plate06"> - <img class="illow68" src="images/i_plate06.jpg" alt="" /> - <div class="caption"><span class="large">PLATE VI.—PERUGINO</span><br /> - <span class="small">(1446–1523)</span><br /> - UMBRIAN SCHOOL<br /> - No. 1566<span class="smcap">a</span>.-ST. SEBASTIAN<br /> - <span class="small">(Saint Sébastien)</span></div> - </div> - <div class="description"> - <p>The Saint stands with his hands behind his back bound to a pillar, - with his head raised towards heaven. An arrow pierces his right arm - and another his left breast. The body is nude, but for a white loin - cloth striped with red and blue. In the background is a rounded arch - supported by two highly ornamented pillars. Through the archway is seen - a beautiful landscape.</p> - <p class="noindent">Painted in tempera on panel.</p> - <p class="noindent">Signed:—“<span class="smcap">sagittæ tvæ infixæ svnt michi.</span>”</p> - <p class="noindent">5 ft. 7 in. × 3 ft. 10 in. (1·70 × 1·17.)</p> - </div> - - <p>Although he lived but thirty-seven years, Raphael gave to the world a - vast amount of art treasure. Brought up in Urbino, where his father, - Giovanni Santi, was poet as well as painter, he passed before he - was fifteen under the direct influence of Timoteo Viti, who had - worked at Bologna under Francesco Francia. Raphael became the pupil - of Perugino at Perugia about 1500, and also worked as the assistant - of Pintoricchio. His art <span class="pagenum" id="Page_57">57</span>being thus formed on the best Umbrian - tradition, Raphael in October 1504 left Perugia for Florence, and it - was only at that date that he began to acquire a distinctive style of - his own. During his second or Florentine period he painted the <cite>St. - George and the Dragon</cite> (No. 1503), in which is seen the chivalrous - knight mounted on a pure white steed; his lance is broken in his combat - with the monster, and he is forced to use his sword, while the little - Princess Cleodolinda flees in abject terror into the background. The - very small panel of <cite>St. Michael</cite> (No. 1502), which is a chessboard on - the back, was painted for Guidobaldo, Duke of Urbino, and eventually - passed into the collections of Cardinal Mazarin and Louis <span class="smcap">xiv.</span> - The <cite>Madonna and Child</cite> which has come to be known as <cite>La Belle - Jardinière</cite> (No. 1496, <a href="#i_plate07">Plate VII.</a>) is rather later than the <cite>Madonna - del Gran’ Duca</cite> in the Pitti Palace, the <cite>Cardellino Madonna</cite> in the - Uffizi, and the <cite>Ansidei Madonna</cite> in the National Gallery. It is one of - the most famous of Raphael’s saintly and ideal Madonnas; the pose of - the figures is easy, the treatment simple, the colour exquisite. The - landscape background is poetic in feeling, and conveys the mood which - makes this one of Raphael’s most pleasing creations. The thin feathery - trees and the treatment of the Virgin’s hair are still Peruginesque, - but the superiority of the pupil to the master is gradually making - itself felt. The Infant Christ is standing on the right foot of His - mother. Tradition says that Raphael entrusted to Ridolfo Ghirlandaio - the task of painting in the blue of the Virgin’s garment. The drapery - is apparently inscribed:</p> - - <div class="center small">VRB. RAPHAELLO MDVII.</div> - - <p>After working for four years in Florence, Raphael went in the summer of - 1508 to Rome, where he achieved such a vast amount of work for Popes - Julius <span class="smcap">ii.</span> and Leo <span class="smcap">x.</span> His<span class="pagenum" id="Page_58">58</span> work was increased by his - appointment, on the death of Bramante in 1514, as Architect of St. - Peter’s and Inspector of Antiquities.</p> - - <p>About 1515–16 Raphael delighted to paint the <cite>Portrait of Baldassare - Castiglione</cite> (No. 1505, <a href="#i_plate08">Plate VIII.</a>), who was his lifelong friend and - adviser as well as the author of <cite>Il Cortegiano</cite>. This picture, which - is eloquent testimony to Raphael’s skill as a portrait painter, was - originally on wood, but it was long ago transferred to canvas, which - has unfortunately abraded, the paint having peeled off the hands. After - the death of Castiglione in Spain, this picture which he had taken - with him passed into the possession of the Duke of Mantua, and thence - into the collection of Charles <span class="smcap">i.</span>, where it seems to have - been copied by Rubens. It subsequently became the property of a Dutch - amateur named Van Asselen, and was copied by Rembrandt. Later, it was - sold for 3500 florins to Don Alfonso Lopez, a collector at Amsterdam, - and after figuring in the collection of Mazarin was acquired by Louis - <span class="smcap">xiv.</span></p> - - <p>The <cite>Holy Family of Francis I.</cite> (No. 1498) was commissioned by Lorenzo - de’ Medici and presented to the Queen of François <span class="smcap">i.</span> by Pope - Leo <span class="smcap">x.</span> It was originally painted on wood, and was forwarded - to Lyons on April 19, 1518. During the reign of Louis <span class="smcap">xiv.</span> - it hung in the <i lang="fr">grand appartement</i> at Versailles, and having been - placed near a fireplace had to be relined. It then had wings, but they - were destroyed at the time of the Revolution. Although it is very - ostentatiously signed</p> - - <div class="center small">RAPHAEL VRBINAS PINGEBAT MDXVIII</div> - - <p class="noindent">on the edge of the robe of the kneeling Madonna, there can be no - question that it was only designed by Raphael, the execution being - wholly or in great part carried out by the master’s best pupil, Giulio - Romano. In the <cite>Sistine Madonna</cite> and such works as <span class="pagenum" id="Page_59">59</span>Raphael painted - at this period entirely with his own hand we see that his technique - had become masterly and his powers of composition had developed to the - utmost. Compared with <cite>La Belle Jardinière</cite> of a decade earlier, a - greater knowledge of craftsmanship has been accompanied by a loss of - purity and simplicity.</p> - - <div class="figcenter" id="i_plate07"> - <img class="illow66" src="images/i_plate07.jpg" alt="" /> - <div class="caption"><span class="large">PLATE VII.—RAPHAEL</span><br /> - <span class="small">(1483–1520)</span><br /> - UMBRIAN SCHOOL<br /> - No. 1496.—LA BELLE JARDINIÈRE<br /> - <span class="small">(<i>La Vierge</i> dite <i>La Belle Jardinière</i>)</span></div> - </div> - <div class="description"> - <p>The Virgin is seated in a flowery meadow. She wears a red tunic - edged with black, yellow sleeves and a blue mantle; a book is on her - knees; her fair hair is confined under a transparent veil. She looks - down to the left at the Infant Jesus, who leans tenderly against her - knee and draws her attention to the little St. John the Baptist who - kneels to the right, his reed cross in his right hand. The background - shows a landscape containing a small town with its church, and a lake - surrounded by mountains.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">The signature seems to be:—“<span class="smcap">vrb. raphaello mdvii.</span>”</p> - <p class="noindent">3 ft. 8 in. × 2 ft. 7½ in. (1·22 × 0·80.)</p> - </div> - - <p>Two years before his death Raphael had designed the large but by no - means imposing <cite>St. Michael overcoming Satan</cite> (No. 1504), the execution - of which on panel was certainly due to Giulio Romano. It was a gift - from Lorenzo de’ Medici to François <span class="smcap">i.</span>, the original cartoon - being presented by Raphael to the Duke of Ferrara. This picture, like - the <cite>Holy Family of Francis I.</cite>, was originally protected by folding - wings, the inner sides of which were lined with green velvet, while the - outer were gilded and painted with arabesques. The two pictures arrived - at Fontainebleau in July 1518, having been carried on the back of mules - by way of Florence and Lyons. As early as 1530 the <cite>St. Michael</cite> was - restored by Primaticcio and by many others subsequently, notably in - 1752. The picture was transferred to canvas by Picault, who received - for his labours the large sum of 11,500 <i>livres</i>, a sum quite out of - proportion to its æsthetic or financial value to-day. It was again - restored in 1776, 1800, and 1850. It is signed in gilt characters on - the edge of the Archangel’s tunic:</p> - - <div class="center small">RAPHAEL VRBINAS PINGEBAT MDXVIII.</div> - - <p>The Demon is not shown, as in the early and small picture of the same - subject (No. 1502), as a dragon, but as a half-human monster with - horns and tail. The foreshortening is undoubtedly clever, but the - picture is too instantaneous in its dramatic action. In the course of - time the high lights have gone down and the shadows darkened in the - metallic-looking figure of the Archangel.</p> - - <p>The <cite>Virgin with the Blue Diadem</cite> or the <cite>Virgin with the Veil</cite> (No. - 1497) is one of at least ten pictures in this collection which<span class="pagenum" id="Page_60">60</span> were - carried out by Giulio Romano (1492?–1546). It is here credited to - Raphael. It has been repeatedly restored. A very large number of - replicas, variants, and old copies of this panel exist. The following - “Raphaels” may be regarded as the work of Giulio: the <cite>Small Holy - Family with St. Elizabeth</cite> (No. 1499); the much restored <cite>Saint - Margaret</cite> (No. 1501); the <cite>Portrait of Joan of Arragon</cite> (No. 1507), - whom Raphael apparently never saw; and the <cite>Portraits of Two Men - seen to the Bust</cite> (which has been called <cite>Raphael and his Fencing - Master</cite>) (No. 1508). Giulio certainly painted the <cite>Triumph of Titus - and Vespasian</cite> (No. 1420), the <cite>Venus and Vulcan</cite> (No. 1421), and the - <cite>Portrait of a Man</cite> (No. 1422), which are catalogued under his name, - and in all probability the three large Cartoons entitled <cite>A Triumph</cite>, - <cite>The Triumph of Scipio</cite>, and <cite>The Taking and Burning of a City</cite>, which - hang on the Escalier Daru. The <cite>Circumcision</cite> (No. 1438) which figures - officially under the name of the Bolognese painter Bartolommeo Ramenghi - (Il Bagnacavallo) (1484–1542) is by Giulio Romano.</p> - - <p>The fresco painting of <cite>The Eternal Father</cite> (No. 1512), which is - now inserted over the door of the Salle des Primitifs (Room VII.), - was certainly executed during the lifetime of Raphael, and probably - under his supervision. It was painted for the chapel attached to the - Villa Magliana, a favourite hunting-box of Pope Leo <span class="smcap">x.</span>, who - commissioned it. It was purchased in 1873 for the large sum of £8280.</p> - - <p>From the hand of Giannicola Manni (fl. 1493–1544) come the <cite>Baptism of - Christ</cite> (No. 1369), the <cite>Assumption</cite> (No. 1370), the <cite>Adoration of the - Magi</cite> (No. 1371), and a <cite>Holy Family</cite> (No. 1372), while a fully signed - <cite>Dead Christ supported by Two Angels</cite> (No. 1400) is by the mediocre - Umbrian artist Marco Palmezzano (fl. 1456–1538). The latter’s pupil, - Zaganelli da Cottignola (1460?–1531), may have painted the <cite>Christ - bearing His Cross</cite> (No. 1641) which is catalogued as an unattributable - Italian work.</p> - - <div class="figcenter" id="i_plate08"> - <img class="illow80" src="images/i_plate08.jpg" alt="" /> - <div class="caption"><span class="large">PLATE VIII.—RAPHAEL</span><br /> - <span class="small">(1483–1520)</span><br /> - UMBRIAN SCHOOL<br /> - No. 1505.—PORTRAIT OF BALDASSARE CASTIGLIONE<br /> - <span class="small">(Portrait de Balthazar Castiglione, ambassadeur et littérateur)</span></div> - </div> - <div class="description"> - <p>He is seen nearly in full face. He wears a white linen under-garment, - an over-dress of black velvet with grey sleeves, and a cap.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">2 ft. 0½ in. × 2 ft. 2½ in. (0·62 × 0·67.)</p> - </div> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_61">61</span> - <h2 id="THE_VENETIAN_SCHOOL">THE VENETIAN SCHOOL</h2> - </div> - - <p class="drop-cap">THE conquest of Byzantium during the Fourth Crusade by Doge Enrico - Dandolo in 1204, an epoch-making event in the history of Venice and - Venetian art, strengthened the intercourse between the East and the - City of the Lagoons. At the same time it riveted the fetters of - Byzantinism on to the nascent art of Venice, to which it also imparted - a sense of intense Oriental colour.</p> - - <p>The frescoes painted in Tuscany on the lines of Giottesque tradition - and the environment under which its painters worked, in time gave - to the Florentines a sense of line and form which produced a school - of idealists: on the other hand, the colour-impressions created on - the mind of the Venetian painter by the relics from the East and the - brilliant mosaics which he saw around him resulted eventually in the - formation of a school of colourists with a realistic tendency.</p> - - <p>It will cause little surprise that the Louvre contains no polyptych by - the very early Venetians, Niccolò Semitecolo (fl. 1351–1400), Jacobello - del Fiore (died 1439), and Michele Giambono (fl. 1420–1462). The - Gallery possesses, however, a fourteenth-century Venetian arched panel - of the <cite>Madonna and Child</cite> (No. 1541) which is attributed to Stefano - Veneziano.</p> - - <p>In the early fifteenth century the dominating influence exerted on - the painters of Venice was that of Jacopo Bellini (1400?–1470), whose - sons, Gentile and Giovanni, and son-in-law, Andrea Mantegna, were to - shape the destinies of the school throughout the Renaissance. Jacopo’s - drawing is seen in its full maturity in the<span class="pagenum" id="Page_62">62</span> Sketch-book of about 1450 - which belongs to the Louvre but is not publicly exhibited. Another - Sketch-book by him of about 1430 is one of the treasured possessions - of the British Museum. Jacopo had in early life been the pupil of - Gentile da Fabriano, who, together with Alegretto Nuzi, stands at the - head of the Umbrian school, and of Antonio Pisanello (1397–1455), - the medallist-painter who played such an important part in the art - of Verona. Both Gentile da Fabriano and Pisanello worked for a time - at Venice. Under the circumstances, therefore, it is not surprising - to find that a <cite>Madonna and Child with a Donor</cite> (No. 1159<span class="smcap">a</span>, - formerly No. 1279 and No. 171), which is now justly ascribed in the - Catalogue to Jacopo Bellini, was long assigned officially to Gentile - Bellini, although held by some critics to have been painted in the - school of Pisanello. The name of the Donor in this picture is given - in the Catalogue as Leonello d’Este and on the frame as Pandolfo - Malatesta; it would, however, seem to be the portrait of Sigismondo - Malatesta.</p> - - <p>Four small triptychs (Nos. 1280–83) from the Campana collection still - pass officially under the ambiguous designation of “School of Gentile - da Fabriano”; they may, however, without much doubt be ascribed to - Antonio Vivarini, who remained outside the Bellini sphere of influence, - and died about 1470.</p> - - <h3 id="THE_BELLINI">THE BELLINI</h3> - - <p>The sunny splendour of Venetian painting reached its zenith in the - <i lang="it">bottega</i> of the Bellini. Gentile, who was sent to Constantinople with - the authority of the Republic in 1479, painted portraits, ceremonial, - religious, and historical pictures, many of which are on a large scale, - while Giovanni was for many years the greatest teacher and the most - influential painter in Venetian territory. Giovanni executed a large - number of panels and canvases which<span class="pagenum" id="Page_63">63</span> in the period of his maturity - exhibit a profound sense of dignity, beauty, religious feeling, and - rich deep colour. Most of those which are signed in a <i lang="it">cartellino</i> - “<span class="smcap">ioannes bellinus</span>” (in capitals and, of course, in pigment - of the period) are authentic works from his own hand. The majority - of those which bear what to the unpractised eye might be taken for - his personal signature, but are only signed in uncials (“<i>Ioannes - Bellinus</i>”), must be regarded as mere studio productions. In the - sixteenth century no one was misled by these alternative methods of - personal signature and studio-mark. Although the Louvre authorities - catalogue two pictures under the name of Gentile and three under that - of Giovanni, none of them is from the hand of either of these brothers.</p> - - <p>Bartolommeo Vivarini of Murano (fl. 1450–1499) was the pupil of - Giovanni d’Allemagna, who worked in Venice, and Antonio Vivarini. He - painted a large panel of <cite>St. John of Capistrano</cite> (No. 1607), which is - signed and dated</p> - - <div class="center small">OPVS BARTHOLOMEI VI[V]ARINI DE MURAHO—1459.</div> - - <p>Alvise or Luigi Vivarini (fl. 1461–1503), the nephew of Bartolommeo, - was the last and most distinguished painter in the Murano school. He - carried on the old traditions of Early Venetian art until the day when - the rival school of the Bellini had become supreme in Venice, and so - had begun to prepare the way for the triumphs of the Giorgionesque - period—the golden age of Venetian painting. The <cite>Portrait of a Man</cite> - (No. 1519), catalogued under the name of Savoldo (1480?–1548?) is by - Alvise. This magnificent bust-length picture represents Bernardo di - Salla, who holds in his gloved right hand a paper inscribed “<cite>Dono - Bnardo di Salla</cite>.” It vividly recalls the <cite>Portrait of a Man with a - Hawk</cite> at Windsor, which, although it traditionally but erroneously - bears the name<span class="pagenum" id="Page_64">64</span> of Leonardo da Vinci and has been ascribed to Savoldo, - is in all probability another of the rare portraits by Alvise.</p> - - <p>From the Vivarini group issues Carlo Crivelli (1430?–1493?). His - morosely ascetic compositions, with their elaborate draperies, - jewelled ornamentation, and at times grotesque anatomy, distinguish - his polyptychs, all of which are painted in tempera, from those of any - other painter in the whole range of art. His large panel picture of - <cite>St. Bernardino of Siena</cite> (No. 1268) is inscribed</p> - - <div class="center small">OPUS CAROLI CRIVELLI VENETI, 1477.</div> - - <p class="noindent">It belongs to his middle period, and was painted nine years earlier - than his magnificent <cite>Annunciation</cite>, now one of the gems of the - National Gallery (No. 739); both these pictures came from the Church of - the Annunziata at Ascoli.</p> - - <p>Another painter who carried on the Vivarini tradition but was - influenced by Giovanni Bellini, was Giovanni Battista Cima - (1460?–1517?), whose art is adequately shown in the <cite>Madonna and Child - with St. John the Baptist and St. Mary Magdalene</cite> (No. 1259). The - signature</p> - - <div class="center small lh2"> - IOANIS BAPT.<br /> - CONEGLANES.<br /> - OPVS.</div> - - <p class="noindent">as well as the internal evidence of the picture show it to - be an authentic work.</p> - - <p>One of the best, but until recent years one of the least known, members - of that brilliant group of painters who flourished at Venice in the - early half of the sixteenth century was Lorenzo Lotto (1480–1556). - He practised his art in many parts of Italy, and for that reason has - been less generally known than many of his contemporaries. He was a - pupil of Alvise Vivarini, but benefited largely by the example of - Giovanni Bellini and Giorgione. His art is not well seen in the small - <cite>St. Jerome</cite> (No. 1350), which is signed <span class="pagenum" id="Page_65">65</span>and dated “<span class="smcap">lotvs - 1500</span>” and must therefore be one of his earliest and least - ambitious works, nor in his <cite>Holy Family</cite> (No. 1351) which was formerly - attributed to Dosso Dossi. Replicas have been found of his <cite>Christ and - the Woman taken in Adultery</cite> (No. 1349).</p> - - <div class="figcenter" id="i_plate09"> - <img class="illow86" src="images/i_plate09.jpg" alt="" /> - <div class="caption"><span class="large">PLATE IX.—ANTONELLO DA MESSINA</span><br /> - <span class="small">(1430–1479)</span><br /> - VENETIAN SCHOOL<br /> - No. 1134.—PORTRAIT OF A CONDOTTIERE<br /> - <span class="small">(Portrait d’homme dit le Condottiere)</span></div> - </div> - <div class="description"> - <p>Bust portrait, turned three-quarters to the left. He wears a black - doublet, above the collar of which is visible the edge of a white linen - under-garment. Under his cap is seen his <i>zazzara</i> of red-brown hair.</p> - <p class="noindent">Painted in oil on panel.</p> - <div>Signed: <div class="center">“<i>1474<br /> - Antonellus Messaneus me<br /> - pinxit.</i>”</div></div> - <p class="noindent">1 ft. 1 in. × 11 in. (0·33 × 0·28.)</p> - </div> - - <p>Although we possess very detailed records of Antonello da Messina - (1430–1479), his movements and his life’s work, it is only in recent - years that they have been studied with any care. This Sicilian-born - artist obviously cannot have set out for Flanders and there have learnt - from Jan van Eyck (who died in 1441) the “discovery” of oil as a - medium in painting, as Vasari tells us. But he may have seen in Italy - a picture by the great Northern artist and from it have acquired some - facility in the use of oil and in finishing with glazes of oil panels - which had been begun in tempera. He was certainly in Venice in 1475–76, - if not earlier, and his <cite>Portrait of a Condottiere</cite> (No. 1134, <a href="#i_plate09">Plate - IX.</a>), which is characteristically signed and dated</p> - - <div class="center"> - <i>1474<br /> - Antonellus Messaneus me<br /> - pinxit</i></div> - - <p class="noindent">belongs to that period of his full maturity. It was - purchased at the Pourtalès-Gorgier sale in 1865 for £4767. In any case, - the discoveries with which Antonello is credited within a few years - completely revolutionised the methods of painting throughout Italy, and - prepare us for the wonderful achievements of the later Venetians, who - followed and improved upon the Bellini tradition.</p> - - <p>Vittore Carpaccio (1455?–1526) was, like Gentile Bellini, a painter of - Venetian fêtes, pageantry, and religious pictures on an imposing scale. - Nothing is known of Carpaccio’s artistic descent, but his work shows - traces of the influence of Jacopo Bellini and of Lazzaro Bastiani, who - was the head of a group of artists whose art was based on the tradition - of such early painters as Jacobello<span class="pagenum" id="Page_66">66</span> del Fiore. Carpaccio’s <cite>Preaching - of St. Stephen at Jerusalem</cite> (No. 1211) is one of the series of five - incidents from the <cite>Life of St. Stephen</cite> which were painted by this - artist between 1511 and 1520 for the Scuola di S. Stefano at Milan. The - others of the series are now in the Milan Gallery (No. 170—signed and - dated 1513), at Berlin (No. 23), and at Stuttgart. The Louvre obtained - this canvas, which varies from the others in size, from the Milan - Gallery in 1813, when together with Boltraffio’s <cite>Madonna of the Casio - Family</cite> (No. 1169) and other pictures it was exchanged for works by - Rembrandt, Rubens, Van Dyck, and Jordaens.</p> - - <p>To Vincenzo Catena (14..?–1531?) may be assigned, on stylistic grounds, - the <cite>Reception of a Venetian Ambassador at Cairo in 1512</cite> (No. 1157). - In any case, it cannot have been executed by Gentile Bellini, as - alleged in the Catalogue, as the audience here depicted did not take - place until five years after that master’s death!</p> - - <p>Another Bellinesque painter was Bartolommeo Veneto (fl. 1505–1555). We - shall, following the suggestion of Venturi, assign to him the excellent - but officially unattributed <cite>Portrait of a Lady</cite> (No. 1673) which hangs - to the right of Raphael’s <cite>La Belle Jardinière</cite>.</p> - - <h3 id="GIORGIONE">GIORGIONE</h3> - - <p>Although a large number of really representative examples of the great - lyricist Giorgione (1477–1510) have not come down to us, he is to be - regarded as the greatest of the Venetian artists, and perhaps the most - romantic painter that Europe has ever known. He was, together with - his illustrious contemporary Titian, a pupil of Giovanni Bellini. His - <cite>Pastoral Symphony</cite> (No. 1136, <a href="#i_plate10">Plate X.</a>) is one of the most beautiful - idyllic groups in the whole range of painting, and shows that Giorgione - could naively reveal the inner depths of thought and feeling and - depict “passionate souls in passionate bodies.” Early in the sixteenth - century the austere traditions of the <span class="pagenum" id="Page_67">67</span>Bellinesque era were passing - away. Giorgione now began to unseal the eyes of his contemporaries, - among whom Titian occupied an important place, to the “life-giving and - death-dealing waters of love,” making the landscape background of his - lyrical compositions respond to the mood of the incident illustrated. - The <cite>Pastoral Symphony</cite> was acquired by Charles <span class="smcap">i.</span> from - the collection of the Duke of Mantua; it then passed to Jabach, and - subsequently to Louis <span class="smcap">xiv.</span> Although it has been slightly - restored and has from time to time been without any reason ascribed to - Titian, Sebastiano del Piombo and a large number of Venetian artists, - it is to-day recognised on all sides as an excellent example of - Giorgione.</p> - - <div class="figcenter" id="i_plate10"> - <img class="illow100" src="images/i_plate10.jpg" alt="" /> - <div class="caption"><span class="large">PLATE X.—GIORGIONE</span><br /> - <span class="small">(1477?–1510)</span><br /> - VENETIAN SCHOOL<br /> - No. 1136.—PASTORAL SYMPHONY<br /> - <span class="small">(Concert Champêtre)</span></div> - </div> - <div class="description"> - <p>Two young men are seated on the grass; the one, wearing a green tunic - with red sleeves, a red cap and parti-coloured hose, is playing on the - lute; his companion bends over to listen to him. Before them a nude - woman, her back turned to the spectator, is seated holding a flute. To - the left another nude woman, with a drapery across her left hip, is - drawing water at a fountain. In the background to the right is seen a - shepherd with his flock. In the centre background are some houses.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">3 ft. 7½ in. × 4 ft. 6½ in. (1·10 × 1·38.)</p> - </div> - - <p>The same influences which formed the art of Giorgione inspired the - pictures of Palma Vecchio (1480–1528), whose <cite>Adoration of the - Shepherds with a Female Donor</cite> (No. 1399, <a href="#i_plate11">Plate XI.</a>) is brilliant - in colour. The signature in the right foreground of this canvas, - <span class="smcap">tician</span>, is false. Palma left a large number of pictures - unfinished at his death.</p> - - <p>The <cite>Visitation</cite> (No. 1352) is an admirable example of the art of - Sebastiano del Piombo (1485–1547), and is signed</p> - - <div class="center small lh2">SEBASTIANVS VENETVS FACIEBAT<br /> - ROMAE MDXXI.</div> - - <p class="noindent">It was purchased in the year indicated in the inscription by François - <span class="smcap">i.</span>, who added it to his collection at Fontainebleau, whence - it was removed by Louis <span class="smcap">xiv.</span> to Versailles. The canvas, which - has been a good deal injured, has at some time been cut into three - pieces. The name by which this artist is generally known was derived - from the office which he held late in life at the Papal Court. There he - forsook the traditions of his native school and gradually came under - the influence of Michelangelo. In Rome he also met Raphael, who was - much impressed by his colour schemes: the <cite>St. John the Baptist in the - Desert</cite> (No. 1500), here catalogued under the<span class="pagenum" id="Page_68">68</span> name of Raphael, and a - few pictures similarly attributed in other galleries, were painted by - Sebastiano in his Roman manner.</p> - - <p>A prominent place among the less important artists generally included - in this school must be accorded to Cariani (1480?–1547?). A large - proportion of the pictures of this Bergamask painter usually pass under - more imposing names, and it is a remarkable fact that we do not find - any work attributed to him in the official Catalogue. He, however, - painted a <cite>Holy Family</cite> (No. 1135), here assigned to Giorgione, as - well as the <cite>Madonna and Child and St. Sebastian</cite> (No. 1159) given to - Giovanni Bellini. The <cite>Portrait of Two Men</cite> (No. 1156), which for no - very apparent reason was once regarded as the portraits of Gentile and - Giovanni Bellini, must be by Cariani, although still placed to the - credit of Gentile.</p> - - <p>Another of the less efficient pupils of Giovanni Bellini was Niccolò - Rondinelli (fl. 1480–1500), whose <cite>Madonna and Child, St. Peter, and - St. Sebastian</cite> (No. 1158) masquerades as a work by Giovanni Bellini, - whose full name, <span class="smcap">ioannes bellinvs</span>, is inscribed in capitals - (not, however, placed in a <i lang="fr">cartellino</i>) on the parapet which runs - across the front of the panel.</p> - - <h3 id="TITIAN">TITIAN</h3> - - <p>Although we have only limited space to deal with the differences of - the critics as to the probable date of Titian’s birth, we may point - out that it was, until recent times, placed in the year 1477. Mr. - Herbert Cook has, however, put forward a very strong case in favour - of the year 1489, pointing out the remarkable fact that there is no - record of Titian earlier than Dec. 2, 1511, or, according to the usual - chronology, until he was thirty-five years of age! Again, L. Dolce, in - 1557, wrote that Titian was “scarcely twenty years old when Giorgione - was painting the façade of the Fondaco de’ Tedeschi”; and we know that - Titian was his assistant on that work in 1507–8. <span class="pagenum" id="Page_69">69</span>Vasari also - asserts, as Mr. Cook reminds us, that the famous Venetian was “about - seventy-six years old in 1566–67,” when he visited him in Venice. No - reliance is to be placed on the date contained in the well-known letter - which Titian addressed to Philip II. in 1571, as he evidently had a - motive in referring to himself as “an old servant of ninety-five.” - There is, however, no doubt that Titian died in 1576.</p> - - <div class="figcenter" id="i_plate11"> - <img class="illow100" src="images/i_plate11.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XI.—PALMA VECCHIO</span><br /> - <span class="small">(1480–1528)</span><br /> - VENETIAN SCHOOL<br /> - No. 1399.—THE ADORATION OF THE SHEPHERDS, WITH A FEMALE DONOR<br /> - <span class="small">(L’Annonce aux Bergers)</span></div> - </div> - <div class="description"> - <p>The Virgin is seated and holds the Infant Jesus on a cradle formed of - basket-work; she wears a red robe with blue and green draperies and a - white veil, under which her brown hair is seen. To her right St. Joseph - is seated leaning on his staff; before him a shepherd boy kneels in - adoration to the Infant Christ. To the left kneels the <i lang="fr">donatrice</i>, her - hands folded. In the ruined shed behind the Holy Family are the ox and - ass. To the right of the composition is a landscape background in which - several figures appear. A small group of angels in the sky.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">4 ft. 7 in. × 6 ft. 11 in. (1·40 × 2·10.)</p> - </div> - - <p>Titian, who was a native of Cadore, left his home at an early age - for Venice. He was first placed as a pupil of Sebastian Zuccato, a - mosaicist and perhaps a painter; he then seems to have worked in the - studio of Gentile Bellini before passing into that of Giovanni, where - he met Giorgione. Titian, like Giotto, has been called “the Father of - modern painting.” The early Florentine had provided his countrymen - with a set of fundamental principles of art, but it remained for - the illustrious Venetian to endow his contemporaries and artistic - descendants with a more complete equipment and a new sense of pictorial - effect. The profound impression exerted by Giorgione on the youthful - Titian inspired him to achieve those idyllic compositions and “poesies” - which stand out so prominently among the world’s pictures.</p> - - <p>Titian’s earliest picture in the Louvre is the <cite>Virgin and Child, - with St. Stephen, St. Ambrose, and St. Maurice</cite> (No. 1577), of about - 1508–1510. It is very reminiscent of a picture by Titian in the Vienna - Gallery (No. 166), in which he has substituted St. Jerome for St. - Ambrose.</p> - - <p>No doubt can exist as to the authenticity of the so-called <cite>Portrait - of Alfonso da Ferrara and Laura de’ Dianti</cite> (No. 1590), but the title - under which it has passed for many years is probably incorrect. It was - in the collection of Charles I., and was then described as “Tytsian’s - Mrs., after the life by Tytsian.” In the collection of Jabach it - was called <cite>La Maîtresse du Titien</cite>, and as such was sold to Louis - <span class="smcap">xiv.</span> for £100. This picture would correctly<span class="pagenum" id="Page_70">70</span> be described - under the less ambitious title of <cite>A Woman at her Toilet and a Man - holding Two Mirrors</cite>. Laura was the daughter of a hatter of Ferrara. - She was <i lang="la">persona grata</i> at the court of Alfonso <span class="smcap">i.</span>, Duke of - Ferrara (reigned 1505–1534), and there held the title of <i>Illustrissima - Donna Laura Eustochia d’Este</i>. The Duke’s first wife, Anna Sforza, died - in 1497, when he was twenty-one years old. In 1501 he married, as his - second wife, Lucrezia Borgia (died 1519), the natural daughter of Pope - Alexander <span class="smcap">vi.</span> It seems probable that shortly afterwards the - Duke took Laura as his third wife, and that she was painted by Titian - a little later. The Louvre picture (No. 1590) appears on stylistic - grounds to be a work of about 1515–1517. A portrait which can be more - certainly identified as that of Laura is the single figure picture, - painted by Titian about 1523, in the collection of Sir Frederick Cook - at Richmond.</p> - - <p>The influence of Giorgione is still clearly seen in Titian’s <cite>Man - with a Glove</cite> (No. 1592, <a href="#i_plate12">Plate XII.</a>). It is a noble portrait of an - unknown man; the colour is rich, and the light and shade are contrasted - with great mastery; the bare right hand and the gloved left holding - the second glove are admirably modelled. The canvas, which seems to - have been painted about 1518, is signed “<span class="smcap">ticianvs f.</span>” Soon - afterwards Titian must have painted the <cite>Portrait of a Man in Black - with the Thumb of his Left Hand in the Belt of his Doublet</cite> (No. 1591), - the <cite>Madonna with the Rabbit</cite> (No. 1578), which is inscribed <cite>Ticianus - F.</cite>, and the magnificent <cite>Entombment</cite> (No. 1584, <a href="#i_plate13">Plate XIII.</a>). This - priceless picture, which was painted not later, than 1523 for Federigo - Gonzaga, passed from Mantua into the collection of Charles <span class="smcap">i.</span> - It was sold off by Cromwell for £128 and, after being one of the - masterpieces for a few years in the collection of Jabach, was acquired - by Louis <span class="smcap">xiv.</span> The deep religious feeling and the rich, - sonorous harmony of colour make this one of the world’s most precious - pictures. Notice the <span class="pagenum" id="Page_71">71</span>sunburnt arm of Joseph of Arimathæa; it is - significant of the art of Venice.</p> - - <div class="figcenter" id="i_plate12"> - <img class="illow88" src="images/i_plate12.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XII.—TITIAN</span><br /> - <span class="small">(1489?–1576)</span><br /> - VENETIAN SCHOOL<br /> - No. 1592.—THE MAN WITH A GLOVE<br /> - <span class="small">(L’homme au Gant)</span></div> - </div> - <div class="description"> - <p>He is standing and seen nearly in full face, the head turned - three-quarters to the right, the eyes directed to the right. He wears - a black costume with a white pleated under-garment, a gold chain round - his neck, and white frills in his sleeves. His right hand, with a ring - on the forefinger, holds his girdle. His left hand, gloved and holding - the second glove, rests on a stone plinth.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">Signed on the plinth:—“<span class="smcap">ticianvs. f.</span>”</p> - <p class="noindent">3 ft. 3½ in. × 2 ft. 11 in. (1·00 × 0·89.)</p> - </div> - - <p>At an interval of about eight years we come to the <cite>St. Jerome</cite> - (No. 1585), a religious scene set, curiously enough, in a moonlight - landscape, which has darkened. The exact interpretation to be placed - upon the <cite>Allegory in honour of Alfonso d’Avalos</cite> (No. 1589), of about - 1533, has been much discussed; it is supposed to represent Alfonso - bidding farewell to his wife on his departure for the wars, and - entrusting her to the safe keeping of Chastity, Cupid, who bears a - sheaf of arrows, and a third figure. The <cite>Portrait of Francis I.</cite> (No. - 1588), whom Titian never saw, appears to have been painted about 1536 - from a medal, and represents the King in profile. François <span class="smcap">i.</span> - died in 1547. It belongs to the same period as the <cite>Portrait of a Man - in Damascened Armour with a Page holding his Helmet</cite> in the collection - of Count Potocki. Another portrait, painted about 1543, represents a - <cite>Man with a Black Beard resting his Hand on the Ledge of a Pilaster</cite> - (No. 1593). By this time Titian’s art was rapidly maturing, as we - see from his magnificent and imposing <cite>Supper at Emmaus</cite> (No. 1581) - of the same year. It had passed from Mantua to England before being - acquired by that excellent connoisseur, Jabach. It is said to be - signed <i>Ticianus <span class="smcap">f.</span></i>, while the <em>Christ Crowned with Thorns</em> - (No. 1583), which was painted for a church in Milan about 1550, is - inscribed <span class="smcap">titianvs <i>f.</i></span> When Charles <span class="smcap">i.</span>, as Prince of - Wales, visited Madrid in 1623, he was presented with the <cite>Jupiter and - Antiope</cite> (No. 1587), which has the alternative title of the <cite>Venus del - Pardo</cite>. It had been painted for Philip <span class="smcap">ii.</span>, and had already - escaped the fire which broke out in the Prado. Jabach acquired it for - 600 guineas, and passed it on to Cardinal Mazarin, from whom it was - acquired for 10,000 <i lang="fr">livres tournois</i> by Louis <span class="smcap">xiv.</span> It escaped - destruction by fire in the Old Louvre in 1661. It has been very much - repainted from time to time.</p> - - <div> - <span class="pagenum" id="Page_72">72</span> - <h3 id="TITIANS_FOLLOWERS">TITIAN’S FOLLOWERS</h3> - </div> - - <p>The <cite>Madonna and Child, with St. Catherine (? St. Agnes), and St. John - the Baptist as a Child</cite> (No. 1579), which has been enlarged by the - addition of a strip of canvas down the left side, contains a glimpse of - the country near Pieve di Cadore, the native place of Titian. Fourteen - of the twenty pictures here officially credited to him are to be - regarded as authentic. Polidoro Lanzani (1515?–1565), an imitator of - Titian, however, painted the <cite>Holy Family with St. John the Baptist</cite> - (No. 1580), and the <cite>Holy Family and Saints</cite> (No. 1596) in the La Caze - Room; while Andrea Meldolla (Schiavone), who was a pupil of Titian, - no doubt executed the <cite>Ecce Homo</cite> (No. 1582) credited to the great - Venetian artist, as well as the <cite>St. John the Baptist</cite> (No. 1524) which - is rightly assigned to him.</p> - - <p>The German painter Johan Stephan von Calcar, who to Italian biographers - is known as Giovanni Calcar (1499–1546), was a pupil of Titian. He - painted the imposing <cite>Portrait of a Man</cite> (No. 1185). He is seen at - half length standing, and holding a letter in his right hand; his left - hand to his waist. On a column in the background is painted the coat - of arms, reputed to be that of the Buono family of Venice, which is - repeated on the bezel of the ring on the forefinger of his left hand. - Below his right hand is the inscription:</p> - - <div class="center small lh2">ANNO 1540<br /> - ÆTATIS 26.</div> - - <p>Paris Bordone (1500–1570), who “painted women with more of an eye on - the fashion-plate than on the expression of their features,” is not - the author of a <cite>Portrait of a Lady</cite> (No. 1180<span class="smcap">a</span>), nor of the - <cite>Portrait of a Man and a Child</cite> (No. 1180), which seems to be a Flemish - rather than a Venetian picture. His <cite>Vertumnus<span class="pagenum" id="Page_73">73</span> and Pomona</cite> (No. 1178) - is less representative than his <cite>Portrait</cite> (so called) <cite>of Jeronimo - Croft</cite> (No. 1179). It takes its title from the inscription, “<i>Spss. - Domino Jeronimo Crofft ... Magior suo semper obsero ... Augusta</i>,” - which is written on the letter held in the right hand.</p> - - <p>The last dying echo of the “fire” and poetry of Giorgione is seen in - some of the works of Bonifazio Veronese (1487–1553), who was also a - pupil of Palma. Bonifazio is now regarded as a single individual, - although formerly the varying differences in his style of painting - led certain critics to regard him as three different members of the - same family. The varied grouping seen in the large canvas entitled - <cite>Holy Family, with St. Francis, St. Anthony, St. Mary Magdalene, St. - Elizabeth, and St. John the Baptist</cite> (No. 1171), and the colouring - of this canvas, seem to prove its authenticity. The smaller picture - of a <cite>Holy Family</cite> (No. 1172), with a similar pedigree and a Greek - inscription, which includes the same saints, is a mediocre work. The - <cite>Madonna and Child, with St. Joseph, St. John the Baptist, St. Paul, - and St. Ursula</cite> (No. 1674<span class="smcap">d</span>) is a poor picture.</p> - - <p>From the studio of Bonifazio issued Jacopo Bassano (1510?–1592), whose - <cite>Vintage</cite> (No. 1428) shows his predilection for introducing animals and - kneeling peasants into genre pictures, the treatment of which is apt - to be rugged. This did not prevent his at times painting striking and - vigorous portraits. The Louvre contains a good example of this branch - of his art in the <cite>Portrait of Giovanni da Bologna</cite> (No. 1429), which - is at present not exhibited. <cite>The Animals entering the Ark</cite> (No. 1423), - <cite>Moses striking the Rock</cite> (No. 1424), <cite>Cana of Galilee</cite> (No. 1425), - <cite>Christ bearing His Cross</cite> (No. 1426), and the <cite>Descent from the Cross</cite> - (No. 1427) are also credited to him in the Catalogue.</p> - - <p>Leandro Bassano (1558–1623), his son, is represented in the La Caze - collection by an <cite>Adoration of the Magi</cite> (No. 1430) and a <cite>Rustic - Labour</cite> (No. 1431).</p> - - <p><span class="pagenum" id="Page_74">74</span></p> - - <p>The vigorous, ambitious and late Venetian painter Tintoretto - (1518–1594), who painted portrait-groups, religious subjects, - and mythological compositions on a large scale, and brought his - achievements to completion with extraordinary rapidity, is not - adequately represented in this Gallery, in which, however, no fewer - than eleven works pass under his name. His <cite>Susanna and the Elders</cite> - (No. 1464) testifies to the increasing frequency with which painters - or their patrons at that period preferred the representation of - sensational incidents from the Apocrypha. The subject is unattractive, - but the picture, which is in a very dirty state, is wonderfully painted.</p> - - <p>The <cite>Paradise</cite> (No. 1465) is but a preliminary sketch for the colossal - painting, measuring 84 ft. × 34 ft.,—the largest oil-painting by an - old master in existence,—which Tintoretto painted for the end wall of - the Sala del Maggior Consiglio in the Doge’s Palace at Venice. The - <cite>Portrait of a Man holding a Handkerchief in his Hand</cite> (No. 1467) - reveals his great power as a portrait painter.</p> - - <p>The <cite>Portrait of Pietro Mocenigo</cite> (No. 1470), signed <span class="smcap">petrus mocenio - senator</span>, and the <cite>Portrait of a Venetian Senator</cite> (No. 1471), - inscribed <span class="smcap">anno ætatis lvii mvii iacomo tentoreto . f</span>, are - among the pictures of the La Caze collection.</p> - - <p>In Room XV., which is given up to self-portraits by artists, hangs a - picture which passes as an authentic <cite>Portrait of Tintoretto</cite> (No. - 1466) by himself. It is inscribed <span class="smcap">jacobvs tentoretvs pict<sup>or</sup> - venet<sup>ivs</sup></span> and <span class="smcap">ipsivs. f.</span></p> - - <h3 id="PAOLO_VERONESE">PAOLO VERONESE</h3> - - <p>The harmonious colour, the sense of material magnificence, and the - masterly draughtsmanship of Paolo Veronese (1528–1588) are seen to the - greatest advantage in his <cite>Marriage at Cana</cite> (No. 1192). He signed a - contract in June 1562, to paint this large picture, <span class="pagenum" id="Page_75">75</span>which measures - 21 ft. × 32 ft., for the refectory of San Giorgio Maggiore at Venice, - and completed it by September 8, 1563. According to the agreement, - Paolo was to receive 324 ducats, a sum equal to-day to about £200; - to be fed during the time he was engaged on the work; to be repaid - the cost of the materials; and to receive a pipe of wine. The picture - was seized by Napoleon during his victorious campaign of 1797, and - brought by road to Paris. In accordance with the terms of the Peace of - Campo Formio of 1814, it should have been returned. As it had proved - a very difficult matter to take it to Paris, where it had to go into - the restorer’s hands, the French urged that it was too vast and too - dilapidated to bear a second journey. Astonishing as it may seem to - us to-day, the Italians accepted the suggestion and in exchange took - Charles Le Brun’s large but mediocre <cite>Magdalene at the Feet of Jesus</cite>, - perhaps because it measured 12 ft. 6 in. × 10 ft. 4 in. Le Brun’s - picture now hangs in the Venice Gallery (No. 377), the Catalogue of - which pointedly remarks that “the exchange is much to be regretted.”</p> - - <div class="figcenter" id="i_plate13"> - <img class="illow100" src="images/i_plate13.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XIII.—TITIAN</span><br /> - <span class="small">(1489?–1576)</span><br /> - VENETIAN SCHOOL<br /> - No. 1584.—THE ENTOMBMENT<br /> - <span class="small">(La Mise au Tombeau)</span></div> - </div> - <div class="description"> - <p>The dead body of the Christ is borne on a white cloth by Nicodemus and - Joseph of Arimathæa. Nicodemus is seen from the back wearing a pale red - tunic and a parti-coloured scarf; Joseph of Arimathæa in green robes is - in profile towards the right. St. John in a red robe supports the right - arm of the Christ. To the left St. Mary Magdalene, with her arms around - the Virgin, gazes in profound grief at the Christ. The Virgin with - clasped hands bends forward to look at her Son.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">4 ft 10½ in. × 7 ft. 1 in. (1·48 × 2·15.)</p> - </div> - - <p>Paolo Veronese’s masterly work contains no devotional feeling. The - Scriptural story merely serves as a pretext for depicting a scene - of Venetian festivity and material magnificence with imposing - architectural background. The grouping of the figures is varied, - dexterously disposed and stately, while the colour is harmonious and - sparkling. The changing of the water into wine is, however, merely - incidental. It is a significant fact that a work of this description, - in which Art in Venice begins to trick herself out in meretricious - embellishments, should have been regarded as a seemly decoration for - the refectory of a convent. An additional but frankly worldly interest - is imparted to the work by the introduction of a portrait of Alfonso - d’Avalos (whose portrait by Titian we have already seen) as the - bridegroom, on the extreme left of the composition; to his left is the - bride, with the features of Eleonora<span class="pagenum" id="Page_76">76</span> of Austria. The other figures - include François <span class="smcap">i.</span>, dressed in blue and wearing a curious - headdress; Mary of England, sister of Henry <span class="smcap">viii.</span> and widow - of Louis <span class="smcap">xii.</span>, in yellow; the Sultan Soliman, in green, at - the side of a negro prince who addresses a servant. On the left of the - next figure sits Vittoria Colonna, whom Michelangelo described as “a - man within a woman,” plying her toothpick! At the end of the table, - speaking to a servant, is the Emperor Charles <span class="smcap">v.</span>, seen in - profile and wearing the Order of the Golden Fleece. The introduction - of the fool with the bells in the centre of the picture is perhaps - intended to express the pomp and pleasure of the world pursued without - thought of Christ, who, however, occupies the place of honour in the - centre of the composition. The couple of dogs in leash, one gnawing a - bone, and a cat, lying on her back as she scratches at one of the vases - which hold the wine on the right of the composition, may stand for - merely brutal nature.</p> - - <p>The painter’s personal interest in the scene is depicted in the group - of four artists in the foreground. Paolo himself is playing a viol; - just behind him is Tintoretto with a similar instrument; while on the - right are Titian, in red with a bass viol, and Bassano playing the - flute. The theory put forward by Mr. Herbert Cook that Titian was born - as late as 1489, and so would be seventy-four years old in 1562–63, - the year in which this picture was painted, certainly seems to find - corroboration in the features here given to Titian by Paolo Veronese. - He certainly does not look eighty-seven years of age, as he should do - if he had been born as early as 1476.</p> - - <p>In the Catalogue sixteen pictures are assigned to Paolo Veronese. - The <cite>Portrait of a Lady and a Child playing with a Dog</cite> (No. 1199) - is an early work. The <cite>Disciples at Emmaus</cite> (No. 1196), which is - signed “<span class="smcap">paolo veronese</span>,” is another of the master’s imposing - canvases, as also is the <cite>Feast in the House of Simon the<span class="pagenum" id="Page_77">77</span> Pharisee</cite> - (No. 1193), which was presented to Louis <span class="smcap">xiv.</span> by the Venetian - Republic in 1665, and was for many years hung at Versailles. This - artist is also officially credited with the <cite>Burning of Sodom</cite> (No. - 1187), a <cite>Holy Family, with St. George, St. Catherine, and a Male - Donor</cite> (No. 1190), a <cite>Holy Family, with St. Elizabeth and St. Mary - Magdalene, and a Female Donor</cite> (No. 1191), a <cite>Christ heeding Peter’s - Wife’s Mother</cite> (No. 1191<span class="smcap">a</span>), a <cite>Christ fainting under the - weight of the Cross</cite> (No. 1194), a <cite>Calvary</cite> (No. 1195), and an <cite>Esther - fainting before Ahasuerus</cite> (No. 1189). The <cite>Susan and the Elders</cite> - (No. 1188) is a replica of a picture in the collection of the Duke of - Devonshire. The <cite>St. Mark crowning the Theological Virtues</cite> (No. 1197), - and the <cite>Jupiter hurling Thunderbolts on Criminals</cite> (No. 1198), were - originally executed as ceiling paintings for the Doge’s Palace. The - <cite>Christ with the Terrestrial Globe</cite> (No. 1200) and the <cite>Portrait of a - Lady in Black</cite> (No. 1201) are only studio pictures.</p> - - <p>Little artistic ability is shown in the empty abstractions, and - at times meaningless productions, of many of the late sixteenth, - seventeenth, and eighteenth century Venetian artists. Felice Riccio - (Il Brusasorci the Younger) (1540–1605) is given as the painter of a - <cite>Holy Family</cite> (No. 1463); Alessandro Turchi (Orbetto) (1582–1648) of - three pictures (Nos. 1558–1560); Sebastiano Ricci (1659?–1734) of four - compositions (Nos. 1458–1461); Antonio Pellegrino (1675–1741) of an - <cite>Allegory</cite> (No. 1413); Alessandro Varotari (1590–1650) of an utterly - uninspired <cite>Venus and Cupid</cite> (No. 1574); and Pietro della Vecchia - (1605–1678) of a dull <cite>Portrait of a Man</cite> (No. 1576).</p> - - <p>A century later than the stupendous achievements of Tintoretto and - Veronese the art of Venice had passed into decline, but a glimmer of - the genius that had found expression in the gorgeously decorative art - in Venice in the sixteenth century was yet to be reflected in the - work of Giovanni Battista Tiepolo (1692–1769). His <cite>Last Supper</cite> (No. - 1547) was purchased for £400 in 1877, and his sketch for the <cite>Triumph - of Religion</cite> (No. 1549<span class="smcap">a</span>) for £1200<span class="pagenum" id="Page_78">78</span> in 1903. By him also is - the <cite>Banner</cite> (No. 1549), depicting on the one side <cite>St. Martin saying - Mass</cite>, and on the other <cite>The Madonna and Child</cite>. An <cite>Apparition of the - Virgin to St. Jerome</cite> (No. 1548) is one of the less striking pictures - in the La Caze collection.</p> - - <p>Another decorative painter was Antonio Canale, generally known as - Canaletto (1697–1768), who is well represented in the <cite>View of the - Church of Santa Maria della Salute and the Grand Canal</cite> (No. 1203). The - Louvre appears to contain nothing by Bernardo Bellotto (1720–1780), - who is sometimes referred to as Canaletto, and is seen to the best - advantage at Dresden.</p> - - <p>Canaletto’s pupil, Francesco Guardi (1712–1793), who was born of - Austrian parentage, is the painter of seven Venetian scenes: <cite>After - wedding the Adriatic, the Doge embarks at the Lido on the “Bucentaur”</cite> - (No. 1328); <cite>The Doge proceeds to S. Maria della Salute to commemorate - the Preservation of Venice from the Plague in 1630</cite> (No. 1329); <cite>Fête - du Jeudi Gras in the Piazzetta</cite> (No. 1330); <cite>The Procession of Corpus - Domini in the Piazza of S. Marco</cite> (No. 1331); <cite>The Visit of the Doge to - the Church of S. Zaccharia on Easter Day</cite> (No. 1332); <cite>The Doge seated - on his Throne in the Sala del Collegio</cite> (No. 1333); <cite>Coronation of the - Doge</cite> (No. 1334); and a <cite>View of the Church of S. Maria della Salute</cite> - (No. 1335). Guardi’s pupil, François Casanova (1739–1805), a painter of - battle-pieces, worked in France; some of his pictures are hung in the - French Rooms.</p> - - <p>With Guardi we close the chapter of Venetian art which, owing to four - centuries of high aspiration and magnificent achievement, came to an - end later than the art of any other school of painting in Italy.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_79">79</span> - <h2 id="THE_PADUAN_SCHOOL">THE PADUAN SCHOOL</h2> - </div> - - <p class="drop-cap">FAR-REACHING influences were to be exerted by classical Padua on the - art of the neighbouring cities of Northern Italy. Padua was a city of - great antiquity, and had been sufficiently powerful and prosperous - even in Roman times to excite the cupidity of its enemies. Eventually - the Goths and other barbarian hordes had destroyed its monuments of - the Roman age; the spirit of antiquity, nevertheless, survived until - Giotto came at the very beginning of the fourteenth century to decorate - the walls of the Chapel of the Madonna dell’ Arena, which had been - founded in 1303 by Enrico Scrovegno on the site of an ancient Roman - arena. These very precious frescoes by Giotto, which fortunately are - still preserved, revolutionised art, and the movement initiated by him - quickened the art-life of this University city.</p> - - <p>Half a century later, Altichiero Altichieri (fl. 1320–1385) developed - his art under the influence of Giotto, and beautified the churches - of Padua with frescoes, the figures in which he clothed in fanciful - attire. An art movement was now on foot, and the influence of - altichieri, who was later to become the founder of the school of - Verona, was to be revealed in the work of his follower Pisanello, the - Veronese painter and medallist.</p> - - <p>The long residence in Padua of Donatello (1386–1466), the great - Florentine sculptor, and the erection of his famous equestrian statue - of Gattamelata initiated in Padua the Renaissance movement, which - soon took deep root in this ancient city. The example of Donatello in - sculpture before long brought about the foundation<span class="pagenum" id="Page_80">80</span> of a local school - of painting which was rapidly developed through the shrewd commonsense - rather than the artistic achievements of Francesco Squarcione - (1394–1474). It is noteworthy that Squarcione had travelled in the - East, and had there formed a collection of antique works of plastic art - which became the basis of his art-teaching.</p> - - <p>One of the numerous pupils of Squarcione was Gregorio Schiavone (“The - Slavonian”) (fl. 1440–1470), a native of Dalmatia, who in the studio - of his Paduan master met Andrea Mantegna. The Louvre authorities with - some hesitancy attribute to Schiavone a <cite>Madonna and Child</cite> (No. 1523). - although it is hardly by him, it exhibits some of the characteristics - of Schiavone, who was fond of decorating his pictures with festoons of - flowers and fruit in much the same way that his Venetian contemporary, - Carlo Crivelli, delighted to adorn his large panel pictures.</p> - - <h3 id="ANDREA_MANTEGNA">ANDREA MANTEGNA</h3> - - <p>Andrea Mantegna (1431–1506) was adopted at the age of ten by - Squarcione, and so naturally became his pupil. No better training - could have been chosen for the boy, who had a natural taste for the - classics, proof of which is further afforded by the Latin inscriptions - on his pictures. Andrea seems to have quickly realised the connection - between the traditions of Paduan antiquities and the classical models - of ancient Greece which his adoptive father Squarcione had brought home - with him from his travels. Andrea in time became deeply impressed with - the methods of Jacopo Bellini, whose daughter Niccolosia he married - in 1453, to the great displeasure of Squarcione. Another powerful - influence on Mantegna may be traced to the bronzes which Donatello - executed for the Church of Sant’ Antonio of Padua in that city.</p> - - <div class="figcenter" id="i_plate14"> - <img class="illow100" src="images/i_plate14.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XIV.—ANDREA MANTEGNA</span><br /> - <span class="small">(1431–1506)</span><br /> - PADUAN SCHOOL<br /> - No. 1375.—PARNASSUS<br /> - <span class="small">(Le Parnasse)</span></div> - </div> - <div class="description"> - <p>On the summit of an arched rock stand Mars and Venus before a draped - bed backed by orange trees. To the left is Cupid, while Vulcan stands - before his forge. Below, to the extreme left, Apollo plays his lyre to - the strains of which the Muses dance. To the right Mercury, wearing - the <i lang="it">petasus</i> and <i lang="it">talaria</i> and carrying the <i lang="it">caduceus</i>, leans against - Pegasus. Landscape background.</p> - <p class="noindent">Painted in tempera on canvas.</p> - <p class="noindent">5 ft. 3 in. × 6 ft. 3½ in. (1·60 × 1·92.)</p> - </div> - - <p>After painting the frescoes in the Church of the Eremitani at - <span class="pagenum" id="Page_81">81</span>Padua, Andrea in 1457 executed a large and striking altarpiece for - the Church of San Zeno in Verona. It was removed by Napoleon’s agents - to France in 1797, but only the principal panel was returned to that - church in 1815. The three predella panels were retained in France. The - centre one of these, depicting the <cite>Calvary</cite>, is now in the Louvre (No. - 1373); the other two, representing the <cite>Agony in the Garden</cite> and the - <cite>Resurrection</cite>, have long hung in the Museum at Tours. The severity of - the statuesque figures and the certainty of the drawing seen in the - <cite>Calvary</cite> are characteristic of the early period of the master.</p> - - <p>Mantegna now removed to Mantua, where he entered the service of - Lodovico <span class="smcap">ii.</span>, Marquis of Mantua, as his Court Painter, - remaining there for the rest of his life. The <cite>Madonna of Victory</cite> - (No. 1374) was painted to commemorate the victory gained at the - Pass of Fornovo on the Taro on July 6, 1495, by Giovanni Francesco - <span class="smcap">iii.</span>, Marquis of Mantua, over Charles <span class="smcap">viii.</span> of - France. In the centre of the picture the Madonna and Child are - enthroned. On the left kneels the Marquis, and on the right is St. - Elizabeth, the patron saint of Gonzaga’s wife, Isabella d’Este, “at the - sound of whose name all the Muses rise and do reverence.” St. Michael - standing behind the Duke, and St. George behind St. Elizabeth, hold - the robe of the Madonna, who is thus represented as taking under her - protection the two principal figures. In the background on the left is - St. Andrew, name-saint of the painter and one of the patrons of Mantua. - On the right is St. Longinus with the spear with which he pierced - the side of Christ. His relics were preserved in the Church of St. - Andrea in Mantua. The garlands of flowers and festoons of fruit are a - well-known device in Mantegna’s pictures.</p> - - <p>Mantegna’s <cite>Parnassus</cite> (No. 1375, <a href="#i_plate14">Plate XIV.</a>) illustrates the <i lang="fr">amours</i> - of Mars and Venus, which were discovered by her husband, Vulcan. In - the foreground the Muses are dancing. The group of<span class="pagenum" id="Page_82">82</span> the Muses was - afterwards appropriated by Giulio Romano for his <cite>Dance of Apollo - and the Muses</cite> in the Pitti Palace at Florence. This painting was - executed in 1497, just before the coming of the Renaissance feeling - into Venetian art and the representation of classical myth. Notice the - excellently drawn and highly characteristic shells and stones placed - in the foreground. In the same year Mantegna painted the <cite>Triumph of - Wisdom and Virtue over the Vices</cite> (No. 1376), the last of the four - pictures by him in this Gallery. In the corner to the extreme left is - Virtus Deserta, who appears under the guise of a laurel tree with a - woman’s head; about the stem is wound a scroll with inscriptions in - Latin, Greek, and Hebrew. The Latin inscription reads:</p> - - <div class="center small lh2"> - AGITE PELLITE SEDIBUS NOSTRIS<br /> - FAEDA HAEC VICIORV̄ MONSTRA<br /> - VIRTUTVM COELITVS AD NOS REDEV̄TIVM</div> - - <p class="noindent">and on the inside of the scroll:</p> - - <div class="center small">DIVAE COMITES.</div> - - <p class="noindent">This painting formerly decorated the <i lang="it">camerino</i> of Isabella d’Este at - Mantua. It was seized at the sack of Mantua by Cardinal Richelieu in - 1630, together with the <cite>Parnassus</cite> (No. 1375), Perugino’s <cite>Combat of - Love and Chastity</cite> (No. 1567), and Lorenzo Costa’s <cite>Court of Isabella - d’Este</cite> (No. 1261). <cite>The Mythological Scene</cite> (No. 1262), which is not - now exhibited, represents the <cite>Realm of Erotic Love</cite>; it was begun by - Mantegna the year he died, and was gone over and completed by Lorenzo - Costa.</p> - - <p>Mantegna became involved financially towards the end of his life, and - the collection he had formed was sold. His last years were clouded by - pecuniary embarrassment. His compositions are essentially classic in - spirit, his figures noble and painted in imitation of the antique, - while his pagan conceptions prepared the way for<span class="pagenum" id="Page_83">83</span> those of a later - generation in the art of Venice. By this process of gradual evolution - the school of Padua came to be distinguished among the other local - schools of Northern Italy in the lifetime of Mantegna, whose example - gave a new impulse to contemporary art.</p> - - <p>A small <cite>Adoration of the Magi</cite> (No. 1678), which is officially - unattributed, is regarded by Mr. Berenson as the work of Bernardo - Parenzano (1437–1531), who was influenced by Mantegna, and imitated the - methods of his contemporaries.</p> - - <p>Many other artists bore their part in the work of this school, and - so contributed to the development of this movement which spread to - Veronese and Venetian territory. They are, however, unrepresented in - the Louvre. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_85">85</span> - <h2 id="THE_SCHOOL_OF_VERONA">THE SCHOOL OF VERONA</h2> - </div> - - <p class="drop-cap">THE foundations of the art of Verona were laid in Paduan soil by - altichieri, who initiated the school of Verona. Veronese art early - found expression in the naive pictorial and mediæval style practised - by the medallist-painter Antonio Pisanello (1397–1455), whose name - appears to have been an endearing diminutive. He was a follower, if - not a pupil, of Altichieri. The frequency with which he signed himself - “<span class="smcap">pictor</span>” on his medals leads one to suppose that he looked - upon himself as a painter first and foremost, and contemporary records - seem to confirm this. His art was so highly reputed in Northern Italy - that the Venetians thought it advisable to invite him to Venice in 1421 - to assist Gentile da Fabriano in painting frescoes, now destroyed, in - the Doge’s Palace.</p> - - <p>Jacopo Bellini also worked at Verona. He is known to have painted - a picture of the <cite>Crucifixion</cite> for the Chapel of S. Niccolò in the - Cathedral at Verona in 1436, but, after exercising considerable - influence on the art of Northern Italy, it was in 1759 hewn down by a - Canon with a view to beautifying the chapel!</p> - - <p>Unfortunately, there are only two frescoes from the hand of Pisanello - at Verona, while no more than four authentic easel paintings by him - are known to exist, two of them being in the National Gallery. He is - known to have travelled extensively in Italy, and to have worked also - at Mantua, Ferrara, and Rimini. The traditions of mediæval chivalry and - the pictorial parade of pomp and mundane realism which are reflected in - his work show that his contemporaries were justified in the high esteem - in which they held him.</p> - - <p><span class="pagenum" id="Page_86">86</span></p> - - <p>Pisanello’s love of depicting birds and animals is shown in his two - pictures in the National Gallery, but in the <cite>Portrait of a Princess of - the Este Family</cite> (No. 1422<span class="smcap">a</span>, or No. 1422 <i>Bis</i>) he is shown - to have been a lover of flowers also. This small panel was formerly - attributed to Piero dei Franceschi, the Umbrian artist. For many years - it hung among the Drawings, being apparently considered unworthy of a - place in its proper environment, among the Italian primitive paintings, - where it is now hung. It was purchased in 1893 out of the Felix Bamberg - collection. The lady is seen in profile to the left. Her hair is - dressed according to the fashion of the period, the front hair being - plucked out to render the forehead round and high, while the nape of - her neck for the same reason is hairless. She wears a white dress with - loose-falling red sleeves; a sprig of juniper (<i>ginevra</i>) is let into - her dress just above the left shoulder. It has been assumed from this - that we here have a <cite>Portrait of Ginevra d’Este</cite>. She was the daughter - of Niccolò <span class="smcap">ii.</span> d’Este by his second wife, the infamous and - ill-treated Parisina Malatesta, who was decapitated in 1425. Ginevra - (1419–1440) became the wife of Sigismondo Malatesta, Lord of Rimini, in - 1433, and died three years later. The background is composed of pinks - and columbines, among which fly four highly decorative butterflies. - The embroidery on the left sleeve of the dress is patterned with the - <i>impresa</i> of a crystal vase set round with pearls. It is interesting - to note that Ginevra’s husband, Sigismondo, is probably the Donor in - the <cite>Madonna and Child and a Kneeling Donor</cite> (No. 1159<span class="smcap">a</span> or No. - 1279) by Jacopo Bellini which hangs next to it on the left. The only - other painted portrait by Pisanello known is the later, and larger, one - of Leonello d’Este in the Bergamo Gallery.</p> - - <p>Bono da Ferrara (fl. 1450–1461) was a pupil of Pisanello, and Oriolo - (fl. 1450) was a follower of his; their pictures are extremely rare. - The Louvre contains no picture by Liberale da Verona (1451–1536), - a master who had many pupils, among whom may be included<span class="pagenum" id="Page_87">87</span> Girolamo - dai Libri (1474–1556) and Francesco Caroto (1470–1546). The <cite>Madonna - and Child and St. John the Baptist</cite> (No. 1318), which is officially - catalogued under the name of Girolamo, has long been held to be by - Caroto.</p> - - <p>Domenico Brusasorci (“The Rat-burner”) (1494–1567) was the father of - Felice Riccio and a pupil of Caroto. He has been claimed as the author - of the <cite>Madonna and St. Martina</cite> (No. 1163), which passes in the - Catalogue as being by the very late Roman painter Pietro Berretini da - Cortona (1596–1669). Other versions of this composition, representing - St. Martina triumphing over the Idols, are known. A large number of the - prominent Veronese painters are unrepresented in this collection, but - the influence of Liberale is frequently seen. The <cite>Council of Trent</cite> - (No. 1586) may be assigned to Paolo Farinati, although it is regarded - by the authorities as coming from the hand of Titian. By the time that - Farinati died, art in Verona had passed into decline.</p> - - <p>One of the most decorative painters in Italy in the sixteenth century - was Paolo Veronese, who although a native of Verona spent the best - years of his life in Venice. He is usually included among the artists - of Venice. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_89">89</span> - <h2 id="THE_SCHOOL_OF_FERRARA">THE SCHOOL OF FERRARA</h2> - </div> - - <p class="drop-cap">ACCORDING to tradition the most famous artist in the school of Ferrara - before Tura was Ettore de’ Bonacossi, of whom little is known.</p> - - <p>At Ferrara, the city of the Este family, as at all the Italian courts, - the art of painting was liberally patronised. All Ferrarese art was - more or less Paduan both in origin and style, Cosimo Tura (1430?–1495), - the founder of this school, having worked at Padua as a pupil of - Squarcione.</p> - - <p>The seriousness of Cosimo Tura’s realism was unyielding to those - intellectual qualities that dominated the art of Florence in his - day; but, in spite of a certain harshness of effect, the vigour of - his design and the dignity of his conception give permanent value to - the work of this master. Tura is represented in the Louvre by two - pictures; the figures seen in his large lunette of the <cite>Pietà</cite> (No. - 1556) are admirably designed to fill up the space they occupy. This - panel is a dismembered part of an altarpiece which was painted for - the Roverella family, and was formerly in its entirety in the Church - of S. Giorgio fuori le Mura at Ferrara. The <cite>Pietà</cite> eventually passed - to the Campana collection, and so to the Louvre. The drapery in this - panel, which is cracked horizontally, is tinny, and the flesh is - metallic with its white and purple lights, while the bones in the - faces being over-prominent create an unpleasant effect. The centre - panel of the original altarpiece represents the <cite>Madonna and Child - Enthroned</cite>. It passed in time into the Frizzoni collection at Bergamo, - and was<span class="pagenum" id="Page_90">90</span> subsequently purchased in 1867 from Sir Charles Eastlake for - the National Gallery (No. 772). The sinister wing of the original - altarpiece depicts the <cite>Bishop Lorenzo Roverella presented to the - Virgin by St. Maurelius and St. Paul</cite>, and is now in the private rooms - of the Colonna Palace in Rome.</p> - - <p>The Church of S. Giorgio fuori le Mura at Ferrara also at one time - contained another altarpiece painted by Cosimo Tura. It was placed - over the altar of St. Maurelius, but has long ago been dismembered. - One of its panels is the <cite>Flight into Egypt</cite>, in the collection of - Mr. R. H. Benson; two others, representing a <cite>Scene from the Life - of St. Maurelius</cite> and <cite>The Martyrdom of St. Maurelius</cite>, are in the - Ferrara Gallery; another is the <cite>Adoration of the Magi</cite>, in the - possession of the Contessa di Santa Fiora, in Rome; while a fifth, the - <cite>Circumcision</cite>, belongs to the Marchesa Passeri, in Rome.</p> - - <p>The Louvre possesses an arched panel of <cite>A Monk</cite> (No. 1557) by Tura. - The panel is split and the cheek of the saint injured.</p> - - <p>The seriousness of purpose which inspired Cosimo Tura was absorbed by - his pupil Francesco Cossa (1435–1477), whose art is not seen at the - Louvre. One of Cossa’s pupils was Lorenzo Costa, who in 1483 passed - from Ferrara to Bologna, to which city he carried the principles of - Tura’s training. Francesco Bianchi (1460–1510) was another of Tura’s - pupils, but he belongs more strictly to the school of Modena. Another - pupil in the studio of the <i lang="fr">chef d’ecole</i> of Ferrarese painting was - Ercole Roberti (1430?–1496), who also worked at Padua. This painter, - whose full name was Ercole de’ Roberti Grandi, has been justly claimed - as the author of the two small panels representing <cite>St. Apollonia</cite> - (No. 1677<span class="smcap">a</span>), holding in her hand the pincers, the symbol of - her martyrdom, and <cite>St. Michael</cite> (No. 1677<span class="smcap">b</span>). These companion - pictures are officially described under the ambiguous designation of<span class="pagenum" id="Page_91">91</span> - “Ferrarese School, <span class="smcap">xvi</span> century.” They, however, clearly belong - to the earlier century, and are probably by Roberti.</p> - - <p>The Louvre contains nothing by Ercole Roberti’s pupil, Ercole di Giulio - Cesare Grandi (1465?–1531). Ercole Grandi’s influence is sometimes seen - in the exceedingly rare pictures of Giovanni Battista Benvenuto, who is - better known under the name of Ortolano (“the gardener”), and takes his - name from the occupation of his father. The art of Ortolano (1460–1529) - is seen to the greatest advantage in the <cite>St. Sebastian, St. Roch, and - St. Demetrius</cite>, in the National Gallery (No. 669). An immature work by - him is apparently the <cite>Nativity</cite> in this Gallery (No. 1401), which in - the opinion of the compilers of the Catalogue is by Domenico Panetti - (1450?–1512?), a pupil of Lorenzo Costa. Panetti’s works are rarely met - with out of Italy.</p> - - <p>Among the pictures of this school, those of Lodovico Mazzolino - (1478?–1528) are perhaps the easiest to recognise. His <cite>Holy Family</cite> - (No. 1387) is not now exhibited, but the <cite>Christ preaching to the - Multitude on the Sea of Galilee</cite> (No. 1388) is evidently by him, - although it has been ranked by one critic as a Flemish picture painted - under the inspiration of Mazzolino and Dosso Dossi.</p> - - <p>Panetti was the master of Benvenuto Tisi, a very prolific painter who - is better known by the name of Garofalo (1481?–1559), owing to his - occasionally painting a gillyflower into his pictures as a signature. - although the Catalogue includes four small works by this artist, a - <cite>Circumcision</cite> (No. 1550), a <cite>Holy Family</cite> (No. 1552), a <cite>Madonna and - Child</cite> (No. 1554), and a <cite>Sleeping Child Jesus</cite> (No. 1553), only the - last of them is now exhibited.</p> - - <p>Another artist in this school who signed his pictures with a <i>rebus</i> - was Giovanni Lutero (1479?–1542), who is better known under the name - of Dosso Dossi. A typical instance of this punning use of his name is - the <cite>Money Changers driven out of the Temple</cite>, in the Doria Gallery at - Rome; it is signed with a “D”<span class="pagenum" id="Page_92">92</span> traversed by a bone (<i>osso</i>), obviously - a play on his name of Dosso or D OSSO. No picture by Dosso Dossi is now - exhibited.</p> - - <p>Francesco Bonsignori (1455–1519), Marco Zoppo (fl. 1471–1498), Michele - Coltellini (1480–1542), Ippolito Scarsellino (1551–1620), Girolamo - da Carpi, and other Ferrarese painters are unrepresented in this - collection.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_93">93</span> - <h2 id="THE_SCHOOL_OF_MILAN">THE SCHOOL OF MILAN</h2> - </div> - - <p class="drop-cap">THE painters who practised in Milan in the fourteenth century were - little better than provincial craftsmen who had come within the range - of the Giottesque tradition without grasping the more vital of its - principles. Those who worked in Milanese territory in the first half of - the fifteenth century acquired some of the reflected influences which - passed from the work of Pisanello and Jacopo Bellini in Verona, and - from the more striking achievements of the Paduan and early Venetian - schools, but their work lacked all trace of originality.</p> - - <p>A painter of the name of Michelino Molinari da Besozzo (fl. 1394–1442), - or Michele da Pavia, was painting at Milan about 1420. However, - there cannot be said to have been a school of painting, but only an - aggregation of painters in Milanese territory, prior to the arrival at - Pavia and Milan of the Brescian-born master, Vicenzo Foppa, about 1458. - Previous to that important event, if not throughout the whole range of - its activity, Milanese art lacked the higher elements of genius in all - matters æsthetic. As a school it was to the end too inclined to mere - prettiness and superficial sweetness.</p> - - <p>The Umbrian-born architect and painter, Bramante (1444–1514), who had - received his education in Florence, painted in Lombardy from 1472–1474, - as his Panigarola frescoes now in the Brera testify. Bramante also - influenced Foppa, whose work is well defined and whose colouring is - subdued.</p> - - <p>Side by side with Foppa at the head of the Milanese school comes - Bernardino Butinone (fl. 1450–1507), a great deal of whose<span class="pagenum" id="Page_94">94</span> work may - still be seen at Milan. A <cite>Madonna and Child</cite> (No. 1523), which is - doubtfully ascribed in the Catalogue to Gregorio Schiavone, a pupil of - Squarcione at Padua, may possibly be by Butinone, whose art is marked - by an austerity and dryness which are absent from the paintings of - Zenale, who was the partner and perhaps a pupil of Butinone.</p> - - <p>The <cite>Circumcision, with the Portrait of the Donor</cite> (No. 1545), although - catalogued under the name of Bramantino, may be by Zenale (1436–1526). - This panel is inscribed “<span class="smcap">xl. anno 1491. f͞r] i͞a lapugnanvs p͞p - hvmil can̄.</span>” Bramantino (1455?–1536?), whose name was Bartolommeo - Suardi, came under the influence of Foppa and Bramante, and from the - latter acquired his <i lang="fr">sobriquet</i>.</p> - - <p>The pictures of Borgognone (1455?–1522?) are easily recognised - by the ashen grey pallor of his faces, relieved occasionally by - eyelids reddened by grief. He was a prolific painter of religious - pictures which show simple pathos. With the possible exception of - the <cite>Family Portraits</cite> in the National Gallery (Nos. 779–780), which - are indeed fragments of a standard, and may have been painted by - Zenale, Borgognone, whose name was Ambrogio da Fossano, is not known - to have painted a secular subject. This typical Milanese painter - was another of the pupils of Foppa. Being an architect as well as a - painter, Borgognone delighted in giving an architectural setting to - his compositions. He also loved to introduce brightly coloured carpets - and draperies, and minutely painted jewellery into his pictures. These - characteristics are seen in his companion pictures of <cite>St. Peter Martyr - and a Donoress</cite> (No. 1182), and <cite>St. Augustine and a kneeling Donor</cite> - (No. 1182<span class="smcap">a</span>). The latter of this pair of panels of his early - period was purchased from Lord Aldenham in 1899 for 1000 guineas. They - originally formed part of a dismembered altarpiece, the centre panel - of which is now lost or unidentified. His <cite>Presentation of Christ in - the Temple</cite> (No. 1181), although originally painted on panel, was<span class="pagenum" id="Page_95">95</span> - transferred to canvas in 1885. Borgognone might almost be termed the - Perugino of the Milanese school.</p> - - <h3 id="ANDREA_SOLARIO">ANDREA SOLARIO</h3> - - <p>Andrea Solario (1460?–1515?), who was perhaps the pupil of his brother - Cristoforo a sculptor and architect, went with him to Venice in 1490 - and remained there at least three years. During this time he came under - the influence of Alvise Vivarini and Giovanni Bellini. Earlier in his - career he was impressed by the pictures of Antonello da Messina, who - was in Venice and Milan in 1475–1476. Solario can hardly have become - Antonello’s pupil at that early age. He must also have come within the - sphere of Leonardo da Vinci’s influence. Leonardo, who worked in Milan - between 1482 and 1500 and from 1506 to 1513, was asked by the Cardinal - George of Amboise to decorate a chapel in the Château at Gaillon in - Normandy. He, however, advised the Cardinal to employ Solario. Solario - in consequence went to France in August 1507 to undertake the work. - The Louvre is rich in his pictures. His charming <cite>Madonna of the Green - Cushion</cite> (No. 1530) is inscribed:</p> - - <div class="center"><i>Andreas de Solario fa.</i></div> - - <p class="noindent">This small panel was once the property of Marie de Médicis. The - <cite>Crucifixion</cite> (No. 1532) was formerly catalogued under the name of - Andrea de Milan, which led some to confuse Andrea Solario with the much - less efficient painter, Andrea Salaino. This picture is inscribed:</p> - - <div class="center small">ANDREAS MEDIOLANENSIS FA 1503,</div> - - <p class="noindent">a form of signature which is said to have been employed by Solario only - for such of his pictures as were destined for other towns than<span class="pagenum" id="Page_96">96</span> Milan. - The <cite>Head of St. John the Baptist on a Charger</cite> (No. 1533) is said to - be signed and dated</p> - - <div class="center small">ANDREAS DE SOLARIO, FAT, 1507.</div> - - <p>The <cite>Portrait of Charles d’Amboise, Seigneur of Chaumont and Governor - of Milan</cite> (No. 1531), like many other of Solario’s pictures, has in - the past, when the range of his art was not so well understood, been - attributed to other artists.</p> - - <h3 id="BERNARDINO_LUINI">BERNARDINO LUINI</h3> - - <p>In Bernardino Luini (1475?–1533?) we have a lyrical artist. He is said - to have been a pupil of one Stefano Scotto, but he was deeply impressed - by the art of Borgognone, and early in the sixteenth century came under - the influence of Leonardo. Indeed, it was almost impossible at that - period of Milanese art for a painter in that school to resist the style - of Leonardo. Although Luini’s works are reminiscent of the greater - master, he strove after originality; he was an industrious painter - rather than an artist of genius. Luini is never very emotional, never - passionate, never dramatic. His figures are characterised by sweetness - and grace; his types are refined but insipid and are apt to become - monotonous. It is as a painter of frescoes that he succeeds best, and - the Louvre is fortunate in possessing several of his works in that - medium. The best are a <cite>Nativity</cite> (No. 1359), and an <cite>Adoration of the - Magi</cite> (No. 1360). The <cite>Head of Christ</cite> (No. 1361) is inscribed:</p> - - <div class="center small lh2">POSCE NE DUBITA QUOD<br /> - QUODCV̄ PATRI IN NOMINE ME<sup>o</sup><br /> - PETIERIS FIET TIBI.</div> - - <p>They were acquired in 1867 from the collection of the Duke<span class="pagenum" id="Page_97">97</span> Antonio - Litta Visconti Arese, of Milan. The Louvre also contains fragments of - large fresco paintings of the <cite>Forge of Vulcan</cite> (No. 1356), a <cite>Child - Seated</cite> (No. 1357), and a <cite>Child Kneeling</cite> (No. 1358). They form part - of the series, which is now preserved in Milan, but formerly decorated - the Villa Pelucca near Monza; they were removed from there in 1817. - These three fragments have been transferred from plaster to canvas or - panel. The four frescoes (Nos. 1362–1365) are by a pupil. The art of - Luini as a painter on panel is seen to advantage in the <cite>Holy Family</cite> - (No. 1353), the <cite>Virgin and the Infant Christ</cite> (No. 1354), and <cite>Salome - receiving the Head of St. John the Baptist</cite> (No. 1355).</p> - - <p>The arrival of Leonardo da Vinci, when little over thirty years of age, - at the court of Lodovico Sforza at Milan revolutionised art in that - city. The exquisite rhythm and balance and the remarkable gestures and - facial expression seen in his <cite>Last Supper</cite> must have made a profound - impression on all the Milanese, people and painters alike. Not having - been educated in the profound principles that gradually built up the - school of Florence, whence the great painter came, the majority of the - native artists were so overcome by his power that in time they became - enslaved by the magic of his brush.</p> - - <p>Ambrogio da Predis (1455?–1506?), who worked as Leonardo’s assistant - on the National Gallery’s replica of the <cite>Virgin of the Rocks</cite> in this - collection (No. 1599), is not represented here. Another assistant - and pupil of Leonardo was Bernardino de’ Conti. As we have seen, he - may be the painter of the <cite>Profile Portrait of a Lady</cite>—or <cite>La Belle - Ferronnière</cite> (No. 1605)—which is officially regarded as being of the - “School of Leonardo.” A similar attribution is also given to the - <cite>Madonna of the Scales</cite> (No. 1604), which should rather be assigned - to Cesare da Sesto (1477–1523), a sickly and insipid imitator of - the master. Another of Leonardo’s imitators was Marco d’Oggiono - (1470?–1540). His copy of<span class="pagenum" id="Page_98">98</span> Leonardo’s <cite>Last Supper</cite> (No. 1603) is - perhaps of greater interest than his own <cite>Holy Family</cite> (No. 1382) and - <cite>Madonna and Child</cite> (No. 1382<span class="smcap">a</span>).</p> - - <p>One of the more original of the imitators of Leonardo was Boltraffio - (1467–1516), whose <cite>Madonna of the Casio Family</cite> (No. 1169) was - formerly in the Milan Gallery, where any picture containing a portrait - of that poet might reasonably have been expected to remain. This - picture is the painter’s masterpiece.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_99">99</span> - <h2 id="THE_SCHOOL_OF_LOMBARDY">THE SCHOOL OF LOMBARDY</h2> - </div> - - <p class="drop-cap">AFTER the activity which had prevailed in Milan during the last half of - the fifteenth century and the first quarter of the sixteenth century, - art in Lombardy rapidly deteriorated. Before the decline had passed - into decadence Pier Francesco Sacchi (fl. 1512–1527) painted at Pavia - his <cite>Four Doctors of the Church</cite> (No. 1488), which is signed in the - cartouche</p> - - <div class="center small lh2">PETRI FRANCISCI<br /> - SACHI DE PAPIA<br /> - OPUS 1516.</div> - - <p class="noindent">Each of the Doctors duplicates the part of an Evangelist. On the left - St. Augustine, with his book inscribed “De Civitate Dei,” is also shown - as St. John with his eagle; St. Gregory, with his dove, is also St. - Luke with his bull; St. Jerome, with his cardinal’s hat, is also St. - Matthew with his angel; while St. Ambrose, with his scourge, is also - St. Mark with his lion. The scourge held by St. Ambrose, a patron saint - of Milan, alludes to his refusing the Emperor Theodosius admittance - into the church at Milan in consequence of the general massacre he - ordered with a view to subduing a sedition at Thessalonica in A.D. 390.</p> - - <p>Another early-sixteenth-century Pavian painter was Bartolommeo Bononi, - whose only known picture is the <cite>Madonna and Child, St. Francis, a - Bishop, and a Monk</cite> (No. 1174). It is signed</p> - - <div class="center small">OPUS BARTOLOMEI BONONII CIVIS PAPIENSIS 1501.</div> - - <p class="noindent">on the stump of the tree in the centre foreground.</p> - - <p><span class="pagenum" id="Page_100">100</span></p> - - <p>A striking, although mediocre, <cite>Family of the Virgin</cite> (No. 1284) by - Lorenzo de’ Fasoli, who is also known as Lorenzo di Pavia, and who died - about 1520, illustrates the tradition that St. Anne, the mother of the - Virgin Mary, was three times married, Joachim being her third husband; - the other two were Cleophas and Salome. This composition of seventeen - figures is signed</p> - - <div class="center small">LAURENTIVS PAPIEN FECIT MDXIII,</div> - - <p class="noindent">and is one of the latest examples of this tradition, which - about 1520 passed out of art.</p> - - <p>A large Triptych (No. 1384), signed</p> - - <div class="center small lh2">JOH̄NES MAZONVS<br /> - DE ALEXĀ PINXIT,</div> - - <p class="noindent">is by Giovanni Massone, who worked at Alessandria in the - second half of the fifteenth century; it contains the portraits of Pope - Sixtus <span class="smcap">iv.</span> with St. Francis of Assisi and Cardinal Giuliano - della Rovere under the protection of St. Anthony of Padua. Cardinal - Giuliano della Rovere was Bishop of Savona about 1483; he was in 1503 - elected Pope under the title of Julius <span class="smcap">ii.</span>, and became the - patron of Raphael.</p> - - <p>The remaining pictures of this school are of little account. Bernardino - Campi (1522–1592?) is represented by a <cite>Mater Dolorosa</cite> (No. 1202); and - Bartolommeo Manfredi (1580?–1617) by a <cite>Fortune Teller</cite> (No. 1368), a - subject which demonstrates the Decadence in full operation. Giovanni - Paolo Panini (1695–1764), who came to Paris in 1732 and became an - Academician, seems to have got some satisfaction out of committing to - canvas a <cite>Concert given at Rome on Dec. 26, 1729, in Honour of the - Birth of the Dauphin, the son of Louis XV.</cite> (No. 1409) and a large - <cite>Interior of St. Peter’s at Rome</cite> (No. 1408), the latter being signed - and dated 1730.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_101">101</span> - <h2 id="THE_SCHOOL_OF_FERRARA-BOLOGNA">THE SCHOOL OF FERRARA-BOLOGNA</h2> - </div> - - <p class="drop-cap">THE city of Bologna was visited in 1268 by Oderigi of Gubbio (fl. - 1268–1295), who had the benefit of personal intercourse with Giotto in - Rome. Bologna produced a skilled miniature painter in Franco Bolognese - in the fourteenth century, but gave birth to few native painters - of merit. Until Francesco Cossa removed from Ferrara to Bologna in - 1470, art in the City of the Colonnades was in an undeveloped state. - The school of Bologna, which may be considered as an offshoot of the - Ferrarese school, was further strengthened by the arrival of Lorenzo - Costa.</p> - - <p>Lorenzo Costa (1460–1535), who had been a pupil of Francesco Cossa at - Ferrara, worked for the Bentivogli family in Bologna until 1509. In - that year he was induced to fix his abode in Mantua at the instance of - the Marquis Francesco Gonzaga and his wife Isabella d’Este, whose court - painter, Andrea Mantegna, had died three years earlier. Costa there - painted about 1510 his <cite>Court of Isabella d’Este in the Garden of the - Muses</cite> (No. 1261), which is signed</p> - - <div class="center small">L. COSTA F.</div> - - <p>This famous canvas shows a weakness of drawing and a “want of force - that mars what is meant for grace.” Costa’s <cite>Mythological Scene</cite> (No. - 1262) is not now exhibited, but in it, as in the majority of his works, - the figures have no real existence. The heads are usually “screwed - on—not always at the proper angle—to crosspoles hung about with - clothes.” His landscapes, however, “without being in any sense serious - studies, are among the loveliest painted in his day.”</p> - - <p><span class="pagenum" id="Page_102">102</span></p> - - <p>Costa’s shortcomings were to dominate to the end the school of - Bologna, which was essentially, almost from its incipience, one of - Decadence. He became the first direct master of Francesco Francia - (1450–1517), the typical Renaissance painter in Bologna who seems to - have taken to painting at the relatively advanced age of thirty-five. - Francia had matriculated in the Goldsmiths’ Guild in 1482 and was - Master of the Guild in 1483, the year of Costa’s arrival; but until he - came under the influence of Costa he had worked only as an engraver of - <i>paci</i> in niello-work, a die-sinker, and a medallist. They soon went - into partnership, the upper storey of their joint workshop being used - for the painting of pictures, while metal-work was executed below. - Francia is not seen to the best advantage in the Louvre. His <cite>Christ - on the Cross</cite> (No. 1436) is somewhat unusual in treatment, as a nude - figure of St. Job, a plague saint, is painted in the foreground. This - large picture bears the characteristic signature</p> - - <div class="center small">FRANCIA AURIFABER,</div> - - <p class="noindent">and shows his practice of demonstrating the versatility of his many - talents. The small <cite>Nativity</cite> (No. 1435) is an authentic work. The - <cite>Madonna and Child, with St. George, St. Sebastian, St. Francis, - and St. John the Baptist</cite> (No. 1436<span class="smcap">a</span>), is known as the - <cite>Guastavillani Madonna</cite> from the inscription to the effect that Filippo - Guastavillani, a Bolognese senator, ordered the picture of Francia. - Nevertheless, this large panel appears to have been executed by his - son, Giacomo. A <cite>Madonna and Child</cite> (No. 1437) and a <cite>Holy Family with - St. Francis d’Assisi</cite> (No. 1437<span class="smcap">a</span>) are only by pupils.</p> - - <p>The Louvre contains no example of the work of the Umbrian artist, - Timoteo Viti (1467–1524), who was a pupil of Costa, and from July 1490 - to April 1495 worked in the studio of Francia. There are no other - sixteenth-century Bolognese paintings in this collection.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_103">103</span> - <h2 id="THE_SCHOOL_OF_CREMONA">THE SCHOOL OF CREMONA</h2> - </div> - - <p class="drop-cap">THIS small and unimportant school includes Boccaccio Boccaccino - (fl. 1460–1518?), who was formed on various Venetian and Milanese - influences. The <cite>Holy Family</cite> (No. 1168) which is credited to him, but - not now exhibited, seems to be an unattributable panel by some artist - of the Lombard school. This school includes an early-sixteenth-century - imitator who has received the significant name of “Pseudo-Boccaccino,” - but is not here represented.</p> - - <p>The <cite>Mater Dolorosa</cite> (No. 1202) appears to be by Bernardino Campi, - a mediocre sixteenth-century painter of the Lombard and Cremonese - schools. Sofonisba Anguissola (1528–1625), a female artist, was his - pupil and the wife of Orazio Lomellini. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_105">105</span> - <h2 id="THE_SCHOOL_OF_BRESCIA">THE SCHOOL OF BRESCIA</h2> - </div> - - <p class="drop-cap">THIS small town seems to have produced little local talent previous to - the birth of Foppa. Ottaviano Prandino, who had worked with Altichiero - at Padua, and Bartolommeo Testorino (died about 1429) are little more - than names.</p> - - <p>Vincenzo Foppa (1427?–1516?) was born near Brescia. The theory that - he studied under Squarcione at Padua lacks confirmation. On the other - hand, he seems to have been little affected by the Squarcionesque - traditions, and is rather to be regarded as the artistic product of - the school of Verona, where he would have come under the influence - of Pisanello and Jacopo Bellini. He may have been a friend of Andrea - Mantegna. It is, however, not in Brescia, but in Milan that Foppa’s art - may be studied to-day. He arrived in Pavia about 1458, and became the - founder of the school of Milan twenty years before Leonardo first took - up his abode at the court of Lodovico Il Moro.</p> - - <p>Foppa’s pupil Vincenzo Civerchio (1470?–1544) and Floriano Ferramola - (1480–1528) were the joint founders of the school of Brescia; Romanino - (1485–1566) was a pupil of the latter. The Louvre is singularly poor - in its representation of this school, which cannot here be studied - earlier than the (so-called) <cite>Portrait of Gaston de Foix</cite> (No. 1518) by - Giovanni Girolamo Savoldo (1480?–1548?). This canvas, which appears to - be signed</p> - - <div class="center"><cite>Opera di Jovanni Jeronimo di Bressia di Savoldi</cite>,</div> - - <p class="noindent">shows unmistakably the conflicting influences, mostly Venetian, under - which this artist worked.</p> - - <p><span class="pagenum" id="Page_106">106</span></p> - - <p>Moretto (1498?–1555?), who was a pupil of Ferramola and was influenced - by Savoldo and Romanino, produced large and striking altarpieces as - well as portraits. He met with some success in his attempts to combine - a subtlety of feeling peculiar to himself with the “silvery” tones of - which he was so fond. His <cite>St. Bernardino of Siena and St. Louis of - Toulouse</cite> (No. 1175) and his <cite>St. Bonaventura and St. Anthony of Padua</cite> - (No. 1176) are arched panels on a much smaller scale than he often uses.</p> - - <p>Moretto’s pupil, Giambattista Moroni (1525?–1578), painted many far - better portraits than that of <cite>An Old Man seated</cite> (No. 1395). The only - other Brescian painting in this collection seems to be the <cite>Portrait of - a Man</cite> (No. 1646), who is seen at half length, seated three-quarters to - the left and wearing a robe trimmed with fur. Although catalogued as - an unattributable Italian work, it is in our opinion by Calisto Piazza - of Lodi (fl. 1520–1560), the son of Martino Piazza of the Milanese - school. To Calisto da Lodi has been assigned the <cite>Portrait of a Knight - of Malta</cite> (No. 1594) which is catalogued as being by Titian.</p> - - <p>The Louvre is very inferior to the National Gallery in both the quality - and quantity of pictures of this school.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_107">107</span> - <h2 id="THE_SCHOOL_OF_MODENA">THE SCHOOL OF MODENA</h2> - </div> - - <p class="drop-cap">THE city of Modena gave birth to the early painters Tommaso da Modena - (1325–1379) and Barnaba da Modena (fl. 1377), who worked in many - different parts of Tuscany. The prominent figure in this school, - however, is Francesco Bianchi (1460–1510). This painter, whose name is - sometimes given as Francesco Bianchi Ferrari, was in all probability - a pupil of Cosimo Tura at Ferrara. He left that city about 1480 for - Modena. His style of painting has been the subject of much discussion, - chiefly because he is regarded as the master of Correggio of Parma. - The <cite>Madonna and Child, with St. Benedict and St. Quentin</cite> (No. 1167), - although officially catalogued under his name, is not now generally - accepted as his work. In 1725 it was in the Church of St. Quentin - at Parma and attributed to Francia. Certain critics have ascribed - it to Alessandro da Carpi and others to Pellegrino Munari of Modena - (1450?–1523). Bianchi’s work can only be studied in the Pinacoteca - Estense and in the churches at Modena.</p> - - <p>The three pictures officially catalogued under the name of the - third-rate artist Bartolommeo Schidone (1570?–1615) are not exhibited, - nor are they missed,—a remark which will also apply to a <cite>St. Cecilia</cite> - (No. 1253) by Jacopo Cavedone (1577–1660). </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_109">109</span> - <h2 id="THE_SCHOOL_OF_VICENZA">THE SCHOOL OF VICENZA</h2> - </div> - - <p class="drop-cap">THE first Vicentine painter known to us is Battista da Vicenza (fl. - 1450), but it was not until the last quarter of the fifteenth century - that Vicenza produced a painter of any note. Bartolommeo Montagna - (1460?–1523) studied the art of the Vivarini, and so became the central - figure in an unimportant school. His <cite>Ecce Homo</cite> (No. 1393), which - bears the signature:</p> - - <div class="center lh1"><i>Bartholomeus Montagna<br /> - Fecit</i></div> - - <p class="noindent">in a <i>cartellino</i> fastened to a twig, is a mature work. The delightful - and late picture of <cite>Three Angel Musicians</cite> (No. 1394), which is signed - in a <i>cartellino</i></p> - - <div class="center lh1"><i>Opus Bartholomei<br /> - Montagna</i>,</div> - - <p class="noindent">shows the unmistakable influence of Gentile Bellini. The same motif is - found in the three musician angels in Montagna’s magnificent <cite>Madonna - and Child, with St. Andrew, St. Monica, St. Ursula, and St. Sigismund</cite>, - of 1498, in the Brera.</p> - - <p>Montagna’s son, Benedetto (fl. 1500–1540), Giovanni Buonconsiglio - (1470?–1536?), and Giovanni Speranza (1480–1536) also practised as - painters; but Vicentine art from the middle of the sixteenth century - has little claim on our attention. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_111">111</span> - <h2 id="THE_SCHOOL_OF_VERCELLI">THE SCHOOL OF VERCELLI</h2> - </div> - - <p class="drop-cap">ONE of the earliest painters in this school was an obscure artist of - the Old Lombard school named Martino Spanzotti. He was the master of - Gaudenzio Ferrari (1471–1546), whose frescoes are easily recognisable - by the crude colour, exuberant imagination, and forceful, almost - brutal, realism which have caused him to be termed, somewhat loosely, - the Rubens of Italy. A very late work by him is the <cite>St. Paul</cite> (No. - 1285), which is signed and dated</p> - - <div class="center small lh2">1543<br /> - GAUDENTIUS.</div> - - <p>Another of Spanzotti’s pupils was Sodoma, who was born at Vercelli in - Piedmont, in 1477. He is best known for the large amount of work that - he executed at Siena. This prolific artist, like a number of other - painters of this unimportant school, is not represented in the Louvre. - He died in 1551.</p> - - <p>A faint echo of the teaching of Spanzotti may at times be detected in - the works of Defendente Ferrari (fl. 1500–1535) and Girolamo Giovenone - (fl. 1513–1527), who are not represented in the Louvre. </p> - - <div class="figcenter" id="i_plate15"> - <img class="illow100" src="images/i_plate15.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XV.—CORREGGIO</span><br /> - <span class="small">(1494–1534)</span><br /> - SCHOOL OF PARMA<br /> - No. 1117.—THE MYSTIC MARRIAGE OF ST. CATHERINE<br /> - <span class="small">(Mariage mystique de Sainte Catherine)</span></div> - </div> - <div class="description"> - <p>The Virgin, in a red tunic and blue mantle, is seated to the left of - the composition holding on her lap the Infant Christ. He is about to - place the wedding-ring on the third finger of the outstretched right - hand of the kneeling St. Catherine, who wears a gold-brocaded robe. - Behind her stands St. Sebastian, looking on with interest and clasping - in his hand the arrows, the symbol of his martyrdom. In the landscape - background are depicted scenes of the martyrdom of the two Saints.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">3 ft. 5½ in. × 3 ft. 4 in. (1·05 × 1·02.)</p> - </div> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_113">113</span> - <h2 id="THE_SCHOOL_OF_PARMA">THE SCHOOL OF PARMA</h2> - </div> - - <p class="drop-cap">ONE of the most distinctive and perhaps the most sensuous of the - Italian masters is Correggio (1494–1534), who takes his name from his - birthplace, Il Correggio, a small town near Modena. It was natural, - therefore, that he should have become the pupil of Francesco Bianchi - of the school of Modena. Correggio came under almost all the leading - influences which distinguish the principal Italian schools of the - early sixteenth century. His “sidelong grace,” his subtle gradations - of tone, his daring foreshortening, his sublimity of space and light, - his vivid imagination, his profound knowledge of chiaroscuro, render - him an isolated phenomenon in Italian art at the moment when it was - passing into precipitate decline. His <cite>Marriage of St. Catherine</cite> - (No. 1117, <a href="#i_plate15">Plate XV.</a>) entirely lacks the dignity and solemnity which - are the dominant features of truly religious art. The figures which - make up this fascinating composition are delicate, but by no means - of an elevated type. This pseudo-religious picture, when studied - together with the <cite>Jupiter and Antiope</cite> (No. 1118), shows the justice - of the criticism that Correggio’s pictures are “hymns to the charm of - femininity the like of which have never been known before or since in - Christian Europe.” It is more remarkable that this mythological canvas, - which is so full of sensuous vitality, should have been added to the - royal collection of England in the seventeenth century than that it - should have been allowed by Cromwell to leave the country a few years - later. Two Allegories of <cite>Virtue</cite> and <cite>Vice</cite>,<span class="pagenum" id="Page_114">114</span> executed by Correggio in - gouache, hang in one of the Rooms of Drawings.</p> - - <p>Parmigianino (1504–1540), an imitator of Correggio and in a less degree - of Raphael, who were both shortlived artists, painted the two small - panels of a <cite>Holy Family</cite> (No. 1385), and a <cite>Holy Family and Saints</cite> - (No. 1386).</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_115">115</span> - <h2 id="THE_SCHOOL_OF_BOLOGNA">THE SCHOOL OF BOLOGNA</h2> - </div> - - <p class="drop-cap">AFTER the deaths of Francia in 1517 and Lorenzo Costa in 1536, painting - in Bologna rapidly decreased in quality, although not in volume. A - distinctive feature was the work of Marc Antonio Raimondi (b. 1475), a - pupil of Francia, who developed the process of engraving on copper.</p> - - <p>Bologna, which like other cities of Italy felt the effects of humanism, - acquired an increased importance in political activity through the - meeting there of Pope Leo <span class="smcap">x.</span> and Francis <span class="smcap">i.</span>, in - 1515, and by the Coronation of Charles <span class="smcap">v.</span>, on Feb. 24, 1530. - It also obtained within a few years a great reputation as an art - centre, although it is not easy for us now to realise why. The esteem - in which its art was held in foreign countries is also difficult - to explain. Innocenzo da Imola, who had studied under Francia, was - the master of Primaticcio, who was summoned to France by François - <span class="smcap">i.</span> in 1531. Primaticcio at that time was working at Mantua - with Giulio Romano, the favourite pupil and the imitator of Raphael. - While Primaticcio took with him the influence of Bolognese art to - Fontainebleau, where he died in 1570, Pellegrino Tibaldi (1527–1591), a - pupil of Bagnacavallo, carried the Bolognese influence into Spain.</p> - - <p>The appreciation by a foreign artist of the art of Bologna is shown in - the case of Denis Calvaert of Antwerp, who thought the Bolognese school - to be in so flourishing a state, when he passed through on his way to - study in Rome, that he decided to abandon his original intention and to - stay on in the city of the Colonnades.</p> - - <p>A striking feature of the literature and art of painting at<span class="pagenum" id="Page_116">116</span> Bologna - was that its University had always accorded equal terms to women - students with men, and had women professors. Female painters—they were - without exception only of the third rank—had worked in Bologna from the - days of Caterina di Vigri, painter and saint, who was born as early - as 1413. In the last quarter of the sixteenth century, art in Bologna - passed into the complete control of the Eclectics.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_117">117</span> - <h2 id="THE_DECADENT_SCHOOLS">THE DECADENT SCHOOLS</h2> - </div> - - <p class="drop-cap">IN the Florentine and Roman schools the Decadence may be said to have - begun with the death of Raphael in 1520. With the exception of the - Venetian school, in which art did not languish until after the death - of Tintoretto in 1594, painting rapidly degenerated during the second - half of the sixteenth century. Paintings were, of course, produced in - great profusion in every art centre of Italy, but form and subject were - not in true harmony. To a great extent local traditions were abandoned, - the earlier types varied, and three distinctive movements developed—the - “Mannerists,” the “Eclectics,” and the “Naturalists.”</p> - - <h3 id="THE_MANNERISTS">THE “MANNERISTS”</h3> - - <p>Giulio Romano (1492?–1546) was content to imitate the works of Raphael; - and Daniele da Volterra (1509–1566) tried, as we have seen in his - <cite>David overcoming Goliath</cite> (No. 1462), to reproduce the swelling - muscles of Michelangelo. Baroccio (1526–1612) in his <cite>Circumcision</cite> - (No. 1149), which is signed and dated 1570, and in his <cite>Virgin in - Glory, with St. Anthony and St. Lucy</cite> (No. 1150), sought to reproduce - the ineffable grace of Correggio; while others endeavoured to - repeat the enigmatic smile, the “greyhound” eye, and the mysterious - chiaroscuro of Leonardo da Vinci.</p> - - <p>Although the “Mannerists” were to be met with in most of the centres of - painting in the sixteenth century, they made Rome the centre of their - operations. Domenico Feti (1589–1624) is represented in the Louvre by - four canvases, <cite>Nero</cite> (No. 1286),<span class="pagenum" id="Page_118">118</span> <cite>Life in the Country</cite> (No. 1287), - <cite>Melancholy</cite> (No. 1288), and <cite>The Guardian Angel</cite> (No. 1289), the - subjects being highly significant.</p> - - <p>In the <cite>Holy Family</cite> (No. 1493) by Sassoferrato (1605–1685) are shown - the shallowness and empty formalism which produced the fair-haired, - blue-eyed, hyper-sentimental <cite>Madonnas</cite> with which his name is - associated. Carlo Dolci is not represented in the Louvre.</p> - - <p>One of the more estimable artists in the Late Roman school is Carlo - Maratta (1625–1713), who may be judged by the unsigned <cite>Portrait of - Marie Madeleine Rospigliosi</cite> (No. 1379) and <cite>His Own Portrait</cite> (No. - 1380).</p> - - <p>Two paintings of <cite>Fruit</cite> (Nos. 1254, 1255) stand to the credit of M. - A. Cerquozzi (1602–1660), and the art of G. B. Castiglione, of Genoa - (1616–1670), is seen in his <cite>Abraham and Melchizedek</cite> (No. 1250) and - <cite>Animals and Utensils</cite> (No. 1252).</p> - - <h3 id="THE_ECLECTICS">THE “ECLECTICS”</h3> - - <p>A revolt against the methods of the “Mannerists” was made by the - Carracci when they opened their school of art at Bologna in 1589. - These “Eclectics” (“Pickers and Choosers”) advocated a careful study - of “the drawing of Rome, the Venetian shadow, the terrific force - of Michelangelo’s manner, the natural truth of Titian, the pure - and sovereign style of Correggio, the true symmetry of Raphael, - the dignity and principle of Tibaldi, the invention of the learned - Primaticcio, together with a little of the grace of Parmigianino”! It - is not surprising that they in their turn soon sank into mere academic - mediocrity.</p> - - <p>The Louvre is notoriously rich in representative examples of the - “Eclectic” painters’ art. The name of Lodovico Carracci (1555–1619), - the founder of this school at Bologna, is included in the official - Catalogue, but neither of his two pictures is at present exhibited. - Lodovico had as cousins, Agostino (1557?–1602) and<span class="pagenum" id="Page_119">119</span> Annibale - (1560?–1609), who also worked in Rome. Six of Annibale Carracci’s - fifteen pictures in this collection are now exhibited. The <cite>Madonna of - the Cherries</cite> (No. 1217) and the <cite>Sleeping Child Jesus</cite> (No. 1218) are - characteristic, while his huge canvas of <cite>The Virgin appearing to St. - Luke and St. Catherine</cite> (No. 1219) in every way exemplifies the art of - this painter and his school. It is inscribed:</p> - - <div class="center small">ANNIBAL CARACTIUS F. MDXCII.</div> - - <p>Pictures of this type were much sought after and prized in the - eighteenth century, when this one was seized by Napoleon in Italy, - but to-day a higher standard of æsthetics has deservedly ruled them - out of fashion. On the other hand, sufficient attention is not now - paid to some of the landscape pictures which the “Eclectics” painted; - Annibale’s <cite>Fishing</cite> (No. 1233) and <cite>Hunting</cite> (No. 1232) are worth the - attention of the student. Antonio Carracci (1583–1618), a less-known - member of this family, is the author of a large canvas depicting <cite>The - Deluge</cite> (No. 1235).</p> - - <p>Guido Reni, after working under Denis Calvaert at Bologna, entered - the school of the Carracci. This fitful sentimentalist indulged in - idealised abstractions that were neither human nor divine, as may - be seen from his <cite>David and Goliath</cite> (No. 1439) and <cite>St. Sebastian</cite> - (No. 1450) on the one hand, and his <cite>Ecce Homo</cite> (No. 1447) and <cite>Mary - Magdalene</cite> (No. 1448) on the other. Four of his large mythological - paintings (Nos. 1453, 1454, 1455, 1457) show some technical ability.</p> - - <p>Francesco Albani (1578–1660) was influenced by the Carracci and Guido - Reni. The <cite>Diana and Actaeon</cite> (No. 1111) may be selected out of his - nine productions mentioned in the Catalogue. Domenichino (1581–1641), - a pupil of the Carracci, the assistant of Annibale and a friend of - Guido Reni in Rome, was a sentimentalist of the most pronounced order. - His hard execution and unpleasant colouring can be judged in his <cite>St. - Cecilia</cite> (No. 1613),<span class="pagenum" id="Page_120">120</span>—her features are singularly ill-proportioned,—but - nine of his other pictures do not take up any of the valuable wall - space.</p> - - <p>The self-taught artist and insipid Guercino (“The Squintling”) - (1591–1666), after working in Rome, settled in 1642 at Bologna, where - he died in affluent circumstances. His <cite>Raising of Lazarus</cite> (No. - 1139), the large <cite>Patron Saints of Modena</cite> (No. 1143), together with a - <cite>Circe</cite> (No. 1147) and <cite>The Painters Own Portrait</cite> (No. 1148), are now - exhibited. These and such pictures as were painted by G. A. Donducci - (1575–1655), G. F. Grimaldi (1606–1680), S. Cantarini (1612–1648), and - G. M. Crespi (1665–1747), provoked a fresh reaction.</p> - - <h3 id="THE_NATURALISTS">THE “NATURALISTS”</h3> - - <p>A natural reaction against the selective methods of the “Eclectics” - gave rise to the “Naturalists,” who, headed by Michelangelo Caravaggio - (1569–1609), made Naples the centre of their operations. The utterly - repulsive picture entitled <cite>The Death of the Virgin</cite> (No. 1121), by - Caravaggio, is merely large. Neither <cite>The Fortune Teller</cite> (No. 1122) - nor the <cite>Concert of Nine Musicians</cite> (No. 1123) can be compared with - the really striking and well-painted <cite>Portrait of Alof de Wignacourt, - Grand-Master of Malta</cite> (No. 1124).</p> - - <p>Salvator Rosa (1615–1675) is represented by <cite>Tobias and the Angel</cite> (No. - 1477) and a <cite>Vision of Saul to Samuel</cite> (No. 1478). His <cite>Landscape</cite> (No. - 1480) shows that he delighted in “ideas of desolation, solitude and - danger, impenetrable forests, rocky and storm-lashed shores, in lonely - dells leading to dens and caverns of banditti, alpine ridges, trees - blasted by lightning or sapped by time.” His <cite>Battle</cite> (No. 1479) is a - strange production.</p> - - <p>Caravaggio was the master of Ribera (1588–1656), who is also called - Spagnoletto, and is included in the Catalogue among the Spanish - artists. This “Naturalist” school of Naples also<span class="pagenum" id="Page_121">121</span> included Luca - Giordano (1632–1705), who lived in Spain at one period.</p> - - <p>The aim of the “Naturalists” is displayed in the prominence they gave - to all that was vulgar, coarse, and vile. With them art in Italy came - to an ignominious end, although in technical accomplishment, in mere - craftsmanship, they can hold their own with painters of much higher - rank. </p> - - <div class="figcenter" id="i_plate16"> - <img class="illow95" src="images/i_plate16.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XVI.—JAN VAN EYCK</span><br /> - <span class="small">(1390?–1441)</span><br /> - EARLY FLEMISH SCHOOL<br /> - No. 1986.—THE VIRGIN AND CHILD AND THE CHANCELLOR ROLIN<br /> - <span class="small">(La Vierge au donateur)</span></div> - </div> - <div class="description"> - <p>An angel in a blue alb and with peacock-blue wings is placing an - elaborate gold crown on the head of the Madonna, who holds the Infant - Christ on her knee, and is seated towards the right of the composition. - On the other side the Chancellor, kneeling at a <i lang="fr">prie-Dieu</i>, and with - his hands joined in adoration, wears a richly brocaded robe, and is - seen in profile towards the right. The figures are grouped in a portico - opening on to a flower-garden and a crenellated wall; in the distance - is seen a seven-arched bridge, and beyond it a castled island.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">2 ft. 2 in. × 2 ft. 0½ in. (0·66 × 0·62.)</p> - </div> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_123">123</span> - <h2 id="THE_EARLY_FLEMISH_SCHOOL">THE EARLY FLEMISH SCHOOL</h2> - </div> - - <p class="drop-cap">THE early art of Flanders, unlike that of Italy, does not present - itself at the Louvre, or indeed at any Gallery, in orderly sequence - from the immature groping for artistic expression to masterly - achievement. With the exception of the exquisite work of the - late-fourteenth-century miniaturists, which forms a special branch - of study, there is nothing to bridge the immense gulf that divides - Melchior Broederlam, the earliest known Flemish painter, from the - brothers Van Eyck, whose earliest known work, the wonderful Ghent - polyptych of <cite>The Adoration of the Lamb</cite>, is, if not quite the - starting-point, the noblest achievement of the Early Flemish school. - The invention of oil-painting, in the sense of the word as it is - applied to-day, with which the Van Eycks are credited, no doubt - contributed largely towards this amazingly sudden progress; but their - art also marks a new era in the conception of life and pictorial form. - An ardent love of truth and nature takes the place of the earlier vague - idealism. At the same time, the realism of the brothers Van Eyck and - their followers, notwithstanding its insistence on literal truth in - the representation of frequently ugly details, was kept in check by - deep sentiment, love of splendid colour, and a great sense of style in - composition. Details, even in the far-away distance, were certainly - elaborated with minute precision, but they are never unduly obtrusive, - and are invariably subordinated to the main motive.</p> - - <div> - <span class="pagenum" id="Page_124">124</span> - <h3 id="JAN_VAN_EYCK">JAN VAN EYCK</h3> - </div> - - <p>The earliest important Flemish painting in the Louvre is the famous - <cite>Virgin and Child with the Chancellor Rolin</cite> (No. 1986, <a href="#i_plate16">Plate XVI.</a>) by - Jan van Eyck (<i>c.</i> 1390–1441), which was taken by order of Napoleon - I. from the Collegiate Church of Autun in Burgundy. In a three-aisled - colonnaded hall with stilted arches and pavement of geometrical inlay - is seen Nicholas Rolin, Chancellor of Burgundy and Brabant, kneeling - at a prayer-desk before the Virgin, on whose right knee is seated the - Infant Saviour holding an orb in His left and raising His right hand - in benediction. An angel with peacock-blue wings is floating above the - Virgin and holding an elaborately wrought golden crown over her head. - The exquisite detail of the river landscape with a view of Maastricht - extending beyond the open colonnade, the sumptuous brocaded dresses, - the carved capitals of columns and piers, and many other details - painted with inimitable minute skill, help towards an ensemble of - jewel-like splendour dimmed but not marred by the yellow varnish which - covers the surface. The <cite>Virgin with the Donor</cite> was formerly generally - attributed to Hubert, but is most probably a late work by Jan van Eyck, - painted perhaps about 1432.</p> - - <h3 id="THE_SCHOOL_OF_TOURNAI">THE SCHOOL OF TOURNAI</h3> - - <p>Neither Petrus Christus (1412?–1473), the only master who was directly - influenced by Jan van Eyck, nor Robert Campin (1365–1444), who is now - known to be identical with the so-called “Maître de Flémalle,” and - who was the head of the important Tournai school, are represented - at the Louvre. The official Catalogue ascribes to Campin’s greatest - pupil, Rogier van der Weyden (<i>c.</i> 1400–1464), the two panels <cite>The - Virgin and Child</cite> (No. 2195), and <cite>The Deposition from the Cross</cite> (No. - 2196), of which<span class="pagenum" id="Page_125">125</span> at least the former is only a school version of an - often repeated theme by the master, whilst the <cite>Deposition</cite> is by no - means an important example of his work. Rogier was born at Tournai, - but went to Brussels after 1432, and practised in that city until his - death in 1464. A journey to Italy in 1449 did not appreciably affect - his art, which always retained an archaic flavour, especially in the - rather tortured rendering of the nude. In this respect, and also in - his utter disregard of beauty (except the beauty of rhythmic line), he - compares unfavourably with the brothers Van Eyck, as may be clearly - seen on comparing his work with Jan van Eyck’s <cite>Virgin and Donor</cite>. His - occasional use of gold backgrounds, as in the <cite>Virgin and Child</cite> (No. - 2195), is another archaic trait.</p> - - <p>The hand of a nameless contemporary and follower of Campin and Rogier - van der Weyden, who is also represented at the Galleries of Vienna, - Turin, and Antwerp, is to be recognised in the small panel of <cite>The - Annunciation</cite> (No. 2202), which was formerly attributed to the much - later painter Lucas van Leyden, and has also been claimed to be only a - copy of a picture by the Maître de Flémalle.</p> - - <h3 id="HANS_MEMLINC">HANS MEMLINC</h3> - - <p>The influence of Rogier van der Weyden determined the entire course - taken by the Flemish school until its decline with the introduction - of those Italian Renaissance tendencies which only became a vital - factor and led to the birth of a new Flemish art through the genius of - Rubens. Again, Rogier’s chief pupil, Dierick Bouts (<i>c.</i> 1410–1475), - is unrepresented at the Louvre. In the art of Hans Memlinc (<i>c.</i> - 1430?–1494), who was the founder of the great school of Bruges, may be - found clear traces of the influence of Rogier and of Bouts, although - we have no certain knowledge as to that master’s actual pupilage. He - may have been born at Mömlingen, near Aschaffenburg on the Main, and - apparently<span class="pagenum" id="Page_126">126</span> had already risen to fame as a painter before 1467, the - date of his great altarpiece at Dantzig. By that time he was settled - at Bruges. Mr. W. H. J. Weale’s researches have shown that the legend, - according to which Memlinc first came to Bruges as a wounded soldier - and was nursed back to health at the Hospital of St. John, is not - founded on fact. It is probable that Memlinc served his apprenticeship - under some Cologne painter, but all theories regarding his early life - must remain largely conjectural.</p> - - <p>What is of real importance is that he introduced into the detailed - realism of his precursors a note of pious fervour and tender idealism, - which is the nearest approach in Northern art to the angelic sweetness - of Fra Giovanni da Fiesole. Not without good reason has he been called - “the Fra Angelico of the North.” Fromentin was certainly right in - saying that “Van Eyck saw with his eyes, Memlinc begins to see with - his soul.” It is this warmth of feeling that makes Memlinc the most - lovable painter of the Flemish school, for he could neither rival the - dramatic power and realistic truth of the Van Eycks, nor the firm - draughtsmanship of Van der Weyden, nor Bouts’s skill in landscape - painting. Nor did he take full advantage of the possibilities of the - oil technique, his method remaining that of the tempera painters, - although he availed himself of the new medium.</p> - - <p>The earliest work by Memlinc in the great French national collection - is the charming little diptych, painted about 1475, and representing - on one leaf <cite>The Mystic Marriage of St. Catherine</cite> (No. 2027), and - on the other <cite>The Donor, John du Celier, presented by St. John</cite> (No. - 2027<span class="smcap">a</span>). In the first the Virgin is seen seated in a flowering - meadow in front of a rose-covered trellis and supporting the Infant - Christ, who bends forward to place the ring on the finger of St. - Catherine on the left. Behind the saintly bride are St. Agnes and St. - Cecilia; whilst the group on the right<span class="pagenum" id="Page_127">127</span> comprises St. Barbara, with - St. Margaret and St. Lucy, all accompanied by their characteristic - attributes. On the other leaf the Donor is seen kneeling, with hands - joined in prayer, in front of St. John the Baptist, who is pointing to - Our Lord. The landscape background shows, on the left, the Apocalyptic - vision of St. John the Evangelist, and on the right, St. George - fighting the Dragon. This leaf, after passing through the collection - of Mr. Herz and Mr. Heath, was presented to the Louvre in 1895 by - Mme. André, and was thus reunited with its companion, which had been - bequeathed to the Gallery fourteen years earlier by M. E. Gatteaux. It - is on the whole in an excellent state of preservation, although some of - the accessories in the background are so thinly painted that they have - almost disappeared.</p> - - <h3 id="MEMLINCS_VIRGIN_AND_CHILD_WITH_DONORS">MEMLINC’S “VIRGIN AND CHILD, WITH DONORS”</h3> - - <p>About 1490 Memlinc must have painted the admirable <cite>Virgin and Child, - with Donors</cite> (No. 2026), which was commissioned by James Floreins, a - member of the Bruges Merchant Grocers’ Guild, but subsequently found - its way to Spain, whence it was taken to France by General d’Armagnac. - The Donor, who is kneeling on the left, in front of his seven sons, - is presented by St. James the Great, the same office being performed - by St. Dominic for Floreins’s wife and her twelve daughters, on - the opposite side. The scene is laid in a Romanesque church, with - openings at either side, through which glimpses of the landscape - beyond are obtained. The characterisation of all the faces, which - bear a strong family likeness, is as admirable as the painting of the - noble architecture. Remarkable, too, is the effect of perfect symmetry - obtained in the arrangement of the two unequal groups through the - simple device of placing the Virgin and Child more towards the less - crowded side, although the canopy is in the exact middle of the<span class="pagenum" id="Page_128">128</span> panel. - This altarpiece is certainly one of the most important works by Memlinc - that are to be found outside Belgium.</p> - - <p>The two little panels, <cite>St. John the Baptist</cite> (No. 2024), and <cite>St. Mary - Magdalene</cite> (No. 2025), both standing in a landscape with small scenes - from their respective legends, formed originally, with two further - panels representing St. Christopher and St. Stephen, the shutters of a - triptych. The centre part had disappeared before the wings, carefully - sawn through the thickness of the panels so, as to separate the obverse - from the reverse, came into the possession of Lucien Bonaparte, and - afterwards of William II. of Holland. The two Saints now at the Louvre - were purchased in 1851 for £469.</p> - - <p>In 1908 the Louvre obtained, at the high price of £8000, the <cite>Portrait - of an Old Lady</cite> (<a href="#i_plate17">Plate XVII.</a>), to which attention was first drawn - at the Bruges Exhibition in 1902, when it was shown by M. Nardus, - from whom it passed into the hands of M. Kleinberger. Both the Paris - portrait, which is drawn with exquisite precision but has apparently - suffered from over-cleaning, and its companion, the portrait of this - anonymous lady’s husband at the Berlin Museum, were until 1884 in the - Meazzu collection in Milan.</p> - - <p>The triptych (No. 2028) with (<i>a</i>) <cite>The Resurrection</cite>, (<i>b</i>) <cite>The - Ascension</cite>, and (<i>c</i>) <cite>The Martyrdom of St. Sebastian</cite>, which was - bought at Turin in 1860 for £540, and is officially considered to be - of doubtful authenticity, is included by Mr. Weale in his catalogue of - Memlinc’s works.</p> - - <h3 id="GERARD_DAVID">GERARD DAVID</h3> - - <p>The reconstruction and the rescuing from oblivion of the artistic - personality of Gerard David, begun by Mr. Weale and completed by - Freiherr von Bodenhausen, is one of the triumphs of the modern - scientific method of criticism. The Louvre is fortunate in possessing - <span class="pagenum" id="Page_129">129</span>two important examples from the brush of this master, who, born - at Ouwater in Holland about 1460, was in his early studies influenced - by Albert van Ouwater, but, after settling at Bruges in 1483, came - under the spell of Van Eyck, Bouts, and above all of Memlinc, whom he - succeeded as leader of the Bruges school. On his death in 1523, the - supremacy of that school came to an end, and passed on to the city of - Antwerp, which by that time had also superseded Bruges as a commercial - centre. Gerard David was not Memlinc’s equal as regards intimate charm, - but in his work is to be found a summing-up of all the achievement of - the Flemish Quattrocento—“the last concentrated expression of the aims - of all the great masters of that fertile age.”</p> - - <div class="figcenter" id="i_plate17"> - <img class="illow80" src="images/i_plate17.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XVII.—HANS MEMLINC</span><br /> - <span class="small">(1430?–1494)</span><br /> - EARLY FLEMISH SCHOOL<br /> - No.—<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a>.—PORTRAIT OF AN OLD LADY</div> - </div> - <div class="description"> - <p>She is seen in full face and at half-length, wearing the costume of the - period; her hands are superposed; landscape background to the left, - with a winding sandy path. A porphyry column to the right.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">1 ft. 2¼ in. × 1 ft. (0·36 × 0·30.)</p> - </div> - - <div class="footnote"><a id="Footnote_4" href="#FNanchor_4" class="label"> - [4]</a> This picture has not yet received an official number.</div> - - <p>After having been successively attributed to Van Eyck, Van der Weyden, - Memlinc, and David’s pupil Ysenbrant, the <cite>Marriage at Cana</cite> (No. - 1957, <a href="#i_plate18">Plate XVIII.</a>) is now generally admitted to be designed and - partly executed by Gerard David, although the panel shows unmistakable - evidence of being completed by another and less skilful hand. Mr. Weale - has shown, on the strength of a certain document, that the picture may - have been finished by Ysenbrant, but he has been unable to establish - that the document quoted by him refers to this particular picture. - There can be no doubt that David himself painted the figure of the - Donor, kneeling on the left, a marvellous example of early portraiture, - and the Donor’s son, the Christ, and the boy carrying the cake. Some of - the other heads are almost wooden in their hardness. The head of the - Dominican looking into the hall through an opening beyond which is to - be seen the Place du Saint-Sang, at Bruges, is clearly an afterthought, - and is introduced so clumsily that the wall and the page-boy with the - cake-dish really leave no room for the friar’s body. There is a curious - lack of spiritual cohesion in the picture—the majority of the figures - look away from the Saviour as well as from the bride, although the - significance of the moment is such<span class="pagenum" id="Page_130">130</span> as to demand a concentration of - everybody’s attention on the Christ. The picture, of which there are - several replicas, notably one at the Stockholm Museum by David’s pupil - Ambrosius Benson, was until 1580 in the Chapel of the Saint-Sang at - Bruges, and then in the collection of Louis <span class="smcap">xiv.</span>, from which - it passed into the Louvre.</p> - - <p>The triptych (No. 2202<span class="smcap">a</span>) of the <cite>Virgin and Child, with Two - Angels</cite>, in the centre, and <cite>Two Donors presented by St. John the - Baptist and St. John the Evangelist</cite>, on the wings, is officially - catalogued as an anonymous picture of the Flemish sixteenth-century - school, but is unquestionably an early work of Gerard David. It is - interesting to note that the male Donor is the same as the Donor in the - <cite>Marriage at Cana</cite>, though younger in years, and that the delightful - and strangely Italian <i lang="it">putti</i> on the capitals of the columns that - flank the Virgin’s throne recur again, reversed, in David’s <cite>Judgment - of Cambyses</cite>, at Bruges. The <cite>Adam</cite> and <cite>Eve</cite> on the outside of the - shutters are inspired by the corresponding figures on the great Van - Eyck altarpiece at Ghent. The Louvre triptych was bought at the Garriga - sale in Madrid, in 1890, for £248.</p> - - <h3 id="HIERONYMUS_BOSCH">HIERONYMUS BOSCH</h3> - - <p>Before passing on to the school founded at Antwerp by Quentin Matsys - (<i>c.</i> 1466–1530), mention should be made of Hieronymus Bosch van Aeken - (<i>c.</i> 1462–1516), who, a follower of Ouwater, has as much right to - be counted among the masters of the Dutch as of the Flemish school. - Of his life we know but little. His pictures reveal that realistic - observation of everyday life which was to become the characteristic of - the Dutch school; but, added to it, there is a tendency towards the - grotesque which made him delight in subjects that gave him full scope - for the invention of weird monsters, devils, and spectres, such as the - demons in <cite>The Damned</cite> (No. 1900), which is attributed to Bosch in - the official Catalogue, <span class="pagenum" id="Page_131">131</span>but is, like its companion, <cite>Heaven</cite>, at - the Lille Museum, the work of the unknown painter of the famous <cite>Last - Judgment</cite> at Dantzig, which has by various experts been given in turn - to Jan van Eyck, Rogier van der Weyden, and Memlinc. There is at the - Louvre a drawing which corresponds to so remarkable a degree with the - panel No. 1900, that it has long been held to be a study from the same - hand. This drawing is, however, more probably an early study by the - German master Martin Schöngauer after the Louvre panel. The picture was - formerly in the Duchâtel collection, and was given to the Louvre by the - Duc de la Tremoïlle.</p> - - <div class="figcenter" id="i_plate18"> - <img class="illow100" src="images/i_plate18.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XVIII.—GERARD DAVID</span><br /> - <span class="small">(1460?–1523)</span><br /> - EARLY FLEMISH SCHOOL<br /> - No. 1957.—THE MARRIAGE AT CANA<br /> - <span class="small">(Les Noces de Cana)</span></div> - </div> - <div class="description"> - <p>The scene takes place in a richly appointed chamber, which on the left - side looks out on to the Place du Saint-Sang at Bruges. The Bride is - seated on the farther side of the table; towards the left the Virgin - bows her head in the direction of the Christ. In the left-hand corner - of the composition kneels the Donor, wearing the costume of a Provost - of the Company of the Holy Blood; on the right kneels the Female Donor. - Guests and servants variously disposed complete the picture.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">3 ft. 2 in. × 4 ft. 2½ in. (0·96 × 1·28.)</p> - </div> - - <h3 id="THE_ANTWERP_SCHOOL">THE ANTWERP SCHOOL</h3> - - <p>Quentin Matsys, the painter of <cite>The Banker and his Wife</cite> (No. 2029, - <a href="#i_plate19">Plate XIX.</a>), of which numerous replicas and variants are known, some - probably from the hand of his pupil Marinus van Roymerswaele, still - owes his training to the primitives of his race, but heralds the new - era which was to culminate in the art of Rubens, by passing from the - earlier minute precision of detail to a certain breadth of style and - boldness of brushwork, necessitated partly by the larger scale adopted - for his figures. Neither <cite>The Saviour Blessing</cite> (No. 2030) nor <cite>The - Virgin and Child</cite> (No. 2030<span class="smcap">a</span>), both of which are catalogued - under his name, can be accepted as authentic; but the interesting genre - group of <cite>The Banker and his Wife</cite> is not only fully signed and dated</p> - - <div class="center small">QVENTIN MATSYS, SCHILDER, 1514,</div> - - <p class="noindent">but is unmistakably the work of his brush, although the - woman’s face and hands appear to have been badly repainted. It was - bought in 1806 at the low price of £72. The best version of the same - subject is the one in the Sigmaringen Gallery. By Quentin Matsys is - also, probably, the <cite>Pietà</cite> (No. 2203), which is catalogued officially<span class="pagenum" id="Page_132">132</span> - as “Flemish <span class="smcap">xvi</span>th Century.” Quentin’s son Jan, who followed - his father’s tradition and achieved considerable distinction, is the - painter of the hideous <cite>David and Bathsheba</cite> (No. 2030<span class="smcap">b</span>), - which bears the inscription</p> - - <div class="center small">1562. IOANES MASSIIS PINGEBAT.</div> - - <p>Next in importance among the Antwerp masters is Jan Gossart (<i>c.</i> - 1470–1533?), better known as Mabuse, from the name of his native town - Maubeuge in the Hainault. In his early work he followed the tradition - of the great masters of his own country, but a journey to Italy in - 1508 made him change his manner, and led him to adopt, together with - the amplitude of Italian design, a certain floridness which compares - unfavourably with the honest realism of his precursors and which led to - the rapid decadence of the Flemish school. In the magnificent portrait - of <cite>Jean Carondelet, Perpetual Chancellor of Flanders</cite> (No. 1997, <a href="#i_plate20">Plate - XX.</a>), although it was painted as late as 1517, he is still faithful - to the great tradition of his country for honest, straightforward, - shrewdly observed, and delicately wrought portraiture. An inscription - on the top of the arched gilt frame reads:</p> - - <div class="center small lh2">REPRÉSENTACION DE MESSIRE JEHAN CARONDELET,<br /> - HAVLT DOYEN DE BESANÇON, EN SON EAGE DE 48Ā,</div> - - <p class="noindent">and, below, “<span class="smcap">fait l’an 1517</span>.” In a niche behind - the panel are the letters “<span class="smcap">i c</span>” entwined with strings, and the - motto “<span class="smcap">matvra</span>.” The portrait was, therefore, obviously painted - just before Carondelet accompanied Charles <span class="smcap">v.</span> to Spain in 1517.</p> - - <p>This portrait panel, together with <cite>The Virgin and Child</cite> (No. 1998), - which bears on the frame the inscription</p> - - <div class="center small lh2">MEDIATRIX NOSTRA QVE EST POST DEVM<br /> - SPES SOLA TVO FILIO ME REPRESENTA,</div> - - <p class="noindent">and the signature “<span class="smcap">johannes melbodie pingebat</span>,” - formed a <span class="pagenum" id="Page_133">133</span>diptych which was bought in 1847 from a Valenciennes - architect for the ridiculous price of £40! A later portrait of - Carondelet by Mabuse, dated 1531, appeared in 1907 at Christie’s under - the name of C. Amberger, and realised the price of £3885. Another - portrait of Carondelet, by B. van Orley, is in the Munich Gallery, - where it is officially ascribed to Quentin Matsys, who is probably the - painter of yet another portrait of the Chancellor which was recently in - the Duchâtel collection in Paris. The <cite>Portrait of a Benedictine</cite> (No. - 1999) bears the date 1526 and the signature</p> - - <div class="center small">JOANNE MALBOLD PINGE.</div> - - <p>The decline of the Antwerp school through the introduction of Italian - mannerisms is illustrated in <cite>Young Tobias restoring Sight to his - Father</cite> (No. 2001), a fully signed late picture by Jan van Hemessen, - who flourished in that city towards the middle of the sixteenth - century, and in whose art the last traces of the great national - tradition disappear.</p> - - <div class="figcenter" id="i_plate19"> - <img class="illow95" src="images/i_plate19.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XIX.—QUENTIN MATSYS</span><br /> - <span class="small">(1466?–1530)</span><br /> - FLEMISH SCHOOL<br /> - No. 2029.—THE BANKER AND HIS WIFE<br /> - <span class="small">(Le Banquier et sa femme)</span></div> - </div> - <div class="description"> - <p>On the far side of a table covered with a green cloth and strewn with - various objects, which include a crystal cup and a circular mirror, are - seated the banker, wearing a dark blue robe edged with fur, and his - wife who is turning over the leaves of an illuminated book of hours. At - the back are shelves, on which are displayed books and many decorative - objects.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">Signed on a roll of paper in the background:—“<span class="smcap">quentin matsys, - schilder, 1514</span>.”</p> - <p class="noindent">2 ft. 5¼ in. × 1 ft. 11¾ in. (0.74 × 0.60.)</p> - </div> - - <h3 id="BAREND_VAN_ORLEY">BAREND VAN ORLEY</h3> - - <p>Of the school that flourished in Brussels before Italianism appeared - in the person of Barend van Orley (<i>c.</i> 1495–1542), the only name that - has come down to posterity is that of Rogier van der Weyden’s follower, - Colin de Coter, thanks to the clear inscription</p> - - <div class="center"><i>Colin de Coter pinxit me in Brabancia Bruxelle</i></div> - - <p class="noindent">on the hem of the dress of the kneeling Magdalen in <cite>The - Holy Women</cite> (No. 1952<span class="smcap">b</span>), which, with <cite>The Trinity</cite> (No. - 1952<span class="smcap">a</span>) and another lost panel, probably originally formed a - triptych. The signed wing was presented to the Gallery in 1903; whilst - the <cite>Trinity</cite> centre-piece was bought two years later from the Abbé - Toussaint at St. Omer for £120.</p> - - <p><span class="pagenum" id="Page_134">134</span></p> - - <p>Like Mabuse, Barend van Orley, after showing in his early work clear - traces of his descent from the Flemish primitives, drank deeply at the - fountain of Italian art. He was profoundly impressed by Raphael, from - whom he endeavoured, with a certain degree of success, to learn the - noble flow of drapery and the harmonious disposition of the design. On - the other hand, he sacrificed the lustrous richness of Early Flemish - colour and became addicted to dull grey shadows and pinkish lights. His - <cite>Holy Family</cite> (No. 2067<span class="smcap">a</span>) does not rank with his finest works, - <cite>The Last Judgment</cite> at Antwerp and the <cite>Holy Family</cite> at Liverpool. The - architectural setting, with a statue of Neptune in a square in the - background, indicates the advent of the Renaissance. The picture was - bought at the Otlet sale in Brussels, in 1902, for £540. With Barend - van Orley closes the chapter of the Early Flemish school. Indeed, he - was rather the first of the new era than the last of the primitives.</p> - - <div class="figcenter" id="i_plate20"> - <img class="illow76" src="images/i_plate20.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XX.—JAN MABUSE</span><br /> - <span class="small">(1470?–1533?)</span><br /> - EARLY FLEMISH SCHOOL<br /> - No. 1997.—PORTRAIT OF JEAN CARONDELET, PERPETUAL CHANCELLOR OF FLANDERS<br /> - <span class="small">(Portrait de Jean Carondelet, chancelier perpétuel de Flandre - (1469–1544))</span></div> - </div> - <div class="description"> - <p>He is bare-headed and wears a blue robe; he is turned three-quarters to - the right; his hands are folded in prayer.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">Inscribed on the frame:—“<span class="smcap">représentacion de messire jehan - carondelet, havlt doyen de besançon, en son eage de 48ā</span>,” and, - below, “<span class="smcap">fait l’an 1517</span>.”</p> - <p class="noindent">1 ft. 5 in. × 10¾ in. (0·43 × 0·27.)</p> - </div> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_135">135</span> - <h2 id="THE_LATE_FLEMISH_SCHOOL">THE LATE FLEMISH SCHOOL</h2> - </div> - - <p class="drop-cap">THE period of the great struggle of the Netherlands for religious and - political independence from the yoke of Spain and the Inquisition - was not propitious for the fostering of the Fine Arts. Not only did - the troubled provinces, as was quite natural, slacken in artistic - production, but a vast portion of the treasures owned by churches - and monastic establishments were destroyed by the fanaticism of - Protestant iconoclasts. The separation of the Protestant North from - the Catholic South by the Utrecht Union in 1579 became in a way the - determining factor for the future course of painting in Holland and - in the Belgic provinces. The Dutchmen practically had no further use - for religious painting, and devoted themselves more exclusively to the - domestic genre, portraiture, and landscape; whilst the Flemings applied - themselves largely to infusing new vitality into the representation - of Scriptural characters and incidents which, through constant - mechanical repetition, had become mere allegorical hieroglyphics, or - generalised ideas without the all-important sense of pulsating life. - This regeneration was the great deed of Peter Paul Rubens (1577–1640), - who, whilst still benefiting from the example of the great Italians, - remained the very embodiment of Flemish character and thought, and - became the founder of the second important period of Flemish national - art. He was a man of exuberant vitality and boundless energy, endowed - with a creative force unequalled in the whole history of art. He must - rank for all time among the very giants of the brush, with Rembrandt, - Titian, and Velazquez, his contribution to the progress in pictorial - art being<span class="pagenum" id="Page_136">136</span> the use of pigment and sweeping brushwork as a constructive - element—an advance as significant as the Venetians’ admission of - light into the pictorial scheme, which with the Florentines was based - entirely on linear design.</p> - - <h3 id="PIETER_BRUEGHEL">PIETER BRUEGHEL</h3> - - <p>But before considering the magnificent array of close on fifty - authentic works by the master which form part of the French national - collection, reference will have to be made to a few Flemish artists - of the singularly barren decades that precede the advent of Rubens. - First and foremost among these is Pieter Brueghel (or Breughel) the - Elder (1530–1569), who was born at Breda in 1530, became a pupil of - Pieter Koeck, and died at Brussels in 1569. In spite of his early - travels in Italy—which were then already considered indispensable for - the completion of an artist’s training—he remained unaffected by the - all-pervading Italian influence. He was pure Flemish in thought and - expression, and devoted himself to the realistic painting of peasant - life. Certain realistic features which make his pictures sometimes - appear obscene and coarse to modern eyes are merely an expression of - the humour of his age. The exquisite little painting, <cite>The Beggars</cite> - (No. 1917), which is fully signed</p> - - <div class="center small">PETER BRUEGHEL, M D L VIII,</div> - - <p class="noindent">is probably some satirical political allusion to the - revolutionary party who called themselves the <cite>Gueux</cite> (beggars). A - similar political significance is probably the intention of <cite>The - Parable of the Blind</cite> (No. 1917<span class="smcap">a</span>). The single file of blind - men following their blind leaders into a river is meant to satirise - the moral blindness of the artist’s compatriots following their - political leaders into disaster. This excellent version of Brueghel’s - famous<span class="pagenum" id="Page_137">137</span> masterpiece at Naples was bought at the Leys sale at Antwerp, - in 1894, for £724. The type of picture to which the elder Brueghel - owes his sobriquet “Peasant Brueghel” is exemplified at the Louvre - by two little panels, <cite>A Village</cite> (No. 1918) and <cite>Peasants Dancing</cite> - (No. 1918<span class="smcap">a</span>), which can, however, only be accepted as school - pictures.</p> - - <h3 id="JAN_BRUEGHEL">JAN BRUEGHEL</h3> - - <p>Of Brueghel’s two sons, Pieter the younger, known as “Hell” Brueghel, - is not represented at the Louvre, which, on the other hand, boasts - possession of eight examples from the brush of “Peasant” Brueghel’s - second son, Jan (1568–1625), known to fame as “Velvet” Brueghel, either - owing to his love of splendid apparel or to the velvety softness of his - brush. He began as a still-life and flower painter, in which capacity - he often collaborated with Rubens. Having journeyed to Rome in 1593, he - devoted himself more exclusively to landscape enlivened with many small - figures, for which some Scriptural or mythological subject generally - provided the excuse. Where his pictures contain figures on a larger - scale, they are generally put in by Rubens, Rottenhammer, or Van Balen. - The last-named is certainly responsible for the figures in <cite>Air</cite> (No. - 1920), one of a series of the Four Elements, painted by Jan Brueghel - for his Roman patron, Cardinal Federigo Borromeo, in 1621. To the - same series belongs <cite>Earth</cite>, or <cite>The Earthly Paradise</cite> (No. 1919), a - subject often repeated by him, as for instance in the versions at The - Hague and at Budapest. Of his other pictures at the Louvre <cite>The Bridge - of Talavera</cite> (No. 1925), and the <cite>Landscape</cite> (No. 1926), are signed - and dated <span class="smcap">brueghel</span>, 1619, and <span class="smcap">j. brueghel</span>, 1620, - respectively. <cite>The Battle of Arbela</cite> (No. 1921) is a characteristic - work with many minutely wrought figures. The <cite>Landscapes</cite> (Nos. 1923 - and 1924) are of doubtful authenticity, and were formerly attributed to - Paul Bril. They are not now exhibited.</p> - - <p><span class="pagenum" id="Page_138">138</span></p> - - <p>There are scarcely any Flemish characteristics in the art of Paul - Bril (1556–1626), the younger brother and pupil of Matthias Bril. He - was born at Antwerp, but worked nearly all his life in Rome. There is - little to distinguish this precursor of Poussin in the art of landscape - from his Italian contemporaries. In <cite>Duck Shooting</cite> (No. 1908), <cite>Diana - and her Nymphs</cite> (No. 1909), and <cite>Pan and Syrinx</cite> (No. 1911) the figures - are believed to have been painted in by Annibale Carracci. <cite>The - Fishermen</cite> (No. 1910) bears his signature <span class="smcap">pa. brilli</span>, and the - date 1624.</p> - - <h3 id="THE_FRANCK_FAMILY">THE FRANCK FAMILY</h3> - - <p>Although the Louvre owns no picture by Frans Floris, the head of the - Italianising mid-sixteenth-century Antwerp school, his uninteresting - style may be studied in <cite>The Story of Esther</cite> (No. 1989) by his pupil - Frans Franck (1542–1616). To that second-rate artist’s son, Frans - Franck the Younger (1581–1642), who already benefited to a certain - extent by the example of Rubens, is given in the official Catalogue - <cite>Ulysses recognising Achilles among the Daughters of Lycomedes</cite> (No. - 1991<span class="smcap">a</span>). <cite>The Parable of the Prodigal Son</cite> (No. 1990), which is - also catalogued under his name, is obviously by his son Frans Franck - <span class="smcap">iii.</span>, since the date 1663 precedes the signature, and F. - Franck the younger died in 1642.</p> - - <p>Frans Pourbus the Younger (1569–1622) was born at Antwerp, but spent - the later part of his life in Paris, where, like his father, he enjoyed - considerable reputation as a portrait painter. He had previously been - working at the Mantuan Court, and became painter to Marie de Médicis - after 1609. Although he occasionally produced altarpieces like the - rather uninspired <cite>Last Supper</cite> (No. 2068) and <cite>St. Francis receiving - the Stigmata</cite> (No. 2069), he was essentially a portrait painter. In - this capacity he belongs rather to the age<span class="pagenum" id="Page_139">139</span> that was coming to a close - than to the new era initiated by Rubens. His portraits are quite - soundly painted, rich in colour, and convincing as likenesses, but lack - depth of character and suavity of touch. By far his best pictures at - the Louvre are the <cite>Portrait of Henri IV.</cite> (No. 2071) and the large - <cite>Portrait of Marie de Médicis</cite> (No. 2072), in which the details of - the costume are particularly noteworthy. Less important is another - <cite>Portrait of Henri IV.</cite> (No. 2070), and one of <cite>Guillaume du Vair</cite> (No. - 2074).</p> - - <p>Octavius van Veen, or Otto Venius (1558–1629), the painter of <cite>The - Artist and his Family</cite> (No. 2191), owes his fame more to the fact that - he was one of the three masters under whom Rubens studied than to any - intrinsic merit of his art.</p> - - <h3 id="PETER_PAUL_RUBENS">PETER PAUL RUBENS</h3> - - <p>The Louvre owes its almost unequalled wealth in paintings by Rubens to - the master’s relations with Marie de Médicis and her Court; and to this - reason is due the fact that by far the largest portion of the fifty-one - authentic works wholly or partly from his brush, which now form part of - this great collection, date approximately from, or immediately before - and after, the time during which he was busy with the famous series - painted by order of that queen for the decoration of the Luxembourg - Palace, and now to be seen in a setting appropriate to their florid - sumptuousness in the new Rubens Gallery at the Louvre. Even so, the - collection comprises examples of every phase of the master’s colossal - activity—religious and historical compositions, allegorical paintings, - landscapes, portraits, still life, and even <i lang="fr">genre</i>-pieces, like the - <cite>Kermesse</cite> (No. 2115), in which he successfully competes with Teniers - on a ground peculiarly his own.</p> - - <p>Born at Siegen in 1577, Rubens received his artistic education at - Antwerp from Tobias Verhaecht, a landscape painter, Adam<span class="pagenum" id="Page_140">140</span> van Noort, - and O. van Veen. At the age of twenty-three he went to Italy and - entered the service of Vincenzo Gonzaga of Mantua, studying in their - own country the works of the great Italian masters, and especially the - Venetians, from whose glorious colour he derived more benefit than - from his early training. With the exception of a journey to the Court - of Philip III. at Madrid, where he was sent on a mission by the Duke - of Mantua in 1603, Rubens spent the eight years from 1600 to 1608 in - the various Italian centres, and especially in Rome, where he painted, - about 1606, the little <cite>Landscape with Ruins</cite> (No. 2119), which is - of interest not only as showing to what degree he was at that time - influenced by the Roman school, and by the Carracci, but also as being - the very first landscape known to have been produced by him. The same - view of the Palatine Hill is to be recognised in the background of - the <cite>Four Philosophers</cite> at the Pitti Palace, and in the portrait of - Woverius in the Arenberg collection. Of about the same time, though the - figures would appear to have been added at a considerably later date, - is the <cite>Landscape with a Rainbow</cite> (No. 2118).</p> - - <h3 id="RUBENS_AT_ANTWERP">RUBENS AT ANTWERP</h3> - - <p>Having returned to Antwerp in 1608, and married his first wife, - Isabella Brant, in the following year, Rubens, who was now made Court - painter to Archduke Albrecht, entered upon a period of stupendous - artistic activity, which extended to about 1621, when he began to - divide his time between art and diplomatic missions, and, having - previously organised a vast studio with an army of assistants, often - left the execution of his brilliant sketch designs to less capable - hands. This early Antwerp period is not particularly well represented - at the Louvre, although the collection includes <cite>The Virgin surrounded - by the Holy Innocents</cite> (No. 2078)<span class="pagenum" id="Page_141">141</span>— a Virgin of characteristic - Flemish coarseness and fulness of form, in the midst of a dense swarm - of delicious, plump, dimpled, wingless angel-children, whose rosy - baby-flesh is painted with inimitable mastery. The picture was painted - about 1615, six years before <cite>The Virgin and Child within a Garland of - Flowers</cite> (No. 2079), executed in 1621 for Cardinal Federigo Borromeo. - The tasteless floral wreath in this picture, as in the similar versions - at Munich and New York, is from the brush of Jan Brueghel. To about - the year 1615 belongs also the <cite>Christ on the Cross, with the Virgin, - the Magdalen and St. John</cite> (No. 2082), which can, however, hardly be - entirely from the master’s own hand. The mass of unbroken vermilion - in the robe of St. John is one of Rubens’s favourite devices at that - period. <cite>The Resurrection of Lazarus</cite> (No. 2081) is the original sketch - for the Berlin picture.</p> - - <p>In 1620, when Rubens undertook to paint a series of thirty-nine - <cite>Miracles of SS. Ignatius Loyola and François Xavier</cite> for the ceiling - of the Jesuit Church at Antwerp, the business-like organisation of his - studio was an acknowledged fact, as may be gathered from the terms of - the agreement which stipulated that the master himself should provide - the designs, though the execution was to be entrusted to his most - competent assistants. The actual paintings were destroyed by fire in - 1718, but of the original sketches seventeen have been preserved, and - are now distributed between the Louvre, the Vienna Academy, the Museums - of Gotha and Brussels, and the Dulwich Gallery. The four in the La Caze - collection at the Louvre are <cite>Abraham’s Sacrifice</cite> (No. 2120), <cite>Abraham - and Melchisedek</cite> (No. 2121), <cite>The Elevation of the Cross</cite> (No. 2122), - and <cite>The Coronation of the Virgin</cite> (No. 2123). The whole series, but - especially the first two of these, is remarkable for the boldness of - the foreshortening, calculated for the position of the panels on the - ceiling, and for the swift bravura and inimitable expressiveness of the - brushwork. To the same period belongs <cite>Philopœmen<span class="pagenum" id="Page_142">142</span> recognised by an Old - Woman</cite> (No. 2124), which is essentially a brilliant still-life study - for a lost picture.</p> - - <h3 id="THE_MEDICIS_SERIES">THE MÉDICIS SERIES</h3> - - <p>We come now to the series of twenty-one large allegorical paintings, - designed by Rubens and executed mostly by his pupils, from 1621 to - 1625, for the decoration of the Luxembourg Palace for Marie de Médicis, - whose by no means inspiring career had to furnish the subjects for - the series. It was a thankless task which could only be accomplished - by a <i lang="fr">tour de force</i>—by removing the events of the queen’s life from - actuality into the sphere of mythology and allegory. That the strange - mingling of the real and the ideal should sometimes verge on the - grotesque was almost inevitable—as inevitable as that the work of - his assistants should have failed to do full justice to the master’s - conception, even if it was “pulled together” by the easily recognisable - touches added by Rubens to the finished panels. The florid exuberance - of design and colour was entirely in keeping with the purpose and the - surroundings for which the paintings were intended. It is impossible - here to enter into a full description of this extensive series, or - to define exactly Rubens’s share in each of the eleven pictures. We - must confine ourselves to the brief enumeration of the subjects in - the order in which they are now to be seen in the new Rubens Gallery. - The series begins with <cite>The Fates spinning the Destiny of Marie de - Médicis</cite> (No. 2085). Then follow <cite>The Triumph of Truth</cite> (No. 2105); - <cite>Henri IV. receiving the Portrait of Marie</cite> (No. 2088); <cite>The Marriage - of Marie by Procuration with Henri IV.</cite> (No. 2089); <cite>Marie landing at - Marseilles, Nov. 3, 1600</cite> (No. 2090); <cite>The Marriage at Lyons, Dec. 10, - 1600</cite> (No. 2091); <cite>The Birth of Louis XIII. at Fontainebleau, Sept. - 27, 1601</cite> (No. 2092); <cite>Henri IV. leaves for the War with Germany and - entrusts the Government to the Queen</cite><span class="pagenum" id="Page_143">143</span> (No. 2093, <a href="#i_plate21">Plate XXI.</a>); <cite>The - Coronation of the Queen</cite> (No. 2094); <cite>Apotheosis of Henri IV. and the - Queen’s Regency</cite> (No. 2095); <cite>The Queen’s Journey to Ponts-de-Cé</cite> (No. - 2097); <cite>Exchange of the Two Princesses, Nov. 9, 1615</cite> (No. 2098); <cite>The - Prosperous Regency</cite> (No. 2099); <cite>The Majority of Louis XIII.</cite> (No. - 2100); <cite>The Queen’s Nocturnal Flight from Blois</cite> (No. 2101); <cite>The - Reconciliation of the Queen with her Son</cite> (No. 2102); <cite>The Conclusion - of Peace</cite> (No. 2103); and <cite>Marie’s Interview with her Son</cite> (No. 2104). - But <cite>The Birth of Marie de Médicis, at Florence, on April 26, 1575</cite> - (No. 2086); <cite>The Education of Marie by Minerva, Mercury, Apollo, and - the Graces</cite> (No. 2087); and <cite>The Gods in Olympus protecting the Queen’s - Government</cite> (No. 2096), which belong to the same series, have been - placed in another room.</p> - - <p>Of the first and the last paintings the Louvre owns the original - sketch on one panel, by Rubens, for <cite>The Triumph of Truth</cite> and <cite>The - Fates spinning the Destiny of Marie</cite> (No. 2110), the other preliminary - sketches being at the Hermitage and the Munich Gallery. It is - interesting to note that all these sketches are designed in a very - light key, almost in grisaille, with touches of rose and other tender - colour notes, so that apparently Rubens’s assistants were allowed great - liberty in the matter of colour.</p> - - <h3 id="MEDICIS_PORTRAITS">MÉDICIS PORTRAITS</h3> - - <p>Several other pictures by Rubens at the Louvre—all of them - portraits—are more or less directly connected with the Médicis series, - and were painted between 1621 and 1625. These are the <cite>Portrait of - Anne of Austria</cite> (No. 2112), which was formerly known as <cite>Elizabeth of - Bourbon</cite>; the <cite>Portrait of Francesco de’ Medici</cite> (No. 2106), Grand Duke - of Tuscany, and father of Marie de Médicis, which was painted for the - Luxembourg Gallery; the <cite>Portrait of Johanna of Austria</cite> (No. 2107), - daughter of the Emperor<span class="pagenum" id="Page_144">144</span> Ferdinand, and wife of Francesco de’ Medici; - the <cite>Portraits of Marie de Médicis</cite> (Nos. 2108 and 2109) (the former in - the character of Bellona, and both studio works with the final touches - added by the master); and the <cite>Portrait of Baron Henri de Vicq</cite> (No. - 2111), who, as Flemish Ambassador to the French Court, was instrumental - in procuring Rubens the important commission for the Luxembourg - pictures. This admirable portrait was bought at the King of Holland’s - sale in 1850 for £637.</p> - - <p>To the same period belongs the beautiful <cite>Portrait of Susanne Fourment</cite> - (Rubens’s handsome, large-eyed sister-in-law, whose features are best - known from the <cite>Chapeau de Paille</cite> at the National Gallery), which - is still officially catalogued as <cite>Portrait of a Lady of the Boonen - Family</cite> (No. 2114); and the important composition <cite>Lot’s Flight from - Sodom</cite> (No. 2075), which bears the rare full signature and date</p> - - <div class="center small">PE.-PA.-RUBENS FE, A<sup>o</sup> 1625,</div> - - <p class="noindent">to prove the master’s satisfaction with his own handiwork. - It is a design of carefully studied rhythm, dramatic expressiveness, - and subtly harmonised colour, carried out with the swift sureness of - his later work.</p> - - <p>In 1627, a year before his mission to Spain on behalf of the Infanta - Isabella, widow of the Archduke Albrecht, Rubens designed for his - patroness an important series of tapestries, which were, as was his - wont at that period, sketched out by him, executed by his assistants, - and touched up by his own hand. The tapestries were subsequently - presented by the Infanta to a convent at Madrid; some of the paintings - for them perished by fire, others were preserved at the Convent of - Loeches, near Madrid. Two of these, <cite>The Prophet Elijah in the Desert</cite> - (No. 2076) and <cite>The Triumph of Religion</cite> (No. 2083), were part of - General Sebastiani’s loot from Spain, and were bought by the Louvre for - £2400; whilst four <span class="pagenum" id="Page_145">145</span>others, now at Grosvenor House, were bought - by the Marquis of Westminster for £10,500. Of about the same date is - the brilliant <cite>Adoration of the Magi</cite> (No. 2077), with its Titianesque - scheme of strong red, blue, and golden yellow, of which a replica is in - an Irish private collection.</p> - - <div class="figcenter" id="i_plate21"> - <img class="illow76" src="images/i_plate21.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXI.—SIR PETER PAUL RUBENS</span><br /> - <span class="small">(1577–1640)</span><br /> - FLEMISH SCHOOL</div> - <div class="caption2">No. 2093.—HENRI IV. LEAVES FOR THE WAR WITH GERMANY, AND ENTRUSTS THE - GOVERNMENT TO THE QUEEN</div> - <div class="caption2 small">(Henri IV. part pour la guerre d’Allemagne et confie à la reine le - gouvernement du royaume, 1610)</div> - </div> - <div class="description"> - <p>The King, attended by warriors and holding the banner of France, - prepares to leave the country to make war against Germany; he hands the - Globe, the emblem of State, to Marie de Médicis; the Queen gives her - hand to the little Dauphin, who later became King under the title of - Louis <span class="smcap">xiii.</span></p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">12 ft. 11 in. × 11 ft. 4 in. (3·94 × 2·95.)</p> - </div> - - <h3 id="LATE_WORKS_BY_RUBENS">LATE WORKS BY RUBENS</h3> - - <p>The closing decade of Rubens’s life is represented by five pictures - of considerable importance. Of <cite>Queen Tomyris with the Head of Cyrus</cite> - (No. 2084) there is an earlier, large, and deservedly famous version in - Lord Darnley’s collection; but the Louvre picture exceeds it in beauty - of design and in unity of colour. It was painted about the same time - (<i>cca.</i> 1632) as <cite>Religion crowned by a Genius</cite> (No. 2126), one of the - sketches for the ceiling at Whitehall. Of peculiar interest, owing to - its unfinished state which reveals the master’s method of portraiture, - is the superb portrait group of <cite>Hélène Fourment, the Artist’s Second - Wife, and Two of her Children</cite> (No. 2113, <a href="#i_plate22">Plate XXII.</a>). Only the heads, - which are remarkable for an intensity of expression that is rarely to - be found in Rubens’s paintings, are finished. All the rest is loosely - and thinly sketched in sepia heightened with swift touches of brighter - colour. It was painted about 1636, which is also the approximate date - of <cite>A Flemish Kermesse</cite> (No. 2115), an almost unique instance of the - master applying the exuberant energy of his magic brush to a subject in - which the expression of intense vitality and full-blooded sensuousness - assumes the aspect almost of bestiality—which, however, in no way - detracts from the artistic value of the painting. To turn from this to - <cite>A Joust by the Moat of a Castle</cite> (No. 2116) is to pass from coarse - realism to pure romanticism, inspired probably by the associations of - the picturesque Castle of Steen, which Rubens had bought in 1635, and - which forms the setting for this scene of knightly<span class="pagenum" id="Page_146">146</span> prowess. This, and - the marvellous and strangely modern little <cite>Landscape</cite> (No. 2117), in - which the morning sun is seen rising from the autumnal mist, belong to - the closing years of Rubens’s life. He died at Antwerp on May 20, 1640.</p> - - <h3 id="ANTHONY_VAN_DYCK">ANTHONY VAN DYCK</h3> - - <p>Born at Antwerp in 1599, Anthony van Dyck (1599–1641), after having - worked a few years under Hendrick van Balen, entered Rubens’s - studio in 1615, and soon became so conversant with the method of - his famous master, that he was at an early age entrusted with the - execution of important designs. Before he had reached his twentieth - year he was a member of the Guild of St. Luke, and had acquired a - reputation second only to that of Rubens himself. The <cite>Portraits of - Jean Grusset Richardot, President of the Netherlands Council, and - his Son</cite> (No. 1985), which was bought in 1784 for 16,001 <i>livres</i>, - so closely resembles the work of Rubens, especially in the brilliant - flesh-painting, that the picture—a posthumous portrait, by the way—for - a long time passed under the elder master’s name, although it is now - admitted by the best authorities to be an early picture by Van Dyck.</p> - - <p>Van Dyck paid a short visit to England in 1620. He went to Italy in the - following year, studying the works of the great masters, and especially - of Titian, and finally settling in Genoa, where he remained until his - return to Antwerp in 1628. During these years he devoted himself almost - exclusively to portraiture, in which he endeavoured successfully to - emulate the golden warmth of colour which had drawn him towards Titian. - Unfortunately this, to some the most attractive, phase of Van Dyck’s - art is but indifferently shown at the Louvre, the only example being a - <cite>Portrait of a Man</cite> (No. 1976).</p> - - <div class="figcenter" id="i_plate22"> - <img class="illow72" src="images/i_plate22.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXII.—SIR PETER PAUL RUBENS</span><br /> - <span class="small">(1577–1640)</span><br /> - FLEMISH SCHOOL</div> - <div class="caption2">No. 2113.—PORTRAIT OF HÉLÈNE FOURMENT, THE ARTIST’S SECOND WIFE, AND - TWO OF HER CHILDREN</div> - <div class="caption2 small">(Portrait d’Hélène Fourment, seconde femme de Rubens, et de ses enfants)</div> - </div> - <div class="description"> - <p>The artist’s second wife, wearing a felt hat trimmed with feathers, - is seated in an arm-chair, and turned three-quarters to the left; - on her lap is her little son, François; on the left her daughter, - Claire-Jeanne, dressed in brown, plays with her white pinafore.</p> - <p class="noindent">Painted in oil on panel. The picture is unfinished.</p> - <p class="noindent">5 ft. 8¾ in. × 2 ft. 8½ in. (1·13 × 0·82.)</p> - </div> - - <div> - <span class="pagenum" id="Page_147">147</span> - <h3 id="VAN_DYCKS_SECOND_ANTWERP_PERIOD">VAN DYCK’S SECOND ANTWERP PERIOD</h3> - </div> - - <p>Some of the master’s most precious works at the Louvre belong to his - second Antwerp period, which extended from his return from Genoa in - 1628 to his departure for England in 1632. It was probably then that he - painted <cite>The Virgin and Child, with the Penitent Sinners</cite> (No. 1961) - (Mary Magdalen, David, and the Prodigal Son), in which the influence of - the Venetian colourists is so clearly to be noticed. Indeed, the bosom - of the female penitent is copied from the nymph in Titian’s <cite>Education - of Cupid</cite> at the Borghese Gallery, of which there is a drawing in the - Chatsworth Sketch-book with the comment in the artist’s handwriting, - “<i lang="fr">quel admirabil petto</i>.” Shortly after his return from Italy he - also painted <cite>The Virgin and Child with Donors</cite> (No. 1962), one of - his greatest masterpieces. The Madonna is of a youthful, pure type, - vastly different from the buxom Flemish women so often depicted by his - master in saintly characters. The painting of the Infant’s body is as - admirable as that of the kneeling Donors, and a spiritual connection is - established by the action of the Child and the expression of the man - towards whom He is holding out His hand.</p> - - <p>The companion groups <cite>A Gentleman and a Child</cite> (No. 1973) and <cite>A Lady - and her Daughter</cite> (No. 1974), date from about 1630. They are full of - that aristocratic distinction which is the hall-mark of Van Dyck’s - Genoese portraits, and which in his later English period was apt to - degenerate into effeminacy. This air of distinction is also to be noted - in the children, although they are perfectly natural in action and - expression, and have none of that stiffness which makes so many of the - earlier masters’ portraits of children look like undergrown men and - women. The imposing equestrian portrait of <cite>Francisco d’Aytona, Marqués - de Moncada</cite> (No. 1971), Generalissimus of the Spanish troops in the - Netherlands,<span class="pagenum" id="Page_148">148</span> which in its general disposition recalls the portrait of - Charles <span class="smcap">i.</span> at Windsor Castle; the small study for it of the - same sitter’s head and shoulders (No. 1972); and the portrait of <cite>The - Infanta Isabella Clara Eugenia, Regent of the Netherlands</cite> (No. 1970), - in the costume of the Sisters of St. Clare, whom she had joined after - the death of her husband the Archduke Albrecht, belong to the same - period. Then also was painted the <cite>Rinaldo in the Garden of Armida</cite> - (No. 1966), which is probably the picture bought from the artist at - Antwerp by Endymion Porter, on behalf of King Charles <span class="smcap">i.</span>, in - March 1629, for the price of £78.</p> - - <h3 id="LE_ROI_A_LA_CHASSE">“LE ROI À LA CHASSE”</h3> - - <p>Van Dyck’s manner of life in England, as the petted Court painter of - Charles <span class="smcap">i.</span>, and the factory-like output of his well-organised - studio at Blackfriars, are too well known to need further comment. In - justice to his fair fame it is necessary to draw a clear distinction - between the innumerable replicas turned out by his assistants under his - guidance, and such magnificent original works from the master’s own - brush as the glorious <cite>Portrait of King Charles I. of England</cite> (No. - 1967, <a href="#i_plate23">Plate XXIII.</a>), known as “<cite>Le Roi à la Chasse</cite>,” which is one of - the proudest possessions of the French national collection. The king - is seen, resting his gloved hand on a stick, in a glade, with the sea - in the distance. Behind him are two attendants and his white charger - pawing the ground in impatient action. The king’s noble, quiet dignity - is such as to dominate the entire composition, without, however, the - slightest hint of the theatrical. Here, as in most of his English - portraits, Van Dyck has departed from the glowing sumptuousness of his - earlier Venetian palette, and arrived at a cooler, mellow, and more - personal harmony of decorative colour. As if conscious of the superior - merit of this picture, which is more than a mere portrait <span class="pagenum" id="Page_149">149</span>of the - king, and depicts the very personification of royalty, the artist, who - was not in the habit of signing his pictures, inscribed on a stone the - lettering</p> - - <div class="center small">CAROLUS I REX MAGNÆ BRITANNIÆ · VAN DIICK F.</div> - - <p class="noindent">Painted for the king in 1635 for £100, it passed through - many hands before it was bought by Louis <span class="smcap">xv.</span> for Mme du Barry, - by whom it was ceded in 1775 to his successor for 24,000 <i>livres</i>.</p> - - <div class="figcenter" id="i_plate23"> - <img class="illow76" src="images/i_plate23.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXIII.—SIR ANTHONY VAN DYCK</span><br /> - <span class="small">(1599–1641)</span><br /> - FLEMISH SCHOOL<br /> - No. 1967.—PORTRAIT OF KING CHARLES I. OF ENGLAND<br /> - <span class="small">(Portrait de Charles <span class="smcap">i<sup>er</sup></span>, roi d’Angleterre (1600–1649))</span></div> - </div> - <div class="description"> - <p>The King, wearing a white satin coat, red riding-breeches, boots, - spurs, and a large felt hat, stands proudly forward towards the left of - the composition; his right hand rests on his stick, his left is placed - on his hip. The Marquess of Hamilton, in attendance on the King, grasps - the bridle of the charger; in the landscape background is a page.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">Signed on a stone in the right foreground:—</p> - <div class="center xsmall lh2">“CAROLUS I REX MAGNÆ BRITANNIÆ.<br /> - VAN DIICK F.”</div> - <p class="noindent">8 ft. 11½ in × 7 ft. (2·72 × 2·12.)</p> - </div> - - <p>To Van Dyck’s English period, which only terminated with his death in - 1641, belong the group of <cite>Charles Louis, Elector Palatine, and Rupert, - Prince of Bavaria</cite> (No. 1969), and the <cite>Portrait of James Stuart, Duke - of Lennox</cite> (No. 1975)—not the <cite>Duke of Richmond</cite>, as stated in the - official Catalogue—in the character of Paris. Another twelve pictures - are catalogued under Van Dyck’s name, but they are either of minor - importance, or, like the <cite>Three Children of Charles I.</cite> (No. 1968), - mere studio repetitions.</p> - - <h3 id="FRANS_SNYDERS">FRANS SNYDERS</h3> - - <p>The powerful personality of Rubens dominated the art of Flanders - during the seventeenth century. His direct or indirect influence is - traceable in the art of most of his contemporaries and of the painters - of the next generation, who divided his artistic heritage without - attaining to his universality. Thus his collaborator Frans Snyders - (1579–1657), after studying under “Hell Brueghel” and H. van Balen, - acquired the bravura of his brushwork and his unrivalled skill in - depicting animals in violent movement from Rubens, in whose pictures - of the chase he frequently painted the animals, whilst he often had to - seek the assistance of other painters for the figures introduced into - his own compositions. Among the thirteen pictures from his brush at - the Louvre (Nos. 2141–2153) the <cite>Wild Boar Hunt</cite> (No. 2144) serves<span class="pagenum" id="Page_150">150</span> - best to illustrate Snyders’s power to suggest the furious onrush and - wild excitement of the chase. His skill as a still-life painter may be - judged from the masterly treatment of the wet glittering fish in the - large <cite>Fish Merchants</cite> (No. 2145).</p> - - <h3 id="JACOB_JORDAENS">JACOB JORDAENS</h3> - - <p>Whatever appears coarse in the art of Rubens is accentuated to the - point of grossness in the paintings by his fellow-student under Van - Noort, Jacob Jordaens (1593–1678). He is the painter of <cite>Le Roi boit</cite> - (No. 2014) or <cite>The Twelfth Night Feast</cite>, which is by no means the best - of his many versions of his favourite subject. He was a realist who, as - may be seen from this picture and from the <cite>Concert after a Meal</cite> (No. - 2015), found his most congenial subjects in the carousals of Flemish - merrymakers, which he depicted with more than a touch of coarse humour. - That his temperament and limitations debarred him from achieving - success in the higher flights of art is clearly shown by his large but - by no means noble canvas <cite>Christ driving the Moneylenders from the - Temple</cite> (No. 2011). On the other hand, his firm grasp of character - stood him in good stead in portraiture. The so-called <cite>Portrait of - Admiral de Ruyter</cite> (No. 2016), which was bought in 1824 for £800, is a - good example.</p> - - <p>We can only briefly refer to a number of seventeenth-century Antwerp - painters, who were either pupils of Rubens or close followers of his - tradition. Gonzales Coques (1614–1684), the painter of the admirably - lighted <cite>Family Party</cite> (No. 1952), was essentially a portrait painter - who became known as “the little Van Dyck,” although his manner had more - in common with that of the Dutch “small masters” than with the tempered - elegance of Charles <span class="smcap">i.</span>’s Court-painter.</p> - - <div> - <span class="pagenum" id="Page_151">151</span> - <h3 id="FOLLOWERS_OF_RUBENS">FOLLOWERS OF RUBENS</h3> - </div> - - <p>Gaspar de Crayer (1584–1669), a pupil of Raphael van Coxie, modelled - his art entirely on Rubens, and was equally successful as a portrait - painter and in his religious compositions. Both phases of his art - figure in the Louvre collection, which owns the <cite>St. Augustin in - Ecstasy</cite> (No. 1953) and the life-size <cite>Equestrian Portrait of the - Infante Ferdinand, Governor of the Netherlands</cite> (No. 1954). It was a - portrait of the same sitter that led to Crayer’s appointment to the - position of Painter to the Infante’s Court, accompanied by considerable - emoluments.</p> - - <p>Abraham van Diepenbeeck (1596–1675), Pieter van Mol (1599–1650), and - Paul de Vos (1593–1676) need not here detain us. They are all capable - followers of their master’s style, without any personal distinction. - David Ryckaert (1612–1661), the third of four artists of the same - family that bore this name, is outside the immediate circle of Rubens. - His <cite>Interior of a Studio</cite> (No. 2137), which bears the signature - “<span class="smcap">d. ryc.</span> f. 1638,” is of peculiar interest as a document - illustrating the <i lang="fr">milieu</i> in which a Flemish artist of that period - lived and worked.</p> - - <p>Gerard Seghers (1591–1651), the painter of <cite>St. Francis in Ecstasy</cite> - (No. 2140), although a pupil of Van Balen and Abraham Janssens, and - indirectly, through Manfredi, of Caravaggio, must be counted among - those who were influenced by the dominating personality of Rubens. An - important pupil of Snyders was Jan Fyt (1611–1661), who excelled as - an animal painter and colourist. He was at his best when he treated - animals more in the manner of still life, but remained vastly inferior - to his master when he tried to emulate his hunting scenes. Not all the - five pictures catalogued under his name can be accepted as his own - work. His great skill in rendering the varied textures of furs and - feathers may be judged from <cite>Game in a Larder</cite> (No. 1993), which is - unquestionably<span class="pagenum" id="Page_152">152</span> authentic although it does not bear the signature which - testifies to his authorship of <cite>A Dog devouring Game</cite> (No. 1994).</p> - - <h3 id="ADRIAEN_BROUWER">ADRIAEN BROUWER</h3> - - <p>Both the Flemish school and the Dutch have an equal right to claim - Adriaen Brouwer (1605 or 6–1638), who, born at Oudenarde, carried on - the tradition of Bouts and the elder Brueghel. While still young, - he was at Haarlem powerfully impressed by the art of Frans Hals, - although it is extremely doubtful that he ever actually worked in his - studio. Finally, having settled at Antwerp in 1631, he benefited by - the example of Rubens. <cite>The Smoker</cite> (No. 1916), in spite of the doubts - that have been cast upon it, is a characteristic work of his at the - time when, inspired by Frans Hals, he adopted a full impasto instead - of his earlier glazes. It is signed with his initials “<span class="smcap">ab</span>” - in the bottom corner on the right. The handling is far coarser - than that of the later <cite>Interior of a Tavern</cite> (No. 1912), which is - quite Rembrandtesque in the rendering of light and chiaroscuro. His - inclination towards grimacing expression often made him depict such - scenes as <cite>The Operation</cite> (No. 1915), in which the patient’s face is - contorted with pain, while the surgeon is bandaging his left shoulder.</p> - - <p>Brouwer was the master of Joos van Craesbeeck (1606–1654?), who not - only closely followed his teaching, but actually painted many replicas - of Brouwer’s pictures which still pass under the better known artist’s - name. <cite>The Artist painting a Portrait</cite> (No. 1952<span class="smcap">d</span>) was - supposed to represent, and to be from the brush of, Brouwer, when the - picture was bought for the Louvre. But on technical grounds it must be - given to Craesbeeck—quite apart from the extreme improbability that - the dissolute Brouwer, who spent most of his time in low taverns, - should have lived in the elegant, not to say luxurious, surroundings - here depicted, and<span class="pagenum" id="Page_153">153</span> died young. There can be no doubt that the painter - seated before his easel, to whom a man-servant is offering a glass of - wine, is Joos van Craesbeeck.</p> - - <h3 id="DAVID_TENIERS">DAVID TENIERS</h3> - - <p>There is at the Louvre no picture by the elder David Teniers - (1582–1649), who therefore only interests us here as the father and - first master of the much greater artist David Teniers the Younger - (1610–1690), who completed his artistic education under Rubens, - without, however, abdicating his own personality. Indeed, those of - his pictures which reflect the manner of Rubens too closely are of - little account in the achievement of the younger Teniers, who only - begins to be himself when he devotes his prolific brush to the social - life of his contemporaries, and especially of the lower classes. His - pictures constitute the most realistic and convincing record of the - tastes, manners, and amusements of his time. His types are full of - character, but without the exaggerations so often found in Brueghel and - Brouwer. What he retained of Rubens, even in his Village Fêtes, Tavern - Scenes, Dances, and Carousals is the application of the great master’s - principles of light and harmonious colour. But apart from this, he - rejected the “grand style” and the conscious search for beauty. The - ugliness of his types and gestures led Louis <span class="smcap">xiv.</span> to exclaim - in front of his pictures, “<i lang="fr">Ôtez-moi ces magots-là!</i>”</p> - - <p>Few painters are as exhaustively represented at the Louvre as the - younger Teniers. The Catalogue includes no fewer than thirty-nine - entries under his name, two of which, in the La Caze collection - (Nos. 2189 and 2190), are copies after pictures by Lotto and Titian - respectively in the collection of the Archduke Leopold William, - Governor of the Netherlands, to whom Teniers was appointed Court - painter. It would serve no purpose here to enumerate<span class="pagenum" id="Page_154">154</span> the long list - of Kermesse, Village Fête, and Alehouse Scenes in the French national - collection. Among his most deservedly famous masterpieces is <cite>The - Return of the Prodigal Son</cite> (No. 2156), which belongs to a series of - which another scene is to be seen at the Dulwich Gallery. The subject - is really only a thinly veiled excuse for the painting of a <i lang="fr">genre</i> - piece of the contemporary life of the better classes of his country. - The scene of the feast is laid outside a country inn that figures in - many of Teniers’s pictures. Fully signed, and dated 1644, the picture - belongs to the beginning of Teniers’s very best period. In <cite>The - Temptation of St. Anthony</cite> (No. 2158) he rivals Bosch in the invention - of grotesquely fantastic monsters. Among other important works by the - master in the Louvre must be mentioned <cite>The Denial of St. Peter</cite> (No. - 2155), a painting of exquisite silvery quality, signed and dated</p> - - <div class="center small lh2">DAVID TENIERS, f. AN. 1646;</div> - - <p class="noindent"><cite>The Works of Mercy</cite> (No. 2157); the <cite>Village Fête</cite> (No. - 2159); and the <cite>Peasants dancing by an Inn Door</cite> (No. 2161), which was - stolen from the collection in 1815 and returned in the following year - with a letter explaining that it had been removed by a Frenchman who - feared that it might fall into the hands of the Allied Forces.</p> - - <p>By Teniers’s pupil, François Duchatel (1616?–1694?) is the excellent - <cite>Portrait of a Gentleman</cite> (No. 1960). Duchatel is a very rare master, - whose style in portraiture so closely resembles that of Gonzales Coques - that his pictures have been at times ascribed to that painter. Jacob - van Artois (1613–1684?), the painter of the <cite>Landscape</cite> (No. 1901) in - the La Caze room, was one of the leading Flemish landscape painters - of his time, and frequently collaborated with Teniers, who added the - figures to some of his landscapes. He was the master of Cornelis - Huysmans (1648–1727), who frequently assisted the battle painter, - Van der Meulen, and<span class="pagenum" id="Page_155">155</span> is here represented by eight pictures (Nos. - 2002–2009). Among the landscape painters of that period must also be - mentioned Jan Siberechts (1627–1703), who spent the closing years of - his life in England, but does not seem to have had much influence on - the evolution of the English landscape school. By him is the <cite>Rustic - Scene</cite> (No. 2140<span class="smcap">a</span>).</p> - - <h3 id="PHILIPPE_DE_CHAMPAIGNE">PHILIPPE DE CHAMPAIGNE</h3> - - <p>Both Philippe de Champaigne (1602–1674) and Adam Frans van der Meulen - (1634–1690), though born at Brussels, resided in France the best part - of their life, and are therefore generally classed with the painters of - the French school, which accounts for their being represented at the - Louvre in a manner which is quite out of proportion to their artistic - significance. Still, if Philippe de Champaigne appears second-rate when - compared with Rubens and Van Dyck, he is unquestionably the leading - portrait painter of the contemporary French school in which he received - his training. His powers were insufficient for the higher flights of - imagination, and when his ambition led him to such compositions as - <cite>Christ in the House of Simon</cite> (No. 1927) or <cite>Christ celebrating Easter - with His Disciples</cite> (No. 1928), he was as dull and bombastic as most - of his French contemporaries, whom he far excelled as a colourist. - His portraits, on the other hand, are painted in a broad, honest, - straightforward manner which has nothing in common with the monotonous - pompousness of his age, as may be seen from the admirable group of two - nuns in prayer, <cite>Mother Catherine Agnes Arnaud and Sister Catherine de - Sainte-Suzanne</cite> (No. 1934). The younger of the two nuns represents the - artist’s daughter, who was healed from paralysis by a miracle recorded - by a Latin inscription on the wall. The twenty pictures from Philippe - de Champaigne’s brush, which are actually on view, also include - the fine group of the two architects <cite>François<span class="pagenum" id="Page_156">156</span> Mansard and Claude - Perrault</cite> (No. 1944), bought in 1835 for the low price of £80; <cite>The - Provost and Aldermen of Paris</cite> (No. 1945); and the signed and dated - portrait of <cite>Robert Arnaud d’Andilly</cite> (No. 1939).</p> - - <h3 id="VAN_DER_MEULEN">VAN DER MEULEN</h3> - - <p>Van der Meulen, a native of Brussels and pupil of Snayers, was the - historiographer of Louis <span class="smcap">xiv.</span>’s campaigns and victories. He - was invited by Colbert to come to Paris, and was first employed to - furnish designs for the Gobelins manufactory. Afterwards he accompanied - Louis <span class="smcap">xiv.</span> on his warlike expeditions, which he immortalised - in numerous large paintings, most of which are now at the Louvre - and in the Château at Versailles. His paintings are of considerable - topographical interest, as they give accurate representations of the - aspect of famous towns and fortresses in the seventeenth century, - as in the <cite>Entry of Louis XIV. and Marie-Thérèse into Arras</cite> (No. - 2035), a similar scene at <cite>Douai</cite> (No. 2033), and the <cite>Arrival of - the King in the Camp before Maastricht</cite> (No. 2040). It was Van der - Meulen who founded the “tactical school” of battle painting, which - substituted the orderly movement of masses for the wild mêlée of the - hand-to-hand combat. Whole armies are seen advancing or retreating in - long lines from a high vantage-ground which is generally occupied by - the considerably larger figures of the army-leaders on rearing and - caracoling horses, and looking for all the world like “<i lang="fr">gens de qualité - qui joueraient aux échecs avec des soldats de plomb</i>.” The official - Catalogue mentions no fewer than twenty pictures by Van der Meulen.</p> - - <h3 id="MINOR_FLEMISH_PAINTERS">MINOR FLEMISH PAINTERS</h3> - - <p>With the exception of Justus Sustermans (1597–1681), who was Van - Dyck’s fellow-student under H. van Balen and afterwards<span class="pagenum" id="Page_157">157</span> rose to great - fame as Court painter to Grand-Duke Cosimo <span class="smcap">ii.</span> of Tuscany - (whose kinsman <cite>Leopold de’ Medici</cite> is portrayed in No. 2154), and - Pieter Neefs (1577?–1661?), whose <cite>Church Interiors</cite> (Nos. 2059–2064) - are remarkable for the faultless accuracy and precision of his - architectural drawing, there are no other painters of the Flemish - school whose works at the Louvre require close attention. We must - content ourselves with the mere mention of the landscape painters Jan - Frans van Bloemen, called Orizonte, a follower of Poussin and Claude; - Jan van Breda, Francisque Millet, and Mathys Schoevaerts; Carl van - Falens and Anton Grief, painters of hunting scenes; Jan Miel, who - worked most of his life in Italy and was completely influenced by - the masters of that country; the still-life painter Gaspard Pieter - Verbruggen; the battle painter Sebastiaen Francken; and the prolific - painter of large altarpieces, Jacob van Oost the Elder. With Balthasar - Paul Ommeganck (1755–1826) and the still-life painter Jan Frans van - Dael (1764–1840) we reach the beginning of the nineteenth century, - a period of absolute stagnation in Flemish art which preceded the - brilliant revival of the modern Belgian school. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_159">159</span> - <h2 id="THE_GERMAN_SCHOOL">THE GERMAN SCHOOL</h2> - </div> - - <p class="drop-cap">OF all the important European schools of painting, the Early German - school is the one of which it is almost impossible to gain anything - like an adequate idea from the pictures that have found their way into - the Galleries of foreign countries. The fact is that with the exception - of two or three leading masters, like Holbein and Dürer, the Early - Germans found but scant favour beyond the confines of their own country - until comparatively recent years—that is to say, until the majority - of important examples had been systematically gathered in by the - museums of Germany. Now that the importance of the German primitives - and Early Renaissance painters has been generally recognised, it - will be practically impossible to regain the lost ground and to fill - up the serious gaps which prevent our forming an adequate idea of - the evolution of German art in the museums of other countries. The - Louvre is no exception to this rule. The numerical weakness of the - German section is unfortunately not atoned for by the importance of - the examples included, which, with but few exceptions, are of little - artistic account.</p> - - <p>Under the circumstances it would be useless to attempt a consecutive - narrative of the evolution of German art as illustrated by the pictures - at the Louvre, and we must confine ourselves to a brief discussion of - the few noteworthy works in the collection.</p> - - <h3 id="THE_MASTER_OF_THE_BARTHOLOMEW_ALTAR">“THE MASTER OF THE BARTHOLOMEW ALTAR”</h3> - - <p>The first picture of importance belongs to the period when the idealism - of the Early Gothic primitives was already replaced<span class="pagenum" id="Page_160">160</span> by a strong - naturalism, and the creation of types by that of clearly characterised - individualities. This picture, the <cite>Descent from the Cross</cite> (No. 2737), - by the unknown “Master of the Bartholomew Altar,” is so called, in - accordance with German custom, from his best known work, the great - altarpiece in the Pinakothek at Munich. In the large Louvre picture, - which bears a close resemblance to the precious little panel by the - same master in the possession of the Hon. Edward Wood, at Temple - Newsam, the Saviour is being lowered from the Cross by Nicodemus into - the hands of one of the Holy Women on the left, and of Joseph of - Arimathæa on the right. The group is completed by St. John supporting - the Virgin on the extreme left, the Magdalen and another Holy Woman on - the right, and a Disciple seated on a ladder above the central group. - The figures are shown, as in the Temple Newsam painting of the same - subject, against a gold background framed with rich Gothic tracery. - This altarpiece is believed to be the last picture by this Cologne - master, who flourished between 1490 and 1515, and was in his later - manner influenced by Rogier van der Weyden and other Flemish masters. - This eminently important Early German picture was painted for a Jesuit - establishment in the rue St. Antoine, Paris, which accounts for its - presence in the French national collection.</p> - - <h3 id="COLOGNE_PAINTERS">COLOGNE PAINTERS</h3> - - <p>The “Master of the Death of Mary,” to whose school belongs the <cite>Descent - from the Cross</cite>, with a predella representing <cite>The Last Supper</cite>, and a - lunette with <cite>St. Francis receiving the Stigmata</cite> (No. 2738), has been - identified by Wauters and Aldenhoven with the early-sixteenth-century - Flemish painter Joos van Cleef the Elder, and belongs to the Antwerp - rather than the Cologne school. The “Master of St. Severin,” to whom - the official Catalogue ascribes<span class="pagenum" id="Page_161">161</span> the two <cite>Scenes from the Life of - St. Ursula</cite> (Nos. 2738<span class="smcap">c</span> and 2738<span class="smcap">d</span>), was probably a - Flemish painter who worked at Cologne at the beginning of the sixteenth - century. But the two panels at the Louvre, which were formerly at the - Cluny Museum, are not from his brush. They are the work of his pupil, - the “Master of the Ursula Legend,” and belong to a series of which - other panels can be seen at the Victoria and Albert Museum and at - Cologne.</p> - - <p>The first definite name in the annals of the Cologne school is - that of Bartolomäus Bruyn (<i>c.</i> 1493–1555), who was a follower of - Joos van Cleef but subsequently became completely imbued with the - Italian spirit. His portraits, in which he remained more faithful to - the tradition of his country, are of greater significance than his - religious compositions, and closely resemble those by Joos van Cleef; - but the <cite>Portrait of a Man with a White Cross on his Breast</cite> (No. 2702) - is only a school picture of indifferent quality.</p> - - <h3 id="ALBRECHT_DURER">ALBRECHT DÜRER</h3> - - <p>The flourishing school which had its centre at Nuremberg is represented - at the Louvre by the master who marks its zenith and who, if his - craftsmanship was not always on a level with the perfection of - Holbein’s, shares with the Augsburg master the honour of uncontested - leadership of all German artists. Albrecht Dürer (1471–1528) was born - at Nuremberg, of Hungarian descent. He studied his art under Michael - Wohlgemut, a very able Nuremberg painter, who was, however, led by his - popularity to factory-like production of pictures that passed under his - name, although they were largely executed by inferior pupils. Dürer, - who excelled equally as an engraver and as a painter, was, on the - other hand, one of the most sincere and personal artists of his time—a - profound thinker, a shrewd observer, a student of life in all its - phases, an idealist who was ever striving<span class="pagenum" id="Page_162">162</span> for beautiful expression, - even though the realistic tradition of his country did not allow him to - attain to the abstract ideal of beauty which had been reached by some - of the contemporary Italians. Indeed, Dürer may with justice be called - the Leonardo of the North. He studied Venetian art on a visit to Venice - in 1505, whither he had been preceded by his fame. He also travelled to - the Netherlands in 1520, the year in which he painted the signed and - dated <cite>Head of an Old Man</cite> (No. 2709), his other picture at the Louvre - being the not very masterly <cite>Head of a Child</cite> (No. 2709<span class="smcap">a</span>).</p> - - <h3 id="DURERS_FOLLOWERS">DÜRER’S FOLLOWERS</h3> - - <p>Dürer died in 1528 from a disease contracted during his journey to - the Netherlands. Among his principal pupils were Georg Pencz (<i>c.</i> - 1500–1550), to whom is without sufficient reason attributed the - indifferent half figure of <cite>St. John the Evangelist</cite> (No. 2730); and - Hans Sebald Beham (<i>c.</i> 1500–1550), the famous engraver, of whom the - Louvre is fortunate to possess the only known painting, a table top - divided by golden lances into four compartments, each of which contains - a <cite>Subject from the Story of David</cite> (No. 2701): the <cite>Entry of Saul - into Jerusalem; David and Bathsheba</cite> (in which scene is introduced - a portrait of Archbishop Albrecht of Mayence, for whom the work was - executed); the <cite>Siege of Rabbath</cite>; and the <cite>Prophet Nathan before - David</cite> (with a portrait of the artist and the initials of his name, - “<span class="smcap">h. s. b.</span>”).</p> - - <h3 id="LUCAS_CRANACH">LUCAS CRANACH</h3> - - <p>This same Archbishop Albrecht, whose features are also known to us - from two engravings by Dürer and a painting by Grünewald, was one of - the most generous patrons of Lucas Cranach the Elder (1472–1553), - whose busy workshops at Witten<span class="pagenum" id="Page_163">163</span>berg supplied the whole north and east - of Germany with portraits, altarpieces, historical and mythological - pictures. Lucas Cranach was a follower of Grünewald, the great head of - the Colmar school. Apart from his merit as a colourist and an excellent - draughtsman, he attracts by the naïve grace of his nude figures and - by the complete manner in which he reflects the taste of his time and - country. But of the five little pictures that figure in the Louvre - Catalogue under his name, not one is from his own hand. Indeed, the - <cite>Venus in a Landscape</cite> (No. 2703) is the only one that may with a - degree of safety be attributed to his son, Lucas Cranach the Younger, - who carried on the management of the studio some years before his - father’s death, and continued to imitate his style until his own death - in 1586. The <cite>Venus</cite> bears the usual Cranach signature of a winged - serpent and the date 1520. The same crest, with the date 1532, figures - on the portrait of <cite>Johann Friedrich III., Elector of Saxony</cite> (No. - 2704), who is known on one occasion to have given a wholesale order - of sixty replicas of the same portrait to the Wittenberg master. It - may be imagined that a commission of this nature would not be executed - by the head of the studio, but left to his staff of assistants. The - <cite>Fighting Savages</cite> (No. 2702<span class="smcap">a</span>) and the two <cite>Portraits</cite> (Nos. - 2703<span class="smcap">a</span> and 2705) are, at the best, studio works.</p> - - <h3 id="HANS_HOLBEIN">HANS HOLBEIN</h3> - - <p>We now come to the second of the two commanding figures in German - art, Hans Holbein the Younger (1497–1543), who was born at Augsburg - and studied under his father, the elder artist of the same name. When - he reached his maturity the Italian influence had already permeated - German art, but he was the first Northern master who knew how to - benefit by the real spirit of the Renaissance without imitating the - letter; the<span class="pagenum" id="Page_164">164</span> first to develop a noble, dignified style, free from the - florid trivialities which so many Northerners took from certain Italian - painters. He was above all a marvellous portrait painter who, in his - drawings as well as in his paintings, combines the most exquisite - delicacy and subtlety with rare strength, the greatest precision of - detail with freedom and breadth of handling. Only this phase of his art - is represented at the Louvre, which certainly owns one perfect example - of Holbein’s portraiture in the <cite>Portrait of Erasmus</cite> (No. 2715, <a href="#i_plate24">Plate XXIV.</a>).</p> - - <p>Holbein had settled in Basle in 1519. He went to England in 1526, with - a letter of introduction from Erasmus to Sir Thomas More. From one - of Erasmus’s letters it would appear that Holbein had portrayed him - at least three times before 1524; and the picture now in the Louvre - was probably the one that was painted for Sir Thomas More—a better - recommendation than any letter of introduction! The profile is drawn - with inimitable mastery; and the whole character of the man can be read - from the expression of the tight-pressed lips and mobile features, as - he sits writing at his desk. Note, also, the marvellous expressiveness - of the hands, studies for which are to be found in the collection of - drawings at the Louvre.</p> - - <p>In view of the personal relations which link together Holbein, Erasmus, - and Sir Thomas More, it would be pleasant if we could accept the - so-called <cite>Portrait of Thomas More, Great Chancellor of England</cite> (No. - 2717), as authentic. It does not, however, represent Holbein’s first - English patron, nor does it appear to be from the master’s own brush.</p> - - <h3 id="THE_KRATZER_PORTRAIT">THE KRATZER PORTRAIT</h3> - - <p>Holbein’s first sojourn in England extended from 1526 to 1528, in which - year he returned to Basle. It must have been shortly <span class="pagenum" id="Page_165">165</span>before his - departure that he painted the <cite>Portrait of Nicolas Kratzer, Astronomer - to King Henry VIII.</cite> (No. 2713); it is an unquestionably authentic - work, although it has been so extensively repainted that little is now - left of the original, save the general disposition of the design and - the instruments placed on the table and hung on the wall, which are - executed with all the loving care that Holbein was wont to bestow upon - such accessories. Still, even in its present condition, the portrait - is a thoroughly convincing likeness of “a man who is brimful of wit, - jest, and humorous fancies”—as Kratzer is referred to by one of his - contemporaries. A sheet of paper on the left of the table appears to be - inscribed:—</p> - - <div class="center-container"> - <div class="poetry"> - <div class="stanza" lang="la"> - <div class="i0"><i>Imago ad vivam effigiem expressa</i></div> - <div class="i0"><i>Nicolai Kratzeri monacensis qui bavarus erat</i></div> - <div class="i0"><i>Quadragessimum annum tempore illo complebat.</i></div> - <div class="i20"><i>1528.</i></div> - </div> - </div> - </div> - - <div class="figcenter" id="i_plate24"> - <img class="illow80" src="images/i_plate24.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXIV.—HANS HOLBEIN THE YOUNGER</span><br /> - <span class="small">(1497–1543)</span><br /> - GERMAN SCHOOL<br /> - No. 2715.—PORTRAIT OF ERASMUS<br /> - <span class="small">(Portrait de Didier Érasme)</span></div> - </div> - <div class="description"> - <p>The Humanist is seen at half length and in forefile to the left, before - a table at which he is writing. He wears a fur-lined coat and a dark - cap. A green figured curtain forms the background.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">1 ft. 4¾ in. × 1 ft. 0¾ in. (0·42 × 0·32.)</p> - </div> - - <p>Although decidedly superior to another version of the same picture - at Lambeth Palace, the <cite>Portrait of William Warham, Archbishop of - Canterbury</cite> (No. 2714), which bears the inscription,</p> - - <div class="center small">ANNO. Dm. MDXXVII. ETATIS. SVE, LXX.,</div> - - <p class="noindent">cannot without hesitation be accepted as an original work. - It lacks, at any rate, the <i lang="fr">finesse</i> of the beautiful drawing at - Windsor Castle, upon which it is evidently based.</p> - - <p>To the same year belongs the <cite>Portrait of Sir Richard Southwell</cite> (No. - 2719), to whose treacherous accusation was due the execution of Henry - Howard, Earl of Surrey. But this picture, again, is only a replica, by - an inferior hand, of the magnificent portrait in the Uffizi Gallery - (No. 765). An inscription in the background, at both sides of the head, - reads:</p> - - <div class="col50 right lh2"> - on the left: <span class="smcap">x</span>.<sup>o</sup> <span class="smcap">ivlii. anno.</span><br /> - <span class="smcap">h. viii. xxviii.</span> - </div> - <div class="col50 right lh2"> - and on the right: <span class="smcap">etatis svæ</span><br /> - <span class="smcap">anno xxxiii.</span> - </div> - - <p><span class="pagenum" id="Page_166">166</span></p> - - <p>It would thus appear that the picture was painted in 1537, the - twenty-eighth year of Henry <span class="smcap">viii.</span>’s reign. The <cite>Portrait of a - Man holding a Carnation and a Rosary</cite> (No. 2720) is a picture of poor - quality and has no connection whatever with Holbein.</p> - - <h3 id="PORTRAIT_OF_ANNE_OF_CLEVES">PORTRAIT OF ANNE OF CLEVES</h3> - - <p>Of far greater importance and undisputed authenticity is the <cite>Portrait - of Anne of Cleves, Fourth Wife of Henry VIII.</cite> (No. 2718). No - credence is to be attached to the legend invented by Bishop Burnet - more than a century after that ill-treated lady’s death, according to - which Holbein’s flattering portrait was instrumental in “bluff King - Hal’s” choice of his fourth spouse and responsible for the king’s - disappointment at setting eyes upon Anne. The picture, which was - painted in 1539, seven years after Holbein’s definite return to England - and to the service of Henry <span class="smcap">viii.</span>, has not only that air of - inevitable truthfulness which distinguishes all Holbein’s portraiture, - but tallies to a remarkable degree with the descriptions sent to Henry - <span class="smcap">viii.</span> by his agents. Whilst not exactly unpleasant to behold, - the features are those of a spiritless, dull woman—an impression which - is intensified by the absence of life and character in the hands, which - Holbein invariably studied as closely as the face. The painting of - the richly embroidered and jewelled costume, the stately symmetry of - the design, and the beautiful scheme of colour are really the chief - attractions of this picture.</p> - - <p>The <cite>Adoration of the Magi</cite> (No. 2711<span class="smcap">a</span>), which was at one time - attributed to the elder, and subsequently to the younger, Holbein, is - now rightly given to the latter’s contemporary and compatriot Gumpold - Giltlinger, an Augsburg painter of no particular distinction.</p> - - <div> - <span class="pagenum" id="Page_167">167</span> - <h3 id="THE_SEVENTEENTH_CENTURY">THE SEVENTEENTH CENTURY</h3> - </div> - - <p>Before the end of the sixteenth century German art had entered upon a - period of complete decadence. The only painter who claims attention, - not so much for the undeniable merit of his very highly finished - landscapes, but for the fact that he exercised a certain influence upon - Rembrandt, is the Frankfort painter, Adam Elsheimer (1578–1621?), who - worked at Rome, and who is represented at the Louvre by <cite>The Flight - into Egypt</cite> (No. 2710) and <cite>The Good Samaritan</cite> (No. 2711).</p> - - <p>For the rest, the German painters of his period and of the whole of the - seventeenth century retained scarcely a trace of national character, - and were completely under the sway of the foreign, and particularly - of the Italian, schools. Thus, Johann Rottenhammer (1564–1623), the - painter of <cite>The Death of Adonis</cite> (No. 2732) and <cite>Diana and Calisto</cite> - (No. 2733), was successively dominated by Jan Brueghel and by - Tintoretto. The flower painter, Abraham Mignon (1640–1679), though born - at Frankfort, was a pupil of David de Heem and a Dutchman in his art. - His pictures at the Louvre (Nos. 2724–2729) are distributed between - the German and the Dutch sections. Philipp Peter Roos, better known as - Rosa da Tivoli (1665?–1705), who painted the <cite>Wolf devouring a Sheep</cite> - (No. 2731), lived in Rome and adopted the style of the country of his - domicile. <cite>The Bear Hunt</cite> (No. 2734) is the work of Carl Ruthart, - another unimportant Italianising German of the second half of the - seventeenth century.</p> - - <h3 id="THE_EIGHTEENTH_CENTURY">THE EIGHTEENTH CENTURY</h3> - - <p>The work of the Hamburg painter, Baltasar Denner (1685–1749), has no - claim to be considered as a manifestation of art: it is<span class="pagenum" id="Page_168">168</span> merely a - display of mechanical skill in the microscopic rendering of the little - lines and pores and stubbly hair on the skin of old people’s faces. He - lived for seven years in London, where he painted in 1724 the signed - <cite>Portrait of an Old Woman</cite> (No. 2706), which was bought in 1852 for - £756. Another characteristic example of his misapplied skill is the - portrait (No. 2707) in the La Caze Room.</p> - - <p>Christian Wilhelm Dietrich (1712–1774) and Heinrich Wilhelm - Schweickhardt (1746–1787) are too insignificant to deserve serious - consideration. The same remark applies to Christian Seybold - (1703?–1768), who became Court Painter to the Empress Maria Theresa; - and to Johann Ernest Heinsius, who was active as a portrait painter in - France during the reign of Louis <span class="smcap">xvi.</span> All that is to be noted - in their pictures at the Louvre is the total absence of all artistic - merit.</p> - - <p>Of somewhat greater importance, though by no means of the first rank, - are the two last German artists who claim our attention: Raphael Mengs - (1728–1779) and Angelica Kaufmann, (1741–1807), who is catalogued - among the painters of the German school, although she was Swiss by - birth, Italian by education, and English by domicile. Her sex was no - bar to her becoming one of the Foundation members of the English Royal - Academy, and she is generally counted among the English painters. The - portrait group of <cite>The Baroness von Krüdner and her Daughter</cite> (No. - 2722) is a poor example of her art, which invariably sought to please - by conventional prettiness.</p> - - <p>Raphael Mengs, the painter of the portrait of <cite>Marie Amelia Christina - of Saxony, Wife of Charles III. of Spain</cite>, was born at Aussig in - Bohemia, studied whilst still a boy in Italy, and became Court Painter - to Charles <span class="smcap">iii.</span>, who invited him to Madrid in 1761. Mengs was - an exceedingly accomplished technician and draughtsman, who modelled - himself on Raphael and the Italian<span class="pagenum" id="Page_169">169</span> eclectics, but was wholly lacking - in originality and inspiration. He tried his hand in every branch - of his art, and was most successful in portraiture, although even - his portraits are lacking in penetration of character. He, however, - excelled as a copyist, and died in Rome in 1779. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_171">171</span> - <h2 id="THE_SPANISH_SCHOOL">THE SPANISH SCHOOL</h2> - </div> - - <p class="drop-cap">THOUGH numerically by no means imposing, the Spanish pictures at the - Louvre form an exceedingly interesting section of the great French - national collection, comprising, as they do, characteristic examples of - the art of practically all the most prominent figures in the evolution - of Spanish painting. Compared with the schools of Italy and Flanders, - that of Spain was tardy in its development and very much dependent - upon foreign influences. The activity of Flemish and Italian masters - in Spain—we need only mention Starnina, Dello Delli, Rubens, Luca - Giordano—and the visits of several eminent Spanish masters to Italy, - could not fail to leave their clear mark on the art of the Peninsula, - the renaissance of which was almost entirely due to the stimulus - received from abroad. The short visit of Jan van Eyck to Portugal in - 1429 also had a profound influence on the art of the Peninsula. But - the local conditions, the strict rule of the Church and the tyranny of - the Inquisition, the stiff ceremonial of the Court,—the only rival of - the Church in the patronage of the arts,—and especially the sombre, - passionate character of the Spanish race,—all helped to transform the - imported styles into an art of definite national stamp, an art that - is marked by sombreness, asceticism, dramatic intensity, and deep - religious feeling. Throughout it is dominated by realistic tendencies - and rude strength rather than by the striving for grace and beauty and - rhythm which characterise Italian art.</p> - - <h3 id="LUIS_DE_DALMAU">LUIS DE DALMAU</h3> - - <p>The Louvre is fortunate in possessing an authentic and extremely - important, though badly restored, altarpiece by Ludovico<span class="pagenum" id="Page_172">172</span> Luis de - Dalmau, the first Spanish painter whose personality emerges definitely - from the obscurity of the Gothic period in Spain. Dalmau was a Catalan - who flourished about the middle of the fifteenth century, and who, - although not a direct pupil of the Van Eycks, shows such close affinity - with their style that certain modern critics are inclined to ascribe - to him, with insufficient reason, certain pictures, like the <cite>Fountain - of Living Water</cite> at the Prado, by the heads and founders of the Bruges - school. In spite of the different types and the increased angularity - of the drapery folds in Dalmau’s <cite>Enthronement of St. Isidore</cite> (No. - 1703<span class="smcap">a</span>), this Eyckian influence is clearly traceable in the - Louvre picture, which shows the Virgin enthroned under a Gothic canopy - wearing a crown of typically Spanish form, and handing the pallium to - the saintly Bishop of Seville, who kneels on the left. Further back on - the same side are four angels with the episcopal insignia. The group is - balanced on the right by St. Anthony the Hermit in the foreground, and - SS. Catherine, Margaret, Agatha, Odilia, and Apollonia grouped around - the throne. The picture was originally in a church at Valladolid, and - was bought for the Louvre at the Bourgeois sale at Cologne in 1904 for £3025.</p> - - <h3 id="LUIS_MORALES">LUIS MORALES</h3> - - <p>We need not here pay attention to the few unimportant pictures by - unknown early Spanish masters in the collection, and may pass on to - Luis Morales, called “El Divino” (“The Divine”) (1509–1586), who was - born at Badajoz, and worked at Toledo, when the whole Spanish school - was already addicted to the Italian mannerisms introduced by Berreguete - and other native artists trained in Rome. Morales, however, remained - faithful to the tradition of his own country, and was essentially a - painter of those religious subjects which enabled him to follow the - national<span class="pagenum" id="Page_173">173</span> bent for the sombre and tragic—the sufferings of Christ and - of the Virgin, and similar themes. The <cite>Christ carrying the Cross</cite> (No. - 1707) is a typical instance of the tragic intensity of his conception. - All the suffering of the Saviour is expressed in His drawn features and - His heavy, swollen eyelids. The picture is not dated, but was evidently - painted before 1564, in which year the master was called to the - Escorial and, while in the service of Philip <span class="smcap">ii.</span>, to a great - extent lost his individual style in the imitation of the Italians, that - was probably forced upon him by the taste of his patrons.</p> - - <h3 id="EL_GRECO">EL GRECO</h3> - - <p>We now come to one of the most interesting figures in the history of - Spanish painting—Dominico Theotocopuli, better known as “El Greco” - (1548–1614), from the country of his birth. Born in Crete about 1548, - El Greco entered at a very early age the studio of Titian in Venice. - This at least we know from a letter written by Clovio from Rome in - 1570, without which, if we were to judge from the master’s early - style, we should be forced to the conclusion that he acquired his art - from Tintoretto, and more particularly from Jacopo da Ponte, to whom - several of his earliest works in private collections were formerly, - and in some cases are still, ascribed. He went to Rome in 1570, and - after five or six years took up his abode at Toledo, his first dated - picture in that city, the scene of his chief activity, bearing the - date 1577. Between that year and his death in 1614, his extant works - illustrate the gradual evolution of his art, the change of his Italian - into a typically Spanish manner, the rapid acquisition of a very - personal style, and the straining of that personal style to extreme - mannerism. The notes and flashes of rare, cold, almost acid, but always - harmonious, colour lend a peculiar distinction to El Greco’s work. His - predilection for long, narrow faces and slender, emaciated bodies led - him in his declining years to<span class="pagenum" id="Page_174">174</span> extravagant exaggeration; the ecstatic - passionate action and gesture of his figures reveal contortion and - frenzy. As a portrait painter El Greco is second only to Velazquez in - the school of his adopted country. His biographer, Señor Cossío, has - called him “a painter of souls,” because he had that intense power of - penetration which perceives and retains at a glance the sum total of a - person’s traits of character.</p> - - <p>El Greco’s conception of portraiture enters largely into his pictures - at the Louvre, from which we must exclude as an imitation by an - inferior hand the <cite>St. Francis and a Novice</cite> (No. 1729<span class="smcap">a</span>). It - is certainly an important feature in the large <cite>Christ on the Cross, - with Two Donors</cite>, one of the comparatively recent acquisitions, which - still hangs on a screen in Gallery XV. This great altarpiece has little - of the master’s fierce passion and lightning flashes of colour. The - expression of the two Donors, Diego and Antonio Covarrubias, who are - seen to the waist at the foot of the Cross, does not go beyond normal - pious devotion; and the Saviour seems rather to stand with spread arms - than to hang on the Cross with all the weight of His characteristically - elongated body. A leaden grey dominates the whole colour scheme. The - composition is singularly empty and simple for a master who seemed to - have a perfect horror of empty spaces. The picture, which is fully - signed, must have been painted soon after El Greco’s arrival at Toledo - (and not, as Sñr. Cossío thinks, between 1590 and 1600), since one of - the Donors, the priest Diego Covarrubias, died in 1577.</p> - - <p>Comparison of the two Donors’ faces with their portraits by the same - master in the Toledo Library can leave no doubt as to their identity. - The <cite>Christ on the Cross</cite> was offered by the deputy Isaac Pereire - of Prades (Pyrenées-Orientales) to the local parish church, but was - refused and hung in the Palais de Justice at Prades, whence it was - removed to the Mairie in 1904, and finally sold to the Louvre in 1908 - for £1000. The picture measures 8 ft. 8 in. by 5 ft. 8 in.</p> - - <p><span class="pagenum" id="Page_175">175</span></p> - - <p>The <cite>St. Louis of France and a Page</cite> (No. 1729<span class="smcap">b</span>), which was - formerly wrongly catalogued as <cite>King Ferdinand the Catholic</cite>, is a - more typical example of El Greco’s management of colour. The boldly - painted armour is identical with that of the St. Martin on horseback, - at Toledo. The probable date of the picture, which was bought in 1904 - at the high price of £2800, is between 1594 and 1600.</p> - - <p>By El Greco’s favourite pupil and assistant, Luis Tristan (1586–1640), - is the realistic half-figure of <cite>St. Francis of Assisi</cite> (No. 1730). - A more scientific classification of the works by the Toledo painters - has reversed Sir W. Stirling-Maxwell’s judgment that Tristan had all - the virtues and none of the faults of his master. He was in reality a - mediocre imitator of El Greco, without a spark of his master’s genius - and without any of his distinction.</p> - - <h3 id="THE_SCHOOL_OF_SEVILLE">THE SCHOOL OF SEVILLE</h3> - - <p>The naturalistic tendencies inherent in the national Spanish genius, - which even in the period of Italian mannerism were not to be entirely - denied, bore full fruit at Seville, where Francisco Herrera “the - Old” (1576–1656) was the first entirely to reject the tyranny of the - Italian manner, and with it to a certain extent the tyranny of Church - patronage. He was a man of fiery character, with whom the technique - of his art became a veritable passion. It was left to a painter of a - later century and of another race to proclaim that it does not matter - <em>what</em> you paint, but <em>how</em> you paint; but Herrera’s work at times - almost suggests that he was guided by similar principles, although an - instinctive sense of pictorial fitness saved him from the consequences - to which their unrestricted application might easily lead.</p> - - <p>In spite of the repelling fierceness, the fanaticism, the cruelty - of every single face—all of them portraits, no doubt—in the <cite>St. - Basil<span class="pagenum" id="Page_176">176</span> dictating his Doctrine</cite> (No. 1706) at the Louvre, in spite of - the essentially Spanish manner in which the design fills the space - (the figures being grouped in horizontal courses right across the - canvas, with very little space above for the sky, and this little - space filled with angels’ heads and with a Holy Ghost as fierce as - the rest of the assembly), there is a noble rhythm of line as well as - of the distribution of light and shade, which proclaims the mind of a - master. The two Saints in the immediate foreground, St. Dominic and - St. Bernard, are cut through at the waist—another favourite device of - Spanish composition, which we have already noticed in the Donors of El - Greco’s <cite>Christ on the Cross</cite>.</p> - - <h3 id="ZURBARAN">ZURBARÁN</h3> - - <p>Considerable though it be, Herrera’s artistic achievement does not - constitute his chief claim to fame; for his name will ever be best - known as that of the first master of the greatest of all Spanish - painters, Don Diego Rodriguez de Silva y Velazquez. But before - discussing the pictures by, or catalogued under the name of, Velazquez - at the Louvre, we must consider the work of two other painters of - the Naturalistic school: Francisco de Zurbarán (1598–1661) and José - de Ribera, called “Lo Spagnoletto” (1588–1656). Zurbarán, a pupil of - the Sevillan Juan de las Roelas, was essentially a painter of church - pictures, his favourite subjects being types of monks and scenes of - monkish life. There is something so sincere and convincing in his - unrelenting realism, that even his pictures of rapturous ecstasy and - strongly emphasised emotion impress one as truthful renderings of types - observed by the artist in the streets and churches of monastic Seville. - The sombre passion with which his subjects are instinct is reflected - by his colour and masterly chiaroscuro. Zurbarán became Court Painter - to Philip <span class="smcap">iv.</span> in or before 1633, in which year he added the - words “<cite>Pintor del Rey</cite>” to<span class="pagenum" id="Page_177">177</span> his signature on one of his pictures; and - in this capacity he painted at Madrid his only known secular pictures, - a series of ten Scenes from the History of Hercules.</p> - - <p>Two admirable pictures from his brush figure in the Louvre Catalogue as - <cite>St. Peter Nolasque and St. Raymond de Peñafort</cite> (No. 1738) and <cite>The - Funeral of a Bishop</cite> (No. 1739). As a matter of fact they represent - two scenes from the life of St. Bonaventura: <cite>The Saint presiding at a - Chapter of Minor Brothers</cite>, and <cite>The Funeral of St Bonaventura</cite>. The - second of these companion pictures which were originally in a convent - at Seville is particularly striking for the unconventionality of its - composition, the strong character of the heads, and the masterly - treatment of the chiaroscuro. Note again the placing of the heads - almost in a horizontal line right across the canvas, and the anxious - avoidance of empty spaces. The third picture that stands to Zurbarán’s - name is the figure of <cite>A Lady of Fashion in the Character of St. - Apollonia</cite> (No. 1740), a work of not very striking merit.</p> - - <h3 id="RIBERA">RIBERA</h3> - - <p>Ribera, though born near Valencia, where he received his early - education in the painter’s art in the studio of Ribalta, was still - young in years when he left his native land for Italy, never to - return. Studying and working at Rome, Parma, and Naples, he was so - strongly influenced by Caravaggio, and to a minor extent by Correggio, - that, taking also into account his long domicile, there is some - justification for those who treat him as belonging to the Italian - school of Naturalists. The most prominent feature of his art is the - violent and abrupt contrasting of brilliant lights with very deep and - heavy shadows, which enforces the almost cruel dramatic intensity of - his scenes of torture, convulsions, and suffering. In this use of - chiaroscuro he was a true follower of Caravaggio, but<span class="pagenum" id="Page_178">178</span> Ribera, even - where he is most Italian, never denies his Spanish nationality and the - teaching of his first master.</p> - - <p>Nowhere are his racial characteristics more pronounced than in - the admirable character-study, in the La Caze Room, of a grinning - beggar-boy who suffers from an infirmity from which the picture derives - its popular name, <cite>The Club-foot</cite> (No. 1725). The boy is standing - in bold silhouette against a clouded sky. He shoulders his crutch - like a gun, and carries in his left hand a sheet of paper with the - inscription—<span class="smcap">da mihi elemosinam propter amorem dei</span>.</p> - - <p>If <cite>The Club-foot</cite> is scarcely typical of the qualities that are - generally associated with Ribera’s art, the Louvre owns two thoroughly - characteristic examples of his more violent manner, of his dramatic - use of sharply contrasted light and shade, in <cite>The Entombment</cite> (No. - 1722) and <cite>St. Paul the Hermit</cite> (No. 1723), which bears on a stone the - signature</p> - - <div class="center small">JUSEPE DE RIBERA ESPAGNOL P.F.</div> - - <p class="noindent">In <cite>The Entombment</cite> the master-hand is revealed by the - superb breadth with which the limp yet weighty body of the Saviour - is painted. It is not modelled in all its plastic roundness, but cut - into sharp flat passages of light and shadow, the plastic relief - being suggested by the perfection of the anatomical drawing and - foreshortening. Poignant grief is expressed in the faces of St. Joseph - of Arimathæa, the Virgin Mary, St. John, and Nicodemus, who surround - the body, the head of which is supported by St. Joseph. The same - subject is treated with less masterly authority in <cite>The Entombment</cite> - (No. 1725<span class="smcap">a</span>), which can only be accepted as a school picture.</p> - - <p>The ascetic fervour tinged with a sense almost of cruel pleasure - in self-inflicted suffering, with which Ribera loved to invest his - semi-nude figures of emaciated saints, hermits, and martyrs, will be - found in the <cite>St. Paul the Hermit</cite>. The picture was bought in 1875 for - £252.</p> - - <p><span class="pagenum" id="Page_179">179</span></p> - - <p>Without loss of realistic power, and without affectation or conscious - striving for prettiness, Ribera shows more human tenderness and gentle - emotion in <cite>The Adoration of the Shepherds</cite> (No. 1721), a picture - signed and dated on a stone in the right-hand corner,</p> - - <div class="center"><i>Juse Ribera español Academico romano, F. 1650.</i></div> - - <p class="noindent">In accordance with the nature of the subject he has here - refrained from making use of abrupt light and shade, the whole scene - being enveloped in a warm glow. The types are not idealised, but - are apparently faithful portraits of their respective models. Very - similar to the central group in this canvas, but more sonorous in its - depth of colour, from which gleam forth the strong lights, is the - <cite>Virgin and Child</cite> (No. 1724) in the La Caze Room. The four pictures - of <cite>Philosophers</cite> (Nos. 1726–1729), likewise in the La Caze Bequest, - which the official Catalogue gives to Ribera, are certainly not by that - master. It has been suggested that they may be the work of Ribera’s - facile and versatile pupil, Luca Giordano (“Fa Presto”), but the poor - quality of these paintings scarcely justifies even this attribution. - They were formerly in the collection of General Mazzavedo.</p> - - <p>Ribera had a romantic career, rising as he did from absolute penury to - almost despotic power as a member of a triumvirate that would brook no - competition in Naples and would shrink from no means to further their - schemes. Nothing is known as to how he died. He disappeared in 1656, - and probably found his death in the depths of the sea.</p> - - <h3 id="VELAZQUEZ">VELAZQUEZ</h3> - - <p>The Catalogue of the Louvre collection contains an imposing list of - seven works by the king of Spanish painters. Critical examination of - these pictures will, however, result in the elimination<span class="pagenum" id="Page_180">180</span> of all but - two that figure in the list. Velazquez, who was destined to stamp his - great personality on a whole generation of Spanish painters, but whose - art was little known in Northern Europe previous to the Peninsular - War, has exercised a paramount influence on modern art. He was born of - noble descent at Seville in June 1599. Although originally destined for - another profession, he showed such talent for art that he was allowed - to enter the studio of Francisco Herrera, of whose realistic tendencies - and rugged strength we have already had occasion to speak.</p> - - <p>From his studio he passed into that of the cultured and erudite - Francisco Pacheco, whose artistic achievement at its best was far in - advance of his professed academic principles. Summoned to Madrid in - 1623 by the powerful Count Duke of Olivarez, Velazquez entered the - service of King Philip <span class="smcap">iv.</span> Velazquez became his favourite - Court Painter, received other important offices and emoluments, and - after his return from his second visit to Italy in 1651—the first visit - had taken place in 1629—he was appointed <cite>Aposentador del Rey</cite>, a post - which approximately corresponds with that of Court-Marshal. He died on - the 6th of August 1660, from the results of fatigue and overwork in - supervising the arrangements for the betrothal of the Infanta Maria - Teresa to Louis <span class="smcap">xiv.</span> at the Palace on the Isle of Pheasants, - at Irun.</p> - - <p>With the exception of the early <i>bodegones</i> of his student-years and - a few rare excursions into the realm of religious and mythological - composition, Velazquez’s life-work, as conditioned by the patronage of - the king and the Court, was practically confined to portraiture. His - unrivalled greatness in this sphere is due to the perfect clearness - of his vision, which made him grasp the person or scene before his - eyes at a single glance, and transpose his impression to canvas with - undisturbed directness and completeness, and with an apparent disregard - of the means of expression. There is dignity and soberness in all his - portraits; perfect spacing; noble, firm <span class="pagenum" id="Page_181">181</span>contour; complete unity of - all the parts produced by the sense of ambient atmosphere. And never is - there the slightest hint of trick of hand, or mannerism, or painting by - recipe. Each picture is the result of close observation, recorded with - admirable directness and honesty. This supreme master of the painter’s - technique seemed to pay no attention to technique—or, at least, the - result is invariably so significant and so absorbingly interesting - that the spectator, unless he approaches the picture with deliberate - intention to probe its secret, never thinks of the technical means by - which life so convincing has been breathed on to the canvas.</p> - - <div class="figcenter" id="i_plate25"> - <img class="illow76" src="images/i_plate25.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXV.—VELAZQUEZ</span><br /> - <span class="small">(1599–1660)</span><br /> - SPANISH SCHOOL<br /> - No. 1731.—PORTRAIT OF THE INFANTA MARGARITA<br /> - <span class="small">(Portrait de l’infante Margarita Maria)</span></div> - </div> - <div class="description"> - <p>The Infanta, who appears to be about four years of age, is wearing a - white robe embroidered with black. She is seen standing at half length, - her right hand on the arm of a chair.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">Inscribed:—“<span class="smcap">linfante marguerite</span>.”</p> - <p class="noindent">2 ft. 3¾ in. × 1 ft. 11½ in. (0·70 × 0·59.)</p> - </div> - - <h3 id="THE_INFANTA">THE INFANTA</h3> - - <p>In the Louvre collection there is but one picture from which it is - possible to judge the greatness of Velazquez’s art. That picture is - the deservedly famous and often-copied portrait of the little <cite>Infanta - Margarita</cite> (No. 1731, <a href="#i_plate25">Plate XXV.</a>), which has rightly been placed in the - Salon Carré among the proudest possessions which the Gallery can boast. - The little princess, who was born in 1651, the first child of Mariana - of Austria, is here depicted at the age of about four, so that the - date of the portrait may safely be assumed to be about the year 1655, - and not 1659, as suggested by M. Lafenestre. She is dressed in a white - robe with black lace trimmings. A pink ribbon is tied on her right side - to her soft light golden hair, which falls in curls to her shoulders; - her right hand rests upon a chair, whilst the left, the fingers of - which have been repainted owing to the addition of a narrow strip of - canvas at the bottom, holds a flower. On the top the words <span class="smcap">linfante - margverite</span> are painted in heavy block letters across the whole - width of the canvas. This picture, in which childlike ingenuousness - is so happily blended with quaint dignity, and in which even the - forbidding ugliness<span class="pagenum" id="Page_182">182</span> of the dress of the period cannot destroy the - little princess’s grace and doll-like charm, Velazquez has surely left - to the world one of the most entrancing portraits of lovable childhood - that is to be found in the whole history of art.</p> - - <h3 id="MARIANA_OF_AUSTRIA">MARIANA OF AUSTRIA</h3> - - <p>The other unquestionably authentic work by the master at the Louvre is - to be found in the La Caze Bequest. It is catalogued as <cite>Portrait of - the Infanta Maria Teresa, afterwards Queen of France</cite> (No. 1735), but - is in reality a portrait of <cite>Queen Mariana of Austria</cite>, the mother of - the Infanta Margarita Maria. Mariana was married to Philip <span class="smcap">iv.</span> - as his second wife in 1649, at the age of fourteen. Velazquez was at - that time in Italy, so that the duty of painting her first portrait for - the royal bridegroom fell to the Court Painter’s son-in-law and chief - pupil, Juan Bautista del Mazo (1610–1667).</p> - - <p>The portrait at the Louvre was, if we may judge from the apparent age - of the child-queen as she is here represented, painted in 1651, when - Velazquez had returned from his second Italian journey and when Mariana - was sixteen years of age. It was probably a preliminary study from life - for the larger portrait in the Vienna Gallery. This admirable portrait - is another artistic triumph over unfavourable conditions imposed by - the hideousness of contemporary female attire, although the forehead - has been spoilt by clumsy repainting. The coiffure in particular, a - cascade of false hair, bows, jewels, and feathers, is more suggestive - of some exotic idol or fetish than of a human being. In 1863, before - the judgment of a tasteless age, which gave Velazquez a position far - below the then absurdly overrated Murillo, was revised, this portrait - of Mariana appeared at the Viardot sale and failed to realise more than - £200!</p> - - <div> - <span class="pagenum" id="Page_183">183</span> - <h3 id="COPIES_AND_SCHOOL_PICTURES">COPIES AND SCHOOL PICTURES</h3> - </div> - - <p>Two other portraits in the La Caze Room are attributed to Velazquez. - One of these, a <cite>Portrait of Philip IV.</cite> (No. 1733) at the age of about - fifty, is unquestionably a wholly uninspired and fairly modern copy of - the head in the Prado (No. 1080). The other, a <cite>Portrait of a Young - Woman</cite> (No. 1736), is an extremely feeble imitation of the superficial - aspect of Velazquez’s manner—so bad in drawing, especially in the - attachment of the nose to the face, that it is difficult to accept - Señor Beruete’s attribution of this picture to Juan Carreño de Miranda - (1614–1685), an able painter of the Madrid school. M. Henri Rodolphe - Elissa, who exposed the “Tiara of Saitaphernes” forgery, has asserted - that he can prove both the <cite>Philip IV.</cite> and the <cite>Young Woman</cite> to be - the work of the Spanish painter Escosura, who died in the last decade - of the nineteenth century. There appears to be no reason to doubt his - assertion. The head of Philip, more than the other picture, appears to - be nineteenth-century work.</p> - - <p>The <cite>Portrait of Philip IV., King of Spain, in Hunting Costume</cite> (No. - 1732), with a gun in his right hand and a dog sitting by his side, in - a landscape background, is only a contemporary copy of a very similar - picture in the Prado, to which it is vastly inferior in execution. It - is true that in the Prado picture the king’s hat is on his head, whilst - in the Louvre version, which is probably by Mazo, he carries it in his - left hand. It is, however, possible to detect in the Prado portrait - clear evidence of a pentimento, from which it can be seen that here, - too, the hat was originally in the same position as in the Louvre - canvas. Presumably Velazquez subsequently made the alteration; but the - copy was executed at an earlier date.</p> - - <div> - <span class="pagenum" id="Page_184">184</span> - <h3 id="THE_MEETING_OF_THIRTEEN_PEOPLE">THE “MEETING OF THIRTEEN PEOPLE”</h3> - </div> - - <p>There have been great divergences of opinion concerning the strange - little painting representing a <cite>Meeting of Thirteen People</cite> (No. 1734) - on a hill. It was formerly known as <cite>A Meeting of Artists</cite>, because - two of the Spanish cavaliers depicted in the group were believed to - represent Velazquez and Murillo. Lauded at first as one of Velazquez’s - masterpieces by those who were carried away by the truly extraordinary - beauty of the pearly, opalescent colour harmony and the atmospheric - quality of the painting, the little picture has lately been as - violently abused for its “poor design, weak execution, and commonplace - arrangement.” As a matter of fact the arrangement is anything but - commonplace, and the picture has great qualities of technique which - will always be the delight of professional artists. It is moreover - admirably varied in gesture and action, even if it has certain - weaknesses which render impossible its unqualified attribution to - Velazquez. Here we have clearly an excellent example of his son-in-law - and imitator, J. B. del Mazo. If any proof were needed for this - attribution, it will be found in the figure on the extreme left of the - composition. Both his legs are slanting forward so much that his centre - of gravity plumbs behind his heels. It would really be impossible to - maintain this posture, which, though it offends against the laws of - gravity, is to be found in quite a number of Mazo’s pictures, as, for - instance, in the small figure of Olivarez (?) in the middle distance - on the right in the Duke of Westminster’s <cite>Don Baltazar Carlos in the - Riding School</cite>, in the portrait of <cite>Don Baltazar Carlos</cite> at The Hague, - and in the second boy in <cite>The Family of Mazo</cite> at the Vienna Gallery.</p> - - <p>The soundly painted <cite>Portrait of Don Pedro de Altamira, Doyen of the - Chapel Royal at Toledo, afterwards Cardinal</cite> (No. 1737), inscribed on - the background “<span class="smcap">æt 54 dv, 1633</span>,” is a good character<span class="pagenum" id="Page_185">185</span>-study of - an energetic and rather worldly-looking Church dignitary, but does not - appear to be either by Velazquez or one of his immediate followers.</p> - - <p>There is in the Spanish section of the Louvre another superbly painted, - but very problematic, <cite>Head of a Man</cite> (No. 1747), which, on no more - plausible grounds than an accidental likeness to one of the figures - in <cite>The Forge of Vulcan</cite>, has by some critics been believed to be by - Velazquez. The rich impasto and the careful finish of the painting are - utterly unlike Velazquez’s manner; nor does the picture appear to be - of his period. But whoever may be its author, it is one of the most - remarkable paintings in this section of the Louvre.</p> - - <h3 id="MURILLO">MURILLO</h3> - - <p>By far the best represented of all the masters at the Spanish school is - Bartolomé Estéban Murillo (1618?–1682). He was born at Seville, of poor - parents, and studied as a boy under Juan del Castillo. Forced before he - had reached manhood to gain his livelihood, he took to manufacturing - artistically worthless devotional pictures on saga-cloth, for sale at - the weekly fairs in the poor quarter of Seville. This early practice - of rather mechanical production, and the habit, acquired by necessity, - of working to please the public, clung to him in after life and are - responsible for much that the modern mind finds distasteful in his - art—a certain sickly sentimentality that often takes the place of real - sentiment, and an artificiality of arrangement even where the types are - realistic renderings of the people among whom he spent his days.</p> - - <p>With his small savings from the proceeds of his crude popular pictures - Murillo proceeded to Madrid, where Velazquez assisted him by deed, - advice, and example, though the two artists were probably<span class="pagenum" id="Page_186">186</span> never in the - relation of master and pupil. After about two years thus profitably - spent at Madrid, Murillo returned to Seville, where he continued to - work until his death in 1682, and rose to the very summit of fame and - popularity. At his best Murillo was a colourist of great charm and a - technician of the rarest skill. His art is most admirable where he - adheres most closely to the realistic tradition of his country. It - is scarcely to be credited that the same hand which produced so many - vaporous and vapid Madonnas is responsible for a picture painted with - such superb breadth and incisive vigour as <cite>The Young Beggar</cite> (No. - 1717), which is almost worthy of the brush of Velazquez in his Sevillan - period. The decidedly unsavoury subject is made acceptable by the - consummate artistry of the treatment.</p> - - <h3 id="THE_IMMACULATE_CONCEPTION">“THE IMMACULATE CONCEPTION”</h3> - - <p>It is not, however, to pictures of this type that Murillo owed his - widespread popularity. Generations of enthusiastic admirers have - stood in silent awe before his large painting of <cite>The Immaculate - Conception</cite> (No. 1709, <a href="#i_plate26">Plate XXVI.</a>), which is certainly one of the best - of innumerable versions of the same subject—the Virgin standing on a - crescent moon, with ecstatic gaze, and hands pressed to her breast, - and surrounded by swarms of joyous angel-children—painted by Murillo - to meet an apparently insatiable demand. There is something of real - ecstasy in this conception. To find a similar <i>morbidezza</i> of pigment - one must turn to certain famous works by Andrea del Sarto: it is a - quality which is generally conspicuously absent from Spanish painting - and which, if carried a step farther, as it sometimes was carried by - Murillo, would result in fuzzy vapidness. This famous picture has the - distinction of being the most costly purchase ever made for the Louvre, - the price paid for it at the Marshal Soult sale <span class="pagenum" id="Page_187">187</span>in 1852—that is - many years before American competition had established the vastly - enhanced standards of value which now prevail—being as much as 615,300 - fr., or £24,612.</p> - - <div class="figcenter" id="i_plate26"> - <img class="illow68" src="images/i_plate26.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXVI.—MURILLO</span><br /> - <span class="small">(1618?–1682)</span><br /> - SPANISH SCHOOL<br /> - No. 1709—THE IMMACULATE CONCEPTION<br /> - <span class="small">(La Conception immaculée de la Vierge)</span></div> - </div> - <div class="description"> - <p>The Virgin, wearing a white robe with a blue mantle over her left - shoulder, has her hands crossed over her breast; she is standing in - the hollow of a two-horned crescent, and gazing heavenwards. About - twenty-one cherubs and ten heads are seen in different parts of the - composition.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">9 ft. 0 in. × 6 ft. 3 in. (2·74 × 1·90.)</p> - </div> - - <p>Apparently of earlier date is the other version of the same subject at - the Louvre. This <cite>Immaculate Conception</cite> (No. 1708) is not painted in - the same spirit of exaltation as the version just described, but has - a happy passage of realistic character-painting in the six kneeling - figures on the left. On the right two angels carry a scroll with the - inscription <span class="smcap">in principio dilexit eam</span>. The picture was painted - in 1656–57 for the Church of Santa Maria la Blanca at Seville, and - was carried off to France, with many other of the master’s works, by - Marshal Soult.</p> - - <h3 id="THE_BIRTH_OF_THE_VIRGIN">THE “BIRTH OF THE VIRGIN”</h3> - - <p>Another picture that formed part of the loot taken by Napoleon’s - general and was taken in 1855 from his son, the Duke of Dalmatia, in - liquidation of a debt of £6000, is <cite>The Birth of the Virgin</cite> (No. - 1710). The National Gallery in London owns a small preliminary study - for this painting, which was executed in 1655 for Seville Cathedral. - The centre is occupied by a beautifully disposed group of four women - and four winged heavenly visitors attending to the Infant’s bath; in - the background on the left St. Anne, raised in her bed, is receiving - visitors, and on the right are seen two attendants airing linen at - a fireplace. The strange assemblage, in which the earthly and the - heavenly are without incongruity brought into such close contact that - one of the boy-angels is actually occupied with a dog, is completed - by another four angels floating in the air above the Infant. In - composition, distribution of light and shade, and in harmonious - blending of mellow colour this picture ranks among Murillo’s highest - achievements. According to Cean<span class="pagenum" id="Page_188">188</span> Bermudez, the roundness, beauty of - shape, and rosy complexion of the waiting-woman’s arm in the foreground - “excited the jealous envy of the ladies of Seville.” It is interesting - to note that before its acquisition by the Louvre the <cite>Birth of the - Virgin</cite> was brought to England in 1823, when the owners vainly tried to - find a purchaser.</p> - - <h3 id="THE_ANGELS_KITCHEN">“THE ANGELS’ KITCHEN”</h3> - - <p>Yet another deservedly famous work by Murillo, removed from a - Franciscan convent at Seville by the insatiable greed of Marshal Soult, - is the now extensively restored large picture known as <cite>The Miracle of - San Diego</cite>, or <cite>The Angels’ Kitchen</cite> (No. 1716). The composition is - divided by two large figures of angels into two halves. On the left two - knights of Calatrava are shown in by a Franciscan brother and behold - St. Diego in prayer miraculously raised into the air and surrounded - by a flood of light. On the right the angels are occupied with the - preparation of the repast for which the Saint has sent his prayer to - the Virgin. A Franciscan is watching the scene from the distance with - a gesture of amazement. Here again the real and the supernatural are - blended with unaffected naïveté, the unity of the contending elements - being established by the masterly rendering of light and atmosphere. - An account of the miracle is given on a cartouche in the foreground; - whilst a piece of paper on the left holds the signature</p> - - <div class="center small">BART-EST. MURILLO, 1646.</div> - - <p class="noindent"><cite>The Angels’ Kitchen</cite> was bought from the despoiler’s heirs - for £3420.</p> - - <p><cite>The Virgin of the Rosary</cite> (No. 1712), unlike the majority of Murillo’s - representations of the Mother of God, has scarcely a trace of spiritual - exaltation, but is merely a handsome type of a<span class="pagenum" id="Page_189">189</span> happy and contented - Spanish mother. The folds of her outer garment are arranged in florid - and meaningless profusion.</p> - - <p><cite>The Holy Family</cite> (No. 1713), also known as <cite>The Virgin of Seville</cite>, is - a genuine and characteristic, though strangely overrated work by the - master, and bears the signature</p> - - <div class="center small">BARTOLOM DE MURILLO F. HISPAN.</div> - - <p class="noindent"><cite>The Virgin in Glory</cite> (No. 1711) is, to say the least, - of doubtful authenticity. The small companion pictures, <cite>Christ in - the Garden of Olives</cite> (No. 1714) and <cite>Christ at the Column and St. - Peter</cite> (No. 1715), are painted on marble, to which fact they owe the - unpleasant coldness of their colouring.</p> - - <p>In the La Caze Room are two portraits, <cite>The Poet Quevedo</cite> (No. 1718) - and <cite>The Duke of Ossuña</cite> (No. 1719), which the official Catalogue - ascribes to Murillo. Quite apart from the fact that the artist was - only six years of age when the Duke of Ossuña died, the quality of the - painting does not justify these attributions. Like the head of Philip - <span class="smcap">iv.</span> in the same room, they were probably painted by Escosura, - a late-nineteenth-century Spaniard</p> - - <h3 id="THE_SCHOOL_OF_MADRID">THE SCHOOL OF MADRID</h3> - - <p>We must now return to Madrid, where the example of Velazquez had - inspired a fairly numerous group of able painters without particular - genius, whose art, being entirely derivative, carried within itself - the germ of decay and sank to complete insignificance before the close - of the century. The most distinguished artist of this group is Juan - Bautista del Mazo, who has already been referred to as the author - of the <cite>Meeting of Thirteen People</cite> and probably of the <cite>Philip IV. - in Hunting Costume</cite>. So well did he succeed in appropriating his - father-in-law’s style that his best works have frequently passed under - his illustrious master’s name.</p> - - <p><span class="pagenum" id="Page_190">190</span></p> - - <p>Another important painter of the Madrid school is Carreño de Miranda - (Nos. 1614–1685), who benefited by Velazquez’s patronage, became - painter of the Palace in 1669, and Court Painter and Assistant - Seneschal in 1671. Although in his later years he devoted himself - largely to subject pictures which are distinguished by a warmer - colouring than most of the productions by the Madrid school of the - period, he achieved his greatest successes as a portrait painter. He - was considerably influenced by the paintings of Van Dyck, which he - had occasion to study in the royal palaces. His large <cite>St. Ambrose - distributing Alms</cite> (No. 1702), in the La Caze Gallery, is a hurriedly - executed work which does not show his art to the best advantage. It - figured in the sale of the Soult collection, when it failed to realise - £20.</p> - - <p>Far more typical of its author’s best manner is <cite>The Burning Bush</cite> (No. - 1703) by Francisco Collantes (1599–1656), a Madrid painter who studied - under Vincente Carducho, but was influenced by Bassano. He was an - excellent colourist, especially in his landscape paintings with small - figures. His most famous picture is <cite>The Vision of Ezekiel</cite>, formerly - at the Buen Retiro Palace and now in the Prado Gallery.</p> - - <p>Juan de Arellano (1614–1676), the painter of the <cite>Flowers</cite> (No. 1701), - worked at Madrid, unknown and in abject poverty, until at the age of - thirty-six he began to devote himself to flower-painting, a branch - of art in which he developed considerable skill, and rose to great - popularity.</p> - - <p>Yet another Madrid painter who is but indifferently represented at the - Louvre by a still life of <cite>Fruit and Musical Instruments</cite> (No. 1720) - in the La Caze collection, is Antonio Pereda (1599–1669). Although a - contemporary of Velazquez and working in the same city, he was not - appreciably influenced by that master. He was a pupil of Pedro de las - Cuevas, and his style shows certain<span class="pagenum" id="Page_191">191</span> affinities with Ribera. His works - are rarely to be met with outside the galleries and churches of his own - country.</p> - - <p>The end of the seventeenth century marked the complete decadence of the - Spanish school, which was precipitated and received its final seal by - the advent in 1692 of the Neapolitan Luca Giordano, whose rare facility - in the production of showy, flashy, meretricious works earned for him - the sobriquet “Fa Presto,” and whose prodigious success was a powerful - incentive to emulation. More fatal even than the influence of Luca - Giordano was that of the German artist Raphael Mengs, an uninspired - eclectic who became Court Painter to Charles <span class="smcap">iii.</span>, and who - is referred to in the chapter dealing with the German pictures at the - Louvre.</p> - - <h3 id="GOYA">GOYA</h3> - - <p>In this time of complete stagnation the fascinating personality of - Francisco Goya y Lucientes (1746–1828) flashes like a bright meteor - through the dark night of Spanish art. Goya takes a unique position - in the art of his country—or, indeed, of the world. He was as much - the last of the old masters as he is the first of the moderns. A man - of fiery temperament, impulsive, unruly, opposed to authority, he was - terribly unequal in his performance. It is as unnecessary to state - who were his masters as it is impossible to speak of his style in - general terms, for there probably never was an artist who worked in - so many different styles, experimented in so many different mediums, - and treated so vast a range of subjects as Goya. He was a creature of - moods, and changed his method of painting as easily as his political - allegiance from Bourbon to Bonaparte and back again to Bourbon.</p> - - <p>His four pictures at the Louvre are without exception portraits, and do - not therefore illustrate his highly developed sense of the dramatic. - But they serve admirably to show his<span class="pagenum" id="Page_192">192</span> active protest against the - classicist affectation prevalent at his time, and his return to the - healthy realism which is the heritage of his race. The <cite>Portrait of F. - Guillemardet, Ambassador of the French Republic to Spain</cite> (No. 1704), - is an admirably honest piece of portraiture, dignified but perfectly - natural in pose, strong in expression and pleasing in colour. It was - bequeathed to the Louvre by Guillemardet, together with the <cite>Young - Spanish Woman</cite> (No. 1705) in a black mantilla, standing with crossed - arms against a pearly-grey landscape background. The seated half-figure - of the rather corpulent <cite>Young Spanish Woman</cite> (No. 1705<span class="smcap">a</span>) was - bought at the Kums sale at Antwerp for £1276; and the portrait of <cite>Don - Perez de Castro</cite> (No. 1705<span class="smcap">b</span>) was acquired in 1902 for £1200. - Goya was an isolated figure in Spanish art of the time. He left no - “school,” but his influence was one of the leading factors in the rise - of the modern movement in France.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_193">193</span> - <h2 id="THE_DUTCH_SCHOOL">THE DUTCH SCHOOL</h2> - </div> - - <p class="drop-cap">WE have already followed the development of the early Flemish or - Netherlandish art during the fifteenth century, and observed how - it eventually passed under the Italianising influences which are - unmistakable in the pictures of Barend van Orley (1495?–1542) and - his contemporaries. The early painters of Holland as distinct from - Flanders cannot be traced with any certainty much farther back than - Albert von Ouwater (fl. 1420–1460), who worked at Haarlem from 1430 to - 1460. As we have already seen, the early Flemish painter, Gerard David - (1460?–1523), was born at Ouwater, which may well have had its school - of painters. Neither Albert von Ouwater, who is represented to-day by - a single work, the <cite>Raising of Lazarus</cite> in the Berlin Gallery, nor his - unidentifiable contemporary who painted the <cite>Exhumation of St. Hubert</cite>, - in the National Gallery (No. 783), are included in the collection of - pictures at the Louvre.</p> - - <h3 id="GERARD_OF_HAARLEM">GERARD OF HAARLEM</h3> - - <p>The influence of these painters and Dierick Bouts is seen in the rare - works of Geertgen tot S. Jans, or Gerard of Haarlem (1465–1493) whose - <cite>Raising of Lazarus</cite> (No. 2563<span class="smcap">a</span>) in this collection is an - achievement of the highest order, and was purchased as recently as - 1902 for £4000 from Baron d’Albenas, after having been for many years - in Spain. This pupil or follower of the Ouwater master was a native of - Leyden, and worked at Haarlem. He took his name from the commandery of - the Knights of St.<span class="pagenum" id="Page_194">194</span> John at Haarlem for whom he worked, as we see from - the careful inscription, “<i>Gerardus Leydanus pictor ad S. Io. Baptist. - Harlem pinxt</i>,” on his triptych at Vienna.</p> - - <p>Among his contemporaries were Cornelis Engelbrechtsen, who was born - in 1468 at Leyden, where he died in 1533, and Lucas van Leyden - (1494–1533). The latter played an important part as an engraver quite - as much as a painter in the university town of Leyden, which now - possesses his large <cite>Last Judgment</cite> and became famous as the birthplace - of Rembrandt in 1606. The Louvre possesses no picture by either - Engelbrechtsen or Lucas van Leyden.</p> - - <p>Jacob Cornelisz van Oostsanen (fl. 1470–1533) is also unrepresented - here. Portraits by painters in this group are often confused, as in the - case of the <cite>Portrait of the Duke of East Friesland</cite>, in the Oldenburg - Gallery, which has been attributed to both Lucas van Leyden and Jacob - Cornelisz. A pupil of the latter may have painted the <cite>Cana of Galilee</cite> - (No. 2640<span class="smcap">c</span>). It is safe to assign to “the Master of the - Female Half Figures,” the <cite>Young Lady Reading</cite> (No. 2641<span class="smcap">c</span>), - which has a close analogy with the well-known picture in the Harrach - collection at Vienna, representing half-length figures of three young - ladies in crimson velvet dresses cut square at the neck, and singing - to the accompaniment of a flute and a lute. The name of this painter - is not known, but his pictures, which are neither numerous nor of any - conspicuous merit, are easily recognisable.</p> - - <p>To this period of transition and mediocre painting belongs Jan - Scorel (1495–1562), whose <cite>Portrait of Paracelsus the Doctor</cite> (No. - 2567<span class="smcap">a</span>) is inscribed:</p> - - <div class="center small">“FORMOSO DOCTOR PARASELSUS,”</div> - - <p class="noindent">and is in every way superior to the <cite>Portrait of a Man</cite> (No. - 2641<span class="smcap">b</span>), which is labelled with the name of Scorel, but - catalogued as being<span class="pagenum" id="Page_195">195</span> by an unknown artist. From Scorel, a much - travelled Dutch artist, who at one time worked at Nuremburg with - Albrecht Dürer and visited Venice and the East, we naturally pass - to Jan Mostaert of Haarlem. Mostaert of Haarlem is unrepresented at - the Louvre, a remark which equally well applies to the anonymous - “Pseudo-Mostaert,” who painted so much in his style that a large - number of inferior productions have been credited to him from time - to time. Pictures of this type vary so considerably that the name - “Pseudo-Mostaert” is little more than a generic designation for - unassignable Flemish and Dutch pictures of the middle of the sixteenth - century; such pictures bear some relationship to the <cite>Christ bearing - His Cross</cite> (No. 2299), and the <cite>Abraham’s Sacrifice</cite> (No. 2300), - officially attributed to the little-known and quite negligible painter - Alart Claeszoon (1498–1564) of Leyden.</p> - - <h3 id="SIR_ANTONIS_MOR">SIR ANTONIS MOR</h3> - - <p>From Leyden we may pass to Utrecht, which was the birthplace of the - much-travelled, distinguished, and cosmopolitan painter, Antonis Mor - (1512–1578?). He was a pupil of Jan Scorel, but soon freed himself - from the hard manner he acquired under that master by his study in - Italy of the best works of the Venetians. Indeed, some of his pictures - have passed as the work of Calcar, the pupil of Titian. Mor, or Moro, - excelled as a painter of vigorous and truthful portraits, and the - portraits and replicas he painted of Queen Mary are well known. The - Prado Gallery at Madrid and the Vienna Gallery contain good examples - of his art, and he is fairly well represented in the Louvre. While he - was in the service of Philip II. of Spain he lived in much splendour, - and was amply paid for his work. His close intimacy with the monarch - induced him on one occasion to take the liberty of touching with a - brush dipped in red paint the hand of the king. This serious<span class="pagenum" id="Page_196">196</span> breach - of Court etiquette created a profound impression on the courtiers - present; and, although the painter sued for pardon and obtained it from - the king, he soon recognised that he had made himself obnoxious to the - Inquisition, who asserted that Moro had got from the heretic English, - while painting the portrait of Queen Mary, a charm that enabled him to - bewitch the Spanish monarch. Being thus compelled to leave Spain, he - settled in Antwerp, where he died between 1576 and 1578.</p> - - <p>The pictures of Mor, who was the contemporary of Titian, at different - periods of his art bear traces of the Dutch, Spanish, and Flemish - schools. He in turn also had an influence on the portrait painters of - Spain half a century before the birth of Velazquez. The <cite>Portrait of a - Man</cite> (No. 2478), which is signed and dated:</p> - - <div class="center small">“<i>ANT MORO pingebat, 1565</i>,”</div> - - <p class="noindent">was in the past held by some writers to bear the features of Sir - Francis Drake, who was, however, at the date here given only twenty-one - years of age. The two large paintings in the Duchâtel Bequest which - pass as the <cite>Portrait of Louis de Rio</cite> and <cite>His Wife</cite> (No. 2480 and No. - 2481) are, judging by the attitudes of the figures and the shape of the - panels, the wings of a large altarpiece. <cite>The Dwarf of Charles V.</cite> (No. - 2479) reminds us that the painter, while still young, was taken into - the service of that emperor. <cite>The Portrait of Edward VI. of England</cite> - (No. 2481<span class="smcap">a</span>) bears a very suspicious-looking inscription.</p> - - <h3 id="SPANISH_OPPRESSION">SPANISH OPPRESSION</h3> - - <p>The political events of the reign of Philip II. of Spain, the mistaken, - mischievous, and oppressive policy he adopted with regard to his - territory in the Netherlands, and the contempt with which he treated - his Dutch subjects, soon alienated their sympathies;<span class="pagenum" id="Page_197">197</span> but the Duke of - Alva by his harshness and bigotry incited them to frenzy. When he set - forth in 1567, all hope of peace and mercy fled before him, and within - a short period his tyranny and ferocity fanned the flame of rebellion, - which after a struggle of eighty years was to end in the Peace of - Münster of 1648. In that year Spain ignominiously surrendered, and - the independence of the northern Netherlands was recognised. During - the long period which elapsed between the Union of Utrecht in 1579 - and the negotiations at Osnabrück and Münster in 1648 must have been - destroyed innumerable religious pictures, the loss of which renders it - almost impossible for us to estimate the full significance of artistic - endeavour in Holland in the closing years of the sixteenth century.</p> - - <p>A new era in Dutch history, social life and art was beginning to - open out by the year 1612, when Abraham Blomaert (1564–1651) painted - and signed his very large <cite>Nativity</cite> (No. 2327), which was formerly - attributed to Bernardino Fassolo. Blomaert’s <cite>Portrait of a Man</cite> (No. - 2327<span class="smcap">a</span>) is also a signed work.</p> - - <h3 id="HISTORY_AND_PORTRAIT_PAINTERS">HISTORY AND PORTRAIT PAINTERS</h3> - - <p>Blomaert’s contemporary, Michiel Jansz Mierevelt (1567–1641), who - was at one time Court painter to the Princes of Orange at The Hague, - and was with undue flattery hailed as the “New Xeuxis of Delft,” is - represented by the <cite>Portrait of Olden Barnevelt</cite> (No. 2465) and three - other portraits, one of which (No. 2466) is in a very bad state. Stiff - but characteristic is the <cite>Portrait of a Woman</cite> (No. 2534), which was - painted by Jan van Ravesteyn (1572–1657) in 1633, while his initials - are also found on a panel (No. 2535) which was commissioned of him in - the following year. Although Gerard Verspronck (1600–1651) was many - years his junior, and in 1641, in the period of his maturity, achieved - the <cite>Portrait of a Lady</cite><span class="pagenum" id="Page_198">198</span> (No. 2576<span class="smcap">a</span>), the top corners of - which have been added, he painted on the lines of tradition, and showed - little originality. He came under the influence of Frans Hals, under - whose name his pictures often pass.</p> - - <h3 id="CORNELIS_JANSSEN">CORNELIS JANSSEN</h3> - - <p>Nor can it be said that the numerous portraits which Cornelis Janssen - van Ceulen (1593–1664?) undertook in England, give signs of the new - artistic impulse which was daily manifesting itself in Holland in the - early works of Frans Hals. Janssen, who was baptized at the Dutch - Reformed Church, Austin Friars, London, throve until the establishment - in England of Van Dyck, before whom he quickly had to give way; - although he withdrew to Kent and lived in retirement, he did not - receive the Speaker’s warrant to pass beyond seas until 1643. That - “Cornelius Johnson Picture Drawer” made use of pallid flesh tones and - lifeless grey tones, is obvious from the two portraits (No. 2338 and - No. 2339) exhibited in the Louvre.</p> - - <p>The very modern looking <cite>Portrait of a Young Man</cite> (No. 2303<span class="smcap">a</span>), - signed “<span class="smcap">d. bailly</span>,” is officially held to be the work - of a Leyden painter of that name who would appear to have been a - contemporary of Cornelis Janssen.</p> - - <h3 id="FRANS_HALS">FRANS HALS</h3> - - <p>Although the great Dutch painter, Frans Hals (1580?–1666) was born - at Antwerp, his parents were natives of Haarlem, whither he removed - about 1600, and where he settled for the remainder of his eventful, - irregular, and improvident career. This lusty and unromantic master by - his forceful characterisation, his rapid wielding of his brush, and his - frank realism, in a few years transformed the earlier portrait-making - of Holland, and the rendering <span class="pagenum" id="Page_199">199</span>of the commonplace and obvious - likeness of an individual, as seen in the works of Moreelse and - others, into the region of great art. He was by about a quarter of - a century the senior of Rembrandt, who is the greatest genius among - Dutch painters, and developed his art on logical lines. It is, however, - necessary to know the outstanding facts of his personal history, the - fluctuating circumstances under which he worked, and the grinding - poverty of his latest period. Perhaps no other painter in the whole - range of art was so affected by his environment as Hals.</p> - - <div class="figcenter" id="i_plate27"> - <img class="illow83" src="images/i_plate27.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXVII.—FRANS HALS</span><br /> - <span class="small">(1580?–1666)</span><br /> - DUTCH SCHOOL<br /> - No. 2384.—THE GIPSY GIRL<br /> - <span class="small">(La Bohémienne)</span></div> - </div> - <div class="description"> - <p>She wears a red dress, which is open at the neck; she smiles as she - turns her eyes to the right; half-length figure.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">2 ft. 6 in. × 2 ft. 3 in. (0·76 × 0·68.)</p> - </div> - - <p>Whether he was a pupil of Cornelis Cornelissen, Hendrick Goltzius, and - Karel van Mander (the Dutch Vasari), is not known with any certainty, - and no picture painted by him earlier than 1613, when he may have been - thirty-three years of age, is known to-day. Early in the year 1616, - when he painted his famous <cite>Banquet of the Officers of the St. Joris - Shooting Guild</cite>, one of his early masterpieces still preserved in the - small gallery at Haarlem, he was summoned before the Burgomaster of - the “town of the tulip,” and reprimanded for his cruelty to his first - wife. Exactly a year later he married a second time, and as the years - went on he became the father of at least six sons who adopted the - profession of the painter but earned no permanent success. The Louvre - possesses no example of his Doelen-pieces of archer-groups which won - him his earliest fame in his own country, but is fortunate enough to - contain the famous <cite>Gipsy Girl</cite> (No. 2384, <a href="#i_plate27">Plate XXVII.</a>), which alone - would have earned for him the title of “the master of the laugh.” - It passed through the Ménars sale in 1792 for 301 livres. The three - pictures of the Beresteyn family were bought for £4000 in 1884, when - his paintings were not as highly prized as they are to-day. They give - an excellent idea of the virility his art had attained by about 1629. - The best of these is the <cite>Portrait of Nicolaes van Beresteyn</cite> (No. - 2386), which is inscribed, “<span class="smcap">Aetat suae 40. 1629</span>.” His hands - are superbly painted; while the companion <cite>Portrait</cite> (No. 2387) of - his<span class="pagenum" id="Page_200">200</span> wife is equally striking. The large and imposing <cite>Portrait-Group - of the Beresteyn Family</cite> (No. 2388) is marred by the excessive use in - places of a strong red, and has been enlarged by the addition down the - right side of the canvas of a strip about fourteen inches broad, but - yet shows a certain felicity of grouping, and a joyous and exuberant - outlook. <cite>The Portrait, of René Descartes, the French Philosopher</cite> (No. - 2383) is so simple in treatment and so easy in pose, that it makes an - instant appeal to the student. Another <cite>Portrait of Descartes</cite> (No. - 78), by Sébastien Bourdon, is in this gallery, and a third was in the - Arsène Houssaye collection. The <cite>Portrait of a Lady in a Black Dress</cite> - (No. 2385, <a href="#i_plate28">Plate XXVIII.</a>) is unaffected and lifelike, while the subtle - and hasty brushing in of the gloves could only have been done by a - great painter. It seems to have been generally overlooked that a study - for this picture is in the collection of Lord Ronald Gower, and has for - some time past been on loan to the FitzWilliam Museum, Cambridge. In - the study, however, the artist had not yet thought of the gloves.</p> - - <p>In 1654, Hals had to appear before a public notary of Haarlem at the - instance of his landlord, who sued him for debt. The great Dutch - painter in his testimony affirmed that his only possessions were two - pictures by Vermander and Van Heemskerck, and three by himself and one - of his sons, as well as three mattresses and bolsters, a cupboard and a - table! The Louvre exhibits no pictorial record of Hals’s latest phase, - when he was deserted by his friends, neglected by art patrons, and no - longer possessed any inner moral support.</p> - - <p>The colouring of his early portraits is vigorous, the tone deep, - and the execution careful; gradually he employs richer colouring, - subordinates the local colours, and becomes broader in treatment. From - about 1650 his olive-greens gradually take on a more ash-grey hue, - until we are inclined to the belief that if the master <span class="pagenum" id="Page_201">201</span>had been - able to dispense with colour altogether, he would have willingly done - so. It is then that the colours on his palette, like the outer world, - became grey and black for him.</p> - - <div class="figcenter" id="i_plate28"> - <img class="illow72" src="images/i_plate28.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXVIII.—FRANS HALS</span><br /> - <span class="small">(1580?–1666)</span><br /> - DUTCH SCHOOL<br /> - No. 2385.—PORTRAIT OF A LADY IN A BLACK DRESS<br /> - <span class="small">(Portrait de Femme)</span></div> - </div> - <div class="description"> - <p>A middle-aged woman wearing a black dress, with white collar, cuffs - and cap, is seen at three-quarter length, standing and turned - three-quarters to the left; in her hands, which are superposed, she - holds her gloves.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">3 ft. 3½ in. × 2 ft. 7½ in. (1·00 × 0·80.)</p> - </div> - - <p>This great master of the brush some time before his death had to avail - himself of poor relief granted by the municipality of Haarlem, and - after his death, in 1666, his widow received an allowance of fourteen - sous a week! Such was the tragic end of one of the most accomplished of - portrait painters in the whole range of art.</p> - - <h3 id="DUTCH_INDEPENDENCE">DUTCH INDEPENDENCE</h3> - - <p>Holland after a terrible struggle had ultimately succeeded in throwing - off the Spanish yoke before the art of Hals was on the wane. Dutch - art then became gradually more independent, self-centred, democratic - in outlook, and Protestant in tendency. Religious subjects became - less frequent, and domestic scenes dealing with indoor and outdoor - life were before long largely on the increase. Before we pass to the - detailed study of the most striking characteristics of art in Holland - in the last half of the seventeenth century, we must examine at some - length the far-reaching influence and the world-famous achievements of - Rembrandt, for whom Hals may be said to have prepared the way.</p> - - <h3 id="REMBRANDT">REMBRANDT</h3> - - <p>As his name denotes, Rembrandt Harmensz van Rijn (1606–1669) was - born on the banks of the Rhine, his father being a miller at Leyden. - When fourteen years of age he entered the university of his native - town and had a classical education, which stood him in good stead - through his long and troubled career. Although he was at first placed - as a pupil of Jacob van Swanenburgh, he at an early age removed to - Amsterdam. There he worked under Pieter<span class="pagenum" id="Page_202">202</span> Lastman (1583–1633), whose - <cite>Abraham’s Sacrificing Jacob</cite> (No. 2443<span class="smcap">a</span>) of 1616 is hung - opposite the works of his illustrious pupil. The independent spirit - of Rembrandt soon asserted itself, and as early as 1627 he placed his - name on pictures which still exist, notably in the Berlin and Stuttgart - museums. His earliest picture in the Louvre is the <cite>Old Man Reading</cite> - (No. 2541<span class="smcap">a</span>), which is signed and dated 1630, and was presented - by M. Kaempfen, a former Director of this gallery, on his retirement. - Three years later came the two small and very similar versions (No. - 2540 and No. 2541) of the <cite>Philosopher in Meditation</cite>, the former of - which is signed and dated; in 1633 was painted the <cite>Portrait of the - Artist</cite> (No. 2552), while another oval picture of the same subject (No. - 2553) is inscribed 1634. In this early period the artist was in the - habit of portraying members of his own family, who were naturally his - most accessible models.</p> - - <p>At this moment of his career Rembrandt had to measure himself with - many rivals in Amsterdam, notably with Thomas de Keyser (1596?–1667), - whose <cite>Portrait of a Man</cite> (No. 2438<span class="smcap">a</span>) was formerly in the - Rodolphe Kann collection, while a half-length <cite>Portrait of a Man</cite> - (No. 2438<span class="smcap">b</span>), also by de Keyser, was formerly at Versailles. - From the trammels and restrictions which the art of de Keyser would - have been likely to impose on a less gifted and original mind, - Rembrandt readily set himself free; and he must have had great hopes - for the future when, in 1634, he took to wife the wealthy Saskia van - Uylenborch. However, the oval <cite>Portrait of Himself wearing a black cap</cite> - (No. 2554), dated 1637, is of marked inferiority to the dignified and - deeply religious panel, <cite>The Archangel Raphael leaving Tobias and his - Father Tobit</cite> (No. 2536), of the same year. A year later he must have - painted the <cite>Portrait of an Old Man</cite> (No. 2544), and his first pure - landscape.</p> - - <p>The influence of domestic bereavements on Rembrandt’s art is - <span class="pagenum" id="Page_203">203</span>clearly reflected in the choice of his subjects, in their more - intimate setting, and in the deep feeling which evidently inspired - them. No better example of this side of his character and his art could - be found than the <cite>Holy Family in the Carpenter’s Shop</cite> (No. 2542), - which he painted in 1640. In that year his mother died, an event which - followed rapidly on the death of his two infant daughters and his son, - and his wife’s frequent illness. He, however, still went on painting - such varied compositions as the <cite>Portrait of a Man</cite> (No. 2546), of - 1645, and the <cite>Woman Bathing</cite> (No. 2550), which he achieved two years - later.</p> - - <div class="figcenter" id="i_plate29"> - <img class="illow80" src="images/i_plate29.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXIX.—REMBRANDT</span><br /> - <span class="small">(1606–1669)</span><br /> - DUTCH SCHOOL<br /> - No. 2539.—THE PILGRIMS AT EMMAUS<br /> - <span class="small">(Les Pèlerins d’Emmaüs)</span></div> - </div> - <div class="description"> - <p>In a lofty room in front of a shallow niche in a wall, Christ and - the two disciples sit at table; a young serving-man enters from the - right, carrying a dish. Christ, whose bare feet are seen underneath the - table, gazes heavenward as He breaks bread, by which act the disciples - recognise Him as their Lord. The room is lit from the left.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">Signed below on the left:—“<i>Rembrandt f. 1648.</i>”</p> - <p class="noindent">2 ft. 2¾ in. × 2 ft. 1¾ in. (0·68 × 0·65.)</p> - </div> - - <p>The famous <cite>Night-Watch</cite>, in the Amsterdam Gallery, testifies to his - inventive faculty in 1642, the year in which the death of his beloved - Saskia caused him intense grief. From this he never really recovered, - as we see from the frequency with which during the remainder of his - life he painted pathetic subjects. What artist in the whole history - of painting has been able to impart to his rendering of the <cite>Good - Samaritan</cite> the kindly solicitude of the principal character in this - parable, and the feeling of complete collapse seen in the body of the - wounded man, as Rembrandt has done in his superb canvas (No. 2537) of - 1648 in this gallery? No less poignant is the grief depicted on the - face of the barefooted Man of Sorrows in the <cite>Christ and the Pilgrims - at Emmaus</cite> (No. 2539, <a href="#i_plate29">Plate XXIX.</a>) of the same year. Here we see - convincing proof of the dexterous use that the Dutch “magician-painter” - could make of chiaroscuro, which he has handled with such masterly - effect in the <cite>Portrait of Hendrickje Stoffels</cite> (No. 2547, <a href="#i_plate30">Plate XXX.</a>). - All these paintings belong to the same period as the soul-moving - <cite>Polish Rider</cite>, which in 1910 passed from the collection of Count - Tarnowski at Dzikow in Galicia into that of Mr. H. C. Frick in New - York for £60,000. The <cite>Portrait of a Man holding a Bâton</cite> (No. 2551), - in the La Caze collection in this gallery, was painted three years - later than the <cite>Bathsheba</cite>, or <cite>Woman Bathing</cite> (No. 2549),<span class="pagenum" id="Page_204">204</span> of 1654. - The wonderfully realistic and in no way repellent <cite>Carcase of an Ox</cite> - in this gallery (No. 2548), like the picture of the same subject at - Glasgow, is an achievement of a very different kind, and belongs to the - year 1655.</p> - - <p>The Louvre authorities have been well advised in recent years in - hanging all the pictures by Rembrandt in this collection in one Bay of - the Long Gallery. Here now we may study the <cite>Portrait of a Young Man</cite> - (No. 2545), the wonderful and rather later <cite>Portrait of the Artist at - his Easel at the age of Fifty-four</cite> (No. 2555), and the striking <cite>St. - Matthew</cite> (No. 2538) of 1661. Before these three works were painted, the - great Dutch master had been declared bankrupt, the sale of his most - treasured possessions realising a ridiculously small sum in the winter - of 1657.</p> - - <p>Although Rembrandt’s own standard of morality offended his neighbours, - and his relations with Hendrickje Stoffels seem to have caused much - scandal in Amsterdam, we are not concerned with the morals of one of - the greatest and most esteemed of the world’s painters, but only with - his <i lang="fr">œuvre</i>, a high place in which must be accorded to the <cite>Portrait of - Hendrickje Stoffels and her Child as Venus and Cupid</cite> (No. 2543), which - was painted in 1662, the year that the large <cite>Syndics</cite>, now in the - Amsterdam Gallery, was completed.</p> - - <p>He is also to be credited with the alternative version of the <cite>Pilgrims - at Emmaus</cite> (No. 2555<span class="smcap">a</span>), a painting of the same date, which for - many years was at Compiègne, where, however, it passed only as a school - picture. This profoundly creative painter, who learnt as time went on - to handle his chiaroscuro with increased effect, was also an etcher of - the highest order.</p> - - <p>We may here note that the art of Jan Lievens (1607–1674), a - fellow-pupil with Rembrandt under Pieter Lastman, is seen in the large - but far from imposing <cite>Visitation</cite> (No. 2444).</p> - - <div class="figcenter" id="i_plate30"> - <img class="illow83" src="images/i_plate30.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXX.—REMBRANDT</span><br /> - <span class="small">(1606–1669)</span><br /> - DUTCH SCHOOL<br /> - No. 2547.—PORTRAIT OF HENDRICKJE STOFFELS<br /> - <span class="small">(Portrait de Hendrickje Stoffels)</span></div> - </div> - <div class="description"> - <p>She is seated, and looks at the spectator. Over her rich brown hair - she wears a grey cap with narrow red ribbons; pearl pendants are in - her ears, and she wears a brooch on her breast. Life-size half-length - figure.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">2 ft. 4½ in. × 1 ft. 11¾ in. (0·72 × 0·60.)</p> - </div> - - <div> - <span class="pagenum" id="Page_205">205</span> - <h3 id="THE_PUPILS_OF_REMBRANDT">THE PUPILS OF REMBRANDT</h3> - </div> - - <p>That Govaert Flinck (1615–1660) was a pupil of Rembrandt, is evident - from his <cite>Announcement to the Shepherds</cite> (No. 2372) rather than from - his <cite>Portrait of a Young Lady</cite> (No. 2373), a signed work of 1641. - Ferdinand Bol (1617–1680) was a pupil and imitator of the great Dutch - master, and his <cite>Portrait of a Mathematician</cite> (No. 2330) is one of his - best paintings; but his <cite>Philosopher in Meditation</cite> (No. 2328) compares - most unfavourably with Rembrandt’s two early pictures of the same - subject which hang opposite it.</p> - - <p>The ineffectual productions of Jan Victoors (1620–1670) include the - <cite>Portrait of a Young Lady</cite> (No. 2371), a typical example of the “niche” - portrait which became so popular, and a large <cite>Isaac blessing Jacob</cite> - (No. 2370), which vividly recalls his small canvas in the Dulwich - College Gallery that in less critical days passed as a Rembrandt.</p> - - <p>G. van den Eeckhout (1621–1674) in his picture (No. 2364) shows his - dependence on Rembrandt; and Cornells Drost’s repulsive <cite>Bathsheba</cite> - (No. 2359<span class="smcap">a</span>) has no claim to be regarded as a “<i lang="fr">fort bonne - peinture</i>,” as a French critic has thought fit to term it.</p> - - <h3 id="VAN_DER_HELST">VAN DER HELST</h3> - - <p>Bartholomeus van der Heist (1612–1670), a native of Haarlem, who - painted under the early Dutch master, Nicholas Elias, surnamed - Pickenoy, and subsequently worked at Amsterdam, has fully signed his - <cite>Shooting Prize</cite> (No. 2394, <a href="#i_plate31">Plate XXXI.</a>), which is dated 1653. It has - been regarded as a replica on a very reduced scale of <cite>The Officers - of the Brotherhood of St. Sebastian at Amsterdam</cite>, in the Amsterdam - Gallery, which, curiously enough, bears the date 1657, and is also - signed on a slate.</p> - - <p>Pieter van der Faes, who is better known as Sir Peter Lely<span class="pagenum" id="Page_206">206</span> - (1618–1680), after painting at Haarlem in the school of Pieter de - Grebber, went to England in 1641. He there succeeded Van Dyck as Court - painter, and at the Restoration became the favourite Royal painter. The - affectation and mannerism of his <cite>Windsor Beauties</cite>, now at Hampton - Court, is well known. He had a certain facility in painting</p> - - <div class="center small">“The sleepy eye that spoke the melting soul.”</div> - - <p>Three pictures (Nos. 2367–2369) are placed to his credit here, but</p> - - <div class="center small">“The bugle eyeball and the cheek of cream”</div> - - <p class="noindent">have done their magic now.</p> - - <p>The name of H. van Vliet (1611?–1675) is, doubtless, correctly - connected with two portraits on canvas (Nos. 2605 and 2605<span class="smcap">a</span>), - while his contemporaries, Cornelis Saftleven (1606–1681) and D. van - Santvoort (1610–1680), are represented by <cite>The Artist’s Portrait</cite> (No. - 2562) and the <cite>Pilgrims at Emmaus</cite> (No. 2564) respectively. Jakob van - Loo (1614–1670), who became a naturalised Frenchman, may be judged by - his diploma picture (No. 2451) and a very poor <cite>Nude Female</cite> (No. 2452).</p> - - <p>Such mediocre producers of uninspired and unconvincing panels as Dirk - Hals (1591–1656), the brother and pupil of Frans Hals, whose <cite>Festive - Repast</cite> (No. 2389) hangs in Room XXIII.; Cornelis van Poelenburg - (1586–1667), whose art is here admirably illustrated (Nos. 2518–2523); - Hendrick Pot (1585–1657), who evidently derived some satisfaction from - the elaborate inscription he has placed on his quite ineffectual, - but fortunately diminutive, <cite>Portrait of Charles I.</cite> (No. 2525); and - the little-known and less-esteemed L. F. Zustris (1526–1600), whose - absurd <cite>Venus and Love</cite> (No. 2640) shows what a waste of time it was - for him to study under Titian in Italy—these and many more worked - as “business artists” for undiscriminating patrons. In the same - category come Adriaen <span class="pagenum" id="Page_207">207</span>van de Venne (No. 2601), Pieter Codde (No. - 2339<span class="smcap">a</span>), Jacob Duck (No. 2360–2361), and A. Palamedesz (No. - 2515<span class="smcap">a</span>).</p> - - <div class="figcenter" id="i_plate31"> - <img class="illow100" src="images/i_plate31.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXI.—VAN DER HELST</span><br /> - <span class="small">(1613–1670)</span><br /> - DUTCH SCHOOL<br /> - No. 2394.—THE SHOOTING PRIZE<br /> - <span class="small">(Les Chefs de la Gilde des arbalétriers)</span></div> - </div> - <div class="description"> - <p>The four officers of the Brotherhood of St. Sebastian at Amsterdam - are seated at a table in the foreground, with the insignia of the - Brotherhood displayed before them. By the side of the officer who, - seated to the right, is addressing his companions, is a slate on which - are inscribed their names. In the background to the right are three - young men with bows and arrows. From the left enters a maid-servant - with a drinking-horn.</p> - <p class="noindent">Signed on the slate:—“<span class="smcap">bartholomeus van der helst fecit, 1653.</span>”</p> - <p class="noindent">Painted in oil on canvas affixed to panel.</p> - <p class="noindent">1 ft. 7¾ in. × 2 ft. 2½ in. (0·50 × 0·67.)</p> - </div> - - <h3 id="GENRE_PAINTERS">GENRE PAINTERS</h3> - - <p>This rough sketch must suffice for our study of the History and - Portrait Painters of Holland. Although, of course, portraiture played - a most important part throughout the whole range of Dutch art, we must - now deal with those of their contemporaries and successors who are - classed as painters of genre subjects, Interiors, Conversation-pieces, - and Rustic Scenes. The compositions of these men at first show high - technical excellence, and a refined feeling for light and shade; - they depict simple scenes and homely incidents which make a wide - appeal in any age. By the end of the seventeenth century their scenes - become festive, and eventually boisterous, and so degenerate into - unimaginative renderings of far-fetched incidents which are treated - with a parade of mere imitative skill. In the last phase of their art - the subjects become even more uninviting, the panels are smoothly - painted, and all originality disappears.</p> - - <h3 id="ADRIAEN_VAN_OSTADE">ADRIAEN VAN OSTADE</h3> - - <p>Adriaen van Ostade (1610–1685), as a pupil of Frans Hals at Haarlem, - occupies an important position in his school. He is seen to very great - advantage at the Louvre. From his early <cite>Interior of a Cabaret</cite> (No. - 2506), which is signed on a form</p> - - <div class="center small">“A. V. OSTADE 1641,”</div> - - <p class="noindent">we see the direction his life’s work was to take; and his <cite>Interior of - a Cottage</cite> (No. 2498) of the following year, strengthens that view. - although <cite>Reading the Gazette</cite> (No. 2505), of 1653, is painted<span class="pagenum" id="Page_208">208</span> on - a very small panel, it heightens our appreciation of this able and - careful painter, who, a year later, must have spent a long time in - the completion of a <cite>Family Group</cite>, which traditionally passes as the - <cite>Family of the Artist</cite> (No. 2495). The <cite>Toper</cite> (No. 2401), of 1668, and - the intensely realistic <cite>Smoker</cite> (No. 2500), are highly characteristic, - while the <cite>Schoolmaster</cite> (No. 2496) shows great observation. The <cite>Fish - Market</cite> (No. 2497), the <cite>Business Man in his Study</cite> (No. 2499), the - <cite>Man Drinking</cite> (No. 2502), the <cite>Man Reading</cite> (No. 2503), the <cite>Reading</cite> - (No. 2504), and the <cite>Interior of a School</cite> (No. 2507), are both in - subject and handling good examples of his methods, which were affected - by a study of Adriaen Brouwer and Rembrandt.</p> - - <p>Adriaen van Ostade was the elder brother and the master of Isack van - Ostade (1621–1649), who is equally well represented at the Louvre. - although he painted two <cite>Interiors</cite> (Nos. 2512 and 2514), a <cite>Toit à - porcs</cite> (No. 2513), a <cite>Halt</cite> (No. 2509), and an overcrowded <cite>Travellers - Halting</cite> (No. 2508), his best works, here as elsewhere, represent - landscapes and frozen river scenes.</p> - - <p>Adriaen van Ostade had also as pupils Cornelis Bega (1620–1664), by - whom the Louvre possesses a very late <cite>Rustic Interior</cite> (No. 2312), of - 1662; and H. M. Sorgh, called Rokes (1611?–1670), three of whose panels - (Nos. 2571–2573) are exhibited.</p> - - <h3 id="GERARD_DOU">GERARD DOU</h3> - - <p>Gerard Dou (1613–1675) was in his day a highly popular and prosperous - painter of petty tragedies. As a boy of fifteen he entered the studio - of “the skilled and far-famed Mr. Rembrandt,” who was, however, his - senior by only seven years. One is apt to tire of his irritating - parade of cleverness in the manipulation of light and shade effects, - and over-scrupulous and niggling treatment of detail. Yet it is these - very qualities that brought him financial success when in later life - Rembrandt was receiving scanty treat<span class="pagenum" id="Page_209">209</span>ment at the hands of the art - patrons of Holland. The <cite>Dentist</cite> (No. 2355) is an early work. Dou’s - <cite>Portrait of an Old Lady</cite> (No. 2358) is now held to be a <cite>Portrait of - Rembrandt’s Mother</cite>, and is regarded as the companion picture to the - <cite>Old Man Reading</cite> (No. 2567), by Dou’s pupil, Godfried Schalcken. The - <cite>Grocer’s Shop</cite> (No. 2350), which has been, with needless precision, - “ranked about the seventh best of this master’s productions,” is signed - in full on the slate, and dated 1647 on the mortar, while the <cite>Cook - with a Dead Cock</cite> (No. 2353) is signed on the window-sill, and dated 1650.</p> - - <div class="figcenter" id="i_plate32"> - <img class="illow80" src="images/i_plate32.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXII.—GERARD DOU</span><br /> - <span class="small">(1613–1675)</span><br /> - DUTCH SCHOOL<br /> - No. 2348.—THE DROPSICAL WOMAN<br /> - <span class="small">(La Femme Hydropique)</span></div> - </div> - <div class="description"> - <p>In a well-appointed room, lighted by an arched window on the left, an - old woman is seated in an arm-chair. The sick woman, who raises her - eyes to heaven and is taking a spoonful of medicine from a young woman, - gives her right hand to a girl who kneels on the left by her side. - Towards the right stands the doctor, who holds up to the light a glass - full of liquid. A chandelier hangs in the centre, and on the right are - a large tapestry curtain and a wine-cooler.</p> - <p class="noindent">Signed on the edge of the book placed on the reading-desk in the left - foreground:—</p> - <div class="center">“1663. <span class="smcap">g. dov. ovt. 65 jaer</span>.”</div> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">2 ft. 8¾ in. × 2 ft. 2½ in. (0·83 × 0·67.)</p> - </div> - - <p>The <cite>Trumpeter</cite> (No. 2351) is perhaps the pendant to the <cite>Girl at a - Window</cite>, of 1657, now in the Rothschild collection at Waddesdon Manor. - On the window-ledge in the <cite>Trumpeter</cite> we see the same silver flagon - and a dish that also appear in the <cite>Dropsical Woman</cite> (No. 2348, <a href="#i_plate32">Plate - XXXII.</a>), a world-famous, but not on that account a great, picture. It - bears a somewhat enigmatical inscription:</p> - - <div class="center small">“1663. G. DOV. OVT. 65 JAER”</div> - - <p class="noindent">on the edge of the book placed on the reading-desk. Dou - in 1663, the year here given, was only fifty years of age, and the - statement of age in the second half of the inscription may be a later - addition, or capable of another interpretation. The light comes in from - the window on the left. The woman who is dying of dropsy is receiving - a dose of medicine, while her daughter in grief kneels and kisses her - hand, and the doctor holds up to the light the vial, the contents - of which he is carefully examining. The artist in this his largest - picture is at much pains to show the dexterity with which he can paint - the fabric of the dresses, the large tapestry hanging in folds on the - right, and the reflection of light on the chandelier. This panel, which - is Dou’s masterpiece and is in an excellent state of preservation, was - originally contained in an ebony case, the outside of which (in two - pieces) was formerly the still-life painting of a <cite>Silver Ewer and - Dish</cite> (No. 2349).</p> - - <p><span class="pagenum" id="Page_210">210</span></p> - - <p>The <cite>Man weighing Gold</cite> (No. 2354) is signed in full, and dated 1664; - elaborate care and much time have been expended, if not wasted, on - every wrinkle in his face, and every hair in his white beard. It - has points of analogy with Quentin Matsys’s <cite>Banker and his Wife</cite> - (No. 2029), which was painted in Flanders nearly a century and a - half earlier. Dou’s meticulous art is also exemplified in the <cite>Old - Man Reading</cite> (No. 2357), <cite>Reading the Bible</cite> (No. 2356), the <cite>Dutch - Cook</cite> (No. 2352), and the highly characteristic but quite negligible - <cite>Portrait of the Painter</cite> (No. 2359). In many respects this type of - picture warns us that within a few years of Dou’s death, in 1675, the - art of Holland passed into decadence.</p> - - <h3 id="DOUS_PUPILS">DOU’S PUPILS</h3> - - <p>He had several pupils. Of these Quiryn van Brekelenkam (1620?–1668) - holds a respectable place among the Small Masters of Holland, as we - see from his <cite>Consultation</cite> (No. 2337) in this collection rather than - from his <cite>Monk Writing</cite> (No. 2338). Herman van Swanevelt (1620–1655), - who from his journeys south earned the name of Herman of Italy, gives - us three <cite>Landscapes</cite> (Nos. 2584–2586). Karel de Moor (1656–1738), - a native of Leyden, who has signed his <cite>Dutch Family</cite> (No. 2477), - worked under both Dou and Frans van Mieris the Elder (1635–1681). The - latter owes much of his technique and meticulous work to Dou, as is - revealed by a hasty inspection of his <cite>Tea Party</cite> (No. 2471), with - two over-dressed women taking tea, and three other panels (Nos. 2469, - 2470, and 2472). Ary de Vois (1632–1680) was a pupil of the German - painter N. Knupfer and of his own countryman Abraham van den Tempel - (1622–1672), who is here represented by a <cite>Portrait of a Lady with an - Apple</cite> (No. 2586<span class="smcap">a</span>); but he also came under the influence of - the painter of the <cite>Dropsical Woman</cite> (<a href="#i_plate32">Plate XXXII.</a>), as is testified - by his small interior <cite>Portrait of a Man</cite> (No. 2606), his <cite>Portrait - of a Painter at his <span class="pagenum" id="Page_211">211</span>Easel</cite> (No. 2607), and his feeble <cite>Woman - cutting a Lemon</cite> (No. 2608). Traces of Dou’s art are seen in J. A. van - Staveren’s (1624?–1668) <cite>Philosopher in his Study</cite> (No. 2577); but P. - C. van Slingelandt (1640–1691) was a direct pupil. His <cite>Dutch Family</cite> - (No. 2568) is said to have been bought by Louis <span class="smcap">xvi.</span> from an - English brewer, and the <cite>Portrait of a Man</cite> (No. 2569) and <cite>Kitchen - Utensils</cite> (No. 2570) have long been in the collection. The <cite>Magdalene</cite> - (No. 2570<span class="smcap">a</span>) and <cite>St. Jerome</cite> (No. 2570<span class="smcap">b</span>) were - bequeathed to the Louvre.</p> - - <div class="figcenter" id="i_plate33"> - <img class="illow90" src="images/i_plate33.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXIII.—TERBORCH</span><br /> - <span class="small">(1617–1681)</span><br /> - DUTCH SCHOOL<br /> - No. 2589.—THE CONCERT<br /> - <span class="small">(Le Concert)</span></div> - </div> - <div class="description"> - <p>A young lady in white satin dress and yellow bodice is seated in the - centre before a table covered with a richly coloured tablecloth. She - is singing to the accompaniment of a lady in the left background; a - page-boy enters from the right.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">1 ft. 6¾ in. × 1 ft. 5 in. (0·47 × 0·43.)</p> - </div> - - <h3 id="GERARD_TERBORCH">GERARD TERBORCH</h3> - - <p>Gerard Terborch (1617–1681) was the creator of the - “Conversation-piece,” and one of the earliest to portray the well born - engaged in music lessons and similar occupations; he was one of the - greatest of the Dutch “small-masters,” and in every way the superior - of the uninspired Dou. Terborch invites us to join him in the fine - decorum of a noble chamber where the appointments are carefully tended, - while its occupants give themselves up to cultured, if not perhaps - deeply intellectual, pursuits. We forget all about the carousing and - bestial profligates who people the taverns of Jan Steen and much - less accomplished painters, and watch the refined fingers stray over - the keyboard of the open spinet or sweep the strings of a well-made - mandoline, as in the <cite>Concert</cite> (No. 2589, <a href="#i_plate33">Plate XXXIII.</a>). Equally fine - are the two <cite>Music Lessons</cite> (No. 2588 and No. 2591), the former being - signed and dated 1660.</p> - - <p>The <cite>Military Galant</cite> (No. 2587) exhibits Terborch’s dexterity in the - rendering of reflected light on a red tablecloth, although the subject - has an innuendo which hardly adds to its charm. The <cite>Ecclesiastical - Assembly</cite> (No. 2590) is only a small sketch on panel, and affords but - a feeble echo of this painter’s masterpiece, the <cite>Ratification of the - Peace of Münster</cite>, in the National Gallery. Terborch was a pupil of - his father, who had visited Italy, and he studied also under Pieter<span class="pagenum" id="Page_212">212</span> - Molyn the Elder at Haarlem previous to visiting England in 1635. He - travelled much more extensively than most of his contemporaries, and - went to Spain during the best period of art in the Peninsula. He does - not seem to have been dependent on his professional success for his - living, which was passed in easy circumstances. Nor did he busy himself - as a teacher, his only direct pupil being Caspar Netscher (1639–1684), - who gives us a <cite>Music Lesson</cite> (No. 2486), of the approved stamp, and a - <cite>Violoncello Lesson</cite> (No. 2487).</p> - - <h3 id="JAN_STEEN">JAN STEEN</h3> - - <p>It is not known for certain whether Jan Steen (1626?–1679) was a pupil - of Nicholaes Knupfer, a native of Leipzig who resided for a time at - Leyden, but he certainly worked under Adriaen van Ostade at Haarlem, - and later became a pupil of Jan van Goyen, whose daughter Margaretha - he married as his first wife. Steen certainly leased a brewery in - Delft for six years, and he is frequently mentioned in the archives of - that town about 1656; he subsequently kept a tavern in the Langebrug - in Leyden in 1672. His art is vivacious if not boisterous, and the - strength and versatility he displayed in the nine hundred pictures with - which he is justly credited give him a high place among the artists of - Holland in the seventeenth century. The frequency with which he painted - the <cite>Interior of a Tavern</cite> (No. 2578) has suggested that he carried on - the tradition of the Flemish-Dutch roysterer Adriaen Brouwer; but such - scenes, magnificently as they are handled, are apt to become boring in - time. This large canvas is dated 1674, and the coat of arms of Charles - <span class="smcap">v.</span> is fastened on to the balcony in which are spectators. - The <cite>Merry Company at Table</cite> (No. 2579) is somewhat sketchy in parts, - but the lighting is well regulated, and the canvas is signed in full - on the back of a blue-covered <span class="pagenum" id="Page_213">213</span>chair to the right. That the <cite>Bad - Company</cite> (No. 2580, <a href="#i_plate34">Plate XXXIV.</a>) is admirably painted will be conceded - by all, but refinement is not its distinguishing feature. A young - man dressed in a red jacket is sleeping with his head on the lap of - a girl, while another girl is relieving him of his watch. The scene - is laid in a tavern, on the floor of which are painted with wonderful - precision a number of tiny objects. It was not Steen’s habit to paint - representations of cultured society such as Terborch delighted in.</p> - - <div class="figcenter" id="i_plate34"> - <img class="illow86" src="images/i_plate34.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXIV.—JAN STEEN</span><br /> - <span class="small">(1626?–1679)</span><br /> - DUTCH SCHOOL<br /> - No. 2580.—BAD COMPANY<br /> - <span class="small">(La Mauvaise compagnie)</span></div> - </div> - <div class="description"> - <p>The scene takes place in a tavern. A young man has fallen asleep with - his head in the lap of a girl, who is seated to the right of the - composition, and holds a glass of wine in her right hand. Another girl - has just taken the young man’s watch from his pocket and is giving it - to an old woman, who receives it with evident glee. On the left a man - sits at a table smoking his pipe, and another is playing the fiddle.</p> - <p class="noindent">Signed in full in the left bottom corner.</p> - <p class="noindent">Painted in oil on panel.</p> - <p class="noindent">1 ft. 6¾ in. × 1 ft. 2¼ in. (0·47 × 0·36.)</p> - </div> - - <h3 id="PIETER_DE_HOOCH">PIETER DE HOOCH</h3> - - <p>The Louvre contains only two paintings by Pieter de Hooch, who was born - in 1629 at Rotterdam, a town which played a relatively unimportant part - in Dutch painting. He also lived at Delft and Leyden. The <cite>Interior - of a Dutch House, with a Woman preparing Vegetables</cite> (No. 2414), is - a good example, and is fully signed in the bottom left-hand corner. - The <cite>Dutch Interior, with a Lady playing Cards</cite> (No. 2415, <a href="#i_plate35">Plate - XXXV.</a>), is full of incidents, contains six figures, and is signed - on the base of one of the columns supporting the mantelpiece in the - left foreground. No museum in the world exhibits the art of Pieter de - Hooch in such excellence as does the National Gallery, which contains - three masterpieces from his hands that have indirectly been the cause - of assessing the whole of the artist’s life-work on too generous a - basis. It is indisputable that during the last ten years of his life, - of which nothing is known later than the signature and date, 1677, - on the <cite>Music Party</cite> in the collection of Baron H. A. Steengracht at - The Hague, his art deteriorated very considerably both in colouring - and draughtsmanship. He may well have been a pupil of Karel Fabritius - (1624–1654), but it is almost incredible that he can have been a pupil - of the Italianiser Nicholaes Berchem, as Houbraken<span class="pagenum" id="Page_214">214</span> ventured to assert. - This museum contains nothing by Ochtervelt, many of whose pictures have - from time to time been accepted as the work of Pieter de Hooch.</p> - - <p>From the shortlived artist Karel Fabritius derives the almost - incomparable master Jan Vermeer van Delft (1642–1675), whose fifty - authentic pictures are to-day among those most coveted by collectors. - As a <em>painter</em> skilled in the technicalities of his profession Vermeer - must be accorded the highest rank. The subtle and mysterious handling - of his <cite>Lace Maker</cite> (No. 2456, <a href="#i_plate36">Plate XXXVI.</a>), with its cool colour - scheme and dominant tones of blue and lemon-yellow, make it difficult - for us to realise that until twenty years ago his works were neglected. - Indeed, this small canvas was acquired in 1870 at the Vis Blokhuyzen - sale for the ridiculous sum of £290. Jan Vermeer (or Van der Meer) - van Delft is not to be confused with Jan Van der Meer of Haarlem - (1628–1691), who is included in the official catalogue as the painter - of the <cite>Outside of an Inn</cite> (No. 2455, marked No. 2022 on the frame). It - is fully signed, and bears the date 1652.</p> - - <h3 id="NICOLAS_MAES">NICOLAS MAES</h3> - - <p>One of the last lingering influences of Rembrandt is seen in the - art of Nicolas Maes (1632–1693). The genre pictures of his early - period are so vastly superior to his later portraits that it was - formerly assumed that there might well have been two artists of the - same name. He certainly delighted in painting several versions, - which vary considerably in size, of <cite>Grace before Meat</cite> (No. 2454). - In his pictures we see the mind that broods, and women who meditate - rather than act. The best examples of his domestic scenes are finely - graduated, although the sadness of advancing age becomes monotonous in - time.</p> - - <div class="figcenter" id="i_plate35"> - <img class="illow100" src="images/i_plate35.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXV.—PIETER DE HOOCH</span><br /> - <span class="small">(1629–1677?)</span><br /> - DUTCH SCHOOL<br /> - No. 2415.—DUTCH INTERIOR WITH A LADY PLAYING CARDS<br /> - <span class="small">(Intérieur hollandais)</span></div> - </div> - <div class="description"> - <p>By the fireplace to the left a lady is seated. She is playing cards - with a gentleman, and shows her hand to a cavalier who stands beside - her. In the background stand two lovers, and a boy is entering the - room, a richly appointed room, hung with gilt leather.</p> - <p class="noindent">Signed on the base of one of the columns supporting the - mantelpiece:—“<span class="smcap">p. d. hooch.</span>”</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">2 ft. 2½ in. × 2 ft. 6½ in. (0·67 × 0·77.)</p> - </div> - - <div> - <span class="pagenum" id="Page_215">215</span> - <h3 id="GABRIEL_METSU">GABRIEL METSU</h3> - </div> - - <p>A high place among the painters of “Conversation-pieces” must be - accorded to Gabriel Metsu (1630?–1667), a shortlived artist who was - born at Leyden and learnt the first principles of his art from Dou. As - early as 1644 he seems to have earned some reputation as a painter, - his signature appearing on his <cite>Court Physician</cite> in that year. He came - under the influence of Rembrandt, and in later life practised as a - painter at Amsterdam, where he died.</p> - - <p>Metsu, whose work is at first sight not easily distinguishable from - Terborch’s, acquired a facility in the control of the expression and - the ever-varying gesture of the hands in his pictures, that was denied - to many of his contemporaries. Instances of this are the figure of the - Christ writing a long Latin inscription on the ground in the <cite>Woman - taken in Adultery</cite> (No. 2457), the ease with which the young lady in - a white satin dress runs her fingers over the keys of the spinet in - the <cite>Music Lesson</cite> (No. 2460), and the treatment of the <cite>Dutch Lady</cite> - (No. 2462), who holds a jug in her right hand. The last-named panel is - evidently the companion to the very thinly painted <cite>Dutch Cook peeling - Apples</cite> (No. 2463), which is signed “<span class="smcap">g. metsu.</span>” Perhaps - his best outdoor scene of humble life is the <cite>Vegetable Market at - Amsterdam</cite> (No. 2458), although his handling of the trees suggests that - his forte was the Conversation-piece of Dutch tradition, and that he - would not have risen to high rank as a landscape painter. The placing - of the signature on a letter, which in this instance lies on the - ground, is a favourite device with Metsu. He has derived much pleasure - from the treatment of the textures of the tablecloth, the curtain, and - the chair in the <cite>Officer visiting a Lady</cite> (No. 2459). The <cite>Alchemist</cite> - (No. 2461) may be the companion picture to the <cite>Sportsman</cite> in the - Gallery at The Hague. Much<span class="pagenum" id="Page_216">216</span> speculative criticism has been indulged in - by critics as to whether the so-called <cite>Portrait of Admiral Cornelis - Tromp</cite> (No. 2464) represents that admiral, and some doubt has also been - cast on its attribution to Metsu.</p> - - <h3 id="LANDSCAPE_PAINTERS">LANDSCAPE PAINTERS</h3> - - <p>The naturalistic treatment of the landscape background in the religious - pictures of Jan van Eyck and his successors, Memlinc, Bouts, Hugo van - der Goes, and other painters in the Netherlands, in time brought about - the promotion of landscape painting to an independent art. Among the - earlier Dutch artists who approached the study of Nature were Arent - Arentzen (1586?–1635?), as we see from his <cite>Landscape with a Fisherman</cite> - (No. 2300<span class="smcap">a</span>), and Roeland Roghman, who was born a year - later than Jan van Goyen, and lived as late as 1685. He painted the - <cite>Landscape</cite> (No. 2555<span class="smcap">b</span>), which was formerly in the Paul Mantz - collection. Indeed, several Dutchmen of the period sought to commit to - panel views of nature, as in the case of Pieter de Bloot (1600–1652), - who gives us a <cite>Landscape with a River</cite> (No. 2327<span class="smcap">b</span>).</p> - - <p>The romantic feeling which so often pervades the background of - Rembrandt’s paintings, and is so apparent in such etchings as the - <cite>Three Trees</cite>, can only be touched on here. This new tendency is best - exemplified in the works of Jan van Goyen (1596–1656), who may be - regarded as the founder of a self-centred school of landscape painting - in Holland; but it was his ever handy sketch-book that enabled him to - outstrip his rivals in this branch of Dutch art. He is seen to great - advantage in his very fine <cite>Banks of a Dutch River</cite> (No. 2375), his - superb <cite>River View with eight Men in a Boat</cite> (No. 2378), a signed and - dated work of 1649, a large light-brown-toned <cite>River in Holland</cite> (No. - 2377), a good <cite>Banks of a Canal</cite> (No. 2379), as well as a <cite>Dutch Canal</cite> - (No. 2376) and a <cite>Dutch River</cite> (No. 2377).</p> - - <div class="figcenter" id="i_plate36"> - <img class="illow80" src="images/i_plate36.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXVI.—JAN VER MEER VAN DELFT</span><br /> - <span class="small">(1632–1675)</span><br /> - DUTCH SCHOOL<br /> - No. 2456.—THE LACE MAKER<br /> - <span class="small">(La Dentellière)</span></div> - </div> - <div class="description"> - <p>A girl, wearing a yellow bodice and a blue skirt, is seated behind a - table. She is bending her head over a light-blue lace pillow as she - adjusts the bobbins with both hands. A dark-blue cushion and a book are - on the table to the left.</p> - <p class="noindent">Signed in the upper right-hand corner:—“<span class="smcap">J. v. Meer</span>,” the first - three letters being intertwined.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">9½ in. (0·24) square.</p> - </div> - - <p><span class="pagenum" id="Page_217">217</span></p> - - <p>Aert van der Neer (1603–1677) painted with strong contrasts of light, - as in his <cite>Banks of a Dutch Canal</cite> (No. 2483); and his monogram is - to be found on the seat at the foot of a tree in his <cite>Dutch Village</cite> - (No. 2484), where his propensity for painting moonlight scenes is well - illustrated. Herman Saftleven’s (1609–1685) <cite>Banks of the Rhine</cite> (No. - 2563); Jan Asselyn’s <cite>View of the Lamentano Bridge on the Teverone</cite> - (No. 2301), <cite>Landscape</cite> (No. 2302), and <cite>Ruins in the Roman Campagna</cite> - (No. 2303); and the two <cite>Landscapes</cite> (Nos. 2332 and 2333) by Jan Both - (1610–1652), who worked in Rome and painted Italian landscapes under - the influence of the French artist Claude Lorrain, show the gradual - introduction of foreign influences. Joris van der Hagen (died 1669) - takes a new line in the representation of a very low horizon in his - <cite>Environs de Haarlem</cite> (No. 2382); but his <cite>Landscape with Peasants - crossing a Ford</cite> (No. 2381) is dull in tone and composed of unrelated - parts.</p> - - <p>The <cite>Banks of a River</cite> (No. 2561<span class="smcap">d</span>) is a superb example of the - art of Salomon van Ruysdael (1600?–1670), one of the founders of the - Haarlem school of landscape, and the uncle of Jacob van Ruisdael. The - <cite>Large Tower</cite> (No. 2561<span class="smcap">c</span>) gives a better idea of his power - than the <cite>Ford</cite> (No. 2561<span class="smcap">b</span>). Another painter in the same - school, Cornelis Decker (1618?–1678), has a <cite>Landscape</cite> (No. 2346). - although Isack van Ostade at times gave himself up to trivial subjects, - as we have already seen, the merit of his frozen river scenes (Nos. - 2510, 2511, 2515) is firmly established, and the happy way in which - he combined a genuine appreciation of nature with great skill in the - placing and treatment of his figures has earned for him a high place - among the Dutch landscape painters.</p> - - <h3 id="AELBERT_CUYP">AELBERT CUYP</h3> - - <p>Unlike most of the artists of his time in Holland, Aelbert Cuyp - (1620–1691) was highly esteemed by his contemporaries, his social<span class="pagenum" id="Page_218">218</span> - position and his good fortune in money matters freeing him from the - poverty which Hobbema and others endured. He painted portraits with - much skill, as we see from his <cite>Portrait of a Man</cite> (No. 2345<span class="smcap">a</span>) - and his <cite>Portrait of a Boy and a Girl with a Goat</cite> (No. 2344); but he - is best known as a cattle painter, his sturdy cattle being artistically - grouped in thick green pastures flooded with sunshine, as in his - <cite>Herdsman with Cattle</cite> (No. 2341). He attained much success also with - his riding pictures, and the <cite>Starting for the Ride</cite> (No. 2342) and the - <cite>Riding Party</cite> (No. 2343) are in every way preferable to his <cite>Boats - on a Rough Sea</cite> (No. 2345). Following his usual habit, he has placed - no date on any of these six pictures. He had no pupil in the proper - sense of the term; but a host of imitators, such as Jacob van Stry - and the much later English Royal Academician Sidney Cooper, failed - ignominiously in their feeble attempts to copy his methods.</p> - - <p>Jan Wynants was another landscape painter in the Haarlem School, - although he settled in Amsterdam and died there in 1682. His <cite>Outskirts - of a Forest</cite> (No. 2636) is signed and dated 1668, and is superior to - the <cite>Landscape</cite> (No. 2637) which bears his own signature as well as - that of Adriaen van de Velde, who on numerous occasions inserted the - figures for him. Wynants has also placed his name on a small <cite>Landscape - with Sportsman and Falconer</cite> (No. 2638).</p> - - <p>Adriaen van de Velde has been careful to sign and date each of the - seven pictures by which he is represented (Nos. 2593–2599). By Allart - van Everdingen (1621–1675), who travelled in Norway and painted rocky - scenes and waterfalls, we find two <cite>Landscapes</cite> (Nos. 2365 and 2366).</p> - - <h3 id="JACOB_VAN_RUISDAEL">JACOB VAN RUISDAEL</h3> - - <p>The greatest of all Dutch landscape painters, with the possible - exception of Jan van Goyen, is Jacob van Ruisdael (1628?–1682),<span class="pagenum" id="Page_219">219</span> who - occupied himself more especially with rushing waterfalls and undulating - country. His <cite>Storm on the Coast</cite> (No. 2558) is a fine achievement, but - his best picture in this collection is the <cite>Landscape</cite> (no No.), which - was bequeathed by Baron Arthur de Rothschild. His <cite>Woody Landscape</cite> - (No. 2559), the <cite>Road</cite> (No. 2559<span class="smcap">a</span>), <cite>Landscape</cite> (No. 2561), - and the <cite>Entrance to a Wood</cite> (No. 2561<span class="smcap">a</span>), cannot, however, - compare with his <cite>Sunny Landscape</cite> (No. 2560), which bears the artist’s - monogram.</p> - - <h3 id="HOBBEMA">HOBBEMA</h3> - - <p>The talents of Meindert Hobbema (1638–1709) were so disregarded by his - countrymen that in disgust he, at the age of thirty, took a humble post - in the Customs. His woody scenes seen in the pale sunlight of the early - afternoon are not copied from any chance scenery, but composed; and his - <cite>Water Mill</cite> (No. 2404), fine though it is, contains passages that will - be met with elsewhere. The <cite>Farm</cite> (No. 2404<span class="smcap">a</span>) is a very good - picture, as also is the <cite>Landscape</cite> (No. 2403) from the Nieuwenhuys - collection. A very large number of painters, including Wyntrack, who - gives us a <cite>Farm</cite> (No. 2639), painted the figures into the foregrounds - of Hobbema’s best works.</p> - - <h3 id="PHILIPS_WOUWERMAN">PHILIPS WOUWERMAN</h3> - - <p>In a large number of Philips Wouwerman’s pictures the landscapes are - of secondary importance to the figures; and although the execution - is careful and conscientious, the frequenter of picture galleries is - apt to tire of his make-believe genre-pieces, landscapes with horses, - riders, sportsmen, soldiers, robbers, gipsies, and the like. The Louvre - presents an imposing array of fifteen of the twelve hundred or more - pictures by Philips Wouwerman (1619–1668), and his brother and pupil - Pieter is credited with a poor<span class="pagenum" id="Page_220">220</span> but historically interesting <cite>View of - the Porte de Nesles, Paris</cite>, in 1664 (No. 2635).</p> - - <p>It will be convenient here to group Adam Pynacker (1622–1673) with his - three pictures, Willem Romeyn (1624?–1696?) with one, Abraham Begeyn - (1637?–1697) with one, Guilliam de Heusch (1625?–1692) with one, Dirk - van den Berghen (1645–1690?) with two, and Glauber (1646–1726) with - a single <cite>Landscape</cite> (No. 2374) in which the figures are inserted by - Gerard de Lairesse. Mention must, however, be made of Paul Potter, - the highly esteemed cattle painter, who died in 1654 at the early age - of twenty-nine. One of his latest canvases is the <cite>Cows and Sheep in - a Field</cite> (No. 2527), of 1652; but his <cite>Horse in a Field</cite> (No. 2528) - of the following year, and the <cite>Wood at The Hague</cite> (No. 2529), give - an excellent idea of his art. These and the <cite>Horses at the Door of a - Cottage</cite> (No. 2526) show that Paul Potter had a sound knowledge of - animal anatomy. He is seen at his best in small compositions such as - are here exhibited, in which the construction and <i lang="fr">mise-en-scène</i> are - simple and the details delicately rendered. It is a popular fallacy - that his chief contribution to the fame of Dutch art was his large - <cite>Bull</cite> of 1647, which measures 8 ft. by 12 ft., in The Hague Gallery. - He did not live long enough to form a “school.”</p> - - <h3 id="THE_ITALIAN_INFLUENCE">THE ITALIAN INFLUENCE</h3> - - <p>The Italianising influence was already beginning to make itself felt, - to the lasting detriment of Dutch painting, and the typical example - of this downward movement is Nicolaes Berchem (1620–1683), who was - founded on his father, Pieter Claesz, and on Pieter de Grebber, and Jan - Wils at Haarlem, while he also was impressed by Claes Moyaert and J. - B. Weenix at Amsterdam, where he removed in 1677. There is scarcely a - well-furnished gallery in Europe that does not seek to pride itself on - possessing<span class="pagenum" id="Page_221">221</span> one of Berchem’s renderings of <cite>Crossing the Ford</cite>, or a - <cite>Woman upon an Ass in conversation with another Person</cite>. The Louvre is - no exception to this rule, and exhibits his <cite>Cattle crossing a Ford</cite> - (No. 2315) and nine other canvases and panels, nearly all of which bear - his much-vaunted signature. His art is to-day deservedly out of fashion - with discerning collectors.</p> - - <p>Berchem’s pupil, Karel du Jardin (1622–1678), who is invariably at - much pain to sign his pictures, is seen to some advantage in his very - Italian and in every way characteristic <cite>Italian Charlatans</cite> (No. - 2427), the typical <cite>Ford in Italy</cite> (No. 2428), and eight other works. - His attempts to depict a <cite>Calvary</cite> (No. 2426) have not been crowned - with success, as the composition is overcrowded and undramatic; nor do - we experience any emotion on regarding his <cite>Portrait of Himself</cite> (No. - 2434), a small production on copper.</p> - - <p>Breenberg (1599–1659?), who was born at Deventer, the home of Terborch, - has depicted a <cite>View of the Campo Vaccino at Rome</cite> (No. 2334), and a - <cite>Ruins of the Palace of the Cæsars</cite> (No. 2335) in the Italian manner - beloved by Berchem and Pieter van Laer. The latter, who is also - named Bamboccio, is represented by two small oval panels. Lingelbach - (1622–1674), who frequently collaborated with other Dutch artists, may - be judged by his <cite>Vegetable Market at Rome</cite> (No. 2447) and three other - canvases, and Frédéric de Moucheron (1633?–1686) by a <cite>Leaving for the - Hunt</cite> (No. 2482). It will be convenient to mention here Reynier Nooms, - whose <cite>View of the Old Louvre from the Seine</cite> (No. 2491) has some - historical interest.</p> - - <h3 id="ARCHITECTURAL_PAINTERS">ARCHITECTURAL PAINTERS</h3> - - <p>A limited number of painters busied themselves in making faithful - transcripts of the streets and the exterior appearance of the - buildings. Jan van der Heyden (1637–1712) was perhaps the<span class="pagenum" id="Page_222">222</span> most - successful in this direction, and his <cite>View of the Town Hall of - Amsterdam</cite> in 1688 is an excellent example of his methods, while - the Louvre also possesses three small panels by him. Jan Abrahamsz - Beerstraten (1622–1666), the son of a cooper at Amsterdam, travelled - to Italy and the Mediterranean, proof of which is afforded by his <cite>Old - Town Gate at Genoa</cite> (No. 2310). The typical architectural painter is, - however, Gerrit Berckheyde (1638–1698). Although he never went to - Italy, his <cite>View of Trajan’s Column</cite> (No. 2324) is a welcome relief - from the many versions he painted, with conspicuous success, of <cite>The - Market-Place of Haarlem</cite>.</p> - - <p>Hendrik van Steenwyck (1580–1648) almost invariably contented himself - with reproducing the <cite>Interiors of Churches</cite> (Nos. 2582, 2583); but - his <cite>Christ in the House of Martha and Mary</cite> (No. 2581) is an unusual - subject with him, and must be his masterpiece. The <cite>Vestibule of a - Palace</cite> (No. 2490), by Isaac van Nickelle (fl. 1660), is very good of - its kind; but the <cite>Interior of a Guard-Room</cite> (No. 2453), by Aart van - Maes, is a poor attempt at dramatic action.</p> - - <h3 id="MARINE_PAINTERS">MARINE PAINTERS</h3> - - <p>The fact that the Dutch had fought with swamp and water and possessed - a large maritime commerce, is reflected in the <cite>Seascapes</cite> of Simon de - Vlieger (1600–1660), and in the art of Ludolf Backhuysen (1631–1708), - who is represented by a <cite>Stormy Sea</cite> (No. 2309) and five other - canvases; but one of the best works of this class in the Louvre is - the <cite>Marine-piece</cite> (No. 2600) by Willem van de Velde the Younger - (1633–1707), who crossed over to England, and after a long career died - at Greenwich. These men sought to carry on the earlier tradition of Jan - van Goyen and the two Ruisdaels, but they showed less originality and - power.</p> - - <div> - <span class="pagenum" id="Page_223">223</span> - <h3 id="STILL_LIFE_PAINTERS">STILL-LIFE PAINTERS</h3> - </div> - - <p>Much appreciation and some extravagant praise has been lavished on - the still-life painters who, at the time when the higher aims of - artistic endeavour began to die out in Holland, displayed remarkable - ability. The cultivation of horticulture at Haarlem, the centre of the - tulipomania fever in the middle of the seventeenth century, may have - had an influence on the artistic presentation of inanimate nature; - this feeling was no doubt stimulated by the display made by the - goldsmiths in an age of great prosperity. Willem Claesz Heda, who was - born 1594, is among the earliest of the Dutch still-life painters, and - his picture (No. 2390) is dated 1637; he, however, did not die until - more than forty years later. Jan Davidsz de Heem (1606–1684), the - painter of <cite>Fruit and a Vase on a Table</cite> (No. 2391) and of another and - much larger picture (No. 2392), was the pupil of his father, David de - Heem; as he spent many years at Antwerp, he is sometimes regarded as - a Flemish painter. That Abraham van Beyeren (1620–1675?), who painted - several sea-pieces, was specially fond of copying the appearance of - fish, is seen from his <cite>Still-life: Fish</cite> (No. 2326<span class="smcap">a</span>), at - the Louvre, which has in recent years also acquired another work (No. - 2312<span class="smcap">a</span>) by him. Willem Kalf (1621?–1693) may have studied - under H. G. Pot, the Haarlem genre-painter. He was evidently impressed - with the chiaroscuro of Rembrandt, and often placed the drinking-cups, - wine-glasses, and fruit on a richly-coloured tablecloth. He is here - represented by four examples, of which the <cite>Dutch Interior</cite> (No. 2436) - is the best. Eight pictures by Jan Huysum (1682–1749), two by Jan - van Os (1744–1808), and one by C. van Spaendonck (1756–1839) belong - to the latest phase of art in Holland, and mark the decadence in - full operation. It will be noticed that the Louvre has a much larger - selection of still-life pictures than the National Gallery, which seems - to regard achievements of this kind with disdain.</p> - - <p><span class="pagenum" id="Page_224">224</span></p> - - <p>Melchior Hondecoeter (1636–1695), the painter of the farmyard, gives - unmistakable proof of his power in his large signed <cite>Eagle swooping - down on a Farmyard</cite> (No. 2405), and two rather smaller pictures (Nos. - 2406–7).</p> - - <p>Jan Weenix (1640–1719), who usually concerns himself with dead game - and birds, is working on the usual lines in three (Nos. 2610, 2611, - and 2612<span class="smcap">a</span>) of his four pictures in the great French museum; - the other represents <cite>A Seaport</cite> (No. 2612). He was the fellow-pupil - of Hondecoeter in the studio of his father, Jan Baptist Weenix - (1621–1660), who studied for a time under the early Dutch master, - Abraham Blomaert, and worked in Italy for four years. For that reason - the latter has adopted an Italian mode of signing his only picture (No. - 2609) in the Louvre.</p> - - <h3 id="THE_DECLINE">THE DECLINE</h3> - - <p>Although Gerard Honthorst (“Gerard of the Night”) was born as early as - 1590, and was a pupil of Blomaert, he may he relegated to the period - of decline. Almost invariably he resorted to the trick of lighting the - figures in his pictures, whether he was painting religious subjects, - portraits, or conversation-pieces, with a candlelight effect. This - habit he had acquired in Italy by studying the style of Caravaggio. Of - his five pictures here, the best is perhaps the <cite>Portrait of Charles - Louis, Duke of Bavaria</cite> (No. 2410), of 1640. His <cite>Concert</cite> (No. 2409), - painted sixteen years earlier, is an ill-balanced and overloaded - composition.</p> - - <p>Such artists as Abraham Hondius, who paints a <cite>Man Selling Pigeons</cite> - (No. 2407<span class="smcap">a</span>); Karel de Moor, who was a pupil of G. Dou, and - gives us an insignificant <cite>Dutch Family</cite> (No. 2477); Eglon van der - Neer, whose name is signed on a small panel, <cite>A Man Selling Pigeons</cite> - (No. 2485); Egbert van Heemskerck, whose <cite>Interior</cite> (No. 2393) is in - the La Caze collection; Jan Verkolie, whose <cite>Interior</cite> (No. 2602)<span class="pagenum" id="Page_225">225</span> has - been engraved; H. van Limborch, whose <cite>Pleasures of the Golden Age</cite> - (No. 2446) was in the collection of Louis <span class="smcap">xvi.</span>; Louis de Moni, - the painter of a <cite>Family Scene</cite> (No. 2476); and Willem van Mieris, a - replica of whose <cite>Soap Bubbles</cite> (No. 2473) is at The Hague,—all these - mediocre painters are the despair of the critic, and afford merely - momentary entertainment for the curious.</p> - - <p>It is apparent that by this period the art of Holland was marked - by mechanical inventions, the surface of these eighteenth-century - paintings being highly fused and metallic in appearance. The four - panels of Adriaen van der Werff (1659–1722), which include an - unpleasant <cite>Magdalene in the Desert</cite> (No. 2617) and a repulsive - <cite>Dancing Nymph</cite> (No. 2619), are characteristic examples of his - monotonous art. The <cite>Disembarkation of Cleopatra</cite> (No. 2441) and the - <cite>Hercules between Vice and Virtue</cite> (No. 2443) of Gerard de Lairesse - (1640–1711), have the enamel-like smoothness and meaningless expression - of academic art, although they have their usefulness as museum pieces.</p> - - <p>It is a remarkable fact that the Louvre does not contain a single - example of the revival of art in Holland in the third quarter of the - nineteenth century. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_227">227</span> - <h2 id="THE_EARLY_FRENCH_SCHOOL">THE EARLY FRENCH SCHOOL</h2> - </div> - - <p class="drop-cap">THE early phases of the French school of painting—perhaps it would - be more correct to say of painting in France—present one of the most - interesting problems to the student of art history. It was not really - until the great Exhibition of French Primitives held in Paris in 1904 - that any serious attempts were made to construct a history of Early - French painting; but the learned arguments that have been brought - to bear upon the tangled question have so far failed to establish - the existence of an important autochthonous school in the fifteenth - century. It is true that contemporary records mention the names of a - few painters who seem to have enjoyed great repute at the Courts at - which they were employed, but it has been impossible to connect any - notable extant pictures with their names; whilst those other “French” - painters who have left tangible proofs of their activity are almost - without exception of Flemish birth and training. Indeed, most of these - early pictures show no characteristics that may be described as French, - save the types of the faces, which would naturally be taken from the - country where the artists worked.</p> - - <p>The difficulty of dealing with the Early French pictures at the Louvre - is considerably increased by the uncertainty of their authorship, - the attributions being in most cases tentative and much disputed. - Throughout we feel the lack of a definite basis for comparative - criticism—the absence of properly authenticated works by the very - masters whose names have been recorded in contemporary documents. One - of the earliest of these masters is Jean Malouel, a Fleming, whose - real name was Malwaele, and who worked in the<span class="pagenum" id="Page_228">228</span> service of the Dukes of - Burgundy at Dijon, where he died in 1415. To him has been attributed, - without sufficient proof, the tondo of <cite>The Dead Christ supported by - the Eternal Father</cite> (No. 996) and mourned by the Virgin, St. John and Angels.</p> - - <p>Equally uncertain is the attribution of the <cite>Last Communion and - Martyrdom of St. Denis, First Bishop of Paris</cite> (No. 995), on which are - seen, against a gold background, in the centre, the Crucified Saviour - and the Eternal Father surrounded by cherubs; on the left, Christ - giving the Communion to the imprisoned bishop, with a praying angel - in the foreground; and on the right, the Decollation of St. Denis and - his two companions, St. Rusticus and St. Eleutherius. An attempt has - been made to identify this interesting picture with one ordered by - Jean-sans-Peur, Duke of Burgundy, from Jean Malouel, and finished after - that master’s death by Henri Bellechose, another Flemish painter, born - in Brabant, who worked at Dijon between 1415 and 1431.</p> - - <p><cite>The Entombment</cite> (No. 997) is the work of an unknown and presumably - Flemish painter, who shows a certain affinity with the painter of the - famous <cite>Parement d’autel de Narbonne</cite> (No. 1342 <i>bis</i>) of about 1374. - This altar-front is supposed to be by Girard d’Orléans and his son - Jean, under whose name both the <cite>Parement</cite> and the <cite>Entombment</cite> were - shown at the Exhibition of French Primitives in 1904. But all these - attributions are largely conjectural.</p> - - <h3 id="THE_MAITRE_DE_MOULINS">THE MAÎTRE DE MOULINS</h3> - - <p>Chauvinistic French critics have made much capital out of the important - national school that is supposed to have flourished towards the end - of the fifteenth century at Moulins, and especially of the mysterious - “Maître de Moulins,” so called from a famous triptych at Moulins which - cannot be proved to be the work of a French painter, and shows very - marked Italian characteristics,<span class="pagenum" id="Page_229">229</span> although the types of the faces are - distinctly French. Italian painters had been working in France ever - since Simone Martini (1285?–1344) was employed to decorate the Pope’s - Palace at Avignon; and in the absence of definite documentary evidence - it will always remain a difficult matter to decide whether certain - pictures, Italian in style and French as regards the types, are the - work of Italian masters painting in France, or of Frenchmen trained by - Italians.</p> - - <p>To the Maître de Moulins have been loosely ascribed certain pictures - in the Louvre collection, especially since attempts have been made, in - the face of great improbability, to identify him with Jehan Perréal, - or Jehan de Paris, one of the few painters of that period whose French - nationality has been satisfactorily established. Perréal was born at - Lyons, and became Court painter in Paris to Charles <span class="smcap">viii.</span> and - Louis <span class="smcap">xii.</span> In this capacity he was sent to England at the - time of the marriage of Louis <span class="smcap">xii.</span> with Princess Mary Tudor, - to design the bride’s toilettes. If Perréal be the painter of <cite>The - Virgin between Two Donors</cite> (No. 998<span class="smcap">d</span>, formerly No. 1048, and - now labelled No. —48), which bears upon the pilasters of a balustrade - the letters “I P,” he is certainly not identical with the Maître de - Moulins to whom have been attributed the portraits of <cite>Pierre II., - Sire de Beaujeu, Son-in-Law of Louis XI.</cite> (No. 1004), and his wife, - <cite>Anne of France, Duchess of Bourbon, Daughter of Louis XI.</cite> (No. 1005), - which are apparently the wings of a triptych of which the centre panel - has disappeared. They are utterly lacking in charm of colour and are - anything but masterly in treatment. Both the personages are portrayed - kneeling, the husband being presented by his Patron Saint and the wife - by St. John the Evangelist. The <cite>Portrait of Pierre</cite> was bought in - 1842 by Louis Philippe for £20. The companion panel was presented to - the Louvre in 1888 by M. Maciet. M. L. Dimier has rightly pointed out - that there is no evidence whatever to prove these two pictures to have - been painted by a<span class="pagenum" id="Page_230">230</span> French master. <cite>The Virgin between Two Donors</cite> (No. - 998<span class="smcap">d</span>) has lately been tentatively attributed to the “Master of - the Ursula Legend.”</p> - - <h3 id="THE_DE_SOMZEE_MAGDALEN">THE DE SOMZÉE “MAGDALEN”</h3> - - <p>To the Maître de Moulins has also been attributed the somewhat - overrated <cite>Magdalen with a Female Donor</cite> (No. 1005<span class="smcap">a</span>), which - was formerly in the de Somzée collection at Brussels, and was, some - time after the Exhibition of French Primitives in 1904, bought from - Messrs. T. Agnew & Son for £5000. The supposed similarities that have - been noticed between this picture and the Moulins triptych on the one - hand, and Jehan Perréal’s authenticated design for the tomb of the - Duke of Brittany at Rennes on the other hand, are not sufficiently - convincing either to arrive at a definite conclusion as regards the - authorship of this <cite>Magdalen</cite>, or to establish the identity of the - Maître de Moulins with Jehan Perréal.</p> - - <p>Of an even more problematic nature are the <cite>Pietà</cite> (No. 998<span class="smcap">c</span>, - formerly No. 998) and the <cite>Calvary</cite> (No. 998<span class="smcap">a</span>), of which it is - only safe to affirm that both were painted in France, the background - showing in the case of the former the Abbey of Saint-Germain-des-Prés, - the Seine, the Louvre, and the Butte Montmartre; and in the latter - an equally distinguishable view of the Seine, the Louvre, and other - buildings. Both pictures appear to be the work of Flemish painters - who were not entirely uninfluenced by Italian art. This <cite>Calvary</cite> is - labelled “<cite>Retable du Parliament de Paris</cite>,” and was formerly in the - Palais de Justice in Paris.</p> - - <p>We need not dwell at any length upon the school of Douai, which should - be considered as a branch of the Flemish rather than a national French - school. Jean Bellegambe (<i>c.</i> 1470–1535) is its chief representative, - and presumably the author of the small wing of a triptych depicting the - figure of <cite>St. Adrian</cite> (No. 13<span class="smcap">a</span>) which was formerly catalogued - as being of the German school (No. 2739).</p> - - <div> - <span class="pagenum" id="Page_231">231</span> - <h3 id="JEAN_FOUQUET">JEAN FOUQUET</h3> - </div> - - <p>Of far greater importance is the school which flourished at Tours, for - here at last we meet with clearly marked personalities whose names - are definitely connected with extant works, even if the character - of their art remains essentially Flemish. The best known artist of - this group is Jean Fouquet (<i>c.</i> 1425–1480?), who was Painter to - Charles <span class="smcap">vii.</span> and Louis <span class="smcap">xi.</span> and wrought the wonderful - miniatures in the famous Book of Hours at Chantilly. He was distinctly - more successful as an illuminator than as a painter, although his - masterpiece, the Chevalier diptych (of which one wing is at the - Antwerp and the other at the Berlin Museum), is a work of considerable - merit. The Louvre owns an interesting painting from his brush—the - portrait of the corpulent Chancellor of France, <cite>Guillaume Juvénal des - Ursins, Baron de Trainel</cite> (No. 288). He is depicted in three-quarter - profile to the right, dressed in a fur-edged red robe, with hands - folded in prayer, before an open book on a cushion. The pilasters in - the rich architectural setting terminate in two bears supporting the - Chancellor’s coat of arms. This important picture was bought in 1835 - for the sum of £36. It was then attributed to Michael Wohlgemuth!</p> - - <p>Fouquet is known to have painted Charles <span class="smcap">vii.</span> in 1444; but - the <cite>Portrait of Charles VII., King of France</cite> (No. 289), with the - inscription along the top, “<span class="smcap">le très glorieux roy de france</span>,” - and below, “<span class="smcap">charles septiesme de ce nom</span>,” cannot certainly be - identified with the picture referred to in contemporary records. The - Louvre picture was acquired in 1838 for £18.</p> - - <p>The name of Jean Fouquet has for a long time been connected with the - admirable little portrait known as <cite>The Man with the Wineglass</cite> (No. - 1000, formerly No. 1000<span class="smcap">a</span>). It was shown as a work of Fouquet - at the Exhibition of French Primitives; and the attribution is still - maintained by many French critics, although in the<span class="pagenum" id="Page_232">232</span> official Catalogue - the picture is given to an Unknown French painter of the fifteenth - century known as “The Master of 1456” from a dated picture in the - Liechtenstein Gallery in Vienna. The whole style of the painting would, - however, point to German origin, the only thing French about the - picture being the type of the personage represented. It is interesting - to note that this portrait, which was bought from a Paris dealer in - 1906 for £7600, was formerly in the collection of Count Wilczek in - Vienna, and was bought by its former owner at Ulm. It is probably the - work of a painter of the Swabian school.</p> - - <h3 id="NICOLAS_FROMENT">NICOLAS FROMENT</h3> - - <p>Nicolas Froment, the painter of the diptych <cite>King René and his Second - Wife, Jeanne de Laval</cite> (No. 304<span class="smcap">a</span>), is frequently mentioned - by those who have constituted themselves champions of a supposed - important Early French national school. The few pictures with which - he may be credited include the <cite>St. Siffrein</cite>, now in the Seminary at - Avignon, the <cite>Raising of Lazarus</cite>, now in the Kaufmann collection at - Berlin, and the <cite>Burning Bush</cite>, which includes the Portraits of King - René and Jeanne de Laval, as the Donors who ordered the picture for - the Cathedral at Aix, where it still is. But the Louvre diptych is an - inferior work. Nothing is known about the dates of his birth and death. - He flourished between 1460 and 1480, and was employed by good King - René, who was himself a painter of some distinction, if contemporary - chroniclers are to be believed. Froment died at Avignon, where he - appears to have worked some considerable time, allowing his art to - absorb those distinctly Italian tendencies which distinguished the - productions of the Avignon school ever since Simone Martini had early - in the fourteenth century worked in the Provençal city of the Popes.</p> - - <p>A very typical instance of this Avignon school, with its blending of - Northern realism and the noble sense of style of the early<span class="pagenum" id="Page_233">233</span> Italians, - is the <cite>Pietà</cite> (No. 1001<span class="smcap">b</span>). The group of the Virgin with the - rigid body of Christ across her knees, St. John on the left and the - Magdalen on the right, has a sculpturesque dignity and grandeur not to - be found in the Northern art of that period. The Donor on the extreme - left rather destroys the balance of the composition. The mourners and - the landscape are silhouetted against a gold background. The picture - was formerly in the Chartreuse of Villeneuve near Avignon, and was - bought by the Société des Amis du Louvre for the great French national - collection at the price of £4000. A well-known Spanish critic has - claimed that this is one of the very rare works by the Spanish artist - Bartolomé Bermejo.</p> - - <p>Of the same school, but vastly inferior in conception and execution, is - the much restored <cite>Christ rising from the Tomb, with a Donor and St. - Agricola</cite> (No. 1001<span class="smcap">c</span>). There are in Gallery X. (Salle Jean - Fouquet) a few more anonymous fifteenth-century paintings, which need - not here be discussed as they are of no real significance. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_235">235</span> - <h2 id="THE_SIXTEENTH-CENTURY_FRENCH_SCHOOL">THE SIXTEENTH-CENTURY FRENCH SCHOOL</h2> - </div> - - <p class="drop-cap">THE mere fact that many of the drawings and paintings which are now - with good reason believed to be the work of Jean or Jehan Clouet - (called Jehannet) passed, at a time when art criticism followed methods - less scientific than those which prevail at present, under the name - of Holbein, should suffice to indicate that Clouet’s art belongs - essentially to the Renaissance, and that the Primitive or Gothic period - had come to a close when he arrived in France from the Netherlands, - where he was born about 1475. He apparently worked first at Tours, - where his presence in 1516 is testified by documentary evidence; and he - went to Paris before 1529. Although he was never naturalised, he became - Groom of the Chamber to François <span class="smcap">i.</span>, and enjoyed an enormous - reputation for his skill in portraiture. He died in 1540 or 1541.</p> - - <h3 id="JEAN_CLOUETS_DRAWINGS">JEAN CLOUET’S DRAWINGS</h3> - - <p>Not a single drawing or painting that has come down to us from this - period, which was remarkable for its enormous production in Court - portraiture, bears the signature of Jehan Clouet; but as a number of - the best portrait drawings in the famous Chantilly collection—notably - that of the <cite>Preux de Marignan</cite>—are obviously from the same hand, and - extend, as can be proved from the age of the personages portrayed, from - 1514 to 1540,—the very years<span class="pagenum" id="Page_236">236</span> when Jean Clouet is known to have worked - in France,—it is quite reasonable to assume that artist to be the - author of this group of drawings. Their superiority over all the other - drawings of the period would account for the fame enjoyed by the elder - Clouet among his contemporaries.</p> - - <p>On the strength of these drawings it has been possible to ascribe - to Jean Clouet a few painted portraits which are obviously based - on the drawings and show, apart from such differences as must - necessarily result from the use of a different medium, the same - characteristics—firm draughtsmanship, a sure delicate touch in the - delineation of the features, and also a certain stiffness and hardness - of contour which are never to be found in the otherwise very similar - but always supple and masterly handling of Holbein. It is now known - that practically all the painted portraits of the period were executed - from the delicate drawings in black and red chalk, of which so vast a - number have come down to our day. But the fact that the vast majority - of these drawings served as models to different painters leaves the - question of attribution in a state of uncertainty. The mere tracing - back of a picture to some extant drawing of acknowledged authenticity - cannot be taken as proof of their common origin.</p> - - <p>Two pictures at the Louvre are attributed to Jean Clouet. Both are - portraits of <cite>François I., King of France</cite>, but only the smaller one - (No. 127) appears to be from his hand. Clouet’s royal patron is here - depicted in three-quarter profile to the right, at the age of about - thirty, so that the picture may be assumed to have been painted about - the year 1524. It is based on a drawing in the Chantilly collection. - The larger <cite>Portrait of François I.</cite> (No. 126) has at various times - been attributed to Jean Clouet, Mabuse, and Joost van Cleef, but is, as - has been pointed out by M. Dimier, pronouncedly Italian in colour and - in the treatment of the costume and hands.</p> - - <div> - <span class="pagenum" id="Page_237">237</span> - <h3 id="FRANCOIS_CLOUET">FRANÇOIS CLOUET</h3> - </div> - - <p>Towards the end of his life Jean Clouet was assisted in the execution - of his numerous commissions by his brother Clouet de Navarre, to whom - is attributed the <cite>Portrait of Louis de Saint-Gelais, Lord of Lansac, - Captain of one of the “Compagnies des cent Gentilshommes” under Charles - IX.</cite> (No. 134), and by his son François Clouet (1500?–1572). It has - been stated that François Clouet, who was to become after his father’s - death the favourite portrait painter of François <span class="smcap">i.</span>, Henri - <span class="smcap">ii.</span>, Catherine de Médicis, François <span class="smcap">ii.</span>, and Charles - <span class="smcap">ix.</span>, was born at Tours; but it is far more likely that he too - was born in the Netherlands, and, while still young, accompanied his - father to France. Practically nothing is known of his life before the - year 1541, when François <span class="smcap">i.</span> renounced to Clouet his kingly - right to the artist’s inheritance, which could have been claimed by the - Crown as the estate of a foreigner. In the same year François Clouet - was appointed Groom of the Chamber and Painter-in-Ordinary to the King.</p> - - <p>The Louvre is fortunate in possessing one of the exceedingly rare - signed pictures by this artist in the <cite>Portrait of Pierre Quthe</cite> - (No. 127<span class="smcap">a</span>), which was found in Vienna a few years ago by - M. Moreau-Nélaton and presented to the Gallery by that active and - patriotic institution, the Société des Amis du Louvre. Pierre Quthe - was a notable burgher and apothecary of Paris, who owned one of the - finest gardens in that city. He was an intimate friend and neighbour - of François Clouet in the rue St. Avoye. In the Louvre painting, which - bears in the left-hand bottom corner the inscription</p> - - <div class="center-container small lh2"> - <div class="poetry"> - <div class="stanza"> - <div class="i0">FR. IANETII OPVS</div> - <div class="i0">E. QUTTO AMICO SINGVLARI</div> - <div class="i0">AETATIS SVE XLIII 1562</div> - </div> - </div> - </div> - - <p><span class="pagenum" id="Page_238">238</span></p> - - <p class="noindent">he is depicted three-quarter-length life size, dressed in - a doublet of black velvet with lace insertions, with a herbarium. The - picture hangs at present on a screen in Gallery XV.</p> - - <p>Another unquestionably authentic work is the charming <cite>Portrait of - Elizabeth of Austria, Wife of Charles IX.</cite> (No. 130), of which a - preparatory study in chalk, dated 1571, is to be found in the Paris - Print Cabinet. The face is drawn and modelled with rare delicacy, and - every detail of the richly jewelled gold brocade costume is rendered - with faultless and miniature-like precision.</p> - - <p>Yet another precious little picture from the same hand is the small - three-quarter-length <cite>Portrait of Charles IX., King of France</cite> (No. - 128), which is a reduced replica of the signed life-size version in the - Vienna Museum. Both pictures were originally in Vienna, whence they - were removed by Napoleon in 1809, but only the larger picture was taken - back to the Austrian capital in 1815.</p> - - <p>The <cite>Portrait of Claude de Beaune</cite> (No. 133<span class="smcap">a</span>) is possibly - another, though not very important, work from the master’s own brush; - but neither the <cite>Portrait of François de Lorraine, Duc de Guise</cite> (No. - 131), nor the <cite>Portrait of Henri II., King of France</cite> (No. 129), are - of sufficient merit to justify their attribution to François Clouet; - whilst the portraits of <cite>Charles IX.</cite> (No. 132) and <cite>Elizabeth of - Austria</cite> (No. 133) are frankly admitted to be copies after originals by - the master.</p> - - <h3 id="CORNEILLE_DE_LYON">CORNEILLE DE LYON</h3> - - <p>François Clouet’s chief rival in royal favour was another Netherlander - domiciled in France, who, from the city in which he spent the years of - his greatest activity, has become known as Corneille de Lyon. He was - apparently the head of a busy workshop at Lyons, from which were turned - out large numbers of thinly painted, daintily touched-in three-quarter - profile heads,<span class="pagenum" id="Page_239">239</span> executed almost transparently on a light ground. - although these portraits are now generally described under the generic - name of Corneille de Lyon, only the best among them can be accepted as - the master’s own handiwork. Room XI. at the Louvre contains several - insignificant and badly repainted portraits of this type. They are of - no importance, as they are only copies or studio productions. Corneille - became naturalised in 1547, in which year he was appointed Painter to - the King. He died about 1575.</p> - - <h3 id="THE_SCHOOL_OF_FONTAINEBLEAU">THE SCHOOL OF FONTAINEBLEAU</h3> - - <p>The death of Perréal and Bourdichon a few years after the accession - of François <span class="smcap">i.</span> had left France without any artists of note, - save the few foreign portrait painters employed by the Court. François - <span class="smcap">i.</span>, an enthusiastic art lover, who had seen and admired the - great Italian masters in their own country, spared no effort to attract - the leading masters to France. We have seen that he actually succeeded - in securing the services of the aged Leonardo da Vinci, and that for - a brief span Andrea del Sarto worked at his Court. When, about 1530, - that art-loving king turned his attention to the decoration of his - palace at Fontainebleau, there was not a single painter of French - nationality, or artist living in France, who could have been entrusted - with so formidable a task, and François <span class="smcap">i.</span> was again forced - to enlist the best Italian painters available for the purpose. Having - first engaged Pellegrino and other third-rate artists, he succeeded, - in 1531, in inducing the Florentine Rosso to undertake the execution - and supervision of the decorative work at Fontainebleau; and in the - following year the Bolognese Primaticcio entered his service. Both - belong to the Italian eclectic schools, and only concern us here in so - far as their example led to the founding of what has<span class="pagenum" id="Page_240">240</span> been called the - “School of Fontainebleau,” which was really an offshoot of the Italian - eclectic school.</p> - - <p>In the early years of Rosso’s and Primaticcio’s activity at - Fontainebleau practically all the work was done by these two painters - and their Italian assistants, whose band was joined by Niccolò dell’ - Abbate. It was only after the death of François <span class="smcap">i.</span> that - the teaching of the Italian eclectics at Fontainebleau produced a - generation of French artists capable of doing justice to the decorative - tasks for which an ever-increasing demand had meanwhile arisen. That - the Louvre is singularly poor in works by these painters may partly be - accounted for by the comparative scarcity of easel pictures painted - by artists who were chiefly employed for interior decoration. There - is no reason for crediting any Frenchmen with the three anonymous - school of Fontainebleau pictures in Gallery XI.: <cite>Diana</cite> (No. 1013), - <cite>The Chastity of Scipio</cite> (No. 1014), and <cite>The Toilet of Venus</cite> (No. - 1014<span class="smcap">a</span>). <cite>The Chastity of Scipio</cite> in particular would appear to - be the work of Niccolò dell’ Abbate.</p> - - <h3 id="JEAN_COUSIN">JEAN COUSIN</h3> - - <p>The most famous of all the French painters of the school is Jean - Cousin, who from the <cite>Last Judgment</cite> (No. 155) at the Louvre—the only - known painting from his brush that has been preserved—has been called - “The French Michelangelo.” Nothing is known of his life, save that he - was born at Soucy, near Sens, that he worked in Paris in the third - quarter of the sixteenth century, and that he was still alive in 1583. - Comparison of his picture with Michelangelo’s great work in the Sistine - Chapel only helps to accentuate the absurd over-estimation to which - he owes his sobriquet. He was merely a follower of Primaticcio, an - excellent draughtsman with great knowledge of anatomy, but lacking in - taste, imagination, and real power.</p> - - <p><span class="pagenum" id="Page_241">241</span></p> - - <p>Ambroise Dubois (1543–1614) was born at Antwerp, but is generally - counted among the French painters of the school of Fontainebleau. He - was entrusted by Henri <span class="smcap">iv.</span> with several important series - of paintings for the decoration of the apartments at Fontainebleau, - notably with eight scenes illustrating Tasso’s “<cite>Gerusalemme Liberata</cite>” - for one of the Queen’s rooms, and fifteen scenes from “<cite>Theogenes and - Chariclea</cite>” by Heliodorus for the “King’s Great Closet.” One from each - series has found its way into the Louvre collection: <cite>The Baptism of - Clorinda</cite> (No. 272), and <cite>Chariclea, undergoing the Ordeal of Fire, is - recognised by her Parents, King Hydaspes and Queen Persina</cite> (No. 271).</p> - - <p>The only other painter of this group who is represented at the Louvre - is Martin Fréminet (1567–1619), who was only indirectly connected with - the school of Fontainebleau, as he had received his art education in - Florence. His best known work is the ceiling of the Trinity Chapel at - Fontainebleau. His picture at the Louvre represents <cite>Mercury ordering - Æneas to leave Dido</cite> (No. 304).</p> - - <p>The decline of the school of Fontainebleau was so rapid and complete - that, when Marie de Médicis decided to have the great gallery of the - Luxembourg Palace decorated, in 1620, there was not a single painter - left in France capable to undertake this important work, which was - eventually entrusted to Rubens. But the whole direction to be taken - by French seventeenth-century art had been determined by François - <span class="smcap">i.</span>, and the influence of the Late Italians remained paramount - until the dawn of the new era which was to be initiated by Watteau. </p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_243">243</span> - <h2 id="THE_SEVENTEENTH-CENTURY_FRENCH_SCHOOL">THE SEVENTEENTH-CENTURY FRENCH SCHOOL</h2> - </div> - - <p class="drop-cap">THROUGHOUT the seventeenth century the impulse for the artistic - activity of France emanated from Rome. But before discussing the - dominating personalities of the age we must refer to a few painters who - occupy a more or less isolated position in the art of their country.</p> - - <p>The naturalism of Caravaggio was introduced into France by two of - his followers, Jean de Boulongne, called Le Valentin (1591–1634), - and Simon Vouet (1590–1649), who was also slightly influenced by the - Venetians. Valentin spent the best part of his life in Rome, where he - died in 1634. The Louvre owns, among eight pictures from his brush - (not all of which are exhibited), his masterpiece, <cite>The Innocence of - Susannah recognised</cite> (No. 56), which has the vigorous handling and bold - chiaroscuro of the Neapolitan school.</p> - - <p>Simon Vouet, who came to England at the age of fifteen, and - subsequently travelled in Turkey and Italy, where he remained until - his appointment as Painter to the King took him back to Paris in 1627, - tried to combine the naturalism of Caravaggio with the colouring of the - Venetians, an endeavour in which he was only partially successful, as - he was not equipped by nature with a sensuous appreciation of beautiful - colour. The Louvre owns a dozen Scriptural subjects and allegorical - figures by Vouet; but even the best of them, <cite>The Presentation of Jesus - in the Temple</cite> (No. 971), is but a dull<span class="pagenum" id="Page_244">244</span> and heavy performance; whilst - his <cite>Portrait of Louis XIII.</cite> (No. 976) is wholly devoid of artistic - merit. Perhaps he owes his fame chiefly to the fact that he was the - master of the absurdly overrated Le Sueur and of that art despot of the - Louis <span class="smcap">xiv.</span> era, Charles Le Brun.</p> - - <h3 id="THE_BROTHERS_LE_NAIN">THE BROTHERS LE NAIN</h3> - - <p>Of far greater artistic significance are the three brothers, Antoine, - Louis, and Matthieu Le Nain, who were born at Laon, and flourished - in Paris during the first half of the seventeenth century. Antoine - and Louis died in 1648, and Matthieu in 1677. Very little is known of - their history, but the splendid array of their works in Gallery XIII. - proves them to have had close affinities with the contemporary Dutch - and Flemish schools, even if their manner of composition suggests close - acquaintance with Spanish art. Their subjects, too, like those of many - of the Northern masters of their time, are taken from the daily life of - the people, which is rendered with naïve honesty, and at times with a - real appreciation of beautiful pigment. So far it has been impossible - to distinguish between the works of the three brothers, as even the - signatures “<span class="smcap">le nain</span>, <span class="small">fecit 1647</span>,” on - the <cite>Portraits in an Interior</cite> (No. 543), and “<span class="smcap">le nain</span>, - <span class="small">fecit anno 1642</span>,” on the <cite>Peasants at their Meal</cite> - (No. 548, La Caze Gallery), afford no clue to the solution of the - problem. The striking differences in brushwork and colouring, which - are to be noticed in the eleven Le Nain pictures at the Louvre, would - certainly suggest that the three brothers did not, or did only rarely, - collaborate on the same pictures. The painter of <cite>The Return from - Haymaking</cite> (No. 542), with its prophetic suggestion of the <i lang="fr">plein-air</i> - effects of late nineteenth-century art, cannot have had much in common - with the painter of the dull and dingy <cite>Denial of St. Peter</cite> (No. 547).</p> - - <div> - <span class="pagenum" id="Page_245">245</span> - <h3 id="NICOLAS_POUSSIN">NICOLAS POUSSIN</h3> - </div> - - <p>The founder of the Classicist school of French painting, which has - had official approval and support from his time to the present day, - was Nicolas Poussin (1594–1665). Born at Les Andelys in Normandy, he - went to Paris at the age of eighteen, and became so fascinated by the - examples of antique sculpture that, in spite of his extreme poverty, - he determined to continue his studies in Rome. It is unnecessary here - to relate the struggles that preceded his arrival at Rome in 1624. - He frequented the school of Domenichino; but what was more decisive - for the formation of his style was his unceasing study of antique - sculpture, in which he was guided and encouraged by his friend, the - sculptor Duquesnoy. After some years of continued poverty, he found - at last liberal patronage, and rose to such fame that on his return - to Paris in 1640 he was appointed Painter-in-Ordinary to the King. - However, the duties and restrictions attached to this position proved - so irksome to Poussin, that after two years he returned to Rome, where - he spent the rest of his life.</p> - - <p>At the Louvre is to be found an imposing array of forty canvases by - Poussin, whose art is as typical an expression of French genius as - the poetry of Corneille. It is essentially intellectual, based on - theoretical rules of design and composition, not in the least sensuous - or emotional, but always coldly classical. The vast majority of his - paintings at the Louvre are in such a deplorable state of deterioration - and neglect that it is almost impossible to form an adequate idea - of their original colour, but even the most ardent admirers of the - master do not maintain that he was a great colourist. His pictures are - entirely dependent on beauty of form and rhythmic design. They might - almost be described as painted reliefs. This applies at least to his - treatment of the human figure.<span class="pagenum" id="Page_246">246</span> His conception of landscape, though - still severely classical, is more pictorial and testifies to a genuine - love of Nature—Nature idealised by a lofty imagination. To appreciate - his greatness as a landscape painter, one has only to examine the - glorious setting to his <cite>Orpheus and Eurydice</cite> (No. 740). The figures - here are really of quite subordinate importance—mere incidents in a - landscape painted with consummate mastery, perfect in linear and aerial - perspective.</p> - - <p><cite>The Shepherds in Arcadia</cite> (No. 734, <a href="#i_plate37">Plate XXXVII.</a>) may be quoted to - illustrate the calculated rhythm of his design and his indebtedness - to classic art from which he derived his nobility of form. Real - dramatic action was beyond Poussin’s range. His famous <cite>Rape of the - Sabine Women</cite> (No. 724) is a striking instance of his failure to - grasp the significant difference between dramatic movement and mere - heroic posturing. Far more inspired, and therefore more natural and - dramatically effective, is the superb circular painting for a ceiling - commissioned by Cardinal Richelieu and representing <cite>Time rescuing - Truth from the Attacks of Envy and Discord</cite> (No. 735). The allegory is - said to have been intended as an allusion to the circumstances which - induced Poussin to leave Paris for good. The design has more real - vitality than is generally to be found in Poussin’s work; the action of - the figures is more natural; and the colour music is not drowned by the - prevalence of dingy browns. The decorative effect heralds in a strange - way the art of the next century, and particularly that of Boucher.</p> - - <p>To see Poussin in the right perspective as regards the world’s great - masters, one need only compare his two <cite>Bacchanals</cite> (Nos. 729 and - 730) with Titian’s rendering of a similar theme. The comparison is - disastrous for the eclectic Frenchman. A <cite>Portrait of the Painter</cite> (No. - 743) from Poussin’s own brush is to be found in Room XIV., where no - fewer than thirty-seven of his pictures are on view.</p> - - <div class="figcenter" id="i_plate37"> - <img class="illow100" src="images/i_plate37.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXVII.—NICOLAS POUSSIN</span><br /> - <span class="small">(1594–1665)</span><br /> - FRENCH SCHOOL<br /> - No. 734.—THE SHEPHERDS IN ARCADIA<br /> - <span class="small">(Les Bergers d’Arcadie)</span></div> - </div> - <div class="description"> - <p>In the centre of a landscape with receding ranges of hills, three - shepherds, leaning on their long staves, and a maiden in classic garb, - are gathered around an ancient tomb surrounded by trees. An inscription - on the tomb, “<cite>Et in Arcadia Ego</cite>,” engages their attention. One of the - shepherds is kneeling and reading the inscription to his companion on - the left, whilst the third man of the group leans forward to point out - to the maiden the significance of the inscription.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">2 ft. 9½ in. × 3 ft. 11½ in. (0·85 × 1·21.)</p> - </div> - - <div> - <span class="pagenum" id="Page_247">247</span> - <h3 id="CLAUDE_LORRAIN">CLAUDE LORRAIN</h3> - </div> - - <p>Strangely enough, the otherwise very complete collection of French - pictures at the Louvre does not contain a single example of Poussin’s - brother-in-law, Gaspard Dughet, better known as Gaspard Poussin - (1613–1675), who devoted himself more exclusively to landscape than - did his more illustrious relative. Nicolas Poussin’s influence also - became decisive for the formation of the style of Claude Gellée, - called Le Lorrain (1600–1682), who is represented at the Louvre by - seventeen pictures (Nos. 310–326), most of which also have suffered - considerably from discoloration and neglect. Claude, who was the child - of poor parents, started life as a cook. In this capacity he went to - Rome, where his talent for art was discovered by the landscape painter - Agostino Tassi, to whom he served as cook and apprentice. Having - learned all he could from his master, he returned to France in 1625, - but, like Poussin, preferred to go back to Rome after two years spent - in his native country. In the Papal city he lived the rest of his days, - and rose to fame and affluence.</p> - - <p>He was essentially a landscape painter. The historical and legendary - incidents introduced in such pictures as <cite>The Disembarkation of - Cleopatra at Tarsis</cite> (No. 314), or <cite>Ulysses restoring Chryseis to her - Father</cite> (No. 316), were to him a mere excuse for painting classic - landscapes and imaginary buildings of noble proportion bathed in a - golden atmosphere, which has hardly been rivalled by any contemporary - or later painter. It is only on rare occasions, as in the <cite>View of - the Campo Vaccino at Rome</cite> (No. 311), that he applied his gifts to - the portrayal of nature. As a rule, his views are carefully arranged - combinations of architectural and landscape elements brought together - arbitrarily, and generally disposed in the manner of the wings and - backcloth of a stage scene, but connected by the unity of light and - atmosphere. Considering this<span class="pagenum" id="Page_248">248</span> method, it is amazing that his memory - enabled him to invent such imaginary scenes with so great a degree - of truth. <cite>The View of a Sea Port</cite> (No. 317, <a href="#i_plate38">Plate XXXVIII.</a>), in the - subdued light of a misty day, is a magnificent instance of his masterly - management of aerial perspective. It is signed and dated “<span class="smcap">claude - <span class="small">in</span> roma, 1646</span>.” It is generally known - how much Turner in his first manner owed to the example of Claude. - That even Watteau was indebted to him may be gathered from such - pictures as <cite>The Village Fête</cite> (No. 312), which, signed and dated, - “<span class="smcap">claudio</span>, <span class="small">inv. Romæ</span>, 1639,” contains in germ - the elements that constituted the greatness of the eighteenth-century - master.</p> - - <h3 id="LE_SUEUR">LE SUEUR</h3> - - <p>Whilst Poussin and Claude were working in Rome, two pupils of Vouet - reaped the highest honours in France. Eustache Le Sueur (1617–1655), - whom his compatriots in their incomprehensible over-estimation of his - mediocre gifts have called the “French Raphael,” certainly strove - to emulate the divine Urbinate; but how badly he succeeded in this - endeavour is to be gathered from the fifty-two paintings, by the - placing of which his memory is retained at the Louvre. What dignity - there is in the simple flow of line in his designs, is completely - ruined by the offensive crudeness of his colour. Even allowing for the - inevitable fluctuations of taste in matters of art, it is difficult - now to understand how enthusiasm could ever have been aroused by the - works that were considered his masterpieces, <cite>St. Paul preaching at - Ephesus</cite> (No. 560), which at the beginning of last century was valued - at £10,000 (!), and the twenty-two <cite>Scenes from the Life of St. Bruno</cite> - (Nos. 564–585), painted between 1645 and 1648 for the small cloister - of the Carthusians in Paris. This series, which is a severe tax on - the patience of the conscientious visitor, fills the whole of Gallery - XII., whilst other paintings connected with it intrude <span class="pagenum" id="Page_249">249</span>into the - adjoining room, which is consecrated to the brothers Le Nain.</p> - - <div class="figcenter" id="i_plate38"> - <img class="illow100" src="images/i_plate38.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXVIII.—CLAUDE GELLÉE, CALLED CLAUDE LORRAIN</span><br /> - <span class="small">(1600–1682)</span><br /> - FRENCH SCHOOL<br /> - No. 317.—VIEW OF A SEAPORT<br /> - <span class="small">(Vue d’un Port de Mer: Effet de Brume)</span></div> - </div> - <div class="description"> - <p>In the foreground, on the beach, are groups of men occupied with - unloading merchandise and cattle. Sailing ships are at anchor in the - port, and boats are floating on the rippling water. On the left a - monumental staircase leads from the landing-steps to a palace, beyond - which is seen a fort; a classic temple on the right. Sunset effect, the - power of the sun being softened by a mist over the far distance.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">Signed on a stone in the left foreground:—“CLAUDE <span class="smcap">in Roma</span>, 1646”</p> - <p class="noindent">3 ft. 10¾ in. × 4 ft. 11 in. (1·19 × 1·50.)</p> - </div> - - <p>Before passing on to Vouet’s most famous pupil, Charles Le Brun, - whose despotic power imposed upon French painting during the “<i lang="fr">grand - siècle</i>” its pompous rhetorical character, mention should be made of - Sébastien Bourdon (1616–1671), who, but for his prolonged sojourn in - Rome, which fed his ambition to excel in the “grand style,” would - have been one of the most remarkable artists of his century. This - conclusion is, at least, justified by his precious little painting of - a group of <cite>Beggars</cite> (No. 76), which is perhaps unrivalled in French - seventeenth-century art for quality of paint and appreciation of - tone values; and by his excellent <cite>Portrait of the Philosopher René - Descartes</cite> (No. 78), who was also painted by Frans Hals (No. 2383). In - his treatment of scriptural and historical subjects he does not rise - above the dull level of his contemporaries.</p> - - <h3 id="CHARLES_LE_BRUN">CHARLES LE BRUN</h3> - - <p>Charles Le Brun (1619–1690) studied first under Vouet, but, attracted - by Poussin’s stronger personality, followed that master to Rome in - 1642, and continued his studies under his guidance. When Le Brun - returned to Paris four years later, his reputation was already firmly - established. Patronised by Louis <span class="smcap">xiv.</span>’s powerful minister, - Colbert, he was placed at the head of the newly founded Academy of - Painting, and of the Gobelins Manufactory, became First Painter to - the King and “Prince” of the French Academy in Rome; and was, in - fact, given absolute power in all matters concerning the fostering of - the arts and art industries. This despotic power explains how it was - possible that Le Brun, who notwithstanding his brilliant executive - skill and extraordinary facility never rose above the level of - mediocrity, could impose his<span class="pagenum" id="Page_250">250</span> uninspired personality upon every phase - of French artistic activity of his time.</p> - - <p>His enormous canvases at the Louvre, which probably occupy more space - than has been allotted to any other painter, vainly endeavour to - conceal the lack of real emotion and of a central motif by theatrical - gestures and overcrowding. His masterpiece at the Louvre is <cite>The Tent - of Darius</cite> (No. 511), which represents the family of Darius imploring - Alexander the Great for mercy. But even here one feels the absence of - dramatic inspiration and concentration. Less successful are the other - scenes from the history of Alexander: <cite>The Passage of the Granicus</cite> - (No. 509), <cite>The Battle of Arbela</cite> (No. 510), <cite>Alexander and Porus</cite> - (No. 512), <cite>Alexander entering Babylon</cite> (No. 513). The whole series - was painted between 1661 and 1668 for execution in tapestry and was - exhibited at the Salon in 1673, the year in which for the first time - an official catalogue was compiled. Besides many scriptural and - mythological subjects, and a few portraits from Le Bran’s brush, there - are at the Louvre his decorative paintings on the ceiling of the - Galerie d’Apollon in which the magnificent centre panel was added two - centuries later by Delacroix.</p> - - <h3 id="PIERRE_MIGNARD">PIERRE MIGNARD</h3> - - <p>Le Bran’s successor in the direction of the Academy and the Gobelin - works, Pierre Mignard (1612–1695), called “Le Romain” owing to his long - domicile in Rome after the completion of his studies under Vouet, did - not have his precursor’s large decorative faculty and sweeping ease of - execution. Yet the excessively affected grace and the careful finish - of his pictures, of which <cite>The Virgin of the Grapes</cite> (No. 628) is a - thoroughly characteristic instance, helped to raise him to an exalted - position in the opinion of his contemporaries. To this day the affected - style of prettiness<span class="pagenum" id="Page_251">251</span> of which he was the high priest is known as - “<i lang="fr">mignardise</i>.” His power was altogether insufficient for the ambitious - decorative tasks he set himself in emulation of Le Brun. If he has any - claim to the esteem of posterity, it is for having left the world a - portrait gallery of the notable men and women of his time—portraits - which are by no means free from flattery and mannered grace, but - constitute, nevertheless, a valuable historical record. Of these the - Louvre owns the <cite>Portrait of the Artist at Work in his Studio</cite> (No. - 640); the <cite>Portrait of Françoise d’Aubigne, Marquise de Maintenon</cite> (No. - 639); and the life-size group of <cite>Louis of France, Son of Louis XIV., - his Wife, and their three Children</cite> (No. 638).</p> - - <p>Colbert and Le Brun had succeeded but too well in carrying out the - powerful minister’s ambition to direct French art towards industrial - and decorative aims, to train an army of capable producers, and to - place the whole organisation on what may be called a business basis. - The system was, however, not favourable for the growth of independent - genius. With few exceptions, the whole generation of painters that - grew up under Le Brun’s régime are of no significance to the history - of art. There were among them many capable craftsmen, but they only - repeated in a feebler way what Le Brun had done on a more imposing and - dazzling scale. Whole dynasties of painters arose, like the Boulognes - and the Coypels, who, under official patronage, filled acres of canvas - with florid, theatrical renderings of scriptural subjects, and with the - bombastic mock-heroics of classic history and mythology seen through - baroque spectacles.</p> - - <h3 id="LE_BRUNS_FOLLOWERS">LE BRUN’S FOLLOWERS</h3> - - <p>It would be giving undue importance to these painters of the Louis - <span class="smcap">xiv.</span> period if we were to go beyond a mere enumeration of - their leaders and their chief works at the Louvre. None of<span class="pagenum" id="Page_252">252</span> them - possessed any marked individuality; and most of them were linked - together, not only by similar aims and ambitions, but also by family - ties. Four members of the Coypel family rose to great eminence among - their fellow-artists, and to important official positions. Noël - Coypel (1628–1707), the painter of the four historical compositions, - <cite>Solon defending his Laws before the Athenians</cite> (No. 157), <cite>Ptolomy - Philadelphus giving the Jews their Freedom</cite> (No. 158), <cite>Trajan giving - a Public Audience</cite> (No. 159), and the <cite>Foresight of Septimus Severus</cite> - (No. 160), all of which were originally executed for the Council - Chamber at Versailles; his sons Antoine Coypel (1661–1722), whose best - known pictures at the Louvre are the <cite>Susannah and the Elders</cite> (No. - 169) and the <cite>Democritos</cite> (No. 174), which recalls Jordaens in its - exuberant life, and Noël Nicolas Coypel (1692–1734), whose goddesses - and nymphs already reflect the taste which dominated the eighteenth - century; as well as Antoine’s son, Charles Antoine Coypel (1694–1752), - whose uninspired art may best be studied in the <cite>Perseus delivering - Andromeda</cite> (No. 180).</p> - - <p><cite>The Triumph of Bacchus</cite> (No. 447) and <cite>The Annunciation</cite> (No. 445), - by Charles de La Fosse (1636–1716); <cite>Hercules fighting the Centaurs</cite> - (No. 53), by Bon Boulogne (1649–1717); and <cite>The Marriage of St. - Catherine</cite> (No. 55), by his brother Louis Boulogne (1654–1733), only - serve to illustrate the mediocrity of their respective authors. The - impersonality of Bon Boulogne’s art had at least the advantage that his - teaching left free scope for personal expression to his many pupils.</p> - - <p>Even the still-life painting of the “<i lang="fr">grand siècle</i>,” which found its - chief exponent in Jean Baptiste Monnoyer (1634–1699), partakes of the - love of pomp and display that characterises this period. Gold and - silver vases, precious stuffs and furniture generally accompany his - flowers, which are painted without real appreciation of their natural - beauty, and in purely local tints without a hint of the effect of each - colour upon its surround<span class="pagenum" id="Page_253">253</span>ings. The <cite>Flowers</cite> (No. 648), in the La Caze - Gallery, may be mentioned as a typical example.</p> - - <h3 id="BATTLE_PAINTERS">BATTLE PAINTERS</h3> - - <p>The battle painter, Jacques Courtois (1621–1676), called Borgognone - and Le Bourguignon, though born in France, was so completely under the - spell of the art of Italy, the country where he spent almost his entire - life, that he can scarcely be reckoned as belonging to the French - school. His furious cavalry <i lang="fr">mêlées</i>, though entirely imaginative (as - such confused encounters of horsemen piercing each other’s ranks have - never taken place in actual warfare), are painted, like the <cite>Cavalry - Fight</cite> (No. 151), with a touch as swift as it is sure and expressive, - and full of exuberant vitality.</p> - - <p>Joseph Parrocel (1678–1704), who, during a prolonged visit to Rome had - benefited by Borgognone’s teaching, could not, after his return to - France in 1675, escape the current of thought which dominated his time, - and introduced the stage-heroic note into his master’s sham realism. - The glorification of his king is the purpose of such pictures as <cite>The - Passage of the Rhine by Louis XIV.</cite> (No. 678). The chief interest is - centred in the richly apparelled group on their prancing steeds in the - foreground.</p> - - <h3 id="JEAN_JOUVENET">JEAN JOUVENET</h3> - - <p><cite>The Descent from the Cross</cite> (No. 437), by Jean Jouvenet (1644–1717), - which has been honoured by a position among the masterpieces in the - Salon Carré, is certainly one of the most estimable compositions - produced in France during this active but uninspired century. Not only - in the general disposition of the design, but also in the use of colour - as a constructive element, Jouvenet here<span class="pagenum" id="Page_254">254</span> acknowledges his indebtedness - to Rubens, although he could never rival the luminous glow of the great - Fleming’s palette. Most of his other pictures suffer from dull heavy - shadows and exaggerated expression. His strong and honest painting - of the kneeling group in <cite>The Abbé Delaporte officiating at the High - altar of Nôtre-Dame</cite> (No. 440), makes us regret that he did not devote - himself more to subjects taken from the life of his time.</p> - - <p>An artist who was less tied to the tyranny of the official school, and - imbued with a really profound sense of the beautiful, was Jean Baptiste - Santerre (1658–1717). The delicate perfection of form of the nude in - <cite>Susannah and the Elders</cite> (No. 835) approaches him to David and Ingres - at their best. But this very perfection carries the germ of decay, - because it is incapable of progress, and stagnation in art signifies - death. As regards his technique, Santerre was extremely careful and - conscientious. He reduced his palette to but five colours, and waited - ten years after the completion of a picture before putting on the final - coat of varnish.</p> - - <h3 id="THE_PORTRAIT_PAINTERS">THE PORTRAIT PAINTERS</h3> - - <p>The two great portrait painters who flourished under the “Grand - Monarque,” Rigaud and Largillière, were preceded by an artist to whom, - perhaps owing to the relative scarceness of his works, history has - done but scant justice. Whilst the Louvre contains thirteen portraits - by Largillière and seventeen by Rigaud, only two pictures stand to the - name of Claude Lefebvre (1632–1675); but his <cite>Portraits of a Master - and his Pupil</cite> (No. 529) and the <cite>Portrait of a Man</cite> (No. 530), are - distinguished by a penetrating insight into character and an incisive - vigour of style that form a striking contrast to the shallow bombast - introduced even into portraiture by the fashionable painters to the - Court. Lefebvre has been compared with Van Dyck. The <cite>Portrait of a - Man</cite> (No. 530)<span class="pagenum" id="Page_255">255</span> has more in common with the brilliant audacity of Frans - Hals’s brushwork. Lefebvre worked for some years in London, where he - was a favourite at the Court of Charles <span class="smcap">ii.</span></p> - - <p>Rigaud’s manner of portraiture has none of these serious, manly - qualities, but his skill in arranging the sumptuous accessories which - play so important a part in his portraits,—as important, at least, - as the actual features of the sitters,—secured him the patronage of - the pomp-loving, haughty nobility. Hyacinthe Rigaud y Ros (1659–1743) - was born at Perpignan and educated at Montpellier and Lyons. It was - the advice of Le Brun that saved him from the customary pilgrimage to - Rome and its inevitable consequences. It was Le Brun who recognised - Rigaud’s bent for portraiture, and launched him on the brilliant - career which gained for him the title of “the French Van Dyck.” Rigaud - was enormously productive. Between 1681 and 1698 he is said to have - painted six hundred and twenty-three portraits. And he had then another - forty-five years before him!</p> - - <p>Rigaud’s best known picture at the Louvre is the stately <i lang="fr">portrait - d’apparat</i> of <cite>King Louis XIV.</cite> (No. 781), a life-size full length, - in which the spirit of the time, the curious blending of supercilious - haughtiness, love of display, and affected grace of manner, are - happily expressed in the monarch’s attitude and in the whole setting. - The picture is signed and dated, “<span class="smcap">peint par hyacinthe rigaud, - 1701</span>.” The same tendencies are to be noted in the full length - <cite>Portrait of Bossuet, Bishop of Meaux</cite> (No. 783), in which it is - surprising that the prelate’s personality is not completely smothered - by the splendid profusion of the accessories. His gifts appear, - however, in a better light in his excellent <cite>Portraits of Marie - Serre, the Artist’s Mother</cite> (No. 784), with the same head, honestly - and soberly painted, twice on the same canvas, once in sharp profile - looking to the right, and again, facing this, a three-quarter profile - to the left. Wholly unexpected is the delicacy<span class="pagenum" id="Page_256">256</span> and softness of one - of his pictures in the La Caze Room: the <cite>Portrait of the Duke of - Lesdiguières as a Child</cite> (No. 792). His solitary excursion into the - domain of “grand art” at the Louvre is at the same time his last work: - <cite>The Presentation in the Temple</cite> (No. 780), which in grouping and - lighting owes much to the study of Rembrandt.</p> - - <p>Nicolas de Largillière (1656–1746) was born in Paris, but was taken - when still an infant to Antwerp, where he became a pupil of Goebouw. - From 1674 to 1680 he worked in London as an assistant of Sir Peter - Lely, from whom he acquired the clever tricks and mannerisms in the - painting of draperies and the textures of silks and velvets and other - materials, which were to form so important a part of his artistic - equipment. After Lely’s death Largillière went to Paris, where he not - only shared with Rigaud the patronage of the Court as portrait painter, - but secured many important commissions for historical paintings which, - perhaps to the advantage of his fame, are now all but forgotten. - Largillière was not without distinction as a brilliant and daring - colourist. Nor was he incapable, on occasion, of seizing the subtleties - of his sitters’ character. But his praiseworthy qualities are more than - balanced by his unpleasant affectations and by the baroque squirminess - of his line. This tendency carried him to such insufferable excesses as - the conglomeration of lumpy bosses which does duty for a hand in his - <cite>Portrait of M. Du Vaucel</cite> (No. 484), in the La Caze Room.</p> - - <p>His boastful skill in the management of the satins and velvets in the - overrated portrait group of <cite>Largillière with his Wife and Daughter - in a Garden</cite> (No. 491), cannot atone for the singularly unfortunate - and clumsy composition, and for the self-conscious affectation of each - individual pose. More satisfactory, in spite of the superabundance of - accessories and outward pomp, which in this case is a fitting attribute - to the character of the sitter, is the<span class="pagenum" id="Page_257">257</span> <cite>Portrait of Charles Le Brun, - First Painter to King Louis XIV.</cite> (No. 482), who is depicted in a - colossal wig, seated before an easel, and wearing a superbly painted - red velvet cloak.</p> - - <h3 id="LANDSCAPE_PAINTERS2">LANDSCAPE PAINTERS</h3> - - <p>It almost goes without saying that landscape art, which, even in its - most artificial and “classic” phase is inspired by the love and study - of nature, was sadly neglected in so artificial an age. Among its - leading exponents must be mentioned the two Patels, father and son, of - whose life we have but scant knowledge, and whose pictures resemble one - another’s so closely that it is often difficult to determine which is - by Pierre Patel, the father (1620?–1676), and which by Pierre Antoine - Patel, the son (1648–1708), especially as both adopted the signature, - “<span class="smcap">p. patel</span>.” In the case of the older artist’s <cite>The Exposure of - Moses on the Nile</cite> (No. 680), and <cite>Moses burying the Egyptian whom he - had Slain</cite> (No. 681), and his son’s four landscapes representing the - months, <cite>January</cite> (No. 684), <cite>April</cite> (No. 685), <cite>August</cite> (No. 686), - and <cite>September</cite> (No. 687), all doubts are set aside by the dates which - accompany the signature. Both artists were close followers of Claude - Lorrain, although their precise technique suggests the influence of - Adam Elsheimer.</p> - - <p>A truer perception of nature came to France from the North, whence, - indeed, throughout the history of French painting vitality was infused - into an art that was cramped by officially imposed canons of Italian - perfection. As far back as the time of Le Brun, Félibien and Roger de - Piles had begun in the field of literary polemics the long struggle - between the <em>Poussinistes</em> and <em>Rubenistes</em>, the adherents of an art - dominated by design and perfect drawing, against the partisans of - colour as a vital element. During the whole seventeenth century the - Poussinistes, who commanded all the official support, held the field, - though the Netherlandish strain<span class="pagenum" id="Page_258">258</span> was represented by some of the finest - painters of that period, like the brothers Le Nain, C. Lefebvre, - and Philippe de Champaigne. In the eighteenth century the Northern - influence became supreme through Watteau and Chardin on the one hand, - and on the other through Boucher and Fragonard, both of whom were - powerfully influenced by the study of Rubens’s works.</p> - - <h3 id="DESPORTES">DESPORTES</h3> - - <p>In landscape the healthy opposition to the prevailing classic style - appears first in the work of the Flemish battle painter Van der Meulen, - whose backgrounds, sketched on the spot, show a fine feeling for - aerial perspective and atmospheric effects. But his example apparently - attracted no followers. Though not, strictly speaking, a landscape - painter, François Desportes (1661–1743), who owed less to his early - training under Nicasius, a third-rate Fleming, than to his habit of - using his own eyes and studying nature direct, treated landscape with - similar freedom in the backgrounds to his portraits and pictures of - the chase. In his paintings of animals, dead or alive, limp bodies of - hares and birds arranged as still-life with flowers and fruits, or in a - very frenzy of movement in his hunting pieces, he endeavours to emulate - Snyders, without quite rivalling the Flemish master. Of his twenty-five - pictures at the Louvre, twenty-three (Nos. 225–248) belong to this - genre, but not all of them are actually exhibited. The <cite>Portrait of a - Huntsman</cite> (No. 224), and the <cite>Portrait of the Artist</cite> (No. 249) seated - under a tree, holding a gun in his right, and caressing with his left - hand a hound whose paw is resting on a pile of dead game, serve to - prove that he knew how to manage portraiture with the same bold, frank - spirit and summary breadth. He was particularly happy in rendering, - without laboured detail, the varying textures of fur and plumage.</p> - - <p>Desportes’s only successful rival as a painter of animals and hunting - scenes was Jean Baptiste Oudry (1686–1755). How closely his style - resembled that of the elder painter is to be seen from his <cite>Wolf Hunt</cite> - (No. 667), the <cite>Dog watching Dead Game</cite> (No. 668), and one or two - similar pieces at the Louvre. Oudry was first taught by his father, - and subsequently by Largillière, who encouraged him in the painting of - still-life, and directed his study particularly to the observation of - tone values and of the interchange of colour that takes place between - objects in close proximity to each other. In 1734, Oudry was appointed - Director of the Beauvais Tapestry Works, which took a new lease of life - under his able management. It was he who supplied the designs for the - <cite>Fables of La Fontaine</cite>, which figure so frequently in the tapestries - woven at that great establishment. Perhaps his most interesting picture - at the Louvre is the large landscape <cite>The Farm</cite> (No. 670), signed and - dated 1750, one of the earliest examples in French art of a rustic - scene painted for its own sake, without any attempt at ennobling the - landscape by forcing it into a formal arrangement.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_259">259</span> - <h2 id="THE_EIGHTEENTH-CENTURY_FRENCH_SCHOOL">THE EIGHTEENTH-CENTURY FRENCH SCHOOL</h2> - </div> - - <h3 id="GENRE_PAINTERS2">GENRE PAINTERS</h3> - - <p class="drop-cap">IT is quite in accordance with the tendencies displayed by these - masters, that towards the end of the seventeenth and the beginning - of the eighteenth century an increasing number of artists preferred - to devote their talent to recording the life of their own days to - the endless repetition of the “grand-manner” subjects which had - occupied the energy of the preceding generations. Thus Jean Alexis - Grimou (1678–1740), who was Swiss by birth and entirely self-trained, - introduced into French art the drinking scenes beloved of the Flemish - masters. From his painting of <cite>A Drinker</cite> (No. 385) and the two - <cite>Portraits of Young Soldiers</cite> (Nos. 386 and 387), it may be seen how - little he was in<span class="pagenum" id="Page_260">260</span> sympathy with the official art of his time; this is - scarcely to be wondered at, since, instead of undergoing the customary - course of academic training, he had formed his style by copying the - works of Rembrandt and other Northern masters.</p> - - <p>Pierre Subleyras (1699–1749) was not quite so emancipated. In his large - religious compositions he still follows the affectations of the grand - style. His chief work of this kind is the <cite>Mass of St. Basil</cite>, at Sta. - Maria degli Angeli in Rome, of which No. 857 at the Louvre is a reduced - version. Of far more artistic significance are his small genre pieces, - in which he attains to a rich quality of pigment and a justice of - tone-values unique in French painting of his period. Subleyras is said - to have been of Spanish descent; and there are in his scenes from La - Fontaine’s “Fables”—notably in <cite>The Hermit</cite> (No. 862)—clear indications - of his intimate acquaintance with Spanish art. The best of all his - pictures at the Louvre is <cite>The Falcon</cite> (No. 861), which, apart from its - general quality of tone, contains some still-life passages worthy of - the brush of Chardin.</p> - - <h3 id="RAOUX_AND_DE_TROY">RAOUX AND DE TROY</h3> - - <p>Just as Subleyras should be judged by his genre scenes rather than by - his scriptural subjects, so Jean Raoux’s (1677–1734) real significance - lies in the intimate note he introduced into his fancy portraits, and - not in his moderately successful excursions into mythology, like the - <cite>Telemachus relating his Adventures to Calypso</cite>, at the Louvre (No. - 764). The <cite>Young Woman reading a Letter</cite> (No. 765), in the La Caze - Room, is perhaps the most charming of many similar pictures from his - brush. In sentiment it belongs entirely to the amorous century of Louis - <span class="smcap">xv.</span>, which was to produce a Fragonard and a Greuze. Raoux - was one of the first French painters of contemporary life. Brought - up in the old tradition, he was in his last years influenced by the - personality of the great Watteau.</p> - - <p><span class="pagenum" id="Page_261">261</span></p> - - <p>If Raoux was the somewhat sentimental painter of bourgeois life, Jean - François de Troy (1679–1752) played not infrequently the chronicler - of the elegant life of the leisured classes. Unfortunately this - interesting phase of his art is not represented at the Louvre, which, - besides the three <cite>Portraits</cite> (Nos. 886–888) in the La Caze collection, - contains two of his famous designs for tapestry, representing scenes - from the <cite>History of Esther</cite> (Nos. 884–885); and his large historical - painting, <cite>The First Chapter of the Order of the Holy Ghost, held by - Henri IV. in 1595</cite> (No. 883).</p> - - <h3 id="WATTEAU">WATTEAU</h3> - - <p>The master who was to break definitely with the cold, majestic, - uninspired art of the seventeenth century, and who in leading - French painting into new paths reached the very limits of poetic - expressiveness imposed by material means, was Antoine Watteau - (1684–1721). Born at Valenciennes six years before that city became - French through the peace of Nymwegen, Watteau, the son of a poor - Flemish tiler, was French, as it were, by accident only. In his early - years, when he studied in his native town under Gérin, a mediocre - local painter, he must have had occasion to become closely acquainted - with the paintings of the Flemish masters. On the death of Gérin, in - 1702, he went to Paris, where he became assistant to the scene-painter - Métayer. Watteau suffered dire poverty, and completely undermined his - health through privation before his talent attracted the attention of - his next master, Claude Gillot, with whom he stayed until 1708, when he - became assistant to Claude Audran, a decorative artist of great repute - and Keeper of the Luxembourg collections. At the Luxembourg Palace he - was enabled to study the masterpieces of Rubens, Titian, and Paolo - Veronese, from which he benefited as much as from his work from nature - in the Luxembourg gardens.</p> - - <p><span class="pagenum" id="Page_262">262</span></p> - - <p>It was perhaps fortunate that he failed in the competition for the - Prix de Rome in 1709, and was dissuaded from going to Italy. He - was received by the Academy in 1717, when he painted his “diploma - picture.” <cite>The Embarkation for the Island of Cythera</cite> (No. 982, <a href="#i_plate34">Plate - XXXIX.</a>), which may be considered an epitome of his art. Sketchy as - it is, this picture, which he painted in seven days, exceeds in - poetic charm and in the beauty of its entrancing sparkle of mellow - tones the more highly finished later version in the German Emperor’s - collection. It is the most striking instance of a purely imaginary - scene of unworldly happiness, tinged with that peculiarly Watteauesque - vague melancholy,—the consumptive’s <i lang="fr">maladie de l’infini</i> to which - M. Mauclair has drawn attention,—represented with such absolute - atmospheric truth as to make it appear an incomparably beautiful - reality. Technically, this picture, like <cite>L’Indifférent</cite> (No. 984) - and <cite>La Finette</cite> (No. 985) in the La Caze Room, embodies in germ - the theories which in the second half of the next century were - scientifically worked out by the French Impressionists.</p> - - <p>Some time in 1719 or 1720, Watteau was in England to consult a famous - physician. But his illness took a turn for the worse, and he had to - return to his native country. After six months spent in Paris, he went - to live at Nogent-sur-Marne, where he died on July 18, 1721. Watteau’s - influence upon eighteenth-century art was prodigious; but his work - remained unapproached by any of his followers and imitators, who too - often sacrificed artistic considerations to a desire to please the - lascivious tastes of a corrupt, pleasure-loving society. The <cite>Faux Pas</cite> - (No. 989) is one of the rare instances where Watteau allowed a certain - suggestiveness to enter into his work; but even here “the smallness of - the subject is swallowed up in the greatness of the painting.”</p> - - <div class="figcenter" id="i_plate39"> - <img class="illow100" src="images/i_plate39.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XXXIX.—ANTOINE WATTEAU</span><br /> - <span class="small">(1684–1721)</span><br /> - FRENCH SCHOOL<br /> - No. 982.—THE EMBARKATION FOR THE ISLAND OF CYTHERA<br /> - <span class="small">(L’Embarquement pour Cythère)</span></div> - </div> - <div class="description"> - <p>On a mound in the foreground, under a group of trees on the right, - by a garlanded terminal figure of Venus, are seated a young woman - and a pilgrim; at their feet is Cupid, whose wings are covered by a - black cape. To the left a cavalier helps a young woman to rise from - the lawn. In the centre of the composition another pilgrim leads away - his partner, encircling her waist with his arm. On the left, in the - middle distance, is a procession of lovers in pairs moving towards a - gilt barge with a chimera at the prow and two semi-nude rowers. Cupids - are floating in the air above the barge. In the background a lake - surrounded by bluish mountains.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">4 ft. 2 in. × 6 ft. 3½ in. (1·27 × 1·92.)</p> - </div> - - <div> - <span class="pagenum" id="Page_263">263</span> - <h3 id="THE_WATTEAUS_IN_THE_LA_CAZE_GALLERY">THE WATTEAUS IN THE LA CAZE GALLERY</h3> - </div> - - <p>It is a strange fact that but for the generosity of La Caze, <cite>The - Embarkation</cite> would be the only example at the Louvre of the greatest - master produced by France. The reason for this extraordinary neglect - may be found in the scant esteem in which Watteau was held until - his eclipsed fame was resuscitated by the de Goncourts. The superb - life-size painting of <cite>Gilles</cite> (No. 983), one of ten pictures by or - attributed to Watteau in the La Caze collection, was sold at public - auction in 1826 for £26; whilst <cite>L’Indifférent</cite> and <cite>La Finette</cite> - together realised the sum of £19 at the Marquis de Ménars’ sale! Of - the eleven pictures in the La Caze collection that were originally - attributed to Watteau, <cite>L’Escamoteur</cite> (No. 622<span class="smcap">a</span>, formerly - No. 987) is now acknowledged to be by his imitator Philippe Mercier - (1689–1760), who was born in Berlin of French parents, and spent the - most productive years of his life in London, where he died in 1760. - The still-life piece <cite>Dead Game</cite> (No. 993), officially assigned to - Watteau, has rightly been doubted; but the aspersions thrown upon - the authenticity of the delicious <cite>Pastoral</cite> (No. 992) do not seem - sufficiently justified. The profound influence of Rubens upon Watteau’s - art is nowhere more pronounced than in the sketch <cite>The Judgment of - Paris</cite> (No. 988), and in the beautiful oval composition <cite>Jupiter and - Antiope</cite> (No. 991), which has, however, also much in common with - Titian. The superb nude figure symbolising <cite>Autumn</cite> (No. 990), and - another <i lang="fr">fête galante</i>, entitled <cite>Gay Company in a Park</cite> (No. 986), are - no less creditable to the master’s genius.</p> - - <h3 id="WATTEAUS_FOLLOWERS">WATTEAU’S FOLLOWERS</h3> - - <p>Although Watteau indicated the direction that French art was to follow - in a century when it had to cater no longer for the state<span class="pagenum" id="Page_264">264</span>apartment but - for the boudoir, he left no follower worthy to carry on his tradition. - Nicolas Lancret (1690–1743), who had studied under Dulin and Gillot, - based his style upon Watteau, whom he almost rivalled as a draughtsman. - But he was an inferior colourist, and wholly lacking in poetic - inspiration. One has only to compare his <cite>Actors of the Italian Comedy</cite> - (No. 470) with Watteau’s <cite>Gilles</cite> (No. 983), or his <cite>Music Lesson</cite> (No. - 468) and <cite>Innocence</cite> (No. 469) with their prototypes created by that - master, to realise the inferiority of these thin, vulgarised versions - of Watteau subjects.</p> - - <p>Jean Baptiste Pater (1695–1736), who, like Watteau, was born at - Valenciennes, became a pupil of his fellow-townsman in Paris, and - benefited considerably by his guidance. Although inferior as a - draughtsman to Lancret, whom he did not rival either in originality, he - far surpassed him as a colourist. With Lancret, colour was generally - an afterthought; with Pater, it entered into the primary conception - of the picture. His Academy diploma piece, the <cite>Fête Champêtre</cite> (No. - 689), is painted in the Watteau manner with true pictorial feeling, - even if it lacks the master’s precious, jewel-like quality of pigment. - The <cite>Fête Champêtre</cite> (No. 203), by Bonaventure Debar (1700–1729), holds - promise of a considerable talent in a similar direction, cut short by a - premature death.</p> - - <h3 id="THE_VAN_LOO_FAMILY">THE VAN LOO FAMILY</h3> - - <p>No fewer than five members of the Flemish Van Loo family, which - flourished in France from about 1660 until the death of Julius Cæsar - Van Loo in 1821, are represented in the Louvre collection. The most - distinguished among them were Louis Van Loo’s sons, Jean-Baptiste - and Charles André, better known as Carle. Both of them were brought - up in the academic tradition; but their Flemish blood and the taste - of a time that had seen the master-work of Watteau, gave their art - more vigour and sensuousness<span class="pagenum" id="Page_265">265</span> than is to be found in the paintings - of their academic precursors. Still it is unnecessary to linger over - their historical and mythological compositions. The picture which does - most credit to Carle Van Loo (1705–1765) is <cite>The Hunt Picnic</cite> (No. - 899), which, in spite of a certain crudeness of colour, attracts by - the science of the composition, the Watteau feeling of the landscape - background, and by its fascinating reality as a record of contemporary - life among the leisured, pleasure-loving classes.</p> - - <p>François Le Moine (1688–1737) constitutes a link between the decorative - style of the preceding generation, which had become dull and ponderous, - and the art of Watteau and his followers. In this position he heralds - his great pupil François Boucher, whose characteristics, deprived of - his elegant grace and suave rhythm of design, are more than hinted - at in the <cite>Juno, Iris and Flora</cite> (No. 536). The <cite>Olympus</cite> (No. 535), - the sketch for a ceiling, recalls in its joyful decorative colour and - bravura of brush work the art of Tiepolo and Ricci.</p> - - <h3 id="FRANCOIS_BOUCHER">FRANÇOIS BOUCHER</h3> - - <p>Whilst such painters as Jean Restout (1692–1768) still continued - to follow the tradition of the Bolognese eclectics, as may be seen - in his <cite>Herminia and the Shepherd</cite> (No. 775), the art of the Louis - <span class="smcap">xv.</span> period was given its final stamp by François Boucher - (1703–1770). This favourite of Mme. de Pompadour, having gained the - Prix de Rome in 1723, went to Italy in 1727, whence he returned to - Paris four years later. At the age of thirty his <cite>Rinaldo and Armida</cite> - (No. 38<span class="smcap">a</span>) caused him to be “received” by the Academy—the - first of many honours that fell to his share, as he became in turn - First Painter to the King, Director of the Academy, and Inspector of - the Beauvais Tapestry Manufactory. He was the ideal painter of the - age that was dominated by the personality of the Pompadour, who kept - him employed with commissions for the<span class="pagenum" id="Page_266">266</span> decoration of her boudoir. - Boucher was the true child of his time—licentious, pleasure-loving, - light-hearted, and without moral scruples. The astonishing thing is - that his pursuit of pleasure did not affect his enormous productivity. - His art is in perfect harmony with his character—frankly sensual, - exuberant, and unreliable; at times rising to superb decorative - splendour of the airy, graceful type demanded by his patrons, and then - again careless to the point of slovenliness.</p> - - <p>Boucher was not a great colourist in the sense in which this term is - applied to masters like Titian or Rubens. Indeed, more often than - not his application of purely local colours unaffected by their - surroundings is apt to result in the crudeness noticeable in his - <cite>Pastoral</cite> (No. 33), and in the domestic scene called <cite>The Breakfast</cite> - (No. 50<span class="smcap">a</span>). Other pictures like the <cite>Pastoral</cite> (No. 34) owe - their present tapestry-like mellowness to the fading of the pigments. - But it would be unfair to disregard the artist’s intention and to judge - his capacity as a colourist from the present appearance of his works at - the Louvre or in their usual environment in a public gallery. They were - intended for definite decorative purposes, and in their proper Louis - <span class="smcap">xv.</span> setting fulfilled their function in admirable fashion. Few - artists excelled Boucher in rhythmic harmony of composition, although - it must be confessed that his emphatic insistence on triangular design - is apt to become monotonous. This predilection is to be noted in the - <cite>Rinaldo and Armida</cite> (No. 38<span class="smcap">a</span>), <cite>Venus disarming Cupid</cite> (No. - 44), <cite>The Rape of Europa</cite> (No. 39), the <cite>Pastorals</cite> (Nos. 33, 34, - and 35), <cite>Vulcan presenting Arms to Venus</cite> (No. 36, <a href="#i_plate40">Plate XL.</a>), and, - indeed, in the vast majority of his twenty-two exhibited pictures at - the Louvre. His mastery in flesh painting is best illustrated by the - more unconventionally designed <cite>Diana leaving the Bath</cite> (No. 30), and - the brilliant sketch of <cite>The Three Graces</cite> (No. 47) in the La Caze - Room. Among his other masterpieces at the Louvre, <cite>Venus demanding - Arms from Vulcan</cite> <span class="pagenum" id="Page_267">267</span>(No. 31), which like No. 36 was designed for - execution in tapestry, and the charming <cite>Portrait of a Young Woman</cite> - (No. 50), deserve special attention. It is unfortunate that they are - not hung in the rooms that contain the magnificent furniture of the - period, instead of being piled sky-high among pictures that seem to - be primarily regarded by the officials as mere museum specimens of - the art of painting. Boucher is better hung, and so may be much more - effectively studied in the Wallace collection in London.</p> - - <div class="figcenter" id="i_plate40"> - <img class="illow80" src="images/i_plate40.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XL.—FRANÇOIS BOUCHER</span><br /> - <span class="small">(1703–1770)</span><br /> - FRENCH SCHOOL<br /> - No. 36.—VULCAN PRESENTING ARMS TO VENUS<br /> - <span class="small">(Vulcain présentant à Vénus des Armes pour Énée)</span></div> - </div> - <div class="description"> - <p>On the right, Vulcan, seated on a tiger-skin with his left elbow - resting on an anvil, presents a sword to Venus, who, supported by a - nymph, is resting on a cloud in the centre of the composition. In the - background, over the head of Vulcan, are two cupids carrying a helmet - with a blue plume; between them and Venus, two nymphs on clouds under a - rock. Cupids and doves are fluttering around the central group. In the - foreground, on the left, are the chariot of Venus, doves, and cupids, - one of whom, immediately below the goddess, is holding a garland of - white roses.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">Signed:—“<span class="smcap">f. boucher.</span>”</p> - <p class="noindent">10 ft. 6 in. × 10 ft. 6 in. (3·20 × 3·20.)</p> - </div> - - <p>A little drier in touch than Boucher’s nudes, and considerably less - coherent in design, but still painted with remarkable ability, are - the figures of the goddess and her attendants in <cite>The Triumphs of - Amphitrite</cite> (No. 863), by Boucher’s contemporary, Hugues Taraval - (1728–1785).</p> - - <h3 id="SIMEON_CHARDIN">SIMÉON CHARDIN</h3> - - <p>If Boucher and the army of painters of <i lang="fr">fêtes galantes</i> and boudoir - decorations reflect the tastes of the corrupt society of Louis - <span class="smcap">xv.</span>’s age, Jean-Baptiste Siméon Chardin (1699–1779) is - the painter <i lang="fr">par excellence</i> of the lower bourgeoisie. His was an - uneventful, colourless life of unremitting work after the completion - of his studies under Cazes and N. N. Coypel. He never went to Rome; he - never sought after distinction in the “grand manner”; he never hankered - after Court patronage. He simply devoted himself to recording with the - utmost technical perfection the peaceful and domestic life of the lower - middle class, to which he himself belonged, with all his tastes and - habits of life, and to the painting of still-life, in which branch of - art he stands without a rival. There are among his thirty-two pictures - at the Louvre twenty paintings of <cite>Still-life</cite> (Nos. 89, 90, 94, 95, - 96, 98, 100, 105–116, and the doubtful No. 118), all equally remarkable - for their inimitable skill in the rendering of the most varied textures - and reflections; for subtle observation of the mutual effect of - coloured objects upon each other through<span class="pagenum" id="Page_268">268</span> the interchange of coloured - rays; and, above all, for that “sense of intimacy, of life behind the - scene,” with which he knew how to invest even inanimate objects.</p> - - <p>This same sense of intimacy and of absolute pictorial unity is also - the great merit of his domestic genre pieces, into which enters, in - addition, the element of spiritual unity, of the absorption of each - person in his or her occupation. In the deservedly famous <cite>Grace before - Meat</cite>, at the Hermitage in St. Petersburg, of which the Louvre owns - two admirable replicas (No. 92, <a href="#i_plate41">Plate XLI.</a>, and No. 93), the most - casual observer cannot fail to notice that intimate bond between the - mother and the two children, which gives the impression of a scene - accidentally overlooked, without anybody being aware of the intruder’s - presence. <cite>La Mère laborieuse</cite> (No. 91), <cite>La Pourvoyeuse</cite> (No. 99), - and even the cat in the still-life piece <cite>The Cat in the Larder</cite> (No. - 89), are equally innocent of “posing,” and absorbed in their respective - occupations. <cite>The Boy with the Top</cite> (No. 90<span class="smcap">a</span>) and the <cite>Young - Man with the Violin</cite> (No. 90<span class="smcap">b</span>), under which titles we have - the portraits of the two children of the jeweller Charles Godefroy, - were bought by the Louvre in 1907 for £14,000. These two pictures and - the <cite>Castle of Cards</cite> (No. 103) are sufficient to establish Chardin’s - supremacy in child portraiture.</p> - - <h3 id="FRAGONARD">FRAGONARD</h3> - - <p>Chardin for but a few months, and Boucher for two years, were the - masters who taught Jean Honoré Fragonard (1732–1806) before, having - gained the Prix de Rome in 1752 and worked three years under Van Loo, - he set out for Rome, where under Natoire’s guidance he applied himself - to the copying of old masters. More important for the formation of his - style were the sketches he made in the company of his friend Hubert - Robert in the romantic gardens of the Villa d’Este, and the deep - impression created upon his mind by <span class="pagenum" id="Page_269">269</span>Tiepolo’s decorative paintings - in Venice, which city he visited before his return to Paris in 1761. - He scored his first great success in 1765 with the large and still - somewhat academic composition <cite>Coresus and Calirrhoë</cite> (No. 290), which - was bought by Louis <span class="smcap">xv.</span> for 24,000 livres for reproduction at - his tapestry works.</p> - - <div class="figcenter" id="i_plate41"> - <img class="illow80" src="images/i_plate41.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLI.—JEAN-BAPTISTE SIMÉON CHARDIN</span><br /> - <span class="small">(1699–1779)</span><br /> - FRENCH SCHOOL<br /> - No. 92.—GRACE BEFORE MEAT<br /> - <span class="small">(Le Bénédicité)</span></div> - </div> - <div class="description"> - <p>In the centre of a room, by a round table with a white tablecloth, - stands a woman, about to pour the soup from a saucepan into a plate. - She turns her head to the left towards her two little girls, who, with - folded hands, are saying grace. A drum is suspended from the back of - the chair on which the younger child is sitting. In the background, on - the left, a dresser with pewter and crockery; on the right, a shelf - with a canister, a bowl, and some bottles.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">1 ft. 7¼ in. × 1 ft. 3½ in. (0·49 × 0·41.)</p> - </div> - - <p>Patronised by Mme. du Barry, the dancer Marie Guimard, and other - priestesses of Venus, Fragonard now devoted his exceptionally facile - and spontaneous talent to subjects that in licentious frivolity, - voluptuousness, and suggestiveness had never been equalled even by his - master Boucher. It is only his marvellous technique, ranging from the - liquid transparency of his swift oil sketches to the rich luminous - impasto of the <cite>Sleeping Bacchante</cite> (No. 294); from the elegant - arabesque of the <cite>Bathing Women</cite> (No. 293), so full of <i lang="fr">joie de vivre</i> - and youthful fire, to the almost brutal strength of the portrait of - a writer or poet, known under the title of <cite>Inspiration</cite> (No. 298). - But in all these, as well as in the charming <cite>Music Lesson</cite> (No. 291, - <a href="#i_plate42">Plate XLII.</a>), <cite>The Student</cite> (No. 297) and the <cite>Young Woman</cite> (No. 300), - Fragonard proves himself one of the greatest colourists produced by - the French School. It was Fragonard’s sad fate to outlive his fame, to - witness the collapse of the ancient régime and the triumph of his pupil - David’s classicism, and to die in obscurity and neglect.</p> - - <h3 id="GREUZE">GREUZE</h3> - - <p>Twenty-three paintings represent at the Louvre the art of Jean-Baptiste - Greuze (1725–1805), who trod the safe path of flattering the taste of - the multitude by the mawkish sentimentality of his genre-pieces and the - prettiness and half-concealed sensuality of his “fancy portraits” of - young women, which in their suggestiveness are perhaps more insidious - than the frank improprieties of Boucher and Fragonard. The sentimental - and melodramatic side of Greuze’s art is strikingly revealed in <cite>The - Village Engagement</cite><span class="pagenum" id="Page_270">270</span> (No. 369), in <cite>The Paternal Curse</cite> (No. 370), and - in <cite>The Punished Son</cite> (No. 371), which aroused the enthusiasm of that - singularly misguided critic Diderot. But it is the painting of pictures - like <cite>The Broken Pitcher</cite> (No. 372, <a href="#i_plate43">Plate XLIII.</a>), <cite>The Milkmaid</cite> (No. - 372<span class="smcap">a</span>), and <cite>The Dead Bird</cite> (No. 372<span class="smcap">c</span>; a replica - of the picture in the Scottish National Gallery), that has made him - the idol of a certain undiscriminating section of the public, and - established him among the world’s most popular painters.</p> - - <h3 id="PORTRAIT_PAINTERS">PORTRAIT PAINTERS</h3> - - <p>The leading position among the portrait painters of Louis - <span class="smcap">xv.</span>’s corrupt Court was occupied by Jean Marc Nattier - (1685–1766), who was a good colourist, but was utterly lacking in - sincerity, and placed his able brush at the service of the basest - flattery. He has left a whole gallery of Court beauties posing as, - and invested with the attributes of, Greek goddesses and allegorical - personifications in the manner of the group of <cite>Mdlle. de Lambesc - and the Comte de Brienne</cite> (No. 659) as Minerva preparing the hero - for warlike exploits. The <cite>Magdalen</cite> (No. 657) is probably another - contemporary portrait in fancy costume. His best picture at the Louvre - is the <cite>Portrait of a Young Woman</cite> (No. 661<span class="smcap">a</span>).</p> - - <p>François Hubert Drouais (1725–1775), the painter of the group of the - <cite>Comte d’Artois (afterwards Charles X.) and Madame Clotilde, afterwards - Queen of Sardinia</cite> (No. 266), who received a good share of Court - patronage, showed considerable ability when he had sufficient strength - to resist the temptation to flatter his sitters. But unfortunately he - too often followed the example of Nattier in this respect.</p> - - <h3 id="TOCQUE_VESTIER_AND_LEPICIE">TOCQUÉ, VESTIER, AND LÉPICIÉ</h3> - - <p>A portrait painter of a very different stamp was Nattier’s son-in-law, - Louis Tocqué (1696–1772). Although he, too, was a favourite <span class="pagenum" id="Page_271">271</span>not - only at the French, but also at the Russian and Danish Courts, the - examples of his art at the Louvre suggest that he was but indifferently - successful—from the artistic point of view—with his “official” - portraits, like the <i lang="fr">portrait d’apparat</i> of <cite>Marie Leczinska, Queen of - Louis XV.</cite> (No. 867), or the affected <cite>Portrait of the Dauphin Louis at - the age of ten</cite> (No. 868). On the other hand, when he was not weighed - down by the importance of his task, he attained to a solidity of style, - strength of character painting, and beauty of technique that place - him at the head of the French portraitists of his period. Tocqué was - apparently never in England, but such masterpieces from his brush as - the <cite>Mme. Danger embroidering</cite> (No. 868<span class="smcap">a</span>), and the supposed - portrait of <cite>Mme. de Graffigny</cite> (No. 869), show distinct affinity with - Allan Ramsay and Hogarth, with superadded French <i lang="fr">finesse</i> and suavity.</p> - - <div class="figcenter" id="i_plate42"> - <img class="illow100" src="images/i_plate42.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLII.—JEAN HONORÉ FRAGONARD</span><br /> - <span class="small">(1732–1806)</span><br /> - FRENCH SCHOOL<br /> - No. 291.—THE MUSIC LESSON<br /> - <span class="small">(La Leçon de Musique)</span></div> - </div> - <div class="description"> - <p>A fair-haired young girl in a low-cut white dress is seated, in profile - towards the right, before a spinet. A youth, standing at her left, - behind the instrument, is holding with his left hand the score, whilst - his right is clasping the back of the girl’s chair. In the foreground a - chair on which are a cat and a mandoline.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">3 ft. 9½ in. × 3 ft. 11½ in. (1·10 × 1·20.)</p> - </div> - - <p>In the case of Antoine Vestier (1740–1824) the pronounced leaning - towards the English style of the period is to be accounted for by that - artist’s lengthy sojourn in England. The <cite>Portrait of a Young Woman</cite> - (No. 961), in the La Caze Room, might on superficial inspection pass - for a work of Francis Cotes. Even in the <cite>Portrait of the Painter’s - Wife</cite> (No. 959), which was painted in 1787, long after Vestier’s return - to his native country, the figure of a boy caressing a dog has a - curiously English flavour.</p> - - <p>Honesty of purpose and serious concern with artistic problems mark the - art of Nicolas Bernard Lépicié (1735–1784), whose <cite>Portrait of Carle - Vernet</cite> (549<span class="smcap">a</span>) is a picture of precious quality. He devoted - himself more particularly to the domestic genre, which he treated - without the sentimentality and theatricality of a Greuze. Indeed, if - there is any contemporary painter with whom he shows affinity, it is - Siméon Chardin. That he was a landscape painter of no mean ability - may be gathered from his <cite>Farmyard</cite> (No. 549), which, in spite of the - predominating brown, is remarkable for its luminous transparency.</p> - - <div> - <span class="pagenum" id="Page_272">272</span> - <h3 id="MME_VIGEE_LE_BRUN">M<sup><span class="smcap">me.</span></sup> VIGÉE LE BRUN</h3> - </div> - - <p>Before turning to the landscape painters Joseph Vernet and Hubert - Robert, we must close the chapter of eighteenth-century portraiture - with Elisabeth Louise Vigée Le Brun (1755–1842), since her art, - although her life extended far into the nineteenth century, belongs - essentially to the degenerate days of the <i lang="fr">ancien régime</i>—an art not - devoid of grace, but exceeding in shallowness and insipidity the - shallowest and most insipid productions of pre-Davidian days. Of the - many masters from whom Vigée, herself the daughter of a painter, - received advice, Greuze appears to be the one with whom she was - most in sympathy. Married at an early age to Le Brun, a painter and - picture-dealer from whom she was divorced after many years of wretched - conjugal life, her career, of which she has left a full account in - her autobiography, was one of adventure and truly extraordinary - professional success.</p> - - <p>She was the favourite painter of Marie Antoinette, had to leave Paris - during the Terror, and made an almost triumphal progress from Court - to Court before she definitely settled in Paris in 1809. At Naples, - Vienna, Dresden, St. Petersburg, Berlin, London, and other centres, - Royalty and the world of fashion crowded to her studio; and her art - even gained the unstinted approval of a judge like Sir Joshua Reynolds, - which is the more surprising as Vigée Le Brun’s colour was almost - invariably cold and unsympathetic. Her personal charms may have been - partly responsible for her universal success, if reliance is to be - placed on the questionable honesty of her flattering brush from which - the Louvre owns two <cite>Portraits of the Artist and her Daughter</cite> (No. 521 - and No. 522, <a href="#i_plate44">Plate XLIV.</a>). Among her other pictures in the Louvre are - the <cite>Peace bringing Abundance</cite> (No. 520), her reception piece at the - Academy, and a portrait of her early friend and master, <cite>Joseph Vernet</cite> - (No. 525).</p> - - <div class="figcenter" id="i_plate43"> - <img class="illow80" src="images/i_plate43.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLIII.—JEAN-BAPTISTE GREUZE</span><br /> - <span class="small">(1725–1805)</span><br /> - No. 372.—THE BROKEN PITCHER<br /> - <span class="small">(La Cruche Cassée)</span></div> - </div> - <div class="description"> - <p>A young girl, in white dress and gauze fichu, stands facing the - spectator, holding with both hands some loose flowers in the - gathered-up folds of her dress. She carries a broken pitcher on her - right arm. In the background, on the right, is a fountain with a - crouching lion.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">Oval, 3 ft. 10½ in. × 2 ft. 9½ in. (1·18 × 0·85.)</p> - </div> - - <div> - <span class="pagenum" id="Page_273">273</span> - <h3 id="JOSEPH_VERNET">JOSEPH VERNET</h3> - </div> - - <p>One has to realise that the art of landscape painting had become almost - extinct in France, and that the art of seascape had never existed, if - one wishes to account for Diderot’s enthusiasm with regard to Claude - Joseph Vernet (1714–1789), which made him exclaim, “What pictures! He - rivals the Creator in celerity, Nature in truth!” Our cooler judgment - cannot so easily pass over all that is cold and formal in his art. - But, taken in relation to his contemporaries, he deserves respect for - his emotional attitude towards nature, for a sense of the dramatic - that approaches Salvator Rosa’s, and for his admirable drawing of the - figures introduced into his landscapes. Vernet’s love of the sea awoke - when at the age of eighteen he journeyed to Rome, where he became - imbued with the classic tradition. He only returned to Paris in 1752, - and soon afterwards received from Louis <span class="smcap">xv.</span> the commission to - paint the large series of <cite>French Seaports</cite> (Nos. 940–954) which are - now to be seen in the rooms in this collection given up to the Musée - de Marine. In his other marines and landscapes (Nos. 912–939), not - all of which are actually exhibited, he allowed his imagination freer - play than in the <cite>Seaports</cite>, which were naturally of more topographic - character.</p> - - <p>Both his son Carle Vernet (1758–1836), a historical painter who - excelled in the rendering of horses in movement, and his grandson - Horace Vernet (1789–1863), a popular battle painter, are represented at - the Louvre, the former by the <cite>Stag Hunt in the Forest of Meudon</cite> (No. - 955), and the latter by the <cite>Barrière de Clichy (Defence of Paris in - 1814)</cite> (No. 956), and the uninspired <cite>Judith and Holofernes</cite> (No. 957).</p> - - <h3 id="HUBERT_ROBERT">HUBERT ROBERT</h3> - - <p>Hubert Robert (1733–1808), of whose classic landscapes the collection - contains nineteen examples (Nos. 797–815), was not, as<span class="pagenum" id="Page_274">274</span> might be - imagined from the general character of his paintings, influenced by the - art of Claude Lorrain, but derived his love of antique buildings and - landscapes peopled with classic figures from the general atmosphere of - archæological enthusiasm engendered by the excavations on the site of - Herculaneum, which prevailed in Rome when the young artist arrived at - that Mecca of his profession in 1754. Robert lived and worked in Italy - for twelve years, and became thoroughly imbued with this antiquarian - spirit. Unlike Claude, he rarely, if ever, drew upon his imagination - for the details of his classic landscapes, which are faithful - transcripts of existing ruined or half-ruined buildings, though not - infrequently they are arranged for greater pictorial effect. Of this - half-realistic, half-classic nature—the introduction of people in - classic garb among the ruins of buildings, which in classic times wore - a very different aspect, is a pardonable anachronism—are the <cite>Interior - of the Temple of Diana at Nimes</cite> (No. 799), and several similar pieces - at the Louvre. In his smaller pictures, of which the best are the - <cite>Fountain under a Portico</cite> (No. 812) and the <cite>Winding Staircase, with - three Figures</cite> (No. 813), in the La Caze Room, he rivals the rich - quality of pigment and mellow tone of Guardi at his best. Robert was - Fragonard’s constant companion in Rome, and exercised considerable - influence upon his friend, as may be seen from Fragonard’s landscape - drawings.</p> - - <p>There is scarcely a trace of Italian classicism in the superb <cite>View - in the Neighbourhood of Paris</cite> (No. 650), by Louis Gabriel Moreau - (1740–1806), which in its silvery-grey tonality, in its sense of - atmosphere, and in the treatment of the receding distances, rather - recalls the manner of the Dutchman Philips de Koninck. That Moreau, who - also worked in England, was not always free from conventionality, is - proved by the rather formal composition of the <cite>View of the Hills of - Meudon from Saint-Cloud</cite> (No. 651).</p> - - <div class="figcenter" id="i_plate44"> - <img class="illow80" src="images/i_plate44.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLIV.—ELISABETH LOUISE VIGÉE LE BRUN</span><br /> - <span class="small">(1755–1842)</span><br /> - No. 522.—PORTRAIT OF THE ARTIST AND HER DAUGHTER<br /> - (Portrait de Mme. Le Brun et de sa Fille)</div> - </div> - <div class="description"> - <p>The artist, in a white bodice with purple sleeves and a yellow satin - skirt, is seated on a green sofa. Her head is inclined towards her - right shoulder. She presses towards her, with both arms, her little - girl, who is resting on her lap, with her head turned towards the spectator.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">3 ft. 5½ in. × 2 ft. 9½ in. (1·05 x 0·85.)</p> - </div> - - <div> - <span class="pagenum" id="Page_275">275</span> - <h3 id="LOUIS_DAVID">LOUIS DAVID</h3> - </div> - - <p>The boudoir art of the <i lang="fr">ancien régime</i> came to a natural end through - the great social upheaval of the Revolution, of which Jacques Louis - David (1748–1825) is the very personification in the realm of painting. - As a pupil of Boucher, David in his early years was essentially a child - of the eighteenth century. That he became the founder and head of a new - classicist school, as tyrannical in his sway as had been Le Brun during - the reign of Louis <span class="smcap">xiv.</span>, was due to the teaching of Joseph - Marie Vien, whom he accompanied to Rome in 1775, the year in which - Vien was appointed Director of the École de Rome. Vien was an eclectic - and a purist of greater ability than would appear from his two dull - pictures at the Louvre, <cite>St. Germain and St. Vincent</cite> (No. 964) and - <cite>The Sleeping Hermit</cite> (No. 965).</p> - - <p>David’s participation in the events of the year 1789 and his ardent - republicanism did not, as has often been stated, attract him to - subjects from Republican Roman history. Indeed, he had already painted - <cite>The Oath of the Horatii</cite> (No. 189) and <cite>The Lictors taking to Brutus - the Corpse of his Sons</cite> (No 191), for Louis <span class="smcap">xvi.</span>, and was only - following the current of taste in devoting himself to the study of the - antique and to antiquarian research. These two pictures, in spite of - their cold classicism and theatricality, met with sensational success - on their first appearance at the Salon. It is not in such works as - these, nor in the <cite>Rape of the Sabine Women</cite> (No. 188), compared with - which even Poussin’s version of the same theme appears like a glimpse - of actual life, that David’s talent found its happiest expression, - but in the unaffected and irresistibly charming <cite>Portrait of Mme. - Récamier</cite> (No. 199, <a href="#i_plate45">Plate XLV.</a>) reclining on an Empire sofa. Whatever - this picture may owe to the sitter’s grace and beauty and to the fact - that it was never finished, and thus retained the freshness of a<span class="pagenum" id="Page_276">276</span> - sketch, it is certainly one of the most attractive masterpieces of the - French school. Here, as in the group of <cite>Three Ladies of Ghent</cite> (No. - 200<span class="smcap">a</span>), in which the luminous quality of the fresh tones is - enhanced by the general greyness of the scheme, we have the work of - a real painter, whilst David’s bombastic historical compositions are - scarcely more than tinted cartoons.</p> - - <h3 id="THE_CORONATION_PICTURE">THE “CORONATION” PICTURE</h3> - - <p>When Napoleon rose to power, David became his favourite painter. The - erstwhile Jacobin was chosen to paint the official <cite>Coronation</cite> picture - (No. 202<span class="smcap">a</span>), an enormous canvas, which, like most ceremonial - pictures of this kind, has more historical than artistic significance. - The lifelike portraiture of the numerous personages surrounding the - central group of Napoleon placing the crown on Josephine’s head, is - the chief point of interest. On the restoration of the Bourbons in - 1815, David was sent into exile. He died at Brussels in 1825; but his - influence is reflected in official French art to this day. It was he - who imposed upon the modern academic school a rigid canon of formal - classic beauty which is fatal to evolution and progress, because it - does not permit personal emotional expression.</p> - - <p>Less severely classic in form, and showing at least an attempt at - approaching a little nearer to truth than David, is the painting of - the figures of <cite>The Three Graces</cite> (No. 769), by David’s rival, J. - B. Regnault (1754–1829), in the La Caze collection. The worst type - of academic art is represented in the bituminous reconstructions of - classic antiquity by his pupil, P. N. Guérin (1774–1833), whose <cite>Return - of Marcus Sextus</cite> (No. 393) enjoyed, perhaps owing to its supposed - political allusion to the return of the emigrants, a success which - cannot be accounted for on artistic grounds.</p> - - <div class="figcenter" id="i_plate45"> - <img class="illow100" src="images/i_plate45.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLV.—JACQUES LOUIS DAVID</span><br /> - <span class="small">(1748–1825)</span><br /> - No. 199.—PORTRAIT OF MME. RÉCAMIER<br /> - <span class="small">(Portrait de Mme. Récamier)</span></div> - </div> - <div class="description"> - <p>The sitter wears a white Empire dress, the train of which hangs down to - the ground from the Empire sofa on which she is half reclining, with - her left elbow resting on a pair of round horse-hair bolsters. Her - face is turned towards her right shoulder. A wide black riband is tied - round her fair curled hair. A low footstool in front of the sofa on the - right, and a standing candelabrum of classic design on the left.</p> - <p class="noindent">The candelabrum is said to have been painted by Ingres.</p> - <p class="noindent">Painted in oil on canvas (unfinished).</p> - <p class="noindent">5 ft. 7 in. × 7 ft. 10½ in. (1·70 × 2·40.)</p> - </div> - - <div> - <span class="pagenum" id="Page_277">277</span> - <h3 id="BARON_GERARD">BARON GÉRARD</h3> - </div> - - <p>Among the numerous pupils and followers of David who rose to fame, - honours, and wide popularity before Ingres became the acknowledged - head of the official school, the most distinguished were Gérard, - Girodet, and Gros. Baron F. P. S. Gérard (1770–1837), whilst following - on the whole the principles laid down by his master, knew how to - invest his work with more individual character, which stood him in - particular good stead in his portraiture. That this was recognised - by his contemporaries is proved by the fact that he became the - portrait painter <i lang="fr">par excellence</i> of the First Empire and the Bourbon - restoration, although his inclination drew him towards allegory and - mythology. There is undeniable distinction and fine characterisation - in such portraits as <cite>The Painter Isabey and his Daughter</cite> (No. 332). - The nature of the subject debarred him from showing the strongest side - of his talent in the chillingly unemotional, but undeniably graceful, - <cite>Psyche receiving Cupid’s First Kiss</cite> (No. 328), and in the <cite>Daphnis - and Chloë</cite> (No. 329), which was bought in 1825 for £1000. They have - their counterpart in the cold and antique French sculpture of the - period.</p> - - <p>A. L. Girodet de Roucy-Trioson (1767–1824) was of all David’s artistic - progeny the one painter who devoted himself to the purely pictorial - problem of concentrated light and shade, without, however, being able - to free himself from the domination of linear design. The compromise - of the two principles led to such unfortunate results as <cite>The Sleep - of Endymion</cite> (No. 361) and <cite>The Burial of Atala</cite> (No. 362). In <cite>The - Deluge</cite> (No. 360), which was painted later, he shows pronounced - leanings towards a crude naturalism which exceeds in horror the most - cruel inventions of Ribera’s genius.</p> - - <div> - <span class="pagenum" id="Page_278">278</span> - <h3 id="BARON_GROS">BARON GROS</h3> - </div> - - <p>Antoine Jean Gros (1771–1835), though a classicist by training, was - forced by circumstances, and by the patronage of Napoleon who ennobled - him, to devote his brush to an important phase of contemporary life—the - glorification of his hero’s warlike achievements. He was by no means a - realist; and although he followed Napoleon on many of his campaigns and - presumably brought back with him rich material in sketches and vivid - recollections, his forceful compositions accentuate the heroic aspect - and the imaginative appeal of warfare, and are not spontaneous glimpses - of actuality. The whole glamour of the Napoleonic legend is expressed - in the group of wounded soldiers who, oblivious of their suffering, - cheer their great captain in <cite>Napoleon at the Battle of Eylau</cite> (No. - 389). The sense of the heroic is as pronounced in the large painting, - <cite>Napoleon visiting the Plague-stricken at Jaffa</cite> (No. 388), in the - <cite>Bonaparte at Arcole</cite> (No. 391), and even in the impressive <cite>Portrait - of Lieutenant-General Fournier-Sarlovèze</cite> (No. 392<span class="smcap">a</span>), - silhouetted against a smoke-filled battlefield. A careful inspection - of this large canvas shows <i>pentimenti</i> in the painting of the legs, - of which the General seems now to have two pair! Gros’s weakness, like - that of all David’s pupils, was his neglect of colour. His popularity - waned rapidly after the fall of Napoleon. He became a victim to - melancholia, and drowned himself in the Seine in 1835.</p> - - <h3 id="PIERRE_PRUDHON">PIERRE PRUD’HON</h3> - - <p>Though not entirely detached from the ruling school of the period, - Pierre Prud’hon (1758–1823) occupies a unique position among his - contemporaries. Having absolved his preliminary studies at Dijon, he - became the pupil of the old masters—of Correggio and Leonardo—first - in Paris and then in Rome, where he worked for seven years before - definitely settling at Paris in 1789. To his sympathy with the - Italian masters he owed that mellowness of colour and understanding - of chiaroscuro which escaped the grasp of the Davidists. He was a - real <em>painter</em> as distinguished from the classicist <em>draughtsmen</em> of - the official school. Even if it is impossible to share to-day the - enthusiasm at one time evoked by the somewhat grotesque allegory, - <cite>Justice and Divine Vengeance pursuing Crime</cite> (No. 747), this picture, - which was intended for the Palais de Justice, rises immeasurably above - the average of the “imaginative” paintings produced by Prud’hon’s - contemporaries.</p> - - <p>Vastly superior as regards pictorial quality and the whole conception, - is the <cite>Abduction of Psyche by Zephyrus</cite> (No. 756). In the - <cite>Crucifixion</cite> (No. 744), his last picture, Prud’hon rises to telling - dramatic effectiveness of colour, and heralds the advent of Delacroix. - But the most masterly of his seventeen paintings at the Louvre is the - magnificent <cite>Portrait of a Young Man</cite> (No. 753), which the Louvre was - fortunate enough to secure for £35 in 1895. It is a strangely living - evocation of a personality, searching, intimate, and mysterious—a - portrait not so much of the superficial features, but of the inner life - of the sitter. The large <cite>Portrait of the Empress Joséphine</cite> (No. 751) - suffers from comparison with this masterpiece. The pose is affected, - the background dingy, and the red of the shawl introduces a harsh and - disconnected note of colour.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_279">279</span> - <h2 id="THE_NINETEENTH-CENTURY_FRENCH_SCHOOL">THE NINETEENTH-CENTURY FRENCH SCHOOL</h2> - </div> - - <h3 id="GERICAULT">GÉRICAULT</h3> - - <p class="drop-cap">THE revolutionary movement of the Romanticists, which was to find a - strong leader in Eugène Delacroix, may be said to have been initiated - by Géricault’s epoch-making picture <cite>The Raft of the Medusa</cite> (No. 338, - <a href="#i_plate46">Plate XLVI.</a>). Théodore Géricault (1791–1824), a pupil of Carle Vernet - and Guérin, was an unusually gifted draughtsman, who from the outset - strove to go beyond<span class="pagenum" id="Page_280">280</span> the dead perfection of the David school, and to - infuse into his work the spark of life. The <cite>Raft of the Medusa</cite>, which - caused an enormous stir at the Salon of 1819, was inspired by a tragic - incident from actual life; and Géricault was the first who dared to - represent in all its horrible reality this scene of human suffering—the - survivors of a shipwreck driven by hunger to madness and mutual - destruction. He set aside all arbitrarily ignored canons of formal - beauty and the “grand style,” and applied himself to depicting fierce - passions and emotions.</p> - - <p>Géricault was a passionate lover of horses; but his knowledge of equine - anatomy did not prevent him, in his portrait of an <cite>Officer of the - Guard</cite> (No. 339), from exaggerating the action of the charging horse to - a point dangerously near the border-line between the sublime and the - ridiculous. Most of his other pictures at the Louvre are studies of - soldiers, and horses on the race-course or in the stable. He died in - 1824 from the effects of a fall from a horse.</p> - - <h3 id="DELACROIX">DELACROIX</h3> - - <p>The topical interest of the <cite>Raft of the Medusa</cite> had caused the public - to receive this picture with favour, in spite of its daring departure - from the generally accepted canons of the “grand style.” The case was - different when Delacroix showed at the Salon of 1822 the <cite>Dante and - Virgil</cite> (No. 207, <a href="#i_plate47">Plate XLVII.</a>), which was inspired by Géricault’s - great picture, but applied that artist’s principles to a subject taken - from literature,—from Dante’s “Inferno,”—and was therefore considered - as a direct challenge to the academic host. To-day it is difficult to - understand the indignation aroused by the young artist, who became - forthwith the acknowledged head of the so-called Romanticist school, - although he refrained from taking part in any propaganda. In this, - his first important exhibited picture, he proved himself <span class="pagenum" id="Page_281">281</span>a true - painter in the sense in which Rubens was a painter—that is to say, - he no longer gave primary importance to drawing, with colour added - afterwards in the manner of a tinted cartoon. In the <cite>Dante and Virgil</cite> - colour and the actual sweep of the brush assumed at once a vital and - constructive function, no longer separable from drawing and design.</p> - - <div class="figcenter" id="i_plate46"> - <img class="illow100" src="images/i_plate46.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLVI.—JEAN LOUIS ANDRÉ THÉODORE GÉRICAULT</span><br /> - <span class="small">(1791–1824)</span><br /> - No. 338.—THE RAFT OF THE MEDUSA<br /> - <span class="small">(Le Radeau de la Méduse)</span></div> - </div> - <div class="description"> - <p>The raft of the wrecked Medusa, with the survivors of the crew, is - floating on the stormy sea. In the foreground on the left, surrounded - by dead sailors, a father is holding with his left hand the nude body - of his dying son. On the right, a corpse is partly resting on the raft, - partly floating on the water. Farther back the officer, Corréard, is - seen pointing out to the surgeon, Savigny, the brig <cite>Argus</cite>, which - appears on the far horizon under the clouded sky. At the far end of the - raft a mulatto and a sailor have hoisted themselves on to some barrels - to wave some rags, so as to attract the attention of the distant ship.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">16 ft. 1½ in × 23 ft. 6 in. (4·91 × 7·16.)</p> - </div> - - <p>Eugène Delacroix (1798–1863), who belonged to a family that had given - to France many distinguished statesmen and soldiers, was a pupil - of Guérin, whose conventional teaching, however, was little to the - taste of a young man whose passionate nature had been fired by his - extensive reading of romantic literature, and who preferred to form - his style on the works of Rubens and other old masters at the Louvre, - and to benefit from his intercourse with Géricault and Bonington. The - <cite>Dante and Virgil</cite>, which is now in a deplorable state of neglect, was - bought by the State at the not very generous price of £50. Delacroix’s - next Salon picture, <cite>The Massacre of Scio</cite> (No. 208), caused an even - greater storm of abuse of the young artist who had dared to depict the - horrors of this scene from the Greek War of Independence, as it was - thought, in all their crudeness, without the heroical and theatrical - poses that were deemed necessary for pictorial “histories.” The - magnificent atmospheric background owes its origin to Delacroix’s - first acquaintance with the <cite>Hay Wain</cite> and two other pictures sent by - Constable to the Salon of 1824, which caused the impetuous young artist - to repaint in a few days the sky and landscape. The picture was again - bought by the State, the price this time being raised to £240. A superb - study for the dead mother and child in the right-hand corner has been - bequeathed by M. Cheramy, the present owner, to the National Gallery, - where it is to be hung next to “the best Constable.”</p> - - <p>It is impossible here to give a full account of the twenty<span class="pagenum" id="Page_282">282</span>-one - paintings by Delacroix at the Louvre, to which should be added his - decorative masterpiece, the centre of the ceiling in the Galerie - d’Apollon. We must content ourselves with a brief reference to his - more important canvases, first of which in order of date is <cite>The 28th - of July 1830: Liberty leading the People</cite> (No. 209), better known as - <cite>The Barricade</cite>. The introduction of a bourgeois with a top-hat in this - stirring scene of contemporary heroism was another act of defiance. - But the dramatic power of the conception, which suffers but is by no - means destroyed by the wretched allegorical figure of Liberty, and - the artist’s appeal to political passion, caused the picture to be an - enormous success.</p> - - <h3 id="DELACROIXS_ORIENTAL_PICTURES">DELACROIX’S ORIENTAL PICTURES</h3> - - <p>Delacroix’s journey to Morocco, with Count Morney’s mission in 1832, - was of the greatest benefit to the artist’s progress as a colourist. - although he had no time during his travels to paint any pictures, he - brought back with him a wealth of rapid sketches which, with his vivid - recollections of Eastern life and colour, led to the production of such - masterpieces as the <cite>Algerian Women in their Apartment</cite> (No. 210), the - <cite>Jewish Wedding in Morocco</cite> (No. 211), and <cite>The Entry of the Crusaders - into Constantinople</cite> (No. 213). In the sumptuous scheme of <cite>Crusaders</cite> - the last traces of the influence of Gros’s colourless palette have - vanished. The picture was commissioned by Louis Philippe for the - Château at Versailles, the remuneration being fixed at £400. A copy of - the picture is in one of the Salles des Croisades at Versailles, and - a small sketch is at Chantilly. The <cite>Algerian Women</cite> is particularly - remarkable for the luminous sparkle of rich pigment through the ambient - of silvery atmosphere.</p> - - <p>Among Delacroix’s masterpieces must be counted the <cite>Portrait of - the Artist</cite> (No. 214), which he left on his death to his servant, - <span class="pagenum" id="Page_283">283</span>Jenny le Guillon, stipulating that she should give it to the Louvre - on the day of the restoration of the Orléans family—an event which - never happened, though the picture reached its destination in 1872 - through the generosity of Mme. Durien. <cite>The Shipwreck of Don Juan</cite> (No. - 212), painted in 1840, is based on Lord Byron’s epic poem, of which - it is, however, by no means a literal illustration. It is one of the - most stirring renderings of human passion and despair in the whole - history of art, the livid light and general sombre scheme of colour - contributing towards the tragic effect, as though Nature herself were - entering into the mood of the horrible scene.</p> - - <p>Although, on the whole, an unsatisfactory picture, Delacroix’s <cite>Roger - delivering Angelica</cite> (No. 2845) may serve to illustrate the true - significance of his art in its relation to the official school, as - there is in the same collection another rendering of the identical - subject (No. 419) by his great antagonist Ingres, the greatest - draughtsman of his century, and the acknowledged leader of the - Classicist school. Comparison between the two works will show that - Delacroix’s version, with all its obvious imperfections, far surpasses - Ingres’s in emotional intensity and fierce vitality. The academic - perfection and exquisite finish of Ingres’s picture only accentuate the - dulness and lifelessness of his conception.</p> - - <div class="figcenter" id="i_plate47"> - <img class="illow100" src="images/i_plate47.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLVII.—FERDINAND VICTOR EUGÈNE DELACROIX</span><br /> - <span class="small">(1798–1863)</span><br /> - No. 207.—DANTE AND VIRGIL<br /> - <span class="small">(Dante et Virgile aux Enfers)</span></div> - </div> - <div class="description"> - <p>In a boat, steered by Charon across the river Styx, Virgil, - laurel-crowned and dressed in a red cloak, holds with his right hand - the left hand of Dante, who, in a blue cloak with a red hood, raises - his right arm in a gesture of horror at the sight of the Damned, who, - half-buried in the turbulent waters, cling despairingly to the sides of - the boat. In the background are seen the towers of the burning city of Dite.</p> - <p class="noindent">Signed:—“<span class="smcap">eugène delacroix</span>.”</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">5 ft. 11 in. × 7 ft. 10½ in. (1·80 × 2·40.)</p> - </div> - - <h3 id="INGRES">INGRES</h3> - - <p>Jean Auguste Dominique Ingres (1780–1867) was a pupil of David. Having - gained the Prix de Rome in 1801, he did not leave for Italy until 1806, - but spent the next eighteen years in Rome and Florence, returning to - Paris in 1824. Although Ingres was brought up in the cold tradition of - the David school, he had a much clearer perception of the true spirit - of Greek art than his master. When he became acquainted with the<span class="pagenum" id="Page_284">284</span> - work of Raphael in Rome, he found it the very acme of perfection, and - henceforth frankly strove to emulate that master, seeking to arrive - at an eclectic ideal of the human form which in its dogmatic rule of - the proportions that constitute absolute beauty, allowed none of the - accents and variations which make for life and character. Himself - greater than his theories, Ingres achieved that perfection of grace - and beauty in his deservedly famous <cite>The Spring</cite> (No. 422, <a href="#i_plate48">Plate - XLVIII.</a>), one of the few “gems” in the Salle Duchâtel, and in the very - Raphaelesque <cite>Odalisque</cite> (No. 422<span class="smcap">b</span>), which was purchased in - 1899 from the Princesse de Sagan for £2400. On the other hand, the - imposition of an inflexible, rigid ideal of form did incalculable harm - to his numerous and less gifted followers, in whom every spark of - individuality was extinguished by the tyranny of the dogma.</p> - - <p>Yet Ingres, when he applied himself to portraiture, was as - uncompromising a realist as Holbein, of whose sensitive, subtle drawing - and plastic modelling, without the introduction of entirely unnecessary - shiny high lights, we are forcibly reminded by the <cite>Portrait of the - Painter’s Friend, M. Bochet</cite> (No. 428<span class="smcap">a</span>). Something of the same - perfection of modelling, suggested rather by the sensitive contour than - clearly stated by pronounced lights and shadows, is to be noticed in - the nude figure of <cite>The Odalisque</cite>, and in the creamy white drapings - of the oval <cite>Portrait of Mme. Rivière</cite> (No. 427). Perhaps his best - portrait at the Louvre is the one of <cite>M. Bertin, Founder of the Journal - des Débats</cite> (No. 428<span class="smcap">b</span>), a masterpiece of character painting, - in which the marvellously drawn fleshy hands, with their tapering - fingers, are as expressive as the fine head. This portrait was acquired - in 1897 for the sum of £3200.</p> - - <p>The less admirable side of Ingres’s talent is illustrated by - the circular composition of the <cite>Virgin of the Host</cite> (No. 416), - a <span class="pagenum" id="Page_285">285</span>crude scheme of “Sassoferrato blue” and red, on entirely - conventional lines; and by the <cite>Apotheosis of Homer</cite> (No. 417), a tame - Raphaelesque design in which Homer is seen enthroned in the centre, - with allegorical figures of the <cite>Iliad</cite> and <cite>Odyssey</cite> seated on the - steps of the throne, and a winged goddess placing a laurel wreath on - his head. To the left of the central group are the figures of Hesiod, - Æschylus, Apelles, Raphael, Virgil, Dante, Tasso, Corneille, and - Poussin; to the right, Pindar, Plato, Socrates, Alexander, Camoens, - Racine, Molière, and Fénelon. There is a touch of the grotesque in the - combination of rather mechanical dry portraiture with trite allegory - that constitutes the design of the terribly cracked <cite>Portrait of the - Composer Cherubini</cite> (No. 418). His failings as a colourist are most - aggressively obvious in the <cite>Christ handing the Keys to St. Peter</cite> (No. - 415). Ingres died in Paris on the 14th January 1867.</p> - - <div class="figcenter" id="i_plate48"> - <img class="illow50" src="images/i_plate48.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLVIII.—JEAN AUGUSTE DOMINIQUE INGRES</span><br /> - <span class="small">(1780–1867)</span><br /> - No. 422.—THE SPRING<br /> - <span class="small">(La Source)</span></div> - </div> - <div class="description"> - <p>A nude figure of a fair-haired young maiden stands facing the - spectator, the background being formed by a perpendicular rock partly - overgrown with clinging plants. She raises her right arm over her head - to hold the foot of a tilted vase, the mouth of which is supported by - her left hand, and from which issues a streamlet of water that falls - into a pool at the base of the rock, in which are reflected the feet of - the maiden.</p> - <p class="noindent">Signed on a stone on the left:—“<span class="smcap">ingres</span>, 1856.”</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">5 ft. 5 in. × 2 ft. 7½ in. (1.65 × 0.80.)</p> - </div> - - <h3 id="DELAROCHE_AND_SCHEFFER">DELAROCHE AND SCHEFFER</h3> - - <p>Among the painters who were influenced by Delacroix, and whose name was - associated with the Romanticist movement, none rose to greater fame - than Paul Delaroche (1797–1856), a pupil of Gros, and the Dutchman Ary - Scheffer (1795–1858), who, like Delacroix, studied under Guérin. But - neither of these artists managed wholly to shake off the trammels of - the academic tradition, and both became popular for the very reasons - for which a more critical generation has denied them the right to - figure among the world’s great artists: Delaroche for the theatricality - of his historical anecdotes, of which <cite>The Death of Queen Elizabeth</cite> - (No. 216) and <cite>The Princes in the Tower</cite> (No. 217) are typical - examples; and Scheffer for the sickly sentimentality displayed in such - pictures as <cite>St. Augustine and St. Monica</cite> (No. 841).</p> - - <p><span class="pagenum" id="Page_286">286</span></p> - - <p>Contemporary with the fighters in the great battle between the - Romanticists and the Classicists were a group of able painters who were - not connected with either of these main currents of artistic thought, - but drew their inspiration from the Dutch genre painters. <cite>The Arrival - of a Diligence at the Messageries</cite> (No. 28), by Louis Leopold Boilly - (1761–1845), and <cite>The Interior of a Kitchen</cite> (No. 261), by Martin - Drolling (1752–1817), may be quoted as characteristic instances of - these “small masters” without possessing the luminosity of their Dutch - exemplars.</p> - - <h3 id="DECAMPS">DECAMPS</h3> - - <p>Something of the precious quality of pigment and of the luminosity - of these Dutchmen is to be found in the genre pictures of Alexandre - Gabriel Decamps (1803–1860), of which a large number form part of - the Thomy Thiéry Bequest—notably <cite>The Knife-Grinder</cite> (No. 2831) - and <cite>The Gipsy Encampment</cite> (No. 2833). Decamps owes his historical - importance to his position as the head of the Orientalists. Unlike his - contemporary explorer of the East for pictorial purposes, Delacroix, - he found the facts of Eastern life, scenery, and customs sufficiently - attractive to be satisfied with the realistic statement of his visual - impressions, instead of making them the basis for the invention of - romantic incidents. Yet the <cite>Street in Smyrna</cite> (No. 2827) and similar - works are by no means of merely topographic interest, for Decamps was - a great painter to whom pigment yielded beauty independent of the - subject represented. <cite>The Rat retired from the World</cite> (No. 2834) vies - in quality with the still-life pictures of Chardin. Decamps was also - the greatest animal painter of his time, as may be gathered from his - <cite>Chevaux de halage</cite> (No. 204), <cite>The Bull-Dog and Scotch Terrier</cite> (No. - 206), and the precious little genre piece, <cite>The Kennel-Boy</cite> (No. 2838).</p> - - <div> - <span class="pagenum" id="Page_287">287</span> - <h3 id="THE_ORIENTALISTS">THE ORIENTALISTS</h3> - </div> - - <p>Brought up in the tradition of the Classicist school, Prosper Marilhat - (1811–1847) only “formed himself” when the world of colour was - discovered to him under the glowing sky of the Holy Land and Egypt, - where he painted <cite>The Mosque of the Khalif Hakem, at Cairo</cite> (No. - 615). Another Orientalist of great distinction, who, after being a - favourite pupil of Ingres, became attracted by the fiery romanticism of - Delacroix, was the Creole Théodore Chassériau (1819–1856). His works - at the Louvre illustrate the earlier better than the later phase of - his art. Chassériau was still entirely under the spell of Ingres when - he painted, in 1844, the decoration of the Cour des Comptes, which - building was destroyed under the Commune. <cite>Peace</cite> (No. 121<span class="smcap">a</span>) - is a fragment of this important decorative work, which may be said to - constitute a link between Ingres and Puvis de Chavannes. <cite>The Chaste - Susannah</cite> (No. 121) and the <cite>Portrait of Father Lacordaire, Dominican - Preacher</cite> (No. 121<span class="smcap">b</span>), are again clear evidence of Ingres’s - influence upon Chassériau at the beginning of his brief career.</p> - - <p>A man of profound culture and rare critical acumen, Eugène Fromentin - (1820–1876) was perhaps greater as a critic than as a painter. He, too, - travelled repeatedly in Algeria and Egypt, where he found abundant - material both for his brush and pen. He did not look upon the East - with the curiosity of the traveller, nor did he let the strange land - work upon his romantic imagination. His pictures, somewhat timid in - technique but marked by great refinement, reveal, on the other hand, a - thorough understanding of the sad monotony of the sun-parched desert, - and the chivalrous, noble bearing of its Arab inhabitants. His refined - talent shows to best advantage in <cite>Hawking in Algeria</cite> (No. 305).</p> - - <div> - <span class="pagenum" id="Page_288">288</span> - <h3 id="REGNAULT">REGNAULT</h3> - </div> - - <p>The Orient was by no means the uncontested field of the Romanticists. - But the followers of the official school who devoted themselves to - the depicting of Eastern life and scenery, approached these subjects - in the same spirit of <i lang="fr">parti pris</i> which robs all their work of real - significance—unless, like Henri Regnault (1843–1871) in his famous - and often reproduced <cite>Moorish Execution</cite> (No. 771), they treated them - as rank melodrama. Regnault is, however, not to be judged by this - overrated piece of sensationalism. Killed in the Franco-German War in - 1871 at the early age of twenty-eight, this young painter gave rare - promise of brilliant achievement in an altogether unacademic direction - in his superb equestrian portrait of <cite>General Prim</cite> (No. 770). There is - something truly heroic in the way the Spanish general sits his horse, - arresting its forward movement with a sudden jerk at the reins; but - the ruggedness and unkempt appearance of the rider displeased General - Prim to such an extent that Regnault, who would not alter the picture, - preferred to keep it on his hands.</p> - - <h3 id="ACADEMIC_PAINTERS">ACADEMIC PAINTERS</h3> - - <p>It will suffice here merely to indicate the names and chief works at - the Louvre of the principal artists who carried on, about the middle of - the nineteenth century, the academic tradition,—capable painters all, - but without clearly-marked individuality. Thomas Couture (1815–1879), - a pupil of Gros and of Delaroche, in painting the huge composition, - <cite>Romans of the Decadence</cite> (No. 156), produced a picture which may be - taken as typical of the ambitions and failings of the whole school—of - their literary tendencies, theatricality, and uninspired dulness. He - was, however, an accomplished master of technique, which is more than<span class="pagenum" id="Page_289">289</span> - can be said of Joseph Devéria (1805–1865), the painter of <cite>The Birth - of Henri IV.</cite> (No. 250); or of Ingres’s pupil, the dull Hippolyte - Flandrin (1809–1864), who is only represented by two <cite>Portraits</cite> (Nos. - 284 and 285). Nor is it possible to-day to grow enthusiastic over the - historical paintings of Joseph Nicolas Robert-Fleury (1797–1890), whose - <cite>Conference at Poissy</cite> (No. 2982), <cite>Galileo before the Inquisition</cite> - (No. 2983), and <cite>Christopher Columbus received by Ferdinand and - Isabella on his Return from America</cite> (No. 2984), can only be regarded - as unnecessarily large coloured illustrations.</p> - - <h3 id="MICHEL_AND_HUET">MICHEL AND HUET</h3> - - <p>In the much-neglected branch of landscape painting the classic - tradition of Claude ruled supreme until a new conception arose with - the victory of the romantics in the third decade of the nineteenth - century. Two names only need be mentioned before we pass on to the - new movement—the return to nature—which was inaugurated by the group - of painters vaguely known as the Barbizon school. Both Georges Michel - (1763–1843) and Paul Huet (1804–1868) may be regarded as forerunners - of that great movement; and both have only in recent years received - the recognition which is their due. Michel developed his style in - copying and closely studying the Dutch landscape masters, and must - in his maturity have been well acquainted with the art of Constable, - who exercised, together with Bonington, a prodigious influence on the - whole course of French landscape painting. If Michel’s breadth of - style, which may be judged from <cite>Near Montmartre</cite> (No. 626), had been - accompanied by a greater range of subject-matter, he would probably - rank more highly in the roll of French artists; but he contented - himself with the endless repetition of the same motifs which he found - close to Montmartre, where he spent his whole life. The care with which - he studied<span class="pagenum" id="Page_290">290</span> the works of Jacob van Ruisdael earned for him the nickname - of “the Ruisdael of Montmartre.”</p> - - <p>Huet, again, learnt more from the old masters and from his friends, - Bonington and Delacroix, than from his actual teachers. He, too, - thrust aside the recipes of composing classic or “noble” landscapes, - and was inspired by an altogether emotional outlook upon nature, calm - and serene, as in <cite>The Still Morning</cite> (No. 413), or threatening and - tempestuous, as in <cite>The Inundation at St. Cloud</cite> (No. 412), or in his - masterpiece, <cite>The Breakers at Granville</cite> (No. 2952).</p> - - <h3 id="THE_BARBIZON_SCHOOL">THE BARBIZON SCHOOL</h3> - - <p>The term “Barbizon school” has been extended from its narrower meaning, - in which it merely comprises Rousseau, Diaz, Millet and the disciples - who joined them, to form a little artistic colony on the edge of the - Forest of Fontainebleau, to a less accurate but now generally accepted - wider application, embracing “the men of 1830,” who collectively and - individually set out, inspired indirectly by Constable, upon the - conquest of light and atmosphere through intimate communion with - nature. In a pedantic survey of this Barbizon school, Rousseau would - have to take honour of place as the leader of the group, whilst Corot - and Daubigny, neither of whom actually worked at Barbizon, would have - to be altogether excluded. But in the more liberal interpretation of - the term, which we have here adopted, Jean Baptiste Camille Corot - (1796–1875) must be given first place as the doyen of the whole group, - since he alone was born before the eighteenth century had run its - course.</p> - - <h3 id="COROT">COROT</h3> - - <p>Corot, the son of a <i lang="fr">coiffeur</i> and a <i lang="fr">modiste</i> in comfortable - circumstances, was destined in his youth for the drapery trade,<span class="pagenum" id="Page_291">291</span> and - was only enabled to follow his bent for the artistic profession when, - at the age of twenty-five, he entered into possession of a small - annual allowance, sufficient to meet his modest requirements and to - save him from the desperate struggle for very existence which was the - fate of some of his later friends and companions. His early work from - nature had already laid the foundations for his subsequent style when - he entered the studio, first of the academic painter Michallon, and - then of Bertin. In 1825 Corot went to Rome, where he painted, among - many pictures of equally rich luscious quality, the <cite>View of the Forum - Romanum</cite> (No. 139), and the <cite>View of the Coliseum</cite> (No. 140), which - he himself bequeathed to the State. Although these early works have - none of the elusive charm and lyrical feeling of his mature style, - and are of rather topographic character, they reveal in every touch - the artist enamoured of atmosphere and of the quality of pigment. The - touch is precise, but not tight. The two pictures were painted in 1826, - but already they hold more than a hint of that unrivalled mastery of - tone-values which found supreme expression in <cite>A Street in Douai</cite> (No. - 141<span class="smcap">f</span>), painted in 1871.</p> - - <p>From the precision of his early manner Corot gradually advanced to - freedom and airy looseness of touch; from statement of fact, to the - suggestion of the very spirit and essence of nature in terms of paint - that, more than any other artist’s work, justify the expression - “colour music.” His later canvases are filled with the soft shimmer - of vibrating atmosphere and with the tender poetry of dawn and dusk. - Whilst retaining a truly classic sense of style, and adapting nature - to his purposes by arrangement and generalisation, he never fails - to convince the beholder of the reality of the scene represented. - Even if his glades are peopled with dancing nymphs and satyrs, as - in <cite>A Morning</cite> (No. 138), these mythical beings no longer suggest - classic statuary, but they belong as much to the landscape as do the - trees and shrubs<span class="pagenum" id="Page_292">292</span> and clouds, as do the peasant woman and the cow in - <cite>The Dell</cite> (No. 2801, <a href="#i_plate49">Plate XLIX.</a>), or the piping shepherd in the - exquisite <cite>Souvenir d’Italie: Castel Gandolfo</cite> (No. 141<span class="smcap">b</span>). - Of the twenty-two paintings by the master at the Louvre, no fewer - than twelve form part of the Thomy Thiéry Bequest to which the great - French national collection owes so many of its chief treasures of - nineteenth-century art.</p> - - <h3 id="T_ROUSSEAU">T. ROUSSEAU</h3> - - <p>The real head of the Barbizon school was Théodore Rousseau (1812–1867), - who was one of the first exponents of the “romantic” as opposed to the - “classic” landscape. If Corot was the lyric, Rousseau was the epic - poet of Nature. In his early works he was considerably influenced - by Constable, but he failed for a long time to gain the approval of - the public and of the Salon juries. Fourteen times in succession his - pictures were refused admission to the Salon, and success only came to - him late in life. In 1851, at about the same time as Millet, he settled - at Barbizon, on the outskirts of the Forest of Fontainebleau, where - henceforth he found the subjects for his pictures. Rousseau was a most - conscientious artist, who “constructed a group of trees with the care - that an Academician puts into the construction of a nude figure.” His - love of accurate detail did not, however, make him lose sight of the - general effect. His insistence on bold silhouettes made him favour the - sunset hour when, as in his masterpiece, <cite>An Opening in the Forest at - Fontainebleau</cite> (No. 827), the trees would form effective dark masses - against the glowing sunset sky. More characteristic of his favourite - manner of composition is the imposing group of oak trees in the middle - of a plain in the picture known as <cite>Les Chênes</cite> (No. 2900). In this, - as in <cite>Marais dans les Landes</cite> (No. 830), which was bought in 1881 for - £5160, and, indeed, in all the pictures where cattle are introduced, - it will be noticed <span class="pagenum" id="Page_293">293</span>that the animals form part and parcel of the - landscape, and are no longer individual “portraits” of animals, as they - were apt to be in the pictures by the earlier Dutch cattle-painters. - The same unity of vision is to be noted in all his sixteen pictures at - the Louvre.</p> - - <div class="figcenter" id="i_plate49"> - <img class="illow100" src="images/i_plate49.jpg" alt="" /> - <div class="caption"><span class="large">PLATE XLIX.—JEAN-BAPTISTE CAMILLE COROT</span><br /> - <span class="small">(1796–1875)</span><br /> - No. 2801.—THE DELL<br /> - <span class="small">(Le Vallon, avec des paysannes et une vache)</span></div> - </div> - <div class="description"> - <p>A grass-covered hill descends from the horizon line on the left to - the right-hand bottom corner of the picture. A low hedge with a clump - of trees in the centre divides the grassy plot from the field rising - beyond towards the horizon-line, from which projects a church in the - far distance. The sun is behind the trees, which throw a deep shadow on - the dale. A cow occupies the centre of the foreground. To the left a - group of three peasant women and a child; to the right a farm labourer.</p> - <p class="noindent">Signed on left:—“<span class="smcap">corot</span>.”</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">1 ft. 1¾ in. × 1 ft. 9¼ in. (0·35 × 0·54.)</p> - </div> - - <h3 id="C_TROYON">C. TROYON</h3> - - <p>This oneness of inanimate and animate nature is less completely - realised in the art of Constant Troyon (1810–1865), who, having been - trained as a porcelain-painter, was subsequently attracted by the - romanticism of Dupré, but followed such Dutch masters as Paul Potter in - subordinating the landscape to the cattle. It is for this reason that - Troyon is known to the public as a “cattle-painter” rather than as a - landscape painter. At the same time, he was a close observer of the - effects of light on fields and meadows, which he rendered with a skill - only rivalled by the solidity, the suggestion of weight and movement, - the well-accentuated forms and sinuosities of his cattle. The huge - canvas <cite>Oxen going to Work</cite> (No. 889) is an unrivalled achievement of - its kind—a piece of realism that is not without poetry and grandeur. - Next to it in importance ranks the <cite>Return to the Farm</cite> (No. 890). - Among the eleven Troyons (Nos. 2906–2916) of the Thomy Thiéry Bequest, - the <cite>Morning</cite> (No. 2909) strikes a more cheerful and hopeful note than - is this artist’s wont.</p> - - <p>Another artist of this group, who devoted himself almost exclusively - to the painting of sheep, is Charles Jacque (1813–1894), from whose - brush the Louvre owns the <cite>Flock of Sheep in a Landscape</cite> (No. - 430<span class="smcap">a</span>), a characteristic work of unusually large dimensions.</p> - - <h3 id="J_DUPRE">J. DUPRÉ</h3> - - <p>Jules Dupré (1811–1889) began, like Troyon, as a china-painter, and, - like Rousseau, with whom he was for years on terms of intimate<span class="pagenum" id="Page_294">294</span> - friendship, benefited by the example of Constable, whose art he had - presumably occasion to study during a visit to England. It was from him - that he acquired the sense of movement in nature, which is so much more - pronounced in his landscapes than in Rousseau’s, whom he exceeded in - breadth of touch and in power. More particularly in his later manner he - loved to apply his colours in a thick impasto laid on to every part of - the canvas, including the sky. Only on rare occasions did he adopt the - more fluid, suave manner shown in <cite>Morning</cite> (No. 2940) and <cite>Evening</cite> - (No. 2941), the two decorative panels executed for Prince Demidoff, and - acquired by the Louvre in 1880 at the San Donato sale. More typical of - his virile, forceful style are the twelve signed pictures by Dupré in - the Thomy Thiéry Bequest (Nos. 2864–2875), especially the fine autumn - landscape <cite>The Pond</cite> (No. 2867, <a href="#i_plate50">Plate L.</a>), the intensely sad, sunless - <cite>Flock in the Landes</cite> (No. 2871), <cite>The Large Oak</cite> (No. 2873), and - <cite>The Sunset on a Marsh</cite> (No. 2874), with the golden glow of the sky - reflected in the water.</p> - - <p>Before turning to Diaz, who has been aptly called “the most romantic of - the Romanticists,” we must briefly mention Eugène Isabey (1804–1886), - who connects the art of the First Empire with Romanticism, and who - knew how to invest his historical paintings with genuinely pictorial - interest at a time when that class of subject was generally treated - from the literary and anecdotal point of view. His exuberant - temperament led him not infrequently to exaggerated movement. The - twelve pictures which bear his signature at the Louvre (Nos. 2878–2884, - 2953–2956, and 2953<span class="smcap">a</span>) are illustrative of every phase of - his art. As a landscape painter he may be considered a forerunner of - Rousseau.</p> - - <h3 id="DIAZ">DIAZ</h3> - - <p>Narcisse Diaz de la Peña (1809–1876) was born at Bordeaux, the son of - political fugitives from Spain, and, like so many artists <span class="pagenum" id="Page_295">295</span>of this - group, started his artistic career as a china-painter. He afterwards - gained considerable success with his romantic figure pictures of - mythological and Oriental subjects, like the <cite>Nymphs in a Wood</cite> (No. - 2854), <cite>Venus and Adonis</cite> (No. 2858), <cite>Venus disarming Cupid</cite> (No. - 2859), and above all the <cite>Fée aux Perles</cite> (No. 256). As a landscape - painter he delighted in rendering the sparkle of sunlight penetrating - through the dense foliage of forest and brushwood. Diaz must be placed - between Isabey and Millet, who followed his example in his early figure - pieces; but he was also influenced by Rousseau and by Delacroix. Among - his eighteen pictures at the Louvre are several landscapes of superb - quality, notably the <cite>Study of a Birch Tree</cite> (No. 252), <cite>Sous Bois</cite> - (No. 253), and <cite>Dogs in the Forest</cite> (No. 257<span class="smcap">a</span>).</p> - - <div class="figcenter" id="i_plate50"> - <img class="illow100" src="images/i_plate50.jpg" alt="" /> - <div class="caption"><span class="large">PLATE L.—JULES DUPRÉ</span><br /> - <span class="small">(1811–1889)</span><br /> - No. 2867.—THE POND<br /> - <span class="small">(La Mare)</span></div> - </div> - <div class="description"> - <p>Autumnal landscape with a pond in the middle distance on the left, - bordered on the right, in the centre of the composition, by a group of - oak trees. In the foreground some cattle and a cowherd. Cloudy sky.</p> - <p class="noindent">Signed on left:—“<span class="smcap">jules dupré</span>.”</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">1 ft. 1 in. × 1 ft. 6½ in. (0·32 × 0·46.)</p> - </div> - - <h3 id="DAUBIGNY">DAUBIGNY</h3> - - <p>Of all the Barbizon painters and their artistic kinship, Charles - François Daubigny (1817–1878) is the one who approached nature with the - most reverent spirit. He is in a way the least subjective of them all, - because his love of nature even in her simplest aspects prevented him - from imposing his own personality upon her; and for this very reason he - is more varied in his range of landscape subjects than any of the other - masters of this important group. The most fugitive effects of light - and atmosphere were seized by him with a masterly sureness which found - expression in every touch of his summary brush. Every hour of the day, - every season of the year, every mood of nature appealed to him with - equal intensity, although the choice of his subjects is most frequently - inspired by serene optimism.</p> - - <p>Daubigny belonged to a family of artists. He received his first - instruction from his father, and afterwards studied under Delaroche. - Before he began to paint landscapes in the neigh<span class="pagenum" id="Page_296">296</span>bourhood of Paris, - he gained his livelihood by painting sweet-boxes! He found his best - subjects on the banks of the Oise, but worked also in other districts - of France, in Italy, and in England. Of his sojourn in England we are - reminded by <cite>The Thames at Erith</cite> (No. 2821), one of the thirteen - Daubignys bequeathed to the Louvre by Thomy Thiéry, which also include - the sun-flooded <cite>Weir Gate at Optevoz</cite> (No. 2818, <a href="#i_plate51">Plate LI.</a>), <cite>The - Pond with Storks</cite> (No. 2815), <cite>Les Péniches</cite> (No. 2820), <cite>Morning on - the River</cite> (No. 2824), and <cite>The Banks of the Oise</cite> (No. 2823). <cite>The - Vintage in Burgundy</cite> (No. 184), which was bought by the State at - the ridiculously low price of £400, is a picture of unusually large - dimensions for an artist who generally needed but a small surface to - express his ardent worship of nature. The delicious <cite>Spring</cite> (No. - 185), with its blossoming apple trees and young grass, must be counted - among his finest achievements. It is a picture that fills the heart - of the beholder with the joy and contentment engendered by the blithe - atmosphere of a bright spring day in the country.</p> - - <h3 id="MILLET">MILLET</h3> - - <p>The Louvre is fortunate in possessing no fewer than a dozen pictures by - Jean François Millet (1814–1875), the great painter of the peasant’s - unceasing struggle with the forces of nature to gain his livelihood - from the soil. Millet himself was the son of a peasant, and was kept - busy with farm work until he had attained the age of twenty, when - he began to study art at Cherbourg. His studies were repeatedly - interrupted before he definitely took up art as his profession. Before - he went to Barbizon, in 1849, to devote himself exclusively to the - genre in which he was to achieve immortal fame, he gained popular - favour and admission to the Salon by following the eighteenth-century - tradition of mythological art, and painted a number of nude studies - <span class="pagenum" id="Page_297">297</span>of nymphs, goddesses, and cupids, not unlike in style to those - of Diaz, but already marked by that firmness of design and by the - monumental character that are so remarkable in his later work. The - study of <cite>Bathing Women</cite> (No. 642) belongs to that period.</p> - - <div class="figcenter" id="i_plate51"> - <img class="illow100" src="images/i_plate51.jpg" alt="" /> - <div class="caption"><span class="large">PLATE LI.—CHARLES FRANÇOIS DAUBIGNY</span><br /> - <span class="small">(1817–1878)</span><br /> - No. 2818.—THE WEIR GATE AT OPTEVOZ<br /> - <span class="small">(La Vanne d’Optevoz)</span></div> - </div> - <div class="description"> - <p>In the limpid clear water of the river, in the foreground, are - reflected the blue sky and the opposite river bank, which, from a - grassy slope on the left changes abruptly, near the weir gate, into - a steep, low, sandstone cliff, on the crest of which some trees and - bushes are silhouetted against the sky. On the left some ducks are - swimming on the mirror-like water.</p> - <p class="noindent">Signed on left:—“<span class="smcap">daubigny</span>, 1859.”</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">1 ft. 7¾ in. × 2 ft. 4¾ in. (0·49 × 0·73.)</p> - </div> - - <p>After he had settled at Barbizon, Millet, whose peasant origin was - probably the cause of his intense sympathy with the struggles and - hardships of the field labourers’ fatiguing work, devoted his brush - to creating that profoundly moving record of labour and toil which - constitutes his claim to be considered one of the world’s great - masters. He knew how to invest scenes of humble life with truly - monumental grandeur, and brought out the hopeless monotony and cruel - hardships of the life led by the tillers of the soil with such incisive - strength, that he was accused of propagandist tendencies. Nothing, - however, was further from his aim. He was an artist pure and simple, - who, in following his own unpopular ideal, preferred to suffer neglect - and extreme poverty to a compromise with the taste of the vulgar.</p> - - <p>The <cite>Women Gleaning</cite> (No. 644, <a href="#i_plate52">Plate LII.</a>) may be considered his - supreme achievement, and an epitome of his whole art. Millet alone - could have invested so bald and unpromising a subject with so much epic - grandeur. There is in the rhythmic repetition of the action of the - two women in the centre of the composition a sense of the inevitable - hopeless monotony of labour in the fields, even if the picture is - not “a plea against the misery of the people.” The same struggle for - existence and the resulting physical fatigue are admirably expressed - in the statuesquely silhouetted figure of <cite>The Weed-burner</cite> (No. - 2890). <cite>The Woodcutter</cite> (No. 2895), <cite>The Strawbinders</cite> (No. 2892), and - <cite>The Winnower</cite> (No. 2893) all exemplify this phase of Millet’s art. - The domestic life of the peasantry is treated with equally profound - sympathy in <cite>Maternal Precaution</cite> (No. 2894), <cite>La Couseuse</cite> (No. - 644<span class="smcap">a</span>), and <cite>La Lessiveuse</cite> (No. 2891). Among his comparatively - rare pure landscape subjects <cite>The Church of Gréville</cite><span class="pagenum" id="Page_298">298</span> (No. 641), which - was found in an unfinished state in the artist’s studio after his - death, takes very high rank. It is as remarkable for the simple telling - truth with which the normal aspect of the landscape is rendered, as the - <cite>Spring</cite> (No. 643) is for the realisation of a more uncommon effect—a - rainbow and the shrill accent of sunlight in the orchard under the - leaden grey of the departing thunder clouds.</p> - - <h3 id="DAUMIER">DAUMIER</h3> - - <p>What Millet did for the life of the country, Honoré Daumier (1808–1879) - did for the life of the town, of which he was a shrewd and critical - observer. But his long practice as a caricaturist made him look upon - the types that engaged his brush with a certain cruel bitterness which - is far removed from Millet’s human sympathy. With a palette restricted - almost to black and grey, Daumier yet proved himself a great colourist - through the infallible accuracy of his tone-values and the suggestion - of rich colour in his almost monochrome schemes. His design is as - massive and monumental as Millet’s. The touch of the <i lang="fr">macabre</i>, which - is so characteristic of Daumier’s art, is very evident in <cite>The Thieves - and the Donkey</cite> (No. 2937). The <cite>Portrait of the Painter Théodore - Rousseau</cite> (No. 2938) holds a hint of the caricaturist’s vision.</p> - - <h3 id="COURBET">COURBET</h3> - - <p>Equally far removed from, and hostile to, Classicism and - Romanticism was Gustave Courbet (1819–1877), who as head and - founder of the Realistic school exercised a prodigious influence - upon nineteenth-century art. He was essentially a fighting spirit, - determined to overcome official hostility to his revolutionary - principles. Excluded from public exhibitions, he held a private show - of his own works, and defended his theories by spoken and <span class="pagenum" id="Page_299">299</span>written - arguments. His just claim was that it did not matter <em>what</em> you paint, - but <em>how</em> you paint what you actually see; and in conformity with - his loudly proclaimed principles he often chose subjects that were - offensive to the taste of his day. At the same time we can see now that - he was endowed with a keen instinctive feeling for pictorial fitness, - and that most of his pictures are far from being haphazard snapshots - of actuality. In his student years he had copied many masterpieces by - Rembrandt, Velazquez, Hals, and Van Dyck. How much he benefited from - the example of the old masters is to be judged from his portrait of - himself, known as <cite>The Man with the Leather-belt</cite> (No. 147).</p> - - <div class="figcenter" id="i_plate52"> - <img class="illow100" src="images/i_plate52.jpg" alt="" /> - <div class="caption"><span class="large">PLATE LII.—JEAN FRANÇOIS MILLET</span><br /> - <span class="small">(1814–1875)</span><br /> - No. 644.—WOMEN GLEANING<br /> - <span class="small">(Les Glaneuses)</span></div> - </div> - <div class="description"> - <p>In a harvest-field three female gleaners, seen in profile to the left, - are occupied with picking up blades of corn. Two of them are bending - right down, with their right hands touching the ground; the third - woman is half erect. In the background some ricks, a cart and horses, - harvesters, a farm building, and a horseman.</p> - <p class="noindent">Signed on right:—“<span class="smcap">j. f. millet</span>.”</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">2 ft. 8¾ in. × 3 ft. 8¼ in. (0·82 × 1·12.)</p> - </div> - - <p>By far his most famous picture is the gigantic <cite>Funeral at Ornans</cite> - (No. 143), which, as a study of the life and types in a small French - provincial town, has aptly been compared with Flaubert’s great novel - <cite>Madame Bovary</cite>. Each individual head in this vast composition is a - marvellous study of facial expression. In his landscapes, again, he - was by no means photographic, and he never failed to consider the - decorative effectiveness of his pictures. His influence upon Whistler’s - early work is to be judged from <cite>The Wave</cite> (No. 147<span class="smcap">a</span>). If his - landscapes retain to a certain extent the atmosphere of the studio, - such pieces as <cite>La Remise des Chevreuils</cite> (No. 145<span class="smcap">a</span>) and - <cite>Le Ruisseau du Puits noir</cite> (No. 146<span class="smcap">a</span>) clearly show that he - possessed a sound understanding of the way in which colours react upon, - and modify, each other. Courbet’s revolutionary tendencies made him - take part in the political movement of the Commune, and forced him to - leave his native country. He died in Switzerland in 1877.</p> - - <h3 id="MEISSONIER">MEISSONIER</h3> - - <p>It was realism of a very different kind that made public opinion place - Jean Louis Ernest Meissonier (1815–1891) on a<span class="pagenum" id="Page_300">300</span> pinnacle, from which he - has only in recent years been transferred to the more modest position - due to him, for the exquisite minute care he bestowed upon the working - out of insignificant details. Meissonier was a draughtsman and an - illustrator rather than a painter. As a colourist he does not count. - He had no appreciation of values, textures, substances, and surfaces. - Nothing could be more to the point than Manet’s mordant remark that in - Meissonier’s pictures “everything is of iron except the cuirasses.” - Still, the mind that finds delight in small things will dwell with - pleasure upon the microscopic details of his little costume pictures - <cite>The Flute Player</cite> (No. 2887), <cite>The Poet</cite> (No. 2889), and several - similar “gems” at the Louvre. Strangely enough the <cite>Portrait of Mme. - Gerriot</cite> (No. 2965), which he painted at the age of nineteen, has more - breadth and real character than any of his later works. The chief task - of Meissonier’s life was the glorification of Napoleon <span class="smcap">i.</span>’s - campaigns. Of this famous series the Louvre includes no example. On the - other hand, the collection owns three important historical pictures - from his brush in <cite>Napoleon III. at Solferino</cite> (No. 2957), which long - hung in the Luxembourg Gallery, <cite>Napoleon III. surrounded by his Staff</cite> - (No. 2958), and <cite>The Siege of Paris</cite> (No. 2969), in the painting of - which he had at least the advantage of personal experience, as he had - followed the Emperor’s army on the Italian campaign, and was in Paris - during the siege. Altogether the Louvre owns no fewer than twenty-nine - paintings by Meissonier.</p> - - <h3 id="RICARD">RICARD</h3> - - <p>If Meissonier is beginning to find his proper level after having been - grossly overrated, Louis Gustave Ricard (1824–1873), one of the most - remarkable portrait painters of his century, has only just in recent - years been rescued from almost complete<span class="pagenum" id="Page_301">301</span> oblivion. A pupil of L. - Cogniet, Ricard spent several years in copying the works and analysing - the technical methods of the old masters, and in travelling in Italy, - Belgium, Holland, and England. It was not before his return to Paris - in 1850 that he began to exhibit. Ricard was exclusively a portrait - painter. Technically his early studies enabled him to arrive at a - method of singular morbidezza and warm luminosity. There is a certain - truth in a modern critic’s description of Ricard’s pigments as being - composed of “crushed jewels, flower juice, and gold and silver powder.” - The great merit of Ricard’s portraits is, however, his extraordinary - insight into his sitters’ psychology. To him a portrait meant more than - a correct record of the model’s superficial aspect: he endeavoured to - paint the very soul in so far as it can be read from eyes and lips. - In this respect he is the descendant of Giorgione and the forerunner - of Watts and Carrière. The portraits of <cite>The Painter Heilbuth</cite> (No. - 778<span class="smcap">a</span>), of <cite>Mme. de Calonne</cite> (No. 778<span class="smcap">e</span>), of <cite>His Own - Portrait</cite> (No. 778), and the badly cracked <cite>Portrait of Paul de Musset</cite> - (No. 778<span class="smcap">b</span>), may be quoted as admirable instances of his art.</p> - - <h3 id="MANET">MANET</h3> - - <p>We must close this necessarily fragmentary survey of French art at the - Louvre with the mention of Edouard Manet (1832–1883), whose <cite>Olympia</cite> - (No. 613<span class="smcap">a</span>, <a href="#i_plate53">Plate LIII.</a>) is the first, and so far the only - painting of the Impressionist school that has gained access to this - gallery. It was formerly exhibited at the Luxembourg. Hung as it is - now in Gallery VIII. amid the works of David, Gros, Ingres, Delacroix, - Delaroche, and other early nineteenth-century painters, this <cite>Olympia</cite> - fully explains the sensation, but certainly not the indignation, caused - by its first appearance at the Salon of 1865. It sings out with such - brilliant<span class="pagenum" id="Page_302">302</span> purity of colour and is so emphatic in the patterning of its - design, so daring in the placing side by side of almost unmodulated but - infallibly accurate colour masses, that everything around appears more - or less dingy and artificial. Manet’s <cite>Olympia</cite> marks the dawn of a new - era, not because it is based on a revolutionary rejection of tradition, - but because it is true to the <em>spirit</em> of the best tradition, which is - not carried on by literal and mechanical imitation, but by evolution - and adaptation to modern life and thought.</p> - - <div class="figcenter" id="i_plate53"> - <img class="illow100" src="images/i_plate53.jpg" alt="" /> - <div class="caption"><span class="large">PLATE LIII.—ÉDOUARD MANET</span><br /> - <span class="small">(1832–1883)</span><br /> - No. 613<span class="smcap">a</span>.—OLYMPIA</div> - </div> - <div class="description"> - <p>A nude woman, with blue-edged yellow satin slippers on her feet, a - narrow black riband round her neck, and a gold bracelet on her right - arm, is reclining on a bed, her right arm resting on the cushion. - Beneath her is spread a yellowish, flowered Indian shawl. A black cat - with raised tail stands at her feet on the bed. Behind the bed is seen - a negress, who brings a large bouquet of flowers to her mistress.</p> - <p class="noindent">Signed on left:—“<span class="smcap">ed. manet</span>, 1865.”</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">4 ft. 2 in. × 6 ft. 3 in. (1·27 × 1·90.)</p> - </div> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_303">303</span> - <h2 id="THE_BRITISH_SCHOOL">THE BRITISH SCHOOL</h2> - </div> - - <p class="drop-cap">IF the representation of French art at the National Gallery in London - is admittedly meagre and inadequate, the British section at the Louvre - can scarcely be considered worthy of serious consideration. Its entire - removal, with the exception of about half a dozen pictures, would not - only entail no serious loss to the collection, but would be an act - of justice to the reputation of several great artists who are here - made responsible for pictures upon which they presumably never set - eyes. Under these circumstances it is quite impossible to illustrate - the progress of British art by the two-score or so examples in the - Long Gallery, part of which is devoted to the English pictures. Of - the leading masters, Hogarth (1697–1764) and Gainsborough (1727–1788) - will be vainly looked for, since the two <cite>Landscapes</cite> (Nos. 1811 and - 1811<span class="smcap">b</span>) attributed to the latter in the La Caze Room are - inferior conventional compositions in Italian taste, which can no more - be connected with the name of Gainsborough than the wretched <cite>Still - Life</cite> which has lately been added to the Louvre collection.</p> - - <h3 id="CONSTABLE_AND_HIS_IMITATORS">CONSTABLE AND HIS IMITATORS</h3> - - <p>In view of the powerful influence exercised by Constable and the - British Landscape school in general upon modern French art, it is - surprising that no attempts should have been made to secure a few - examples of greater importance and more certain authenticity than the - ones now exhibited. Six pictures are catalogued under the name of John - Constable (1776–1837); the only one that<span class="pagenum" id="Page_304">304</span> can be unreservedly accepted - as the work of his brush is the little view of <cite>Hampstead Heath</cite> (No. - 1809, <a href="#i_plate54">Plate LIV.</a>), which was presented to the Louvre in 1877 by the - painter’s son, Mr. Lionel Constable. It is a fresh, masterly study for - the picture in the Sheepshanks collection at the Victoria and Albert - Museum.</p> - - <p>The <cite>Weymouth Bay</cite> (No. 1808), which realised as much as £2240 at the - Marquis de la Rochebrune’s sale in 1873, has been enthusiastically - commented upon by Bürger, but cannot pass the ordeal of searching - criticism. It is incoherent, and in the details of the foreground and - the painting of the figures and sheep lacks the purposeful sureness of - touch which is the hall-mark of Constable’s art. <cite>The Cottage</cite> (No. - 1806) has the same provenance. Mr. P. M. Turner, in an article in the - <cite>Burlington Magazine</cite>, suggests that F. W. Watts, a feeble imitator - of Constable, is the real author of this timidly executed painting—an - attribution which is certainly more convincing than the one in the - official catalogue. The <cite>Glebe Farm</cite> (No. 1810) tallies closely, as - regards the superficial aspect, with the picture of the same title - at the National Gallery, to which it is, however, so inferior as to - put Constable’s authorship out of the question. <cite>The Windmill</cite> (No. - 1810<span class="smcap">a</span>), a gift of Mr. Sedelmeyer, seems to be a copy of - the <cite>Spring</cite> at the Victoria and Albert Museum. <cite>The Rainbow</cite> (No. - 1807) may possibly be by Constable, although its authorship has been - questioned by several reliable authorities.</p> - - <p>James Webb (1825?–1895), a painter of undeniable talent for imitating - the manner of artists greater than himself, is beyond much doubt - responsible both for the <cite>Landscape</cite> (No. 1820), which is officially - given to Richard Wilson (1714–1782), and for the view of the <cite>Pont - Neuf</cite> (No. 1819), which is still exhibited as an example by the - greatest English landscape painter J. M. W. Turner (1775–1851). - Unfortunately Turner’s name has to be added to Hogarth’s and - <span class="pagenum" id="Page_305">305</span>Gainsborough’s in the list of eminent British masters who are not - represented at the Louvre.</p> - - <div class="figcenter" id="i_plate54"> - <img class="illow100" src="images/i_plate54.jpg" alt="" /> - <div class="caption"><span class="large">PLATE LIV.—JOHN CONSTABLE</span><br /> - <span class="small">(1776–1837)</span><br /> - No. 1809.—HAMPSTEAD HEATH<br /> - <span class="small">(Vue de Hampstead Heath)</span></div> - </div> - <div class="description"> - <p>A wide-spreading landscape view, with little incident, from Hampstead - Heath looking in a northerly direction.</p> - <p class="noindent">Painted in oil on canvas.</p> - <p class="noindent">1 ft. 1¼ in. × 1 ft. 2¼ in. (0·26 × 0·36.)</p> - </div> - - <h3 id="BONINGTON">BONINGTON</h3> - - <p>That Richard Parkes Bonington (1801–1828) should be seen to better - advantage in this collection, is only natural in view of the fact - that by his training at the École des Beaux-Arts in Paris and under - Gros he belongs to the French rather than to the English school. He - was closely allied by the bond of friendship to Delacroix, and played - an important part in the romantic movement. The two little pictures - <cite>François I. and the Duchesse d’Etampes</cite> (No. 1802) and <cite>Mazarin - and Anne of Austria</cite> (No. 1803) are conceived quite in the spirit - of the French Romanticists. Bonington’s genius as a colourist is, - however, best displayed in the sparkling and animated <cite>View of Venice</cite> - (No. 1805). Admirable, too, in their spontaneous freshness are the - <cite>View of the Gardens at Versailles</cite> (No. 1804) and the <cite>View of the - Coast of Normandy</cite> (No. 1804<span class="smcap">a</span>). <cite>The Old Governess</cite> (No. - 1805<span class="smcap">a</span>), one of Bonington’s rare attempts at portraiture, - is remarkable for the accentuation of the modelling, which somehow - suggests the broad treatment of the planes adopted by a wood-carver.</p> - - <p>The picture which is catalogued as <cite>La Halte</cite> (No. 1814), by George - Morland (1763–1804), is merely a poor copy of that artist’s painting - <cite>The Public-house Door</cite>, engraved by Ward. It was presented to the - Louvre by the proprietors of the magazine <cite>L’Art</cite>.</p> - - <p>When we come to the great school of British portrait painting, we have - to record at least two or three masterpieces worthy of being included - in a great museum. A picture of unquestioned authenticity and great - charm is the <cite>Portrait of Master Hare</cite> (No. 1818<span class="smcap">b</span>) by Sir - Joshua Reynolds (1723–1792), who in this, as in other similar pieces, - proved himself the painter <i lang="fr">par excellence</i> of childhood in all its - innocence and ingenuousness, even though this<span class="pagenum" id="Page_306">306</span> picture is by no means - impeccable as regards draughtsmanship. The <cite>Master Hare</cite> was bequeathed - to the Louvre by Baron Alphonse de Rothschild in 1905. The badly - repainted <cite>Portrait of a Lady</cite> (No. 1818<span class="smcap">a</span>) in a white dress, - and with powdered hair, is certainly not the work of Sir Joshua, under - whose name it figures in the catalogue.</p> - - <h3 id="RAEBURN">RAEBURN</h3> - - <p>Among the recent additions to the Louvre collection is the excellent - life-size portrait of <cite>Captain Robert Hay of Spot</cite>, by Sir Henry - Raeburn (1756–1823), which still hangs on a screen in Gallery XV. and - has not yet been provided with a number. It is a full-length portrait - of the sitter, in uniform of scarlet coat, white breeches, black - gaiters, and fur busby, his hand resting upon his gun, standing against - a conventional landscape background with a sky of characteristic tawny - hue. The picture was formerly in the collection of Mr. Sanderson, at - the sale of which, in 1908, it was bought by Messrs. Agnew for 650 gs. - To Raeburn are also ascribed the extremely puzzling <cite>Portrait of an Old - Sailor</cite> (No. 1817), which, in spite of certain technical affinities - with the British eighteenth-century school, is so un-English in spirit - that it would be rash to ascribe it to any master of that school; the - negligeable <cite>Portrait of Anna Moore, Authoress</cite> (No. 1817<span class="smcap">a</span>); - also the utterly commonplace and wretchedly drawn <cite>Mrs. Maconochie and - Child</cite> (No. 1817<span class="smcap">b</span>), which was bought in 1904, together with - the equally questionable <cite>Portrait of a Lady and a Young Boy</cite> (No. - 1812<span class="smcap">b</span>), by Hoppner, for £4000.</p> - - <h3 id="SIR_THOMAS_LAWRENCE">SIR THOMAS LAWRENCE</h3> - - <p>The strangely exaggerated estimation in which Sir Thomas Lawrence - (1769–1830) is held by French connoisseurs, is to a certain<span class="pagenum" id="Page_307">307</span> extent - to be accounted for by the superb quality of the picture by which he - is best known in France: the portrait group of <cite>J. J. Angerstein and - his Wife</cite> (No. 1813<span class="smcap">a</span>) at the Louvre, which was acquired in - 1896 for £3000. This fine group displays all his bravura and pleasing - freshness and brightness of colour, without any of the vulgar tricks - and shallow mannerisms of his later years. Next to it should be - mentioned the charming half-length life-size <cite>Portrait of Mary Palmer</cite> - (No. 1813<span class="smcap">c</span>), in a yellow dress, seated in a garden. The - completely wrecked <cite>Portrait of Lord Whitworth, English Ambassador - to France in 1802</cite> (No. 1813), and the <cite>Portrait of a Man</cite> (No. - 1813<span class="smcap">d</span>), are of no artistic significance.</p> - - <p>Neither is it necessary to dwell upon the mediocre <cite>Brother and - Sister</cite> (No. 1801), by Sir William Beechey (1753–1839); the <cite>Portrait - of Charlotte Sophia of Mecklenburg-Strelitz, Princess of Wales</cite> (No. - 1818), by Allan Ramsay (1713–1784); and the <cite>Portrait of Lamartine, - French Poet and Politician</cite> (No. 1816<span class="smcap">a</span>), by Henry Wyndham - Phillips (1820–1868). <cite>The Woman in White</cite> (No. 1816) is at least a - sound piece of craftsmanship, even if the attribution to John Opie - (1761–1807), “the Cornish Wonder,” is subject to doubt.</p> - - <h3 id="OTHER_PORTRAIT_PAINTERS">OTHER PORTRAIT PAINTERS</h3> - - <p>We have already mentioned the portrait group (No. 1812<span class="smcap">b</span>), a - picture in deplorable condition, to which the name of John Hoppner - (1758?–1810) has been attached without sufficient reason. No less - doubtful is the authenticity of the <cite>Portrait of the Countess of - Oxford</cite> (No. 1812<span class="smcap">a</span>), a meretricious picture which serves - to show the mannerisms and striving after prettiness of Lawrence’s - rival, rather than the more estimable qualities by which his better - achievements are distinguished.</p> - - <p>George Romney (1734–1802), on the other hand, is seen in his - most serious mood in the <cite>Portrait of Sir John Stanley</cite> (No. - 1818<span class="smcap">c</span>)<span class="pagenum" id="Page_308">308</span>— a thoroughly honest “likeness,” well drawn, and - painted straight-forwardly, without tricky accents and mechanical - recipes. On a screen in Gallery XV. has been temporarily placed a - recently acquired <cite>Portrait of the Artist</cite>, by Romney. He is seated, - palette in hand, in a landscape background. The features are well - modelled, and the light and shade managed with considerable skill.</p> - - <p>Strangely enough the most remarkable English picture at the Louvre - is by a little known painter, who is not represented in any of the - leading British galleries. Charles Howard Hodges (1764–1837), who was - born in London, but went at the age of twenty-four to Holland, where - he spent the rest of his life, was really a mezzotint engraver, in - which craft he had been trained by John Raphael Smith. He produced many - plates after pictures by the Dutch masters, and also painted a few - portraits, among them the masterly <cite>Portrait of a Woman</cite> (No. 1812), - at the Louvre. At a time which was too much given to conventionality - and to the desire to please by concessions to a popular craving for - prettiness, this picture strikes a note of almost brutal realism. It - is painted with surprising vigour and with an appreciation of correct - tone-values, in a low key, which heralds the art of the Glasgow school - in the later decades of the nineteenth century.</p> - - <p>With <cite>The Bathing Woman</cite> (No. 1810<span class="smcap">b</span>), by William Etty - (1787–1849), and <cite>The Watering Place</cite> (No. 1815), by William Mulready - (1786–1863), we reach the full decadence of the British school in - early Victorian days before the great revival initiated by the - pre-Raphaelites.</p> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_309">309</span> - <div class="xxlarge center gespertt1"><b>INDEXES</b></div> - <h2 id="INDEX_OF_ARTISTS">I. INDEX OF ARTISTS</h2> - </div> - - <ul class="index"> - <li class="ifrst">Albani, Francesco, <a href="#Page_5">5</a>, <a href="#Page_119">119</a>.</li> - - <li class="indx">Albertinelli, <a href="#Page_11">11</a>, <a href="#Page_43">43</a>, <a href="#Page_46">46</a>.</li> - - <li class="indx">Altichieri, Altichiero, <a href="#Page_79">79</a>, <a href="#Page_85">85</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">“Alunno di Domenico,” <a href="#Page_34">34</a>, <a href="#Page_42">42</a>.</li> - - <li class="indx">Amberger, C., <a href="#Page_133">133</a>.</li> - - <li class="indx">Ambrogio da Fossano, <a href="#Page_94">94</a>.</li> - - <li class="indx">Ambrogio da Predis, <a href="#Page_35">35</a>, <a href="#Page_97">97</a>.</li> - - <li class="indx">“Amico di Sandro,” <a href="#Page_41">41</a>.</li> - - <li class="indx">Andrea dal Castagno, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>.</li> - - <li class="indx">Andrea de Milan, <a href="#Page_193">193</a>.</li> - - <li class="indx">Andrea del Sarto, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>, <a href="#Page_45">45–46</a>, <a href="#Page_186">186</a>, <a href="#Page_239">239</a>.</li> - - <li class="indx">Angelico, Fra, <a href="#Page_10">10</a>, <a href="#Page_22">22–24</a>, <a href="#Page_26">26–27</a>, <a href="#Page_126">126</a>.</li> - - <li class="indx">Anguissola, Sofonisba, <a href="#Page_103">103</a>.</li> - - <li class="indx">Anselmi, Michelangelo, <a href="#Page_47">47</a>.</li> - - <li class="indx">Antonello da Messina, <a href="#Page_65">65</a>, <a href="#Page_95">95</a>.</li> - <li class="isub2"><i>Portrait of a Condottiere</i>, <a href="#i_plate09">Plate <span class="smcap">ix.</span></a></li> - - <li class="indx">Antoniazzo Romano, <a href="#Page_55">55–56</a>.</li> - - <li class="indx">Arellano, Juan de, <a href="#Page_190">190</a>.</li> - - <li class="indx">Arentzen, Arent, <a href="#Page_216">216</a>.</li> - - <li class="indx">Artois, Jacob van, <a href="#Page_154">154</a>.</li> - - <li class="indx">Asselyn, Jan, <a href="#Page_217">217</a>.</li> - - <li class="indx">Audran, Claude, <a href="#Page_261">261</a>.</li> - - - <li class="ifrst">Bacchiacca, <a href="#Page_46">46</a>.</li> - - <li class="indx">Backhuysen, Ludolf, <a href="#Page_222">222</a>.</li> - - <li class="indx">Bagnacavallo, H., <a href="#Page_60">60</a>, <a href="#Page_115">115</a>.</li> - - <li class="indx">Baldovinetti, Alessio, <a href="#Page_28">28</a>, <a href="#Page_30">30–32</a>, <a href="#Page_53">53</a>.</li> - - <li class="indx">Balducci, Matteo, <a href="#Page_50">50</a>.</li> - - <li class="indx">Balen, Hendrick van, <a href="#Page_137">137</a>, <a href="#Page_146">146</a>, <a href="#Page_149">149</a>,<a href="#Page_156">156</a>.</li> - - <li class="indx">Bamboccio, <a href="#Page_221">221</a>.</li> - - <li class="indx">Baroccio, <a href="#Page_117">117</a>.</li> - - <li class="indx">Bartolo di Maestro Fredi, <a href="#Page_17">17</a>.</li> - - <li class="indx">Bartolommeo di Giovanni, <a href="#Page_34">34</a>.</li> - - <li class="indx">Bartolommeo, Fra, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>.</li> - - <li class="indx">Bartolommeo Veneto, <a href="#Page_66">66</a>.</li> - - <li class="indx">Bassano, Jacopo, <a href="#Page_73">73</a>, <a href="#Page_76">76</a>, <a href="#Page_173">173</a>.</li> - - <li class="indx">Bassano, Leandro, <a href="#Page_73">73</a>, <a href="#Page_190">190</a>.</li> - - <li class="indx">Bastiani, Lazzaro, <a href="#Page_65">65</a>.</li> - - <li class="indx">Beccafumi, <a href="#Page_50">50</a>.</li> - - <li class="indx">Beechey, Sir Wm., <a href="#Page_307">307</a>.</li> - - <li class="indx">Beerstraten, Abrahamsz, <a href="#Page_222">222</a>.</li> - - <li class="indx">Bega, Cornells, <a href="#Page_208">208</a>.</li> - - <li class="indx">Begeyn, Abraham, <a href="#Page_220">220</a>.</li> - - <li class="indx">Beham, Hans Sebald, <a href="#Page_162">162</a>.</li> - - <li class="indx">Bellechose, Henri, <a href="#Page_228">228</a>.</li> - - <li class="indx">Bellegambe, Jan, <a href="#Page_230">230</a>.</li> - - <li class="indx">Bellini, Gentile, <a href="#Page_61">61–63</a>, <a href="#Page_65">65–66</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_109">109</a>.</li> - - <li class="indx">Bellini, Giovanni, <a href="#Page_61">61–64</a>, <a href="#Page_66">66</a>, <a href="#Page_68">68–69</a>, <a href="#Page_95">95</a>.</li> - - <li class="indx">Bellini, Jacopo, <a href="#Page_61">61–65</a>, <a href="#Page_80">80</a>, <a href="#Page_85">85</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">Bellini, Niccolosia, <a href="#Page_80">80</a>.</li> - - <li class="indx">Belotto, Bernardo, <a href="#Page_78">78</a>.</li> - - <li class="indx">Benozzo Gozzoli, <a href="#Page_11">11</a>, <a href="#Page_25">25</a>.</li> - - <li class="indx">Benson, Ambrosius, <a href="#Page_130">130</a>.</li> - - <li class="indx">Benvenuti, Giovanni Battista, <a href="#Page_91">91</a>.</li> - - <li class="indx">Berchem, Nicolaes, <a href="#Page_213">213</a>, <a href="#Page_220">220–221</a>.</li> - - <li class="indx">Berckheyde, Gerrit, <a href="#Page_222">222</a>.</li> - - <li class="indx">Bermejo, Bartolomé, <a href="#Page_233">233</a>.</li> - - <li class="indx">Berreguete, <a href="#Page_172">172</a>.</li> - - <li class="indx">Berrettini, Pietro, <a href="#Page_87">87</a>.</li> - - <li class="indx">Bertin, N., <a href="#Page_291">291</a>.</li> - - <li class="indx">Besozzo, Michelino da, <a href="#Page_93">93</a>.</li> - - <li class="indx">Bianchi, Francesco, <a href="#Page_11">11</a>, <a href="#Page_107">107</a>, <a href="#Page_113">113</a>.</li> - - <li class="indx">Bicci di Lorenzo, <a href="#Page_21">21</a>.</li> - - <li class="indx">Bicci, Lorenzo di, <a href="#Page_21">21</a>.</li> - - <li class="indx">Blomaert, Abraham, <a href="#Page_197">197</a>, <a href="#Page_224">224</a>.</li> - - <li class="indx">Bloot, Pieter de, <a href="#Page_216">216</a>.</li> - - <li class="indx">Boccaccino, Boccaccio, <a href="#Page_103">103</a>.</li> - - <li class="indx">Bol, Ferdinand, <a href="#Page_205">205</a>.</li> - - <li class="indx">Boltraffio, <a href="#Page_10">10</a>, <a href="#Page_66">66</a>, <a href="#Page_98">98</a>.</li> - - <li class="indx">Bonifazio Veronese, <a href="#Page_73">73</a>.</li> - - <li class="indx">Bonington, R. P., <a href="#Page_281">281</a>,<a href="#Page_289">289–290</a>, <a href="#Page_305">305</a>.</li> - - <li class="indx">Bono da Ferrara, <a href="#Page_86">86</a>.</li> - - <li class="indx">Bononi, Bartolommeo, <a href="#Page_99">99</a>.</li> - - <li class="indx">Bonsignori, <a href="#Page_92">92</a>.</li> - - <li class="indx">Bordone, Paris, <a href="#Page_10">10</a>, <a href="#Page_72">72</a>.</li> - - <li class="indx">Borgognone (Ambrogio da Fossano), <a href="#Page_94">94–96</a>.</li> - - <li class="indx">Borgognone (Le Bourguignon), <a href="#Page_253">253</a>.</li> - - <li class="indx">Bosch van Aeken, Hieronymus, <a href="#Page_130">130</a>, <a href="#Page_154">154</a>.</li> - - <li class="indx">Both, Jan, <a href="#Page_217">217</a>.</li> - - <li class="indx">Botticelli, <a href="#Page_29">29</a>, <a href="#Page_34">34</a>, <a href="#Page_39">39–41</a>.</li> - <li class="isub2"><i>Giovanna degli Albizzi and the Three Graces</i>, <a href="#i_plate05">Plate <span class="smcap">v.</span></a></li> - - <li class="indx">Botticini, Francesco, <a href="#Page_42">42</a>.</li> - - <li class="indx">Boucher, François, <a href="#Page_246">246</a>, <a href="#Page_258">258</a>, <a href="#Page_265">265–269</a>.</li> - <li class="isub2"><i>Vulcan presenting Arms to Venus</i>, <a href="#i_plate40">Plate <span class="smcap">xl.</span></a></li> - - <li class="indx">Boulogne, Bon, <a href="#Page_251">251–252</a>.</li> - - <li class="indx">Boulogne, Louis, <a href="#Page_251">251–252</a>.</li> - - <li class="indx">Boulongne, Jean de, <a href="#Page_243">243</a>.</li> - - <li class="indx">Bourdichon, <a href="#Page_239">239</a>.</li> - - <li class="indx">Bourdon, Sébastien, <a href="#Page_200">200</a>, <a href="#Page_249">249</a>.</li> - - <li class="indx">Bouts, Dierick, <a href="#Page_125">125–126</a>, <a href="#Page_154">154</a>, <a href="#Page_193">193</a>, <a href="#Page_216">216</a>.</li> - - <li class="indx">Bramante, <a href="#Page_58">58</a>, <a href="#Page_91">91</a>, <a href="#Page_92">92</a>.</li> - - <li class="indx">Bramantino, <a href="#Page_92">92</a>.</li> - - <li class="indx">Breenberg, <a href="#Page_221">221</a>.</li> - - <li class="indx">Brekelenkam, Quiryn, <a href="#Page_210">210</a>.</li> - - <li class="indx">Bril, Matthias, <a href="#Page_138">138</a>.</li> - - <li class="indx">Bril, Paul, <a href="#Page_137">137–138</a>.</li> - - <li class="indx">Broederlam, Melchior, <a href="#Page_123">123</a>.</li> - - <li class="indx">Bronzino, Agnolo, <a href="#Page_11">11</a>, <a href="#Page_46">46</a>.</li> - - <li class="indx">Brouwer, Adriaen, <a href="#Page_152">152–153</a>, <a href="#Page_208">208</a>, <a href="#Page_212">212</a>.</li> - - <li class="indx">Brueghel, “Hell,” <a href="#Page_149">149</a>.</li> - - <li class="indx">Brueghel, Jan, <a href="#Page_137">137</a>, <a href="#Page_141">141</a>, <a href="#Page_167">167</a>.</li> - - <li class="indx">Brueghel the Elder, Pieter, <a href="#Page_136">136–137</a>, <a href="#Page_152">152</a>.</li> - - <li class="indx">Brueghel the Younger, Pieter, <a href="#Page_137">137</a>.</li> - - <li class="indx">Brunelleschi, <a href="#Page_27">27</a>.</li> - - <li class="indx">Brusasorci, Domenico, <a href="#Page_85">85</a>.</li> - - <li class="indx">Brusasorci the Younger, <a href="#Page_77">77</a>.</li> - - <li class="indx">Bruyn, Bartolomäus, <a href="#Page_161">161</a>.</li> - - <li class="indx">Bugiardini, <a href="#Page_43">43</a>.</li> - - <li class="indx">Buonconsiglio, Giovanni, <a href="#Page_109">109</a>.</li> - - <li class="indx">Butinone, Bernardino, <a href="#Page_92">92</a>.</li> - - - <li class="ifrst">Calcar, Giovanni, <a href="#Page_72">72</a>, <a href="#Page_195">195</a>.</li> - - <li class="indx">Calvaert, Denis, <a href="#Page_115">115</a>.</li> - - <li class="indx">Campi, Bernardino, <a href="#Page_100">100</a>, <a href="#Page_103">103</a>.</li> - - <li class="indx">Campin, Robert, <a href="#Page_124">124–125</a>.</li> - - <li class="indx">Canale, Antonio, <a href="#Page_78">78</a>.</li> - - <li class="indx">Canaletto, <a href="#Page_78">78</a>.</li> - - <li class="indx">Cantarini, S., <a href="#Page_120">120</a>.</li> - - <li class="indx">Caravaggio, Michelangelo, <a href="#Page_120">120</a>, <a href="#Page_151">151</a>, <a href="#Page_177">177</a>, <a href="#Page_224">224</a>, <a href="#Page_243">243</a>.</li> - - <li class="indx">Cardi, Lodovico, <a href="#Page_47">47</a>.</li> - - <li class="indx">Carducho, Vincente, <a href="#Page_190">190</a>.</li> - - <li class="indx">Cariani, <a href="#Page_68">68</a>.</li> - - <li class="indx">Caroto, Francesco, <a href="#Page_87">87</a>.</li> - - <li class="indx">Carpaccio, Vittore, <a href="#Page_10">10</a>, <a href="#Page_65">65</a>.</li> - - <li class="indx">Carpi, Alessandro da, <a href="#Page_107">107</a>.</li> - - <li class="indx">Carracci, Agostino, <a href="#Page_118">118</a>.</li> - - <li class="indx">Carracci, Annibale, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, <a href="#Page_119">119</a>, <a href="#Page_138">138</a>.</li> - - <li class="indx">Carracci, Antonio, <a href="#Page_119">119</a>.</li> - - <li class="indx">Carracci, Lodovico, <a href="#Page_118">118</a>.</li> - - <li class="indx">Carreño de Miranda, Juan, <a href="#Page_183">183</a>, <a href="#Page_190">190</a>.</li> - - <li class="indx">Carrière, <a href="#Page_301">301</a>.</li> - - <li class="indx">Casanova, François, <a href="#Page_78">78</a>.</li> - - <li class="indx">Castagno, Andrea dal, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>.</li> - - <li class="indx">Castiglione, G. B., <a href="#Page_118">118</a>.</li> - - <li class="indx">Catena, Vincenzo, <a href="#Page_66">66</a>.</li> - - <li class="indx">Caterina di Vigri, <a href="#Page_116">116</a>.</li> - - <li class="indx">Cavedone, Jacopo, <a href="#Page_107">107</a>.</li> - - <li class="indx">Cazes, <a href="#Page_267">267</a>.</li> - - <li class="indx">Cellini, Benvenuto, <a href="#Page_2">2</a>.</li> - - <li class="indx">Cenni de’ Pepi, Giovanni, <a href="#Page_19">19</a>.</li> - - <li class="indx">Cerquozzi, M. A., <a href="#Page_118">118</a>.</li> - - <li class="indx">Cesare da Sesto, <a href="#Page_39">39</a>, <a href="#Page_97">97</a>.</li> - - <li class="indx">Champaigne, Philippe de, <a href="#Page_155">155</a>, <a href="#Page_258">258</a>.</li> - - <li class="indx">Chardin, J. B. S., <a href="#Page_13">13</a>, <a href="#Page_258">258</a>, <a href="#Page_260">260</a>, <a href="#Page_267">267–268</a>, <a href="#Page_271">271</a>.</li> - <li class="isub2"><i>Grace before Meat</i>, <a href="#i_plate41">Plate <span class="smcap">xli.</span></a></li> - - <li class="indx">Cigoli, H., <a href="#Page_47">47</a>.</li> - - <li class="indx">Cima, Giovanni Battista, <a href="#Page_11">11</a>, <a href="#Page_64">64</a>.</li> - - <li class="indx">Cimabue, <a href="#Page_11">11</a>, <a href="#Page_15">15</a>, <a href="#Page_19">19</a>.</li> - - <li class="indx">Civerchio, <a href="#Page_105">105</a>.</li> - - <li class="indx">Claesz, Pieter, <a href="#Page_220">220</a>.</li> - - <li class="indx">Claeszoon, Alart, <a href="#Page_195">195</a>.</li> - - <li class="indx">Claude, <a href="#Page_6">6</a>, <a href="#Page_157">157</a>, <a href="#Page_217">217</a>, <a href="#Page_247">247–248</a>, <a href="#Page_257">257</a>, <a href="#Page_274">274</a>, <a href="#Page_289">289</a>.</li> - <li class="isub2"><i>View of a Sea Port</i>, <a href="#i_plate38">Plate <span class="smcap">xxxviii.</span></a></li> - - <li class="indx">Clouet, François, <a href="#Page_237">237</a>.</li> - - <li class="indx">Clouet, Jean, <a href="#Page_235">235–236</a>.</li> - - <li class="indx">Codde, Pieter, <a href="#Page_207">207</a>.</li> - - <li class="indx">Cogniet, L., <a href="#Page_301">301</a>.</li> - - <li class="indx">Collantes, Francisco, <a href="#Page_190">190</a>.</li> - - <li class="indx">Coltellini, Michele, <a href="#Page_92">92</a>.</li> - - <li class="indx">“Compagno di Pesellino,” <a href="#Page_30">30</a>.</li> - - <li class="indx">Constable, John, <a href="#Page_281">281</a>, <a href="#Page_289">289–290</a>, <a href="#Page_292">292</a>, <a href="#Page_294">294</a>, <a href="#Page_303">303–304</a>.</li> - <li class="isub2"><i>Hampstead Heath</i>, <a href="#i_plate54">Plate <span class="smcap">liv.</span></a></li> - - <li class="indx">Conti, Bernardino de, <a href="#Page_38">38</a>, <a href="#Page_97">97</a>.</li> - - <li class="indx">Cooper, T. Sidney, R.A., <a href="#Page_218">218</a>.</li> - - <li class="indx">Coques, Gonzales, <a href="#Page_150">150</a>, <a href="#Page_154">154</a>.</li> - - <li class="indx">Corneille de Lyon, <a href="#Page_238">238</a>.</li> - - <li class="indx">Cornelissen, Cornelis, <a href="#Page_199">199</a>.</li> - - <li class="indx">Corot, J. B. C., <a href="#Page_290">290–292</a>.</li> - <li class="isub2"><i>The Well</i>, <a href="#i_plate49">Plate <span class="smcap">xlix.</span></a></li> - - <li class="indx">Correggio, <a href="#Page_7">7</a>, <a href="#Page_9">9</a>, <a href="#Page_107">107</a>, <a href="#Page_113">113–114</a>, <a href="#Page_117">117</a>, <a href="#Page_177">177</a>, <a href="#Page_278">278</a>.</li> - <li class="isub2"><i>Marriage of St. Catherine</i>, <a href="#i_plate15">Plate <span class="smcap">xv.</span></a></li> - - <li class="indx">Cossa, Francesco, <a href="#Page_90">90</a>, <a href="#Page_101">101</a>.</li> - - <li class="indx">Costa, Lorenzo, <a href="#Page_5">5</a>, <a href="#Page_90">90–91</a>, <a href="#Page_101">101–102</a>, <a href="#Page_115">115</a>.</li> - - <li class="indx">Coter, Colin de, <a href="#Page_133">133</a>.</li> - - <li class="indx">Cotes, Francis, <a href="#Page_271">271</a>.</li> - - <li class="indx">Cottignola, Zaganelli da, <a href="#Page_60">60</a>.</li> - - <li class="indx">Courbet, Gustave, <a href="#Page_298">298</a>.</li> - - <li class="indx">Courtois, Jacques, <a href="#Page_253">253</a>.</li> - - <li class="indx">Cousin, Jean, <a href="#Page_240">240</a>.</li> - - <li class="indx">Couture, Thomas, <a href="#Page_288">288</a>.</li> - - <li class="indx">Coxie, Raphael van, <a href="#Page_151">151</a>.</li> - - <li class="indx">Coypel, Antoine, <a href="#Page_252">252</a>.</li> - - <li class="indx">Coypel, Charles Antoine, <a href="#Page_252">252</a>.</li> - - <li class="indx">Coypel, Noël, <a href="#Page_252">252</a>.</li> - - <li class="indx">Coypel, Noël Nicolas, <a href="#Page_252">252</a>, <a href="#Page_267">267</a>.</li> - - <li class="indx">Craesbeeck, Joos van, <a href="#Page_152">152</a>.</li> - - <li class="indx">Cranach the Elder, Lucas, <a href="#Page_162">162</a>.</li> - - <li class="indx">Cranach the Younger, Lucas, <a href="#Page_163">163</a>.</li> - - <li class="indx">Crayer, Gaspar de, <a href="#Page_151">151</a>.</li> - - <li class="indx">Credi, Lorenzo di, <a href="#Page_11">11</a>.</li> - - <li class="indx">Crespi, G. M., <a href="#Page_120">120</a>.</li> - - <li class="indx">Crivelli, Carlo, <a href="#Page_64">64</a>, <a href="#Page_80">80</a>.</li> - - <li class="indx">Cuevas, Pedro de las, <a href="#Page_190">190</a>.</li> - - <li class="indx">Cuyp, Aelbert, <a href="#Page_8">8</a>, <a href="#Page_217">217</a>.</li> - - - <li class="ifrst">Dalmau, Luis de, <a href="#Page_171">171–172</a>.</li> - - <li class="indx">Daniele da Volterra, <a href="#Page_47">47</a>.</li> - - <li class="indx">Daubigny, Charles François, <a href="#Page_295">295–296</a>.</li> - <li class="isub2"><i>The Weir Gate at Optevoz</i>, <a href="#i_plate51">Plate <span class="smcap">li.</span></a></li> - - <li class="indx">Daumier, H., <a href="#Page_298">298</a>.</li> - - <li class="indx">David, Gerard, <a href="#Page_128">128–130</a>, <a href="#Page_193">193</a>.</li> - <li class="isub2"><i>Marriage at Cana</i>, <a href="#i_plate18">Plate <span class="smcap">xviii.</span></a></li> - - <li class="indx">David, Jacques Louis, <a href="#Page_254">254</a>, <a href="#Page_269">269</a>, <a href="#Page_275">275–276</a>, <a href="#Page_278">278</a>.</li> - <li class="isub2"><i>Portrait of Mme. Récamier</i>, <a href="#i_plate45">Plate <span class="smcap">xlv.</span></a></li> - - <li class="indx">De La Fosse, Charles, <a href="#Page_252">252</a>.</li> - - <li class="indx">Debar, B., <a href="#Page_264">264</a>.</li> - - <li class="indx">Decker, Cornelis, <a href="#Page_217">217</a>.</li> - - <li class="indx">Delacroix, Eugène, <a href="#Page_250">250</a>, <a href="#Page_279">279</a>, <a href="#Page_281">281–283</a>, <a href="#Page_285">285</a>, <a href="#Page_290">290</a>, <a href="#Page_295">295</a>.</li> - <li class="isub2"><i>Dante and Virgil</i>, <a href="#i_plate47">Plate <span class="smcap">xlvii.</span></a></li> - - <li class="indx">Delaroche, Paul, <a href="#Page_285">285</a>, <a href="#Page_288">288</a>, <a href="#Page_295">295</a>.</li> - - <li class="indx">Delli, Dello, <a href="#Page_171">171</a>.</li> - - <li class="indx">Denner, Baltasar, <a href="#Page_167">167</a>.</li> - - <li class="indx">Desportes, François, <a href="#Page_258">258</a>.</li> - - <li class="indx">Devéria, Joseph, <a href="#Page_289">289</a>.</li> - - <li class="indx">Diamante, Fra, <a href="#Page_28">28</a>.</li> - - <li class="indx">Diaz de la Peña, N., <a href="#Page_290">290</a>, <a href="#Page_294">294–295</a>.</li> - - <li class="indx">Diepenbeeck, Abraham van, <a href="#Page_151">151</a>.</li> - - <li class="indx">Dietrich, Christian W., <a href="#Page_168">168</a>.</li> - - <li class="indx">Dolci, Carlo, <a href="#Page_118">118</a>.</li> - - <li class="indx">Domenichino, <a href="#Page_5">5</a>, <a href="#Page_10">10</a>, <a href="#Page_119">119</a>, <a href="#Page_245">245</a>.</li> - - <li class="indx">“Domenico, Alunno di,” <a href="#Page_34">34</a>.</li> - - <li class="indx">Domenico Veneziano, <a href="#Page_26">26</a>, <a href="#Page_31">31</a>.</li> - - <li class="indx">Donatello, <a href="#Page_27">27</a>, <a href="#Page_31">31</a>, <a href="#Page_79">79–80</a>.</li> - - <li class="indx">Donducci, G. A., <a href="#Page_120">120</a>.</li> - - <li class="indx">Dossi, Dosso, <a href="#Page_65">65</a>, <a href="#Page_91">91–92</a>.</li> - - <li class="indx">Dou, Gerard, <a href="#Page_208">208–211</a>, <a href="#Page_215">215</a>.</li> - <li class="isub2"><i>The Dropsical Woman</i>, <a href="#i_plate32">Plate <span class="smcap">xxxii.</span></a></li> - - <li class="indx">Drake, Sir Francis, <a href="#Page_196">196</a>.</li> - - <li class="indx">Drost, Cornelis, <a href="#Page_205">205</a>.</li> - - <li class="indx">Drouais, F. H., <a href="#Page_270">270</a>.</li> - - <li class="indx">Dubois, Ambrose, <a href="#Page_241">241</a>.</li> - - <li class="indx">Duccio di Buoninsegna, <a href="#Page_15">15</a>, <a href="#Page_19">19</a>.</li> - - <li class="indx">Duchâtel Collection, <a href="#Page_30">30</a>.</li> - - <li class="indx">Duchatel, François, <a href="#Page_154">154</a>.</li> - - <li class="indx">Duck, Jacob, <a href="#Page_207">207</a>.</li> - - <li class="indx">Dulin, <a href="#Page_264">264</a>.</li> - - <li class="indx">Dupré, Jules, <a href="#Page_293">293–294</a>.</li> - <li class="isub2"><i>The Pond</i>, <a href="#i_plate50">Plate <span class="smcap">l.</span></a></li> - - <li class="indx">Duquesnoy, <a href="#Page_245">245</a>.</li> - - <li class="indx">Dürer, Albrecht, <a href="#Page_159">159</a>, <a href="#Page_161">161–162</a>, <a href="#Page_195">195</a>.</li> - - - <li class="ifrst">“Eclectics,” <a href="#Page_117">117–119</a>.</li> - - <li class="indx">Eeckhout, G. van den, <a href="#Page_205">205</a>.</li> - - <li class="indx">Elias, Nicholas, <a href="#Page_205">205</a>.</li> - - <li class="indx">Elsheimer, Adam, <a href="#Page_167">167</a>, <a href="#Page_257">257</a>.</li> - - <li class="indx">Engelbrechtsen, Cornelis, <a href="#Page_194">194</a>.</li> - - <li class="indx">Ercole de’ Roberti Grandi, <a href="#Page_90">90–91</a>.</li> - - <li class="indx">Ercole Roberti, <a href="#Page_90">90–91</a>.</li> - - <li class="indx">Escosura, <a href="#Page_183">183</a>, <a href="#Page_189">189</a>.</li> - - <li class="indx">Ettore de’ Bonacossi, <a href="#Page_89">89</a>.</li> - - <li class="indx">Etty, William, R.A., <a href="#Page_308">308</a>.</li> - - <li class="indx">Everdingen, Allart van, <a href="#Page_218">218</a>.</li> - - - <li class="ifrst">Fabritius, Karel, <a href="#Page_213">213</a>, <a href="#Page_214">214</a>.</li> - - <li class="indx">Faes, Pieter van der, <a href="#Page_205">205</a>.</li> - - <li class="indx">Farinati, Paolo, <a href="#Page_87">87</a>.</li> - - <li class="indx">Fassolo, Bernardino, <a href="#Page_197">197</a>.</li> - - <li class="indx">Fei, Paolo di Giovanni, <a href="#Page_171">171</a>.</li> - - <li class="indx">Ferramola, Floriano, <a href="#Page_105">105–106</a>.</li> - - <li class="indx">Ferrari, Defendente, <a href="#Page_111">111</a>.</li> - - <li class="indx">Ferrari, Francesco Bianchi, <a href="#Page_107">107</a>, <a href="#Page_113">113</a>.</li> - - <li class="indx">Ferrari, Gaudenzio, <a href="#Page_111">111</a>.</li> - - <li class="indx">Feti, Domenico, <a href="#Page_117">117</a>.</li> - - <li class="indx">Fiorenzo di Lorenzo, <a href="#Page_30">30</a>, <a href="#Page_50">50</a>, <a href="#Page_53">53</a>.</li> - - <li class="indx">Flandrin, Hippolyte, <a href="#Page_289">289</a>.</li> - - <li class="indx">Flinck, Govaert, <a href="#Page_205">205</a>.</li> - - <li class="indx">Floris, Frans, <a href="#Page_138">138</a>.</li> - - <li class="indx">Foppa, Vincenzo, <a href="#Page_93">93–94</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">Fosse, Charles de La, <a href="#Page_252">252</a>.</li> - - <li class="indx">Fouquet, Jean, <a href="#Page_231">231</a>, <a href="#Page_233">233</a>.</li> - - <li class="indx">Fragonard, J. H., <a href="#Page_258">258</a>, <a href="#Page_260">260</a>, <a href="#Page_268">268–269</a>, <a href="#Page_274">274</a>.</li> - <li class="isub2"><i>Music Lesson</i>, <a href="#i_plate42">Plate <span class="smcap">xlii.</span></a></li> - - <li class="indx">Francesca, Piero della, <i>or</i> Franceschi, Piero dei, <a href="#Page_13">13</a>, <a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_53">53</a>, <a href="#Page_86">86</a>.</li> - - <li class="indx">Francesco di Giorgio, <a href="#Page_50">50</a>.</li> - - <li class="indx">Francia, Francesco, <a href="#Page_46">46</a>, <a href="#Page_55">55–56</a>, <a href="#Page_102">102</a>, <a href="#Page_105">105</a>, <a href="#Page_115">115</a>.</li> - - <li class="indx">Francia, Giacomo, <a href="#Page_102">102</a>.</li> - - <li class="indx">Franciabigio, <a href="#Page_46">46</a>.</li> - - <li class="indx">Franck, Frans, <a href="#Page_138">138</a>.</li> - - <li class="indx">Franck the Third, Frans, <a href="#Page_138">138</a>.</li> - - <li class="indx">Franck the Younger, Frans, <a href="#Page_138">138</a>.</li> - - <li class="indx">Francken, Sebastiaen, <a href="#Page_157">157</a>.</li> - - <li class="indx">Franco Bolognese, <a href="#Page_99">99</a>.</li> - - <li class="indx">Fréminet, Martin, <a href="#Page_241">241</a>.</li> - - <li class="indx">Froment, Nicolas, <a href="#Page_232">232</a>.</li> - - <li class="indx">Fungai, Bernardino, <a href="#Page_50">50</a>.</li> - - <li class="indx">Fyt, Jan, <a href="#Page_151">151</a>.</li> - - - <li class="ifrst">Gaddi, Agnolo, <a href="#Page_21">21</a>.</li> - - <li class="indx">Gaddi, Taddeo, <a href="#Page_21">21</a>.</li> - - <li class="indx">Gainsborough, T., R.A., <a href="#Page_303">303–304</a>.</li> - - <li class="indx">Garofalo, <a href="#Page_91">91</a>.</li> - - <li class="indx">Geertgen tot S. Jans, <a href="#Page_193">193</a>.</li> - - <li class="indx">Gentile de Fabriano, <a href="#Page_11">11</a>, <a href="#Page_53">53</a>, <a href="#Page_62">62</a>, <a href="#Page_85">85</a>.</li> - - <li class="indx">Gérard, Baron F. P. S., <a href="#Page_277">277</a>.</li> - - <li class="indx">Gerard of Haarlem, <a href="#Page_193">193</a>.</li> - - <li class="indx">Géricault, J. L. A. Théodore, <a href="#Page_281">281–282</a>,</li> - <li class="isub2"><i>The Raft of the “Medusa,”</i> <a href="#i_plate46">Plate <span class="smcap">xlvi.</span></a></li> - - <li class="indx">Gérin, <a href="#Page_261">261</a>.</li> - - <li class="indx">Ghiberti, Lorenzo, <a href="#Page_26">26</a>.</li> - - <li class="indx">Ghirlandaio, Benedetto, <a href="#Page_33">33</a>.</li> - - <li class="indx">Ghirlandaio, Davide, <a href="#Page_33">33</a>.</li> - - <li class="indx">Ghirlandaio, Domenico, <a href="#Page_11">11</a>, <a href="#Page_24">24</a>, <a href="#Page_32">32–34</a>.</li> - <li class="isub2"><i>Portrait of an Old Man and his Grandson</i> (“<i>The Bottle-nosed Man</i>”), <a href="#i_plate03">Plate <span class="smcap">iii.</span></a></li> - - <li class="indx">Ghirlandaio, Ridolfo, <a href="#Page_34">34</a>, <a href="#Page_46">46</a>, <a href="#Page_57">57</a>.</li> - - <li class="indx">Giambono, Michele, <a href="#Page_61">61</a>.</li> - - <li class="indx">Gillot, Claude, <a href="#Page_261">261</a>, <a href="#Page_264">264</a>.</li> - - <li class="indx">Giltinger, Gumpold, <a href="#Page_166">166</a>.</li> - - <li class="indx">Giordano, Luca, <a href="#Page_121">121</a>, <a href="#Page_171">171</a>, <a href="#Page_191">191</a>.</li> - - <li class="indx">Giorgione, <a href="#Page_6">6</a>, <a href="#Page_40">40</a>, <a href="#Page_46">46</a>, <a href="#Page_64">64</a>, <a href="#Page_66">66</a>, <a href="#Page_68">68–70</a>, <a href="#Page_73">73</a>.</li> - <li class="isub2"><i>Pastoral Symphony</i>, <a href="#i_plate10">Plate <span class="smcap">x.</span></a></li> - - <li class="indx">Giottesques, <a href="#Page_20">20</a>, <a href="#Page_61">61</a>.</li> - - <li class="indx">Giotto, <a href="#Page_11">11</a>, <a href="#Page_16">16</a>, <a href="#Page_19">19–21</a>, <a href="#Page_27">27</a>, <a href="#Page_69">69</a>, <a href="#Page_79">79</a>, <a href="#Page_101">101</a>.</li> - - <li class="indx">Giovanni d’Allemagna, <a href="#Page_63">63</a>.</li> - - <li class="indx">Giovanni di Paolo, <a href="#Page_17">17</a>, <a href="#Page_50">50</a>.</li> - - <li class="indx">Giovanni Francesco da Rimini, <a href="#Page_53">53</a>.</li> - - <li class="indx">Giovenone, Girolamo, <a href="#Page_111">111</a>.</li> - - <li class="indx">Girard d’Orleans, <a href="#Page_228">228</a>.</li> - - <li class="indx">Girodet de Roucy-Trioson, A. L., <a href="#Page_277">277</a>.</li> - - <li class="indx">Girolamo da Carpi, <a href="#Page_90">90</a>.</li> - - <li class="indx">Girolamo dai Libri, <a href="#Page_87">87</a>.</li> - - <li class="indx">Girolamo di Benvenuto, <a href="#Page_50">50</a>.</li> - - <li class="indx">Giulio Romano, <a href="#Page_56">56</a>, <a href="#Page_58">58–60</a>, <a href="#Page_115">115</a>, <a href="#Page_117">117</a>.</li> - - <li class="indx">Glauber, <a href="#Page_220">220</a>.</li> - - <li class="indx">Goebouw, <a href="#Page_256">256</a>.</li> - - <li class="indx">Goltzius, Hendrick, <a href="#Page_199">199</a>.</li> - - <li class="indx">Gossart, Jan, <a href="#Page_132">132–134</a>, <a href="#Page_236">236</a>.</li> - - <li class="indx">Goya, <a href="#Page_191">191–192</a>.</li> - - <li class="indx">Gozzoli, Benozzo, <a href="#Page_11">11</a>, <a href="#Page_25">25</a>.</li> - - <li class="indx">Grandi, Ercole de’ Roberti, <a href="#Page_90">90–91</a>.</li> - - <li class="indx">Grebber, Pieter de, <a href="#Page_206">206</a>, <a href="#Page_220">220</a>.</li> - - <li class="indx">Greco, El, <a href="#Page_173">173–176</a>.</li> - - <li class="indx">Greuze, J. B., <a href="#Page_269">269–272</a>.</li> - <li class="isub2"><i>The Broken Pitcher</i>, <a href="#i_plate43">Plate <span class="smcap">xliii.</span></a></li> - - <li class="indx">Grief, Anton, <a href="#Page_157">157</a>.</li> - - <li class="indx">Grimaldi, G. F., <a href="#Page_120">120</a>.</li> - - <li class="indx">Grimou, J. A., <a href="#Page_259">259</a>.</li> - - <li class="indx">Gros, Baron A. J., <a href="#Page_277">277</a>, <a href="#Page_278">278</a>, <a href="#Page_282">282</a>, <a href="#Page_288">288</a>, <a href="#Page_305">305</a>.</li> - - <li class="indx">Grünewald, M., <a href="#Page_162">162–163</a>.</li> - - <li class="indx">Guardi, Francesco, <a href="#Page_78">78</a>, <a href="#Page_274">274</a>.</li> - - <li class="indx">Guercino, <a href="#Page_10">10</a>, <a href="#Page_120">120</a>.</li> - - <li class="indx">Guerin, P. N., <a href="#Page_276">276</a>, <a href="#Page_279">279</a>, <a href="#Page_281">281</a>, <a href="#Page_285">285</a>.</li> - - - <li class="ifrst">Hals, Dirk, <a href="#Page_206">206</a>.</li> - - <li class="indx">Hals, Frans, <a href="#Page_152">152</a>, <a href="#Page_198">198–201</a>, <a href="#Page_206">206</a>, <a href="#Page_249">249</a>, <a href="#Page_299">299</a>.</li> - <li class="isub2"><i>The Gipsy Girl</i>, <a href="#i_plate27">Plate <span class="smcap">xxvii.</span></a>;</li> - <li class="isub2"><i>Portrait of a Lady in Black</i>, <a href="#i_plate28">Plate <span class="smcap">xxviii.</span></a></li> - - <li class="indx">Heda, Willem Claesz, <a href="#Page_223">223</a>.</li> - - <li class="indx">Heem, David de, <a href="#Page_167">167</a>, <a href="#Page_223">223</a>.</li> - - <li class="indx">Heem, J. Davidsz de, <a href="#Page_223">223</a>.</li> - - <li class="indx">Heemskerck, Egbert van, <a href="#Page_224">224</a>.</li> - - <li class="indx">Heinsius, Johann E., <a href="#Page_168">168</a>.</li> - - <li class="indx">Herrera “the Old,” Francisco, <a href="#Page_175">175</a>, <a href="#Page_180">180</a>.</li> - - <li class="indx">Heusch, Guilliam de, <a href="#Page_220">220</a>.</li> - - <li class="indx">Hobbema, Meindert, <a href="#Page_219">219</a>.</li> - - <li class="indx">Hodges, C. H., <a href="#Page_308">308</a>.</li> - - <li class="indx">Hogarth, W., <a href="#Page_271">271</a>, <a href="#Page_303">303–304</a>.</li> - - <li class="indx">Holbein the Elder, Hans, <a href="#Page_163">163</a>.</li> - - <li class="indx">Holbein the Younger, Hans, <a href="#Page_38">38</a>, <a href="#Page_159">159</a>, <a href="#Page_161">161</a>, <a href="#Page_163">163</a>, <a href="#Page_236">236</a>, <a href="#Page_284">284</a>.</li> - <li class="isub2"><i>Portrait of Erasmus</i>, <a href="#i_plate24">Plate <span class="smcap">xxiv.</span></a></li> - - <li class="indx">Hondecoeter, Melchior, <a href="#Page_224">224</a>.</li> - - <li class="indx">Hondius, Abraham, <a href="#Page_224">224</a>.</li> - - <li class="indx">Honthorst, Gerard, <a href="#Page_224">224</a>.</li> - - <li class="indx">Hooch, Pieter de, <a href="#Page_213">213–214</a>.</li> - <li class="isub2"><i>Dutch Interior</i>, <a href="#i_plate35">Plate <span class="smcap">xxxv.</span></a></li> - - <li class="indx">Hoppner, John, R.A., <a href="#Page_306">306–307</a>.</li> - - <li class="indx">Huet, Paul, <a href="#Page_289">289</a>.</li> - - <li class="indx">Huysmans, Cornelis, <a href="#Page_154">154</a>.</li> - - <li class="indx">Huysum, Jan, <a href="#Page_223">223</a>.</li> - - - <li class="ifrst">Ingegno, L’, <a href="#Page_56">56</a>.</li> - - <li class="indx">Ingres, J. A. D., <a href="#Page_254">254</a>, <a href="#Page_277">277</a>, <a href="#Page_283">283–285</a>.</li> - <li class="isub2"><i>The Spring</i>, <a href="#i_plate48">Plate <span class="smcap">xlviii.</span></a></li> - - <li class="indx">Innocenzo da Imola, <a href="#Page_115">115</a>.</li> - - <li class="indx">Isabey, Eugène, <a href="#Page_277">277</a>, <a href="#Page_294">294</a>, <a href="#Page_295">295</a>.</li> - - <li class="indx">Isenbrant, Adriaen, <a href="#Page_129">129</a>.</li> - - - <li class="ifrst">Jacobello del Fiore, <a href="#Page_61">61</a>, <a href="#Page_66">66–67</a>.</li> - - <li class="indx">Jacque, Charles, <a href="#Page_293">293</a>.</li> - - <li class="indx">Janssen, Cornelis, <a href="#Page_198">198</a>.</li> - - <li class="indx">Janssens, Abraham, <a href="#Page_151">151</a>.</li> - - <li class="indx">Jardin, Karel du, <a href="#Page_221">221</a>.</li> - - <li class="indx">Jordaens, <a href="#Page_10">10</a>, <a href="#Page_66">66</a>, <a href="#Page_150">150</a>, <a href="#Page_252">252</a>.</li> - - <li class="indx">Jouvenet, Jean, <a href="#Page_253">253</a>.</li> - - - <li class="ifrst">Kalf, Willem, <a href="#Page_223">223</a>.</li> - - <li class="indx">Kauffmann, Angelica, <a href="#Page_168">168</a>.</li> - - <li class="indx">Knupfer, N., <a href="#Page_210">210</a>, <a href="#Page_212">212</a>.</li> - - <li class="indx">Koeck, Pieter, <a href="#Page_136">136</a>.</li> - - <li class="indx">Koninck, Philips de, <a href="#Page_274">274</a>.</li> - - - <li class="ifrst">Laer, Pieter van, <a href="#Page_221">221</a>.</li> - - <li class="indx">Lairesse, Gérard de, <a href="#Page_220">220</a>, <a href="#Page_225">225</a>.</li> - - <li class="indx">Lancret, N., <a href="#Page_264">264</a>.</li> - - <li class="indx">Largillière, Nicolas de, <a href="#Page_254">254</a>, <a href="#Page_256">256</a>, <a href="#Page_259">259</a>.</li> - - <li class="indx">Lastman, Pieter, <a href="#Page_202">202</a>, <a href="#Page_204">204</a>.</li> - - <li class="indx">Lawrence, Sir T., <i>P</i>.R.A., <a href="#Page_306">306</a>.</li> - - <li class="indx">Le Brun, Charles, <a href="#Page_5">5</a>, <a href="#Page_75">75</a>, <a href="#Page_244">244</a>, <a href="#Page_249">249–251</a>, <a href="#Page_257">257</a>, <a href="#Page_273">273</a>.</li> - - <li class="indx">Le Brun, Mme. Vigée, <a href="#Page_272">272</a>.</li> - <li class="isub2"><i>Portrait of the Artist and her Daughter</i>, <a href="#i_plate44">Plate <span class="smcap">xliv.</span></a></li> - - <li class="indx">Lefebvre, Claude, <a href="#Page_254">254</a>.</li> - - <li class="indx">Le Guillon, Jenny, <a href="#Page_283">283</a>.</li> - - <li class="indx">Lely, Sir Peter, <a href="#Page_205">205</a>, <a href="#Page_256">256</a>.</li> - - <li class="indx">Le Moine, F., <a href="#Page_265">265</a>.</li> - - <li class="indx">Le Nain, Antoine, <a href="#Page_244">244</a>, <a href="#Page_248">248–249</a>, <a href="#Page_258">258</a>.</li> - - <li class="indx">Le Nain, Louis, <a href="#Page_244">244</a>, <a href="#Page_248">248–249</a>, <a href="#Page_258">258</a>.</li> - - <li class="indx">Le Nain, Matthieu, <a href="#Page_244">244</a>, <a href="#Page_248">248–249</a>, <a href="#Page_258">258</a>.</li> - - <li class="indx">Leonardo da Vinci, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>, <a href="#Page_6">6</a>, <a href="#Page_23">23</a>, <a href="#Page_34">34–40</a>, <a href="#Page_64">64</a>, <a href="#Page_95">95</a>, <a href="#Page_97">97</a>, <a href="#Page_117">117</a>, <a href="#Page_162">162</a>, <a href="#Page_239">239</a>, <a href="#Page_278">278</a>.</li> - <li class="isub2"><i>Portrait of Mona Lisa</i>, <a href="#i_plate04">Plate <span class="smcap">iv.</span></a> (<i>Frontispiece</i>).</li> - - <li class="indx">Lépicié, N. B., <a href="#Page_271">271</a>.</li> - - <li class="indx">Le Sueur, Eustache, <a href="#Page_8">8</a>, <a href="#Page_244">244</a>, <a href="#Page_248">248</a>.</li> - - <li class="indx">Liberale da Verona, <a href="#Page_86">86</a>.</li> - - <li class="indx">Lievens, Jan, <a href="#Page_204">204</a>.</li> - - <li class="indx">Limborch, H. van, <a href="#Page_225">225</a>.</li> - - <li class="indx">Lingelbach, <a href="#Page_221">221</a>.</li> - - <li class="indx">Lippi, Filippino, <a href="#Page_29">29</a>, <a href="#Page_43">43–44</a>.</li> - - <li class="indx">Lippi, Fra Filippo, <a href="#Page_11">11</a>, <a href="#Page_27">27–30</a>, <a href="#Page_39">39</a>, <a href="#Page_41">41</a>.</li> - <li class="isub2"><i>Madonna and Child with Angels and Two Abbots</i>, <a href="#i_plate02">Plate <span class="smcap">ii.</span></a></li> - - <li class="indx">Lodi, Calisto Piazza of, <a href="#Page_106">106</a>.</li> - - <li class="indx">Lomellini, Orazio, <a href="#Page_103">103</a>.</li> - - <li class="indx">Lorenzetti, Ambrogio, <a href="#Page_17">17</a>.</li> - - <li class="indx">Lorenzetti, Pietro, <a href="#Page_17">17</a>.</li> - - <li class="indx">Lorenzo de’ Fasoli, <a href="#Page_100">100</a>.</li> - - <li class="indx">Lorenzo di Bicci, <a href="#Page_21">21</a>.</li> - - <li class="indx">Lorenzo di Credi, <a href="#Page_11">11</a>, <a href="#Page_34">34–35</a>, <a href="#Page_39">39</a>.</li> - - <li class="indx">Lorenzo di Pavia, <a href="#Page_100">100</a>.</li> - - <li class="indx">Lorenzo Monaco, <a href="#Page_22">22–23</a>, <a href="#Page_27">27</a>.</li> - - <li class="indx">Lotto, Lorenzo, <a href="#Page_64">64</a>, <a href="#Page_153">153</a>.</li> - - <li class="indx">Lucas van Leyden, <a href="#Page_194">194</a>.</li> - - <li class="indx">Luini, Bernardino, <a href="#Page_96">96</a>.</li> - - <li class="indx">Lutero, Giovanni, <a href="#Page_89">89</a>, <a href="#Page_91">91–92</a>.</li> - - - <li class="ifrst">Mabuse, Jan, <a href="#Page_132">132–134</a>, <a href="#Page_236">236</a>.</li> - <li class="isub2"><i>Portrait of Jean Carondelet</i>, <a href="#i_plate20">Plate <span class="smcap">xx.</span></a></li> - - <li class="indx">Maes, Nicolas, <a href="#Page_214">214</a>.</li> - - <li class="indx">Mainardi, Bastiano, <a href="#Page_32">32</a>, <a href="#Page_33">33–34</a>.</li> - - <li class="indx">“Maître de Flémalle,” <a href="#Page_124">124–125</a>.</li> - - <li class="indx">“Maître de Moulins,” <a href="#Page_228">228–230</a>.</li> - - <li class="indx">Malouel, Jean, <a href="#Page_227">227</a>.</li> - - <li class="indx">Malwaele, Jan, <a href="#Page_227">227</a>.</li> - - <li class="indx">Manet, Edouard, <a href="#Page_300">300–302</a>.</li> - <li class="isub2"><i>Olympia</i>, <a href="#i_plate53">Plate <span class="smcap">liii.</span></a></li> - - <li class="indx">Manfredi, Bartolommeo, <a href="#Page_98">98</a>, <a href="#Page_151">151</a>.</li> - - <li class="indx">Manni, Giannicola, <a href="#Page_56">56</a>, <a href="#Page_60">60</a>.</li> - - <li class="indx">Mantegna, Andrea, <a href="#Page_5">5</a>, <a href="#Page_11">11</a>, <a href="#Page_55">55</a>, <a href="#Page_61">61</a>, <a href="#Page_80">80–83</a>, <a href="#Page_105">105</a>.</li> - <li class="isub2"><i>Parnassus</i>, <a href="#i_plate14">Plate <span class="smcap">xiv.</span></a></li> - - <li class="indx">Maratta, Carlo, <a href="#Page_118">118</a>.</li> - - <li class="indx">Martini, Simone, <a href="#Page_16">16–17</a>, <a href="#Page_229">229</a>, <a href="#Page_232">232</a>.</li> - <li class="isub2"><i>Christ bearing His Cross</i>, <a href="#i_plate01">Plate <span class="smcap">i.</span></a></li> - - <li class="indx">Masaccio, <a href="#Page_17">17</a>, <a href="#Page_22">22–23</a>, <a href="#Page_27">27</a>, <a href="#Page_29">29</a>, <a href="#Page_31">31</a>.</li> - - <li class="indx">Masolino, <a href="#Page_22">22</a>.</li> - - <li class="indx">Massone, Giovanni, <a href="#Page_100">100</a>.</li> - - <li class="indx">“Master of 1456.”</li> - - <li class="indx">“Master of St. Severin,” <a href="#Page_160">160</a>.</li> - - <li class="indx">“Master of the Bartholomew Altar,” <a href="#Page_159">159–160</a>.</li> - - <li class="indx">“Master of the Death of Mary,” <a href="#Page_160">160</a>.</li> - - <li class="indx">“Master of the Female Half Figures,” <a href="#Page_194">194</a>.</li> - - <li class="indx">“Master of the Ursula Legend,” <a href="#Page_161">161</a>, <a href="#Page_230">230</a>.</li> - - <li class="indx">Matsys, Quentin, <a href="#Page_130">130–131</a>, <a href="#Page_210">210</a>.</li> - <li class="isub2"><i>The Banker and his Wife</i>, <a href="#i_plate14">Plate <span class="smcap">xix.</span></a></li> - - <li class="indx">Matteo di Giovanni, <a href="#Page_50">50</a>.</li> - - <li class="indx">Mazo, J. B. del, <a href="#Page_184">184</a>, <a href="#Page_189">189</a>.</li> - - <li class="indx">Mazzolino, Lodovico, <a href="#Page_91">91</a>.</li> - - <li class="indx">Meissonier, J. L. E., <a href="#Page_299">299–300</a>.</li> - - <li class="indx">Meldolla, Andrea, <a href="#Page_72">72</a>.</li> - - <li class="indx">Memlinc, Hans, <a href="#Page_13">13</a>, <a href="#Page_125">125–128</a>, <a href="#Page_131">131</a>, <a href="#Page_216">216</a>.</li> - <li class="isub2"><i>Portrait of an Old Lady</i>, <a href="#i_plate17">Plate <span class="smcap">xvii.</span></a></li> - - <li class="indx">Memmi, Lippo, <a href="#Page_17">17</a>.</li> - - <li class="indx">Mengs, Raphael, <a href="#Page_168">168–169</a>, <a href="#Page_191">191</a>.</li> - - <li class="indx">Mercier, P., <a href="#Page_263">263</a>.</li> - - <li class="indx">Metsu, Gabriel, <a href="#Page_8">8</a>, <a href="#Page_215">215–216</a>.</li> - - <li class="indx">Meulen, A. F. van der, <a href="#Page_258">258</a>.</li> - - <li class="indx">Michallon, A. E., <a href="#Page_291">291</a>.</li> - - <li class="indx">Michel, Georges, <a href="#Page_289">289</a>.</li> - - <li class="indx">Michelangelo, <a href="#Page_23">23</a>, <a href="#Page_40">40</a>, <a href="#Page_42">42</a>, <a href="#Page_76">76</a>, <a href="#Page_117">117–118</a>, <a href="#Page_240">240</a>.</li> - - <li class="indx">Michelino da Pavia, <a href="#Page_91">91</a>.</li> - - <li class="indx">Miel, Jan, <a href="#Page_157">157</a>.</li> - - <li class="indx">Mierevelt, Michiel Jansz, <a href="#Page_197">197</a>.</li> - - <li class="indx">Mignard, Pierre, <a href="#Page_250">250</a>.</li> - - <li class="indx">Mignon, Abraham, <a href="#Page_167">167</a>.</li> - - <li class="indx">Millet, Francisque, <a href="#Page_157">157</a>.</li> - - <li class="indx">Millet, J. F., <a href="#Page_290">290</a>, <a href="#Page_292">292</a>, <a href="#Page_295">295–298</a>.</li> - <li class="isub2"><i>Women Gleaning</i>, <a href="#i_plate52">Plate <span class="smcap">lii.</span></a></li> - - <li class="indx">Modena, Barnaba da, <a href="#Page_107">107</a>.</li> - - <li class="indx">Modena, Tommaso da, <a href="#Page_107">107</a>.</li> - - <li class="indx">Molyn the Elder, Pieter, <a href="#Page_211">211–212</a>.</li> - - <li class="indx">Moni, Louis de, <a href="#Page_225">225</a>.</li> - - <li class="indx">Monnoyer, J. B., <a href="#Page_252">252</a>.</li> - - <li class="indx">Montagna, Bartolommeo, <a href="#Page_109">109</a>.</li> - - <li class="indx">Montagna, Benedetto, <a href="#Page_109">109</a>.</li> - - <li class="indx">Moor, Karel de, <a href="#Page_210">210</a>, <a href="#Page_224">224</a>.</li> - - <li class="indx">Mor, Sir Antonis, <a href="#Page_195">195–196</a>.</li> - - <li class="indx">Morales, Luis, <a href="#Page_172">172–173</a>.</li> - - <li class="indx">Moreau, Louis Gabriel, <a href="#Page_274">274</a>.</li> - - <li class="indx">Moreelse, Paulus, <a href="#Page_199">199</a>.</li> - - <li class="indx">Moretto, Alessandro, <a href="#Page_10">10</a>, <a href="#Page_106">106</a>.</li> - - <li class="indx">Morland, George, <a href="#Page_305">305</a>.</li> - - <li class="indx">Moroni, Giambattista, <a href="#Page_106">106</a>.</li> - - <li class="indx">Mostaert, Jan, <a href="#Page_195">195</a>.</li> - - <li class="indx">Moyaert, Claes, <a href="#Page_220">220</a>.</li> - - <li class="indx">Mulready, William, <a href="#Page_308">308</a>.</li> - - <li class="indx">Munari, Pellegrino, <a href="#Page_107">107</a>.</li> - - <li class="indx">Murillo, B. E., <a href="#Page_8">8</a>, <a href="#Page_12">12</a>, <a href="#Page_185">185–189</a>.</li> - <li class="isub2"><i>The Immaculate Conception</i>, <a href="#i_plate26">Plate <span class="smcap">xxvi.</span></a></li> - - - <li class="ifrst">Natoire, <a href="#Page_268">268</a>.</li> - - <li class="indx">Neefs, Pieter, <a href="#Page_157">157</a>.</li> - - <li class="indx">Neer, Aart van der, <a href="#Page_217">217</a>.</li> - - <li class="indx">Neer, Eglon van der, <a href="#Page_224">224</a>.</li> - - <li class="indx">Neri di Bicci, <a href="#Page_21">21</a>.</li> - - <li class="indx">Netscher, Caspar, <a href="#Page_212">212</a>.</li> - - <li class="indx">Nicasius, <a href="#Page_258">258</a>.</li> - - <li class="indx">Niccolò da Foligno, <a href="#Page_54">54</a>.</li> - - <li class="indx">Niccolò dell’ Abbate, <a href="#Page_240">240</a>.</li> - - <li class="indx">Nooms, Reynier, <a href="#Page_221">221</a>.</li> - - <li class="indx">Nuzi, Alegretto, <a href="#Page_53">53</a>.</li> - - - <li class="ifrst">Oderigi of Gubbio, <a href="#Page_101">101</a>.</li> - - <li class="indx">Oggiono, Marco d’, <a href="#Page_10">10</a>, <a href="#Page_36">36</a>, <a href="#Page_97">97</a>.</li> - - <li class="indx">Ommeganck, B. P., <a href="#Page_187">187</a>.</li> - - <li class="indx">Oostsanen, Jacob Cornelisz van, <a href="#Page_194">194</a>.</li> - - <li class="indx">Opie, John, R.A., <a href="#Page_307">307</a>.</li> - - <li class="indx">Orbetto, <a href="#Page_77">77</a>.</li> - - <li class="indx">Orcagna, Andrea, <a href="#Page_22">22</a>.</li> - - <li class="indx">Oriolo, <a href="#Page_86">86</a>.</li> - - <li class="indx">Orizonte, <a href="#Page_157">157</a>.</li> - - <li class="indx">Orley, Barend van, <a href="#Page_133">133–134</a>.</li> - - <li class="indx">Ortolano, <a href="#Page_91">91</a>.</li> - - <li class="indx">Oudry, J. B., <a href="#Page_259">259</a>.</li> - - <li class="indx">Ouwater, Albert van, <a href="#Page_129">129</a>, <a href="#Page_193">193</a>.</li> - - - <li class="ifrst">Pacchia, Girolamo del, <a href="#Page_50">50</a>.</li> - - <li class="indx">Pacchiarotto, <a href="#Page_50">50</a>.</li> - - <li class="indx">Palamedesz, <a href="#Page_207">207</a>.</li> - - <li class="indx">Palma Vecchio, <a href="#Page_67">67</a>, <a href="#Page_73">73</a>.</li> - <li class="isub2"><i>Adoration of the Shepherds, with a Female Donor</i>, <a href="#i_plate11">Plate <span class="smcap">xi.</span></a></li> - - <li class="indx">Palmezzano, Marco, <a href="#Page_60">60</a>.</li> - - <li class="indx">Panetti, Domenico, <a href="#Page_91">91</a>.</li> - - <li class="indx">Panini, Giovanni Paolo, <a href="#Page_100">100</a>.</li> - - <li class="indx">Paolo di Giovanni Fei, <a href="#Page_17">17</a>.</li> - - <li class="indx">Parenzano, Bernardo, <a href="#Page_83">83</a>.</li> - - <li class="indx">Parmigianino, <a href="#Page_114">114</a>, <a href="#Page_118">118</a>.</li> - - <li class="indx">Parrocel, Joseph, <a href="#Page_253">253</a>.</li> - - <li class="indx">Patel, Pierre, <a href="#Page_257">257</a>.</li> - - <li class="indx">Patel, Pierre Antoine, <a href="#Page_257">257</a>.</li> - - <li class="indx">Pater, J. B., <a href="#Page_264">264</a>.</li> - - <li class="indx">Pellegrino, Antonio, <a href="#Page_77">77</a>, <a href="#Page_239">239</a>.</li> - - <li class="indx">Pencz, Georg, <a href="#Page_162">162</a>.</li> - - <li class="indx">Pereda, Antonio, <a href="#Page_190">190</a>.</li> - - <li class="indx">Perréal, Jehan, <a href="#Page_229">229–230</a>, <a href="#Page_239">239</a>.</li> - - <li class="indx">Perugino, <a href="#Page_5">5</a>, <a href="#Page_11">11–12</a>, <a href="#Page_46">46</a>, <a href="#Page_50">50–51</a>, <a href="#Page_54">54–56</a>.</li> - <li class="isub2"><i>St. Sebastian</i>, <a href="#i_plate06">Plate <span class="smcap">vi.</span></a></li> - - <li class="indx">Peruzzi, Baldassare, <a href="#Page_50">50</a>.</li> - - <li class="indx">“Pesellino, Compagno di,” <a href="#Page_30">30</a>.</li> - - <li class="indx">Pesellino, Francesco, <a href="#Page_11">11</a>, <a href="#Page_28">28–29</a>, <a href="#Page_53">53</a>.</li> - - <li class="indx">Phillips, H. W., <a href="#Page_307">307</a>.</li> - - <li class="indx">Piazza, Calisto, <a href="#Page_106">106</a>.</li> - - <li class="indx">Piazza, Martino, <a href="#Page_106">106</a>.</li> - - <li class="indx">Pickenoy, <a href="#Page_205">205</a>.</li> - - <li class="indx">Piero di Cosimo, <a href="#Page_11">11</a>, <a href="#Page_27">27</a>, <a href="#Page_34">34</a>, <a href="#Page_42">42–43</a>.</li> - - <li class="indx">Pietro da Cortona, <a href="#Page_87">87</a>.</li> - - <li class="indx">Pinturicchio, <a href="#Page_50">50</a>, <a href="#Page_55">55–56</a>.</li> - - <li class="indx">Piombo, Sebastiano del, <a href="#Page_3">3</a>, <a href="#Page_46">46</a>, <a href="#Page_67">67–68</a>.</li> - - <li class="indx">Pisanello, Antonio, <a href="#Page_62">62</a>, <a href="#Page_79">79</a>, <a href="#Page_85">85</a>, <a href="#Page_86">86</a>, <a href="#Page_103">103</a>.</li> - - <li class="indx">Poelenburg, C. van, <a href="#Page_206">206</a>.</li> - - <li class="indx">Polidoro Lanzani, <a href="#Page_72">72</a>.</li> - - <li class="indx">Pollaiuolo, Antonio, <a href="#Page_31">31</a>, <a href="#Page_40">40</a>.</li> - - <li class="indx">Pollaiuolo, Piero, <a href="#Page_31">31–32</a>.</li> - - <li class="indx">Pontormo, Jacopo da, <a href="#Page_46">46</a>.</li> - - <li class="indx">Pot, Hendrick, <a href="#Page_206">206</a>, <a href="#Page_223">223</a>.</li> - - <li class="indx">Potter, Paul, <a href="#Page_10">10</a>, <a href="#Page_220">220</a>, <a href="#Page_293">293</a>.</li> - - <li class="indx">Pourbus the Younger, Frans, <a href="#Page_138">138</a>.</li> - - <li class="indx">Poussin, Gaspard, <a href="#Page_248">248</a>.</li> - - <li class="indx">Poussin, Nicolas, <a href="#Page_5">5</a>, <a href="#Page_138">138</a>, <a href="#Page_157">157</a>, <a href="#Page_245">245–246</a>, <a href="#Page_275">275</a>, <a href="#Page_285">285</a>.</li> - <li class="isub2"><i>The Shepherds in Arcadia</i>, <a href="#i_plate37">Plate <span class="smcap">xxxvii.</span></a></li> - - <li class="indx">Prandino, Ottaviano, <a href="#Page_105">105</a>.</li> - - <li class="indx">Pre-Raphaelites, <a href="#Page_308">308</a>.</li> - - <li class="indx">Primaticcio, <a href="#Page_2">2</a>, <a href="#Page_59">59</a>, <a href="#Page_115">115</a>, <a href="#Page_118">118</a>, <a href="#Page_239">239–240</a>.</li> - - <li class="indx">Prud’hon, Pierre, <a href="#Page_278">278–279</a>.</li> - - <li class="indx">“Pseudo-Boccaccino,” <a href="#Page_103">103</a>.</li> - - <li class="indx">“Pseudo-Mostaert,” <a href="#Page_195">195</a>.</li> - - <li class="indx">Pynacker, Adam, <a href="#Page_220">220</a>.</li> - - - <li class="ifrst">Raeburn, Sir H., R.A., <a href="#Page_306">306</a>.</li> - - <li class="indx">Raffaelino del Garbo, <a href="#Page_11">11</a>, <a href="#Page_42">42</a>.</li> - - <li class="indx">Raffaelle dei Carli, <a href="#Page_42">42</a>.</li> - - <li class="indx">Raimondi, Marc Antonio, <a href="#Page_115">115</a>.</li> - - <li class="indx">Ramenghi, Bartolommeo, <a href="#Page_60">60</a>.</li> - - <li class="indx">Ramsay, Allan, <a href="#Page_271">271</a>, <a href="#Page_307">307</a>.</li> - - <li class="indx">Raoux, Jean, <a href="#Page_260">260</a>.</li> - - <li class="indx">Raphael, <a href="#Page_2">2</a>, <a href="#Page_5">5</a>, <a href="#Page_7">7</a>, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>, <a href="#Page_23">23</a>, <a href="#Page_29">29</a>, <a href="#Page_40">40</a>, <a href="#Page_46">46</a>, <a href="#Page_55">55</a>, <a href="#Page_56">56–60</a>, <a href="#Page_66">66–68</a>, <a href="#Page_114">114</a>, <a href="#Page_117">117–118</a>, <a href="#Page_134">134</a>, <a href="#Page_248">248</a>, <a href="#Page_284">284–285</a>.</li> - <li class="isub2"><i>La Belle Jardinière</i>, <a href="#i_plate07">Plate <span class="smcap">vii.</span></a>;</li> - <li class="isub2"><i>Portrait of Baldassare Castiglione</i>, <a href="#i_plate08">Plate <span class="smcap">viii.</span></a></li> - - <li class="indx">Ravesteyn, Jan van, <a href="#Page_197">197</a>.</li> - - <li class="indx">Regnault, Henri, <a href="#Page_288">288</a>.</li> - - <li class="indx">Regnault, J. B., <a href="#Page_276">276</a>.</li> - - <li class="indx">Rembrandt, <a href="#Page_8">8</a>, <a href="#Page_10">10</a>, <a href="#Page_58">58</a>, <a href="#Page_66">66</a>, <a href="#Page_135">135</a>, <a href="#Page_167">167</a>, <a href="#Page_194">194</a>, <a href="#Page_199">199</a>, <a href="#Page_201">201–205</a>, <a href="#Page_208">208</a>, <a href="#Page_214">214–216</a>, <a href="#Page_223">223</a>, <a href="#Page_256">256</a>, <a href="#Page_260">260</a>.</li> - <li class="isub2"><i>Christ and the Pilgrims at Emmaus</i>, <a href="#i_plate29">Plate <span class="smcap">xxix.</span></a>;</li> - <li class="isub2"><i>Portrait of Hendrickje Stoffels</i>, <a href="#i_plate30">Plate <span class="smcap">xxx.</span></a></li> - - <li class="indx">Reni, Guido, <a href="#Page_5">5–6</a>, <a href="#Page_10">10</a>, <a href="#Page_119">119</a>.</li> - - <li class="indx">Reynolds, Sir J., <i>P</i>.R.A., <a href="#Page_272">272</a>, <a href="#Page_305">305–306</a>.</li> - - <li class="indx">Ribalta, <a href="#Page_177">177</a>.</li> - - <li class="indx">Ribera, <a href="#Page_120">120</a>, <a href="#Page_176">176–179</a>, <a href="#Page_191">191</a>, <a href="#Page_277">277</a>.</li> - - <li class="indx">Ricard, L. G., <a href="#Page_300">300–301</a>.</li> - - <li class="indx">Ricci, Sebastiano, <a href="#Page_77">77</a>.</li> - - <li class="indx">Ricciarelli, <a href="#Page_47">47</a>, <a href="#Page_117">117</a>.</li> - - <li class="indx">Riccio, Felice, <a href="#Page_77">77</a>.</li> - - <li class="indx">Rigaud y Ros, Hyacinthe, <a href="#Page_254">254</a>, <a href="#Page_255">255</a>.</li> - - <li class="indx">Robert, Hubert, <a href="#Page_268">268</a>, <a href="#Page_273">273–274</a>.</li> - - <li class="indx">Robert-Fleury, J. N., <a href="#Page_289">289</a>.</li> - - <li class="indx">Roberti, Ercole, <a href="#Page_90">90–91</a>.</li> - - <li class="indx">Roelas, Juan de las, <a href="#Page_176">176</a>.</li> - - <li class="indx">Roghman, Roeland, <a href="#Page_216">216</a>.</li> - - <li class="indx">Rokes, <a href="#Page_209">209</a>.</li> - - <li class="indx">Romanino, <a href="#Page_103">103</a>.</li> - - <li class="indx">Romano, Giulio, <a href="#Page_56">56</a>, <a href="#Page_58">58–60</a>, <a href="#Page_115">115</a>, <a href="#Page_117">117</a>.</li> - - <li class="indx">Romney, George, <a href="#Page_307">307–308</a>.</li> - - <li class="indx">Rondinelli, Niccolò, <a href="#Page_68">68</a>.</li> - - <li class="indx">Roos, P. P., <a href="#Page_167">167</a>.</li> - - <li class="indx">Rosa de Tivoli, <a href="#Page_167">167</a>.</li> - - <li class="indx">Rosa, Salvator, <a href="#Page_120">120</a>, <a href="#Page_273">273</a>.</li> - - <li class="indx">Rosselli, Cosimo, <a href="#Page_11">11</a>, <a href="#Page_32">32</a>, <a href="#Page_42">42</a>.</li> - - <li class="indx">Rosselli, Matteo, <a href="#Page_47">47</a>.</li> - - <li class="indx">Rosso Fiorentino, <a href="#Page_2">2</a>, <a href="#Page_46">46</a>, <a href="#Page_239">239</a>.</li> - - <li class="indx">Rosso, Francesco, <a href="#Page_46">46</a>.</li> - - <li class="indx">Rosso, Giovanni Battista, <a href="#Page_2">2</a>, <a href="#Page_46">46</a>, <a href="#Page_239">239</a>.</li> - - <li class="indx">Rottenhammer, Johann, <a href="#Page_137">137</a>, <a href="#Page_167">167</a>.</li> - - <li class="indx">Roucy-Trioson, A. L. Girodet de, <a href="#Page_277">277</a>.</li> - - <li class="indx">Rousseau, Théodore, <a href="#Page_290">290</a>, <a href="#Page_292">292</a>, <a href="#Page_294">294–295</a>, <a href="#Page_298">298</a>.</li> - - <li class="indx">Roymerswaele, Marinus van, <a href="#Page_131">131</a>.</li> - - <li class="indx">Rubens, P. P., <a href="#Page_3">3</a>, <a href="#Page_7">7</a>, <a href="#Page_10">10</a>, <a href="#Page_66">66</a>, <a href="#Page_111">111</a>, <a href="#Page_125">125</a>, <a href="#Page_131">131</a>, <a href="#Page_135">135–139</a>, <a href="#Page_141">141</a>, <a href="#Page_146">146</a>, <a href="#Page_149">149</a>, <a href="#Page_151">151–153</a>, <a href="#Page_155">155</a>, <a href="#Page_171">171</a>, <a href="#Page_241">241</a>, <a href="#Page_254">254</a>, <a href="#Page_258">258</a>, <a href="#Page_263">263</a>, <a href="#Page_266">266</a>, <a href="#Page_281">281</a>.</li> - <li class="isub2"><i>Henry <span class="smcap">iv.</span> leaves for the War</i>, <a href="#i_plate21">Plate <span class="smcap">xxi.</span></a>;</li> - <li class="isub2"><i>Hélène Fourment and two of her Children</i>, <a href="#i_plate22">Plate <span class="smcap">xxii.</span></a></li> - - <li class="indx">Ruisdael, Jacob van, <a href="#Page_8">8</a>, <a href="#Page_218">218</a>, <a href="#Page_222">222</a>, <a href="#Page_290">290</a>.</li> - - <li class="indx">Ruthart, Carl, <a href="#Page_167">167</a>.</li> - - <li class="indx">Ruysdael, Salomon van, <a href="#Page_217">217</a>, <a href="#Page_222">222</a>.</li> - - <li class="indx">Ryckaert, David, <a href="#Page_151">151</a>.</li> - - - <li class="ifrst">Sacchi, Pier Francesco, <a href="#Page_99">99</a>.</li> - - <li class="indx">Saftleven, Cornelis, <a href="#Page_206">206</a>.</li> - - <li class="indx">Saftleven, Herman, <a href="#Page_217">217</a>.</li> - - <li class="indx">Salaino, <a href="#Page_37">37–38</a>, <a href="#Page_95">95</a>.</li> - - <li class="indx">Salviati, <a href="#Page_46">46</a>.</li> - - <li class="indx">Sano di Pietro, <a href="#Page_49">49</a>.</li> - - <li class="indx">Santerre, J. B., <a href="#Page_254">254</a>.</li> - - <li class="indx">Santi, Giovanni, <a href="#Page_56">56</a>.</li> - - <li class="indx">Santvoort, D. van, <a href="#Page_206">206</a>.</li> - - <li class="indx">Sassetta, <a href="#Page_17">17</a>, <a href="#Page_49">49</a>.</li> - - <li class="indx">Sassoferrato, <a href="#Page_118">118</a>.</li> - - <li class="indx">Savoldo, Giovanni Girolamo, <a href="#Page_63">63–64</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">Scarsellino, <a href="#Page_90">90</a>.</li> - - <li class="indx">Schalcken, Godfried, <a href="#Page_209">209</a>.</li> - - <li class="indx">Scheffer, Ary, <a href="#Page_285">285</a>.</li> - - <li class="indx">Schiavone, Andrea, <a href="#Page_72">72</a>.</li> - - <li class="indx">Schiavone, Gregorio, <a href="#Page_80">80</a>, <a href="#Page_92">92</a>.</li> - - <li class="indx">Schidone, Bartolommeo, <a href="#Page_107">107</a>.</li> - - <li class="indx">Schoevaerts, Mathys, <a href="#Page_157">157</a>.</li> - - <li class="indx">Schöngauer, Martin, <a href="#Page_131">131</a>.</li> - - <li class="indx">Schweickhardt, Heinrich Wilhelm, <a href="#Page_168">168</a>.</li> - - <li class="indx">Scorel, Jan, <a href="#Page_194">194–195</a>.</li> - - <li class="indx">Scotto, Stefano, <a href="#Page_96">96</a>.</li> - - <li class="indx">Seghers, David, <a href="#Page_151">151</a>.</li> - - <li class="indx">Sellaio, Jacopo del, <a href="#Page_41">41</a>.</li> - - <li class="indx">Semitecolo, Niccolò, <a href="#Page_61">61</a>.</li> - - <li class="indx">Seybold, Christian, <a href="#Page_168">168</a>.</li> - - <li class="indx">Siberechts, Jan, <a href="#Page_155">155</a>.</li> - - <li class="indx">Signorelli, <a href="#Page_50">50</a>.</li> - - <li class="indx">Simone Martini, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>.</li> - <li class="isub2"><i>Christ bearing His Cross</i>, <a href="#i_plate01">Plate <span class="smcap">i.</span></a></li> - - <li class="indx">Slingelandt, J. A. van, <a href="#Page_211">211</a>.</li> - - <li class="indx">Snyders, Frans, <a href="#Page_149">149</a>, <a href="#Page_151">151</a>, <a href="#Page_258">258</a>.</li> - - <li class="indx">Sodoma, <a href="#Page_50">50</a>, <a href="#Page_111">111</a>.</li> - - <li class="indx">Sogliani, <a href="#Page_46">46</a>.</li> - - <li class="indx">Solario, Andrea, <a href="#Page_95">95–96</a>.</li> - - <li class="indx">Solario, Cristoforo, <a href="#Page_95">95</a>.</li> - - <li class="indx">Sorgh, H. M., <a href="#Page_208">208</a>.</li> - - <li class="indx">Southwell, Sir Richard, <a href="#Page_165">165</a>.</li> - - <li class="indx">Spaendonck, C. van, <a href="#Page_223">223</a>.</li> - - <li class="indx">Spagnoletto, <a href="#Page_120">120</a>, <a href="#Page_176">176–179</a>, <a href="#Page_191">191</a>, <a href="#Page_277">277</a>.</li> - - <li class="indx">Spanzotti, Martino, <a href="#Page_111">111</a>.</li> - - <li class="indx">Speranza, Giovanni, <a href="#Page_109">109</a>.</li> - - <li class="indx">Squarcione, Francesco, <a href="#Page_80">80</a>, <a href="#Page_94">94</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">Starnina, <a href="#Page_22">22</a>, <a href="#Page_171">171</a>.</li> - - <li class="indx">Steen, Jan, <a href="#Page_211">211–213</a>.</li> - <li class="isub2"><i>Bad Company</i>, <a href="#i_plate34">Plate <span class="smcap">xxxiv.</span></a></li> - - <li class="indx">Steenwyck, Hendrik van, <a href="#Page_222">222</a>.</li> - - <li class="indx">Stefano da Zevio, <a href="#Page_28">28</a>.</li> - - <li class="indx">Suardi, Bartolommeo, <a href="#Page_94">94</a>.</li> - - <li class="indx">Subleyras, P., <a href="#Page_260">260</a>.</li> - - <li class="indx">Sustermans, Justus, <a href="#Page_156">156</a>.</li> - - <li class="indx">Swanenburgh, Jacob van, <a href="#Page_201">201</a>.</li> - - <li class="indx">Swanevelt, Herman van, <a href="#Page_210">210</a>.</li> - - - <li class="ifrst">Taddeo di Bartolo, <a href="#Page_17">17</a>.</li> - - <li class="indx">Taraval, H., <a href="#Page_267">267</a>.</li> - - <li class="indx">Tassi, Agostino, <a href="#Page_247">247</a>.</li> - - <li class="indx">Tempel, A. van den, <a href="#Page_210">210</a>.</li> - - <li class="indx">Teniers the Elder, David, <a href="#Page_153">153</a>.</li> - - <li class="indx">Teniers the Younger, David, <a href="#Page_6">6</a>, <a href="#Page_153">153–154</a>.</li> - - <li class="indx">Terborch, Gerard, <a href="#Page_8">8</a>, <a href="#Page_211">211–213</a>, <a href="#Page_221">221</a>.</li> - <li class="isub2"><i>Concert</i>, <a href="#i_plate33">Plate <span class="smcap">xxxiii.</span></a></li> - - <li class="indx">Testorino, Bartolommeo, <a href="#Page_105">105</a>.</li> - - <li class="indx">Theotocopuli, D., <a href="#Page_173">173–176</a>.</li> - - <li class="indx">Tibaldi, Pellegrino, <a href="#Page_115">115</a>, <a href="#Page_118">118</a>.</li> - - <li class="indx">Tiepolo, <a href="#Page_77">77</a>, <a href="#Page_269">269</a>.</li> - - <li class="indx">Tintoretto, <a href="#Page_74">74</a>, <a href="#Page_76">76–77</a>, <a href="#Page_117">117</a>, <a href="#Page_167">167</a>, <a href="#Page_173">173</a>.</li> - - <li class="indx">Tisi, Benvenuto, <a href="#Page_91">91</a>.</li> - - <li class="indx">Titian, <a href="#Page_4">4</a>, <a href="#Page_6">6</a>, <a href="#Page_9">9</a>, <a href="#Page_38">38</a>, <a href="#Page_66">66–72</a>, <a href="#Page_76">76</a>, <a href="#Page_87">87</a>, <a href="#Page_106">106</a>, <a href="#Page_118">118</a>, <a href="#Page_135">135</a>, <a href="#Page_146">146</a>, <a href="#Page_153">153</a>, <a href="#Page_173">173</a>, <a href="#Page_246">246</a>, <a href="#Page_261">261</a>, <a href="#Page_263">263</a>, <a href="#Page_266">266</a>.</li> - <li class="isub2"><i>Man with a Glove</i>, <a href="#i_plate12">Plate <span class="smcap">xii.</span></a>;</li> - <li class="isub2"><i>Entombment</i>, <a href="#i_plate13">Plate <span class="smcap">xiii.</span></a></li> - - <li class="indx">Tocqué, Louis, <a href="#Page_270">270–271</a>.</li> - - <li class="indx">Trioson, <a href="#Page_277">277</a>.</li> - - <li class="indx">Tristan, Luis, <a href="#Page_175">175</a>.</li> - - <li class="indx">Troy, J. F. de, <a href="#Page_261">261</a>.</li> - - <li class="indx">Troyon, Constant, <a href="#Page_293">293</a>.</li> - - <li class="indx">Tura, Cosimo, <a href="#Page_89">89–90</a>, <a href="#Page_107">107</a>.</li> - - <li class="indx">Turchi, Alessandro, <a href="#Page_77">77</a>.</li> - - <li class="indx">Turner, J. M. W., R.A., <a href="#Page_248">248</a>, <a href="#Page_304">304</a>.</li> - - - <li class="ifrst">Uccello, Paolo, <a href="#Page_26">26–27</a>, <a href="#Page_31">31</a>, <a href="#Page_42">42</a>.</li> - - <li class="indx">Ugolino da Siena, <a href="#Page_17">17</a>.</li> - - - <li class="ifrst">Valentin, Le, <a href="#Page_243">243</a>.</li> - - <li class="indx">Van Balen, <a href="#Page_137">137</a>, <a href="#Page_146">146</a>, <a href="#Page_149">149</a>, <a href="#Page_156">156</a>.</li> - - <li class="indx">Van den Berghen, Dirk, <a href="#Page_220">220</a>.</li> - - <li class="indx">Van Beyeren, A., <a href="#Page_223">223</a>.</li> - - <li class="indx">Van Bloemen, Jan Frans, <a href="#Page_157">157</a>.</li> - - <li class="indx">Van Breda, Jan, <a href="#Page_157">157</a>.</li> - - <li class="indx">Van Cleef the Elder, Joos, <a href="#Page_160">160–161</a>, <a href="#Page_236">236</a>.</li> - - <li class="indx">Van Dyck, <a href="#Page_10">10</a>, <a href="#Page_66">66</a>, <a href="#Page_146">146–150</a>, <a href="#Page_155">155–156</a>, <a href="#Page_190">190</a>, <a href="#Page_198">198</a>, <a href="#Page_206">206</a>, <a href="#Page_254">254–255</a>, <a href="#Page_299">299</a>.</li> - <li class="isub2"><i>Portrait of Charles I.</i>, <a href="#i_plate23">Plate <span class="smcap">xxiii.</span></a></li> - - <li class="indx">Van Eyck, Hubert, <a href="#Page_124">124–125</a>, <a href="#Page_130">130</a>.</li> - - <li class="indx">Van Eyck, Jan, <a href="#Page_10">10</a>, <a href="#Page_65">65</a>, <a href="#Page_123">123–126</a>, <a href="#Page_129">129–130</a>, <a href="#Page_172">172</a>, <a href="#Page_216">216</a>.</li> - <li class="isub2"><i>The Virgin and Child and the Chancellor Rolin</i>, <a href="#i_plate16">Plate <span class="smcap">xvi.</span></a></li> - - <li class="indx">Van Falens, Carl, <a href="#Page_157">157</a>.</li> - - <li class="indx">Van der Goes, Hugo, <a href="#Page_216">216</a>.</li> - - <li class="indx">Van Goyen, Jan, <a href="#Page_8">8</a>, <a href="#Page_212">212</a>, <a href="#Page_216">216</a>, <a href="#Page_218">218</a>, <a href="#Page_222">222</a>.</li> - - <li class="indx">Van Goyen, Margaretha, <a href="#Page_212">212</a>.</li> - - <li class="indx">Van der Hagen, Joris, <a href="#Page_217">217</a>.</li> - - <li class="indx">Van Heemskerck, <a href="#Page_200">200</a>.</li> - - <li class="indx">Van der Heist, Bartholomeus, <a href="#Page_8">8</a>, <a href="#Page_205">205</a>.</li> - <li class="isub2"><i>Shooting Prize</i>, <a href="#i_plate31">Plate <span class="smcap">xxxi.</span></a></li> - - <li class="indx">Van Hemessen, Jan, <a href="#Page_133">133</a>.</li> - - <li class="indx">Van der Heyden, Jan, <a href="#Page_221">221</a>.</li> - - <li class="indx">Van Leyden, Lucas, <a href="#Page_125">125</a>.</li> - - <li class="indx">Van Loo, Carle, <a href="#Page_265">265</a>.</li> - - <li class="indx">Van Loo, Charles André, <a href="#Page_265">265</a>.</li> - - <li class="indx">Van Loo, J. B., <a href="#Page_264">264</a>.</li> - - <li class="indx">Van Loo, J. C., <a href="#Page_264">264</a>.</li> - - <li class="indx">Van Loo, Jacob, <a href="#Page_206">206</a>.</li> - - <li class="indx">Van Mander, Karel, <a href="#Page_199">199</a>.</li> - - <li class="indx">Van der Meer van Delft, Jan, <a href="#Page_214">214</a>.</li> - - <li class="indx">Van der Meer of Haarlem, Jan, <a href="#Page_214">214</a>.</li> - - <li class="indx">Van der Meulen, Adam Frans, <a href="#Page_154">154–156</a>.</li> - - <li class="indx">Van Mieris the Elder, Frans, <a href="#Page_210">210</a>.</li> - - <li class="indx">Van Mieris, Willem, <a href="#Page_225">225</a>.</li> - - <li class="indx">Van Mol, Pieter, <a href="#Page_151">151</a>.</li> - - <li class="indx">Van der Neer, Aart, <a href="#Page_217">217</a>.</li> - - <li class="indx">Van Noort, Adam, <a href="#Page_140">140</a>, <a href="#Page_150">150</a>.</li> - - <li class="indx">Van Oost the Elder, Jacob, <a href="#Page_157">157</a>.</li> - - <li class="indx">Van Oostsanen, Jacob Cornelisz, <a href="#Page_194">194</a>.</li> - - <li class="indx">Van Orley, Barend, <a href="#Page_133">133</a>, <a href="#Page_193">193</a>.</li> - - <li class="indx">Van Ostade, Adriaen, <a href="#Page_207">207</a>, <a href="#Page_212">212</a>.</li> - - <li class="indx">Van Ostade, Isack, <a href="#Page_8">8</a>, <a href="#Page_208">208</a>, <a href="#Page_217">217</a>.</li> - - <li class="indx">Van Ouwater, Albert, <a href="#Page_129">129</a>, <a href="#Page_193">193</a>.</li> - - <li class="indx">Van Roymerswaele, Marinus, <a href="#Page_131">131</a>.</li> - - <li class="indx">Van Staveren, J. A., <a href="#Page_211">211</a>.</li> - - <li class="indx">Van Stry, Jacob, <a href="#Page_218">218</a>.</li> - - <li class="indx">Van Veen, Otto, <a href="#Page_139">139–140</a>.</li> - - <li class="indx">Van de Velde, Adriaen, <a href="#Page_218">218</a>.</li> - - <li class="indx">Van de Velde the Younger, Willem, <a href="#Page_222">222</a>.</li> - - <li class="indx">Van de Venne, Adriaen, <a href="#Page_207">207</a>.</li> - - <li class="indx">Van Vliet, H., <a href="#Page_206">206</a>.</li> - - <li class="indx">Van der Weyden, Roger, <a href="#Page_124">124</a>, <a href="#Page_126">126</a>, <a href="#Page_129">129</a>, <a href="#Page_131">131</a>, <a href="#Page_133">133</a>, <a href="#Page_160">160</a>.</li> - - <li class="indx">Vanni, Francesco, <a href="#Page_51">51</a>.</li> - - <li class="indx">Vanni, Turino, <a href="#Page_21">21</a>.</li> - - <li class="indx">Varotari, Alessandro, <a href="#Page_77">77</a>.</li> - - <li class="indx">Vecchia, Pietro della, <a href="#Page_77">77</a>.</li> - - <li class="indx">Vecchietta, <a href="#Page_49">49–50</a>.</li> - - <li class="indx">Velazquez, <a href="#Page_135">135</a>, <a href="#Page_174">174</a>, <a href="#Page_176">176</a>, <a href="#Page_179">179–186</a>, <a href="#Page_190">190</a>, <a href="#Page_299">299</a>.</li> - <li class="isub2"><i>Portrait of Infanta Margarita</i>, <a href="#i_plate25">Plate <span class="smcap">xxv.</span></a></li> - - <li class="indx">Veneto, Bartolommeo, <a href="#Page_66">66</a>.</li> - - <li class="indx">Veneziano, Bartolommeo, <a href="#Page_66">66</a>.</li> - - <li class="indx">Veneziano, Domenico, <a href="#Page_26">26</a>, <a href="#Page_31">31</a>.</li> - - <li class="indx">Veneziano, Stefano, <a href="#Page_61">61</a>.</li> - - <li class="indx">Venius, Octavius, <a href="#Page_139">139–140</a>.</li> - - <li class="indx">Verbruggen, G. P., <a href="#Page_157">157</a>.</li> - - <li class="indx">Verhaecht, Tobias, <a href="#Page_139">139</a>.</li> - - <li class="indx">Verkolie, Jan, <a href="#Page_224">224</a>.</li> - - <li class="indx">Vermander, <a href="#Page_200">200</a>.</li> - - <li class="indx">Vermeer van Delft, Jan, <a href="#Page_214">214</a>.</li> - <li class="isub2"><i>The Lace-Maker</i>, <a href="#i_plate36">Plate <span class="smcap">xxxvi.</span></a></li> - - <li class="indx">Vernet, Carle, <a href="#Page_273">273</a>, <a href="#Page_279">279</a>.</li> - - <li class="indx">Vernet, Claude Joseph, <a href="#Page_273">273</a>.</li> - - <li class="indx">Vernet, Horace, <a href="#Page_273">273</a>.</li> - - <li class="indx">Vernet, Joseph, <a href="#Page_272">272–273</a>.</li> - - <li class="indx">Veronese, Bonifazio, <a href="#Page_73">73</a>.</li> - - <li class="indx">Veronese, Paolo, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_74">74–77</a>, <a href="#Page_87">87</a>, <a href="#Page_261">261</a>.</li> - - <li class="indx">Verrocchio, Andrea del, <a href="#Page_30">30–31</a>, <a href="#Page_34">34</a>, <a href="#Page_39">39</a>.</li> - - <li class="indx">Verspronck, Gerard, <a href="#Page_197">197</a>.</li> - - <li class="indx">Vestier, Antoine, <a href="#Page_271">271</a>.</li> - - <li class="indx">Vicenza, Battista da, <a href="#Page_107">107</a>.</li> - - <li class="indx">Victoors, Jan, <a href="#Page_205">205</a>.</li> - - <li class="indx">Vien, J. M., <a href="#Page_275">275</a>.</li> - - <li class="indx">Vigée Le Brun, Mme., <a href="#Page_272">272</a>.</li> - <li class="isub2"><i>Portrait of the Artist and her Daughter</i>, <a href="#i_plate44">Plate <span class="smcap">xliv.</span></a></li> - - <li class="indx">Vinci. <i>See</i> Leonardo da Vinci.</li> - - <li class="indx">Viti, Timoteo, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_102">102</a>.</li> - - <li class="indx">Vivarini, Alvise (or Luigi), <a href="#Page_63">63–64</a>, <a href="#Page_93">93</a>, <a href="#Page_109">109</a>.</li> - - <li class="indx">Vivarini, Antonio, <a href="#Page_62">62–63</a>.</li> - - <li class="indx">Vivarini, Bartolommeo, <a href="#Page_63">63</a>.</li> - - <li class="indx">Vlieger, Simon de, <a href="#Page_222">222</a>.</li> - - <li class="indx">Volterra, Daniele da, <a href="#Page_47">47</a>, <a href="#Page_117">117</a>.</li> - - <li class="indx">Von Calcar, Johan Stephan, <a href="#Page_72">72</a>, <a href="#Page_195">195</a>.</li> - - <li class="indx">Vos, Paul de, <a href="#Page_151">151</a>.</li> - - <li class="indx">Vouet, Simon, <a href="#Page_243">243</a>, <a href="#Page_248">248–250</a>.</li> - - - <li class="ifrst">Watteau, Antoine, <a href="#Page_241">241</a>, <a href="#Page_248">248</a>, <a href="#Page_259">259–264</a>.</li> - <li class="isub2"><i>Embarkation for the Island of Cythera</i>, <a href="#i_plate34">Plate <span class="smcap">xxxix.</span></a></li> - - <li class="indx">Watts, F. W., <a href="#Page_304">304</a>.</li> - - <li class="indx">Watts, G. F., <a href="#Page_301">301</a>.</li> - - <li class="indx">Webb, James, <a href="#Page_304">304</a>.</li> - - <li class="indx">Weenix, Jan, <a href="#Page_224">224</a>.</li> - - <li class="indx">Weenix, J. B., <a href="#Page_221">221</a>, <a href="#Page_224">224</a>.</li> - - <li class="indx">Werff, Adriaen van der, <a href="#Page_225">225</a>.</li> - - <li class="indx">Wils, Jan, <a href="#Page_220">220</a>.</li> - - <li class="indx">Wilson, Richard, <a href="#Page_304">304</a>.</li> - - <li class="indx">Wohlegmut, Michael, <a href="#Page_161">161</a>, <a href="#Page_231">231</a>.</li> - - <li class="indx">Wouwerman, Philips, <a href="#Page_8">8</a>, <a href="#Page_219">219</a>.</li> - - <li class="indx">Wouwerman, Pieter, <a href="#Page_219">219</a>.</li> - - <li class="indx">Wynants, Jan, <a href="#Page_218">218</a>.</li> - - <li class="indx">Wyntrack, <a href="#Page_219">219</a>.</li> - - - <li class="ifrst">Ysenbrant, Adriaen, <a href="#Page_129">129</a>.</li> - - - <li class="ifrst">Zacchia, Paolo, <a href="#Page_47">47</a>.</li> - - <li class="indx">Zaganelli da Cottignola, <a href="#Page_60">60</a>.</li> - - <li class="indx">Zenale, <a href="#Page_94">94</a>.</li> - - <li class="indx">Zoppo, Marco, <a href="#Page_92">92</a>.</li> - - <li class="indx">Zuccato, Sebastian, <a href="#Page_69">69</a>.</li> - - <li class="indx">Zurbarán, <a href="#Page_176">176–177</a>.</li> - - <li class="indx">Zustris, L. F., <a href="#Page_206">206</a>.</li> - </ul> - - <hr class="page" /> - <div class="chapter"> - <span class="pagenum" id="Page_316">316</span> - <h2 id="GENERAL_INDEX">II. GENERAL INDEX</h2> - </div> - - <ul class="index"> - <li class="ifrst">Academy of Arts, French, <a href="#Page_6">6</a>.</li> - - <li class="indx"><i>Adoration of the Lamb</i>, at Ghent, <a href="#Page_10">10</a>.</li> - - <li class="indx">Aix, Cathedral at, <a href="#Page_232">232</a>.</li> - - <li class="indx">Albizzi, Giovanna degli, <a href="#Page_33">33</a>, <a href="#Page_40">40</a>.</li> - - <li class="indx">Albrecht, Archduke, <a href="#Page_144">144</a>, <a href="#Page_148">148</a>.</li> - - <li class="indx">Albrecht of Mayence, Archbishop, <a href="#Page_162">162</a>.</li> - - <li class="indx">Alexander <span class="smcap">iv.</span>, Pope, <a href="#Page_25">25</a>.</li> - - <li class="indx">Alexander <span class="smcap">vi.</span>, Pope, <a href="#Page_70">70</a>.</li> - - <li class="indx">Alexander the Great, <a href="#Page_250">250</a>.</li> - - <li class="indx">Alfonso da Ferrara, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>.</li> - - <li class="indx">Alfonso d’Avalos, <a href="#Page_71">71</a>, <a href="#Page_75">75</a>.</li> - - <li class="indx">Allied Powers, <a href="#Page_10">10</a>, <a href="#Page_19">19</a>.</li> - - <li class="indx">Alva, Duke of, <a href="#Page_197">197</a>.</li> - - <li class="indx">Amboise, <a href="#Page_39">39</a>.</li> - - <li class="indx">Amsterdam, <a href="#Page_201">201–220</a>.</li> - - <li class="indx">André, Mme., <a href="#Page_127">127</a>.</li> - - <li class="indx">Anne of Austria, <a href="#Page_143">143</a>.</li> - - <li class="indx">Antonio Litta Visconti Arese, <a href="#Page_97">97</a>.</li> - - <li class="indx">Antwerp, <a href="#Page_16">16</a>, <a href="#Page_129">129–130</a>, <a href="#Page_133">133–134</a>, <a href="#Page_138">138–139</a>, <a href="#Page_141">141</a>, <a href="#Page_146">146</a>, <a href="#Page_148">148</a>, <a href="#Page_152">152</a>, <a href="#Page_196">196</a>, <a href="#Page_198">198</a>, <a href="#Page_223">223</a>, <a href="#Page_231">231</a>, <a href="#Page_241">241</a>, <a href="#Page_256">256</a>.</li> - - <li class="indx">Archduke Leopold William, <a href="#Page_153">153</a>.</li> - - <li class="indx">Arenberg Collection, <a href="#Page_140">140</a>.</li> - - <li class="indx">Arezzo, <a href="#Page_15">15</a>.</li> - - <li class="indx">Armagnac, General d’, <a href="#Page_127">127</a>.</li> - - <li class="indx">Aschaffenburg, <a href="#Page_125">125</a>.</li> - - <li class="indx">Ascoli, <a href="#Page_64">64</a>.</li> - - <li class="indx">Augsburg, <a href="#Page_163">163</a>.</li> - - <li class="indx">Autun, <a href="#Page_124">124</a>.</li> - - <li class="indx">Avignon, <a href="#Page_229">229</a>, <a href="#Page_232">232</a>.</li> - - <li class="indx">Aytona, Francisco d’, <a href="#Page_147">147</a>.</li> - - - <li class="ifrst">Badajoz, <a href="#Page_172">172</a>.</li> - - <li class="indx">Baltazar Carlos, Don, <a href="#Page_184">184</a>.</li> - - <li class="indx">Bamberg, Felix, <a href="#Page_86">86</a>.</li> - - <li class="indx">Barbadori Chapel, <a href="#Page_29">29</a>.</li> - - <li class="indx">Barbizon, <a href="#Page_13">13</a>, <a href="#Page_290">290</a>, <a href="#Page_292">292</a>, <a href="#Page_296">296–297</a>.</li> - - <li class="indx">Barnevelt, Olden, <a href="#Page_197">197</a>.</li> - - <li class="indx">Basle, <a href="#Page_164">164</a>.</li> - - <li class="indx">Bavaria, Charles Louis, Duke of, <a href="#Page_224">224</a>.</li> - - <li class="indx">Bavaria, Rupert, Prince of, <a href="#Page_149">149</a>.</li> - - <li class="indx">Beauvais Tapestry, <a href="#Page_259">259</a>, <a href="#Page_265">265</a>.</li> - - <li class="indx">Benson, Mr. R. H., <a href="#Page_90">90</a>.</li> - - <li class="indx">Bentivoglio Family, <a href="#Page_101">101</a>.</li> - - <li class="indx">Berenson, Mr. B., v, <a href="#Page_17">17</a>, <a href="#Page_30">30–31</a>, <a href="#Page_34">34</a>, <a href="#Page_38">38</a>, <a href="#Page_41">41</a>, <a href="#Page_43">43</a>.</li> - - <li class="indx">Berenson, Mrs., <a href="#Page_30">30</a>.</li> - - <li class="indx">Beresteyn and Family, Nicolaes, <a href="#Page_199">199–200</a>.</li> - - <li class="indx">Berlin, <a href="#Page_10">10</a>, <a href="#Page_16">16</a>, <a href="#Page_25">25</a>, <a href="#Page_66">66</a>, <a href="#Page_128">128</a>, <a href="#Page_202">202</a>, <a href="#Page_231">231–232</a>, <a href="#Page_272">272</a>.</li> - - <li class="indx">Bermudez, Céan, <a href="#Page_188">188</a>.</li> - - <li class="indx">Bernardo di Salla, <a href="#Page_63">63</a>.</li> - - <li class="indx">Blackfriars, <a href="#Page_148">148</a>.</li> - - <li class="indx">Bodenhausen, Freiherr von, <a href="#Page_128">128</a>.</li> - - <li class="indx">Bologna, <a href="#Page_9">9</a>, <a href="#Page_99">99</a>, <a href="#Page_115">115–116</a>, <a href="#Page_118">118–120</a>.</li> - - <li class="indx">Bologna, Treaty of, <a href="#Page_9">9</a>.</li> - - <li class="indx">Bonaparte, Lucien, <a href="#Page_128">128</a>.</li> - - <li class="indx">Borghese Gallery, <a href="#Page_147">147</a>.</li> - - <li class="indx">Borgia, Lucrezia, <a href="#Page_70">70</a>.</li> - - <li class="indx">Borromeo, Cardinal Federigo, <a href="#Page_137">137</a>.</li> - - <li class="indx">“<i>Bottle-nosed Man</i>,” <a href="#Page_24">24</a>.</li> - - <li class="indx">Bourgeois Sale, <a href="#Page_172">172</a>.</li> - - <li class="indx">Brancacci Chapel, Florence, <a href="#Page_22">22</a>, <a href="#Page_27">27</a>.</li> - - <li class="indx">Brant, Isabella, <a href="#Page_140">140</a>.</li> - - <li class="indx">Brera, <a href="#Page_93">93</a>.</li> - - <li class="indx">Brescia, <a href="#Page_93">93</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">Browning, <a href="#Page_22">22</a>.</li> - - <li class="indx">Bruges, <a href="#Page_125">125–130</a>, <a href="#Page_172">172</a>.</li> - - <li class="indx">Brussels, <a href="#Page_10">10</a>, <a href="#Page_125">125</a>, <a href="#Page_136">136</a>, <a href="#Page_141">141</a>, <a href="#Page_276">276</a>.</li> - - <li class="indx">Buckingham, Duke of, <a href="#Page_37">37</a>.</li> - - <li class="indx">Buen Retiro Palace, <a href="#Page_190">190</a>.</li> - - <li class="indx">Burnet, Bishop, <a href="#Page_166">166</a>.</li> - - <li class="indx">Buti, Francesco, <a href="#Page_28">28</a>.</li> - - <li class="indx">Buti, Lucrezia, <a href="#Page_28">28</a>.</li> - - <li class="indx">Buti, Spinetta, <a href="#Page_28">28</a>.</li> - - <li class="indx">Byron, Lord, <a href="#Page_283">283</a>.</li> - - <li class="indx">Byzantine Miniaturists, <a href="#Page_15">15</a>.</li> - - <li class="indx">Byzantinism, <a href="#Page_61">61</a>.</li> - - - <li class="ifrst"><i>Caisse des Musées</i>, <a href="#Page_13">13</a>.</li> - - <li class="indx">Cambridge, <a href="#Page_200">200</a>.</li> - - <li class="indx">Campana Collection, <a href="#Page_12">12</a>, <a href="#Page_41">41</a>, <a href="#Page_62">62</a>, <a href="#Page_87">87</a>.</li> - - <li class="indx">Campo Formio, Peace of, <a href="#Page_75">75</a>.</li> - - <li class="indx">Carondelet, Jean, <a href="#Page_132">132–133</a>.</li> - - <li class="indx">Casio Family, <a href="#Page_96">96</a>.</li> - - <li class="indx">Castiglione, Baldassare, <a href="#Page_58">58</a>.</li> - - <li class="indx">Cavenaghi, Prof., <a href="#Page_36">36</a>.</li> - - <li class="indx">Celier, John du, <a href="#Page_126">126</a>.</li> - - <li class="indx">Cento, <a href="#Page_9">9</a>.</li> - - <li class="indx">Chantilly, <a href="#Page_231">231</a>, <a href="#Page_235">235–236</a>, <a href="#Page_282">282</a>.</li> - - <li class="indx">Charles <span class="smcap">i.</span> of England, <a href="#Page_4">4</a>, <a href="#Page_37">37–38</a>, <a href="#Page_58">58</a>, <a href="#Page_67">67</a>, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>, <a href="#Page_148">148</a>, <a href="#Page_150">150</a>, <a href="#Page_206">206</a>.</li> - <li class="isub2"><i>His Portrait</i>, <a href="#i_plate23">Plate <span class="smcap">xxiii.</span></a></li> - - <li class="indx">Charles <span class="smcap">ii.</span>, <a href="#Page_255">255</a>.</li> - - <li class="indx">Charles <span class="smcap">iii.</span> of Spain, <a href="#Page_168">168</a>, <a href="#Page_191">191</a>.</li> - - <li class="indx">Charles <span class="smcap">v.</span>, <a href="#Page_1">1</a>, <a href="#Page_76">76</a>, <a href="#Page_115">115</a>, <a href="#Page_132">132</a>, <a href="#Page_196">196</a>, <a href="#Page_212">212</a>.</li> - - <li class="indx">Charles <span class="smcap">vii.</span>, <a href="#Page_231">231</a>.</li> - - <li class="indx">Charles <span class="smcap">viii.</span>, <a href="#Page_229">229</a>.</li> - - <li class="indx">Charles <span class="smcap">ix.</span>, <a href="#Page_237">237–238</a>.</li> - - <li class="indx">Charles <span class="smcap">x.</span>, <a href="#Page_12">12</a>, <a href="#Page_270">270</a>.</li> - - <li class="indx">Charles d’Amboise, <a href="#Page_94">94</a>.</li> - - <li class="indx">Château Gaillon, <a href="#Page_95">95</a>.</li> - - <li class="indx">Chatsworth Sketch-book, <a href="#Page_147">147</a>.</li> - - <li class="indx">Christie’s, <a href="#Page_133">133</a>.</li> - - <li class="indx">Christus (or Cristus) Petrus, <a href="#Page_124">124</a>.</li> - - <li class="indx">Cloves, Anne of, <a href="#Page_166">166</a>.</li> - - <li class="indx">Cloux, Manor House of, <a href="#Page_39">39</a>.</li> - - <li class="indx">Clovis, <a href="#Page_173">173</a>.</li> - - <li class="indx">Cluny Museum, Paris, <a href="#Page_161">161</a>.</li> - - <li class="indx">Colbert, <a href="#Page_6">6</a>, <a href="#Page_156">156</a>, <a href="#Page_251">251</a>.</li> - - <li class="indx">Colmar, <a href="#Page_163">163</a>.</li> - - <li class="indx">Cologne, <a href="#Page_126">126</a>, <a href="#Page_161">161</a>, <a href="#Page_172">172</a>.</li> - - <li class="indx">Colonna Palace, Rome, <a href="#Page_90">90</a>.</li> - - <li class="indx">Colonna, Vittoria, <a href="#Page_76">76</a>.</li> - - <li class="indx">Compiegne, <a href="#Page_204">204</a>.</li> - - <li class="indx">Constantinople, <a href="#Page_62">62</a>.</li> - - <li class="indx">Cook, Mr. Herbert, <a href="#Page_68">68</a>, <a href="#Page_77">77</a>.</li> - - <li class="indx">Cook, Sir Frederick, <a href="#Page_70">70</a>.</li> - - <li class="indx">Corneille, <a href="#Page_245">245</a>.</li> - - <li class="indx">Cosimo <span class="smcap">ii.</span>, Grand-Duke, of Tuscany, <a href="#Page_157">157</a>.</li> - - <li class="indx">Cossío, Señor, <a href="#Page_174">174</a>.</li> - - <li class="indx">Covarrubias, Diego and Antonio, <a href="#Page_174">174</a>.</li> - - <li class="indx">Crivelli, Lucrezia, <a href="#Page_38">38</a>.</li> - - <li class="indx">Croft, Jeronimo, <a href="#Page_73">73</a>.</li> - - <li class="indx">Cromwell, Oliver, <a href="#Page_4">4</a>, <a href="#Page_70">70</a>, <a href="#Page_113">113</a>.</li> - - - <li class="ifrst">Dandolo, Doge Enrico, <a href="#Page_61">61</a>.</li> - - <li class="indx">Dantzig, <a href="#Page_131">131</a>.</li> - - <li class="indx">Darius, <a href="#Page_250">250</a>.</li> - - <li class="indx">Darnley, Lord, <a href="#Page_145">145</a>.</li> - - <li class="indx">Davidists, <a href="#Page_279">279</a>.</li> - - <li class="indx">Delamarre, M. L., <a href="#Page_56">56</a>.</li> - - <li class="indx">Delft, <a href="#Page_212">212</a>, <a href="#Page_213">213</a>.</li> - - <li class="indx">Descartes, René, <a href="#Page_200">200</a>, <a href="#Page_249">249</a>.</li> - - <li class="indx">Devonshire, Duke of, <a href="#Page_77">77</a>.</li> - - <li class="indx">Dijon, <a href="#Page_228">228</a>.</li> - - <li class="indx">Dolce, L., <a href="#Page_68">68</a>.</li> - - <li class="indx">Douai, <a href="#Page_230">230</a>.</li> - - <li class="indx">Drawing in the Louvre, <a href="#Page_38">38</a>, <a href="#Page_131">131</a>.</li> - - <li class="indx">Dresden, <a href="#Page_78">78</a>, <a href="#Page_272">272</a>.</li> - - <li class="indx">Du Barry, Madame, <a href="#Page_149">149</a>, <a href="#Page_269">269</a>.</li> - - <li class="indx">Duchâtel, <a href="#Page_12">12</a>, <a href="#Page_131">131</a>, <a href="#Page_133">133</a>, <a href="#Page_196">196</a>, <a href="#Page_284">284</a>.</li> - - <li class="indx">Dulwich College Gallery, <a href="#Page_141">141</a>, <a href="#Page_154">154</a>, <a href="#Page_205">205</a>.</li> - - <li class="indx">Dutch Independence, <a href="#Page_201">201</a>.</li> - - - <li class="ifrst">“Eclectics,” <a href="#Page_117">117–119</a>.</li> - - <li class="indx">Ecouen, Château d’, <a href="#Page_36">36</a>.</li> - - <li class="indx">Edward <span class="smcap">vi</span>. of England, <a href="#Page_196">196</a>.</li> - - <li class="indx">Elector of Saxony, Johann Friedrich <span class="smcap">iii.</span>, <a href="#Page_163">163</a>.</li> - - <li class="indx">Elector Palatine, Charles Louis, <a href="#Page_149">149</a>.</li> - - <li class="indx">Eleonora of Austria, <a href="#Page_76">76–77</a>.</li> - - <li class="indx">Elissa, M. H. R., <a href="#Page_183">183</a>.</li> - - <li class="indx">Elizabeth of Austria, <a href="#Page_238">238</a>.</li> - - <li class="indx">Emperor, German, <a href="#Page_262">262</a>.</li> - - <li class="indx">Empire, Second, <a href="#Page_12">12</a>.</li> - - <li class="indx">Erasmus, <a href="#Page_38">38</a>.</li> - - <li class="indx">Eremetani, Church of the, <a href="#Page_80">80</a>.</li> - - <li class="indx">Escorial, <a href="#Page_173">173</a>.</li> - - <li class="indx">Este, Beatrice d’, <a href="#Page_38">38</a>.</li> - - <li class="indx">Este Family, <a href="#Page_89">89</a>.</li> - - <li class="indx">Este, Ginevra d’, <a href="#Page_86">86</a>.</li> - - <li class="indx">Este, Isabella d’, <a href="#Page_55">55</a>.</li> - - <li class="indx">Este, Leonello d’, <a href="#Page_62">62</a>, <a href="#Page_86">86</a>.</li> - - <li class="indx">Este, Niccolò d’, <a href="#Page_86">86</a>.</li> - - <li class="indx"><i>Este, The Court of Isabella d’</i>, <a href="#Page_5">5</a>, <a href="#Page_101">101</a>.</li> - - <li class="indx">Exposition Universelle of 1900, <a href="#Page_13">13</a>.</li> - - - <li class="ifrst"><i>Family of the Virgin</i>, <a href="#Page_100">100</a>.</li> - - <li class="indx">Fausti, Andrea, <a href="#Page_45">45</a>.</li> - - <li class="indx">Félibien, <a href="#Page_257">257</a>.</li> - - <li class="indx">Ferdinand, Infante, <a href="#Page_151">151</a>.</li> - - <li class="indx">Ferrara, <a href="#Page_9">9</a>, <a href="#Page_83">83</a>, <a href="#Page_89">89</a>, <a href="#Page_101">101</a>.</li> - - <li class="indx">Ferron, <a href="#Page_38">38</a>.</li> - - <li class="indx">Ferronière, La Belle, <a href="#Page_38">38</a>.</li> - - <li class="indx">Fesch, Cardinal, <a href="#Page_41">41</a>.</li> - - <li class="indx">Floreins, James, <a href="#Page_127">127</a>.</li> - - <li class="indx">Florence Academy, <a href="#Page_53">53</a>.</li> - - <li class="indx">Foix, Gaston de, <a href="#Page_103">103</a>.</li> - - <li class="indx">Fondaco de’ Tedeschi, <a href="#Page_68">68</a>.</li> - - <li class="indx">Fontainebleau, Chateau de, <a href="#Page_2">2–3</a>, <a href="#Page_6">6</a>, <a href="#Page_35">35</a>, <a href="#Page_37">37</a>, <a href="#Page_58">58</a>, <a href="#Page_67">67</a>, <a href="#Page_142">142</a>, <a href="#Page_239">239</a>, <a href="#Page_241">241</a>, <a href="#Page_290">290</a>.</li> - - <li class="indx">Fourment, Hélène, <a href="#Page_145">145</a>.</li> - <li class="isub2"><i>Her Portrait</i>, <a href="#i_plate22">Plate <span class="smcap">xxii.</span></a></li> - - <li class="indx">Fourment, Susanne, <a href="#Page_144">144</a>.</li> - - <li class="indx">Fournier-Sarlovèze, Lieutenant-General, <a href="#Page_278">278</a>.</li> - - <li class="indx">François <span class="smcap">i.</span>, <a href="#Page_2">2–3</a>, <a href="#Page_35">35</a>, <a href="#Page_37">37</a>, <a href="#Page_58">58</a>, <a href="#Page_59">59</a>, <a href="#Page_67">67</a>, <a href="#Page_115">115</a>, <a href="#Page_235">235</a>, <a href="#Page_237">237</a>, <a href="#Page_239">239</a>, <a href="#Page_240">240</a>.</li> - <li class="isub2"><i>His Portrait</i>, <a href="#Page_71">71</a>, <a href="#Page_76">76</a>.</li> - - <li class="indx">François <span class="smcap">ii.</span>, <a href="#Page_3">3</a>, <a href="#Page_237">237</a>.</li> - - <li class="indx">French Primitives, Exhibition of, <a href="#Page_227">227</a>, <a href="#Page_228">228</a>, <a href="#Page_231">231</a>.</li> - - <li class="indx">Frick, Mr. H. C., <a href="#Page_203">203</a>.</li> - - <li class="indx">Frizzoni, Dr., <a href="#Page_87">87</a>.</li> - - - <li class="ifrst">Galileo, <a href="#Page_289">289</a>.</li> - - <li class="indx">Garriga, <a href="#Page_130">130</a>.</li> - - <li class="indx">Gattamelata, <a href="#Page_79">79</a>.</li> - - <li class="indx">Gatteaux, M., <a href="#Page_12">12</a>, <a href="#Page_127">127</a>.</li> - - <li class="indx">Gautier, Théophile, <a href="#Page_38">38</a>.</li> - - <li class="indx">Gay, Mr. Victor, <a href="#Page_24">24</a>.</li> - - <li class="indx">Genoa, <a href="#Page_118">118</a>, <a href="#Page_146">146–147</a>.</li> - - <li class="indx">George of Amboise, Cardinal, <a href="#Page_95">95</a>.</li> - - <li class="indx">Ghent, <a href="#Page_10">10</a>, <a href="#Page_123">123</a>, <a href="#Page_130">130</a>.</li> - - <li class="indx">Giovanni da Bologna, <a href="#Page_73">73</a>.</li> - - <li class="indx">Glasgow, <a href="#Page_204">204</a>.</li> - - <li class="indx">Gobelins Manufactory, <a href="#Page_6">6</a>, <a href="#Page_156">156</a>, <a href="#Page_249">249</a>.</li> - - <li class="indx">Godefroy, C., <a href="#Page_268">268</a>.</li> - - <li class="indx">Gonzaga, Federigo, <a href="#Page_70">70</a>.</li> - - <li class="indx">Gonzaga, Francesco, <a href="#Page_101">101</a>.</li> - - <li class="indx">Gonzaga, Vincenzo, Duke of Mantua, <a href="#Page_140">140</a>.</li> - - <li class="indx">Gotha, <a href="#Page_141">141</a>.</li> - - <li class="indx">Goths, The, <a href="#Page_79">79</a>.</li> - - <li class="indx">Gower, Lord Ronald, <a href="#Page_290">290</a>.</li> - - <li class="indx">Grandidier, <a href="#Page_13">13</a>.</li> - - <li class="indx">Greenwich, <a href="#Page_222">222</a>.</li> - - <li class="indx">Guastavillani, Filippo, <a href="#Page_102">102</a>.</li> - - <li class="indx">Guidobaldo, Duke of Urbino, <a href="#Page_57">57</a>.</li> - - <li class="indx">Guillaume de St. Amour, <a href="#Page_25">25</a>.</li> - - <li class="indx">Guillemardet, <a href="#Page_192">192</a>.</li> - - <li class="indx">Guimard, Marie, <a href="#Page_269">269</a>.</li> - - - <li class="ifrst">Haarlem, <a href="#Page_193">193</a>, <a href="#Page_198">198</a>, <a href="#Page_223">223</a>.</li> - - <li class="indx">Hague, <a href="#Page_184">184</a>, <a href="#Page_197">197</a>, <a href="#Page_213">213</a>, <a href="#Page_225">225</a>.</li> - - <li class="indx">Hague, Potter’s <i>Bull</i> at the, <a href="#Page_10">10</a>, <a href="#Page_220">220</a>.</li> - - <li class="indx">Hampton Court, <a href="#Page_206">206</a>.</li> - - <li class="indx">Harrach Collection, <a href="#Page_194">194</a>.</li> - - <li class="indx">Heath, Mr., <a href="#Page_127">127</a>.</li> - - <li class="indx">Henri <span class="smcap">ii.</span>, <a href="#Page_3">3</a>, <a href="#Page_237">237–238</a>.</li> - - <li class="indx">Henri <span class="smcap">iv.</span>, <a href="#Page_3">3</a>, <a href="#Page_37">37</a>, <a href="#Page_139">139</a>, <a href="#Page_142">142</a>, <a href="#Page_261">261</a>, <a href="#Page_289">289</a>.</li> - - <li class="indx">Henrietta Maria, <a href="#Page_37">37</a>.</li> - - <li class="indx">Henry <span class="smcap">viii.</span>, <a href="#Page_76">76</a>, <a href="#Page_166">166</a>.</li> - - <li class="indx">Heraclius, Emperor, <a href="#Page_22">22</a>.</li> - - <li class="indx">Hermitage Gallery, St. Petersburg, <a href="#Page_143">143</a>, <a href="#Page_268">268</a>, <a href="#Page_272">272</a>.</li> - - <li class="indx">Herz, Mr., <a href="#Page_127">127</a>.</li> - - <li class="indx">His de la Salle, M., <a href="#Page_12">12</a>, <a href="#Page_39">39</a>.</li> - - <li class="indx">Houbraken, <a href="#Page_213">213</a>.</li> - - <li class="indx">Houssaye Collection, Arsène, <a href="#Page_200">200</a>.</li> - - <li class="indx">Howard, Earl of Surrey, Henry, <a href="#Page_165">165</a>.</li> - - - <li class="ifrst">Iconoclasts, <a href="#Page_135">135</a>.</li> - - <li class="indx">Infanta Margarita, <a href="#Page_181">181</a>.</li> - - <li class="indx">Innocent <span class="smcap">iii.</span>, Pope, <a href="#Page_20">20</a>, <a href="#Page_24">24</a>.</li> - - <li class="indx">Inquisition, Spanish, <a href="#Page_135">135</a>, <a href="#Page_171">171</a>, <a href="#Page_196">196</a>, <a href="#Page_289">289</a>.</li> - - <li class="indx">Isabella Clara Eugenia, <a href="#Page_148">148</a>.</li> - - <li class="indx">Isabella, Infanta, <a href="#Page_144">144</a>.</li> - - <li class="indx">Italy, Van der Weyden in, <a href="#Page_125">125</a>.</li> - - - <li class="ifrst">Jabach, Eberhard, <a href="#Page_4">4–5</a>, <a href="#Page_38">38</a>, <a href="#Page_67">67</a>, <a href="#Page_69">69–71</a>.</li> - - <li class="indx">Jean-sans-Peur, Duke of Burgundy, <a href="#Page_228">228</a>.</li> - - <li class="indx"><i>Joconde, La</i>, <a href="#i_plate04">Plate <span class="smcap">iv.</span></a> (<i>Frontispiece</i>), <a href="#Page_36">36</a>.</li> - - <li class="indx">Johanna of Austria, <a href="#Page_144">144</a>.</li> - - <li class="indx">Josephine, Empress, <a href="#Page_276">276</a>.</li> - - <li class="indx">Julius <span class="smcap">ii.</span>, Pope, <a href="#Page_43">43</a>, <a href="#Page_57">57</a>, <a href="#Page_100">100</a>.</li> - - - <li class="ifrst">Kaempfen, M., <a href="#Page_202">202</a>.</li> - - <li class="indx">Kann Collection, <a href="#Page_202">202</a>.</li> - - <li class="indx">Kann, M. Rodolphe, <a href="#Page_13">13</a>.</li> - - <li class="indx">Keyser, Thomas de, <a href="#Page_202">202</a>.</li> - - <li class="indx">Kleinberger, M., <a href="#Page_128">128</a>.</li> - - <li class="indx">Kratzer, Nicolas, <a href="#Page_164">164–165</a>.</li> - - <li class="indx">Krüdner, Baroness von, <a href="#Page_168">168</a>.</li> - - - <li class="ifrst"><i>La Belle Ferronière</i>, <a href="#Page_97">97</a>.</li> - - <li class="indx"><i>La Belle Jardinière</i>, <a href="#Page_2">2</a>, <a href="#Page_46">46</a>, <a href="#Page_57">57</a>, <a href="#Page_59">59</a>, <a href="#Page_66">66</a>.</li> - - <li class="indx">La Caze, Dr., <a href="#Page_12">12</a>, <a href="#Page_153">153</a>.</li> - - <li class="indx">La Fontaine, <a href="#Page_260">260</a>.</li> - - <li class="indx"><i>La Joconde</i>, <a href="#i_plate04">Plate <span class="smcap">iv.</span></a> (<i>Frontispiece</i>), <a href="#Page_36">36</a>.</li> - - <li class="indx">Lallemant, M., <a href="#Page_13">13</a>.</li> - - <li class="indx">Lambeth Palace, <a href="#Page_165">165</a>.</li> - - <li class="indx">Laura de’ Dianti, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>.</li> - - <li class="indx">Leczinska, Marie, Queen of Louis <span class="smcap">xv.</span>, <a href="#Page_271">271</a>.</li> - - <li class="indx">Lennox, James Stuart, Duke of, <a href="#Page_149">149</a>.</li> - - <li class="indx">Leo <span class="smcap">x.</span>, Pope, <a href="#Page_57">57–58</a>, <a href="#Page_60">60</a>, <a href="#Page_115">115</a>.</li> - - <li class="indx">Les Andelys, <a href="#Page_245">245</a>.</li> - - <li class="indx">Leyden, <a href="#Page_193">193–194</a>, <a href="#Page_212">212</a>.</li> - - <li class="indx">Leys Sale, <a href="#Page_137">137</a>.</li> - - <li class="indx">Liechtenstein Gallery, <a href="#Page_232">232</a>.</li> - - <li class="indx">Lille, <a href="#Page_131">131</a>.</li> - - <li class="indx">Liverpool, <a href="#Page_134">134</a>.</li> - - <li class="indx">Loeches, Convent of, <a href="#Page_144">144</a>.</li> - - <li class="indx">Lopez, Don Alfonso, <a href="#Page_58">58</a>.</li> - - <li class="indx">Loreto, <a href="#Page_9">9</a>.</li> - - <li class="indx">Louis <span class="smcap">ix.</span>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>.</li> - - <li class="indx">Louis <span class="smcap">xi.</span>, <a href="#Page_231">231</a>.</li> - - <li class="indx">Louis <span class="smcap">xii.</span>, <a href="#Page_76">76</a>, <a href="#Page_229">229</a>.</li> - - <li class="indx">Louis <span class="smcap">xiii.</span>, <a href="#Page_3">3</a>, <a href="#Page_38">38</a>, <a href="#Page_142">142</a>, <a href="#Page_244">244</a>.</li> - - <li class="indx">Louis <span class="smcap">xiv.</span>, <a href="#Page_3">3–8</a>, <a href="#Page_38">38</a>, <a href="#Page_58">58</a>, <a href="#Page_67">67</a>, <a href="#Page_130">130</a>, <a href="#Page_156">156</a>, <a href="#Page_244">244</a>, <a href="#Page_249">249</a>, <a href="#Page_251">251</a>, <a href="#Page_253">253</a>, <a href="#Page_255">255</a>, <a href="#Page_257">257</a>, <a href="#Page_275">275</a>.</li> - - <li class="indx">Louis <span class="smcap">xv.</span>, <a href="#Page_7">7</a>, <a href="#Page_149">149</a>, <a href="#Page_260">260</a>, <a href="#Page_269">269–270</a>, <a href="#Page_273">273</a>.</li> - - <li class="indx">Louis <span class="smcap">xvi.</span>, <a href="#Page_8">8</a>, <a href="#Page_168">168</a>, <a href="#Page_211">211</a>, <a href="#Page_225">225</a>, <a href="#Page_275">275</a>.</li> - - <li class="indx">Louis <span class="smcap">xviii.</span>, <a href="#Page_11">11</a>.</li> - - <li class="indx">Louis Philippe, <a href="#Page_11">11</a>, <a href="#Page_229">229</a>, <a href="#Page_282">282</a>.</li> - - <li class="indx">Louvre, Spoliation of the, <a href="#Page_10">10</a>.</li> - - <li class="indx">Lucrezia Borgia, <a href="#Page_70">70</a>.</li> - - <li class="indx">Luxembourg, Palais de, <a href="#Page_3">3</a>, <a href="#Page_7">7</a>, <a href="#Page_139">139</a>, <a href="#Page_142">142</a>, <a href="#Page_144">144</a>, <a href="#Page_261">261</a>.</li> - - <li class="indx">Lyons, <a href="#Page_11">11</a>, <a href="#Page_58">58</a>, <a href="#Page_229">229</a>, <a href="#Page_238">238</a>.</li> - - - <li class="ifrst">Maciet, M., <a href="#Page_13">13</a>, <a href="#Page_229">229</a>.</li> - - <li class="indx">Maconochie, Mrs., <a href="#Page_306">306</a>.</li> - - <li class="indx"><i>Madonna della Sedia</i>, <a href="#Page_9">9</a>.</li> - - <li class="indx">Maintenon, Marquise de, <a href="#Page_251">251</a>.</li> - - <li class="indx">Malatesta, Pandolfo, <a href="#Page_62">62</a>.</li> - - <li class="indx">Malatesta, Parisina, <a href="#Page_86">86</a>.</li> - - <li class="indx">Malatesta, Sigismondo, <a href="#Page_62">62</a>, <a href="#Page_86">86</a>.</li> - - <li class="indx">Manetti, Antonio, <a href="#Page_27">27</a>.</li> - - <li class="indx">“Mannerists,” <a href="#Page_117">117</a>.</li> - - <li class="indx">Mansard, François, <a href="#Page_156">156</a>.</li> - - <li class="indx">Mantua, <a href="#Page_70">70–71</a>, <a href="#Page_83">83</a>, <a href="#Page_99">99</a>, <a href="#Page_115">115</a>, <a href="#Page_138">138</a>.</li> - - <li class="indx">Mantua, Duke of, <a href="#Page_4">4</a>, <a href="#Page_140">140</a>.</li> - - <li class="indx">Maria Theresa, <a href="#Page_168">168</a>, <a href="#Page_182">182</a>.</li> - - <li class="indx">Mariana of Austria, <a href="#Page_181">181–182</a>.</li> - - <li class="indx">Marie Antoinette, <a href="#Page_272">272</a>.</li> - - <li class="indx"><i>Marriage at Cana</i>, by Paolo Veronese, <a href="#Page_75">75</a>.</li> - - <li class="indx">Marseilles, Gallery at, <a href="#Page_11">11</a>.</li> - - <li class="indx">Martin <span class="smcap">v.</span>, Pope, <a href="#Page_18">18</a>.</li> - - <li class="indx">Mary Cleophas, <a href="#Page_33">33</a>.</li> - - <li class="indx">Mary of England, <a href="#Page_76">76</a>, <a href="#Page_196">196</a>.</li> - - <li class="indx">Maubeuge, <a href="#Page_132">132</a>.</li> - - <li class="indx">Mazarin, Cardinal, <a href="#Page_5">5–6</a>, <a href="#Page_57">57–58</a>, <a href="#Page_71">71</a>.</li> - - <li class="indx">Meazzu Collection, <a href="#Page_128">128</a>.</li> - - <li class="indx">Medici, Casa, <a href="#Page_26">26</a>.</li> - - <li class="indx">Medici, Cosimo de’, <a href="#Page_26">26</a>.</li> - - <li class="indx">Medici Family, <a href="#Page_30">30</a>.</li> - - <li class="indx">Medici, Francesco de’, <a href="#Page_143">143–144</a>.</li> - - <li class="indx">Médici Leopold de’, <a href="#Page_157">157</a>.</li> - - <li class="indx">Médici, Lorenzo de’, <a href="#Page_58">58–59</a>.</li> - - <li class="indx">Médicis, Catherine de’, <a href="#Page_3">3</a>, <a href="#Page_237">237</a>.</li> - - <li class="indx">Médicis, Marie de’, <a href="#Page_3">3</a>, <a href="#Page_93">93</a>, <a href="#Page_138">138–139</a>, <a href="#Page_142">142</a>, <a href="#Page_144">144</a>, <a href="#Page_241">241</a>.</li> - - <li class="indx">Médicis Series of paintings by Rubens, <a href="#Page_142">142</a>.</li> - - <li class="indx">Milan, <a href="#Page_66">66</a>, <a href="#Page_71">71</a>, <a href="#Page_105">105</a>, <a href="#Page_128">128</a>.</li> - - <li class="indx">Mocenigo, Pietro, <a href="#Page_74">74</a>.</li> - - <li class="indx">Modena, <a href="#Page_9">9</a>, <a href="#Page_90">90</a>, <a href="#Page_107">107</a>.</li> - - <li class="indx">Mömlingen, <a href="#Page_125">125</a>.</li> - - <li class="indx"><i>Mona Lisa, Portrait of</i>, <a href="#i_plate04">Plate <span class="smcap">iv.</span></a> (<i>Frontispiece</i>), <a href="#Page_36">36</a>.</li> - - <li class="indx">Moncada, Marqués de, <a href="#Page_147">147</a>.</li> - - <li class="indx">Montmorency, Constable de, <a href="#Page_36">36</a>.</li> - - <li class="indx">More, Sir Thomas, <a href="#Page_164">164</a>.</li> - - <li class="indx">Morgan, Mr. J. Pierpont, <a href="#Page_33">33</a>.</li> - - <li class="indx">Morris Moore, <a href="#Page_12">12</a>, <a href="#Page_55">55</a>.</li> - - <li class="indx">Moulins, <a href="#Page_228">228</a>.</li> - - <li class="indx">Munich, <a href="#Page_39">39</a>, <a href="#Page_143">143</a>.</li> - - <li class="indx">Münster, Peace of, <a href="#Page_197">197</a>, <a href="#Page_211">211</a>.</li> - - <li class="indx">Murano School, <a href="#Page_63">63</a>.</li> - - - <li class="ifrst">Naples, <a href="#Page_137">137</a>, <a href="#Page_177">177</a>, <a href="#Page_179">179</a>, <a href="#Page_243">243</a>, <a href="#Page_272">272</a>.</li> - - <li class="indx">Napoleon <span class="smcap">i.</span>, <a href="#Page_9">9</a>, <a href="#Page_19">19</a>, <a href="#Page_53">53–54</a>, <a href="#Page_75">75</a>, <a href="#Page_119">119</a>, <a href="#Page_124">124</a>, <a href="#Page_187">187</a>, <a href="#Page_238">238</a>, <a href="#Page_276">276</a>, <a href="#Page_278">278</a>, <a href="#Page_300">300</a>.</li> - - <li class="indx">Napoleon <span class="smcap">iii.</span>, <a href="#Page_300">300</a>.</li> - - <li class="indx">Narbonne, Autel de, <a href="#Page_228">228</a>.</li> - - <li class="indx">Nardus, M., <a href="#Page_128">128</a>.</li> - - <li class="indx">National Art-Collections Fund, <a href="#Page_13">13</a>.</li> - - <li class="indx">National Assembly, <a href="#Page_8">8</a>.</li> - - <li class="indx">National Convention, <a href="#Page_8">8</a>.</li> - - <li class="indx">National Gallery, <a href="#Page_25">25–26</a>, <a href="#Page_35">35</a>, <a href="#Page_40">40</a>, <a href="#Page_57">57</a>, <a href="#Page_64">64</a>, <a href="#Page_86">86</a>, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>, <a href="#Page_94">94</a>, <a href="#Page_97">97</a>, <a href="#Page_144">144</a>, <a href="#Page_193">193</a>, <a href="#Page_211">211</a>, <a href="#Page_213">213</a>, <a href="#Page_223">223</a>, <a href="#Page_281">281</a>, <a href="#Page_303">303</a>.</li> - - <li class="indx">“Naturalists,” <a href="#Page_117">117</a>, <a href="#Page_120">120–121</a>.</li> - - <li class="indx">Nuremberg, <a href="#Page_161">161</a>, <a href="#Page_195">195</a>.</li> - - - <li class="ifrst">Oldenburg, <a href="#Page_194">194</a>.</li> - - <li class="indx">Olivarez, Count Duke of, <a href="#Page_180">180</a>, <a href="#Page_184">184</a>.</li> - - <li class="indx">Osnabrück, <a href="#Page_197">197</a>.</li> - - <li class="indx">Ossuña, Duke of, <a href="#Page_189">189</a>.</li> - - <li class="indx">Otlet Sale, <a href="#Page_134">134</a>.</li> - - - <li class="ifrst">Padua, <a href="#Page_79">79</a>, <a href="#Page_94">94</a>.</li> - - <li class="indx">Panigarola, <a href="#Page_93">93</a>.</li> - - <li class="indx">Paracelsus, <a href="#Page_194">194</a>.</li> - - <li class="indx">Paris, <a href="#Page_138">138</a>.</li> - - <li class="indx">Parma, <a href="#Page_9">9</a>, <a href="#Page_107">107</a>, <a href="#Page_113">113</a>.</li> - - <li class="indx">Passeri, Marchesa, <a href="#Page_90">90</a>.</li> - - <li class="indx">Pavia, <a href="#Page_93">93</a>, <a href="#Page_99">99</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">Pazzi, Church of S. Maria Maddalena dei, <a href="#Page_33">33</a>.</li> - - <li class="indx">Pereire, Isaac, <a href="#Page_174">174</a>.</li> - - <li class="indx">Perrault, Claude, <a href="#Page_156">156</a>.</li> - - <li class="indx">Perugia, <a href="#Page_9">9</a>.</li> - - <li class="indx">Pesaro, <a href="#Page_9">9</a>.</li> - - <li class="indx">Philip <span class="smcap">ii.</span>, <a href="#Page_69">69</a>, <a href="#Page_71">71</a>, <a href="#Page_173">173</a>, <a href="#Page_195">195–196</a>.</li> - - <li class="indx">Philip <span class="smcap">iii.</span>, <a href="#Page_140">140</a>.</li> - - <li class="indx">Philip <span class="smcap">iv.</span>, <a href="#Page_4">4</a>, <a href="#Page_176">176</a>, <a href="#Page_180">180</a>, <a href="#Page_183">183</a>, <a href="#Page_189">189</a>.</li> - - <li class="indx">Philippe-Auguste, <a href="#Page_1">1</a>.</li> - - <li class="indx">Piacenza, <a href="#Page_9">9</a>.</li> - - <li class="indx">Picault, <a href="#Page_45">45</a>.</li> - - <li class="indx">Pieve di Cadore, <a href="#Page_72">72</a>.</li> - - <li class="indx">Piles, Roger de, <a href="#Page_257">257</a>.</li> - - <li class="indx">Pinacoteca Estense at Modena, <a href="#Page_107">107</a>.</li> - - <li class="indx">Pisa, <a href="#Page_15">15</a>, <a href="#Page_19">19</a>, <a href="#Page_25">25</a>.</li> - - <li class="indx">Pitti Palace, <a href="#Page_9">9</a>, <a href="#Page_57">57</a>.</li> - - <li class="indx">Pompadour, Mme. du, <a href="#Page_265">265</a>.</li> - - <li class="indx">Porter, Endymion, <a href="#Page_148">148</a>.</li> - - <li class="indx">Potocki, Count, <a href="#Page_71">71</a>.</li> - - <li class="indx">Pourtalès-Gorgier Sale, <a href="#Page_65">65</a>.</li> - - <li class="indx">Poussinistes, <a href="#Page_257">257</a>.</li> - - <li class="indx">Pozzo, Cassiano del, <a href="#Page_37">37</a>.</li> - - <li class="indx">Prato, <a href="#Page_28">28</a>.</li> - - <li class="indx">Prim, General, <a href="#Page_288">288</a>.</li> - - <li class="indx">Primitive Italian Pictures, <a href="#Page_10">10</a>.</li> - - <li class="indx">Primitives, Exhibition of French, <a href="#Page_227">227–228</a>, <a href="#Page_231">231</a>.</li> - - - <li class="ifrst">Quevedo, <a href="#Page_189">189</a>.</li> - - <li class="indx">Quthe, Pierre, <a href="#Page_237">237</a>.</li> - - - <li class="ifrst">Ravenna, <a href="#Page_9">9</a>.</li> - - <li class="indx">Récamier, Mme., <a href="#Page_275">275</a>.</li> - - <li class="indx">Renan, M. Ary, <a href="#Page_30">30</a>.</li> - - <li class="indx">René, King, <a href="#Page_232">232</a>.</li> - - <li class="indx">Rennes, <a href="#Page_230">230</a>.</li> - - <li class="indx">Republic, Second, <a href="#Page_12">12</a>.</li> - - <li class="indx"><i>Retable du Parliament</i>, <a href="#Page_230">230</a>.</li> - - <li class="indx">Riccardi Palace, <a href="#Page_26">26</a>.</li> - - <li class="indx">Richardot, Jean Grusset, <a href="#Page_146">146</a>.</li> - - <li class="indx">Richelieu, Cardinal, <a href="#Page_5">5</a>, <a href="#Page_37">37</a>, <a href="#Page_246">246</a>.</li> - - <li class="indx">Richmond, Duke of, <a href="#Page_149">149</a>.</li> - - <li class="indx">Rimini, <a href="#Page_9">9</a>, <a href="#Page_85">85</a>.</li> - - <li class="indx">Rio, Louis de, <a href="#Page_196">196</a>.</li> - - <li class="indx">Rolin, Chancellor Nicholas, <a href="#Page_124">124</a>.</li> - - <li class="indx">Rome, <a href="#Page_9">9</a>, <a href="#Page_15">15</a>, <a href="#Page_18">18</a>, <a href="#Page_24">24–25</a>, <a href="#Page_115">115</a>, <a href="#Page_120">120</a>, <a href="#Page_137">137–138</a>, <a href="#Page_167">167</a>, <a href="#Page_173">173</a>, <a href="#Page_177">177</a>, <a href="#Page_243">243</a>, <a href="#Page_247">247</a>, <a href="#Page_249">249</a>, <a href="#Page_260">260</a>, <a href="#Page_273">273–274</a>, <a href="#Page_278">278</a>, <a href="#Page_283">283</a>, <a href="#Page_291">291</a>.</li> - - <li class="indx">Rospigliosi, Marie Madeleine, <a href="#Page_118">118</a>.</li> - - <li class="indx">Rothschild, Baron Arthur de, <a href="#Page_219">219</a>.</li> - - <li class="indx">Rothschild, Baroness N. de, <a href="#Page_41">41</a>.</li> - - <li class="indx">Rothschild Collection at Waddesdon Manor, <a href="#Page_209">209</a>.</li> - - <li class="indx">Rothschild Family, <a href="#Page_13">13</a>.</li> - - <li class="indx">Rovere, Cardinal Giuliano della, <a href="#Page_100">100</a>.</li> - - <li class="indx">Roverella Family, <a href="#Page_89">89</a>.</li> - - <li class="indx">Royal Academy, London, <a href="#Page_36">36</a>.</li> - - <li class="indx">Rubenistes, <a href="#Page_257">257</a>.</li> - - <li class="indx"><i>Rucellai Madonna</i>, <a href="#Page_15">15</a>.</li> - - <li class="indx">Ruskin, <a href="#Page_40">40</a>.</li> - - <li class="indx">Ruyter, Admiral de, <a href="#Page_150">150</a>.</li> - - - <li class="ifrst">St. Bruno, <a href="#Page_248">248</a>.</li> - - <li class="indx">St. Cosmo and St. Damian, <a href="#Page_30">30–31</a>.</li> - - <li class="indx">St. Denis, <a href="#Page_228">228</a>.</li> - - <li class="indx">St. Gregory the Great, <a href="#Page_17">17–18</a>.</li> - - <li class="indx">St. Jerome, Legend of, <a href="#Page_49">49</a>.</li> - - <li class="indx">St. Omer, <a href="#Page_133">133</a>.</li> - - <li class="indx">Saint-Yenne, M. de la Fonte de, <a href="#Page_7">7</a>.</li> - - <li class="indx">Salon of 1673, <a href="#Page_250">250</a>.</li> - - <li class="indx">Salon, the, <a href="#Page_8">8</a>.</li> - - <li class="indx">San Gimignano, <a href="#Page_25">25</a>.</li> - - <li class="indx">Santa Fiora, Contessa di, <a href="#Page_90">90</a>.</li> - - <li class="indx">Saskia van Uylenborch, <a href="#Page_203">203</a>.</li> - - <li class="indx">Scrovegno, Enrico, <a href="#Page_79">79</a>.</li> - - <li class="indx">Sebastiani, General, <a href="#Page_144">144</a>.</li> - - <li class="indx">Sedelmeyer, M., <a href="#Page_13">13</a>, <a href="#Page_304">304</a>.</li> - - <li class="indx">Seville, <a href="#Page_187">187</a>, <a href="#Page_188">188</a>.</li> - - <li class="indx">Sforza, Anna, <a href="#Page_70">70</a>.</li> - - <li class="indx">Sforza, Francesco, <a href="#Page_35">35</a>.</li> - - <li class="indx">Sforza, Lodovico (Il Moro), <a href="#Page_35">35–36</a>, <a href="#Page_38">38</a>, <a href="#Page_97">97</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">Siena, <a href="#Page_15">15</a>, <a href="#Page_111">111</a>.</li> - - <li class="indx">Sigmaringen, <a href="#Page_131">131</a>.</li> - - <li class="indx">Sixtus <span class="smcap">iv.</span>, Pope, <a href="#Page_100">100</a>.</li> - - <li class="indx">Sketch-books of Jacopo Bellini, <a href="#Page_62">62</a>.</li> - - <li class="indx"><i>Société des Amis du Louvre</i>, <a href="#Page_13">13</a>, <a href="#Page_30">30</a>, <a href="#Page_237">237</a>.</li> - - <li class="indx">Somzée Collection, <a href="#Page_230">230</a>.</li> - - <li class="indx">Soult, Marshal, <a href="#Page_12">12</a>, <a href="#Page_186">186–187</a>.</li> - - <li class="indx">Spain, <a href="#Page_22">22</a>, <a href="#Page_120">120</a>, <a href="#Page_127">127</a>, <a href="#Page_132">132</a>, <a href="#Page_135">135</a>, <a href="#Page_144">144</a>, <a href="#Page_171">171</a>, <a href="#Page_211">211</a>, <a href="#Page_244">244</a>, <a href="#Page_294">294</a>.</li> - - <li class="indx">Steen, Castle of, <a href="#Page_145">145</a>.</li> - - <li class="indx">Steengracht, Baron H. A., <a href="#Page_213">213</a>.</li> - - <li class="indx">Stockholm, <a href="#Page_130">130</a>.</li> - - <li class="indx">Stoffels, Hendrickje, <a href="#Page_203">203–204</a>.</li> - <li class="isub2"><i>Her Portrait</i>, <a href="#i_plate30">Plate <span class="smcap">xxx.</span></a></li> - - <li class="indx">Stuttgart, <a href="#Page_66">66</a>, <a href="#Page_202">202</a>.</li> - - <li class="indx">Sultan Soliman, <a href="#Page_76">76</a>.</li> - - <li class="indx">Surrey, Henry Howard, Earl of, <a href="#Page_165">165</a>.</li> - - - <li class="ifrst">Tarnowski, Count, <a href="#Page_203">203</a>.</li> - - <li class="indx">Temple Newsam, <a href="#Page_160">160</a>.</li> - - <li class="indx">Thompson, Mr. F. Yates, <a href="#Page_55">55</a>.</li> - - <li class="indx">Thomy Thièry, <a href="#Page_13">13</a>, <a href="#Page_292">292–293</a>, <a href="#Page_296">296</a>.</li> - - <li class="indx">Toledo, <a href="#Page_172">172–173</a>.</li> - - <li class="indx">Tolentino, Treaty of, <a href="#Page_9">9</a>.</li> - - <li class="indx">Tornabuoni, Giovanna, <a href="#Page_40">40</a>.</li> - - <li class="indx">Tornabuoni, Lorenzo, <a href="#Page_40">40</a>.</li> - - <li class="indx">Tournai, <a href="#Page_125">125</a>.</li> - - <li class="indx">Tours, <a href="#Page_11">11</a>, <a href="#Page_231">231</a>, <a href="#Page_235">235</a>, <a href="#Page_237">237</a>.</li> - - <li class="indx">Toussaint, Abbé, <a href="#Page_133">133</a>.</li> - - <li class="indx">Trainel, Baron de, <a href="#Page_231">231</a>.</li> - - <li class="indx"><i>Transfiguration</i>, Raphael’s, <a href="#Page_9">9</a>.</li> - - <li class="indx">Trémoïlle, Duc de la, <a href="#Page_30">30</a>, <a href="#Page_131">131</a>.</li> - - <li class="indx">Tromp, Admiral Cornelis, <a href="#Page_216">216</a>.</li> - - <li class="indx">Tuileries, Palace of the, <a href="#Page_3">3</a>, <a href="#Page_12">12</a>.</li> - - <li class="indx">Tulipomania, <a href="#Page_223">223</a>.</li> - - <li class="indx">Turin, <a href="#Page_125">125</a>, <a href="#Page_128">128</a>.</li> - - <li class="indx">Turkey, <a href="#Page_243">243</a>.</li> - - <li class="indx">Tuscany, Duke of, <a href="#Page_33">33</a>.</li> - - - <li class="ifrst">Uffizi Gallery, <a href="#Page_41">41</a>, <a href="#Page_57">57</a>, <a href="#Page_165">165</a>.</li> - - <li class="indx">Ulm, <a href="#Page_232">232</a>.</li> - - <li class="indx">Ursins, Guillaume Juvénal des, <a href="#Page_231">231</a>.</li> - - <li class="indx">Utrecht, Union of, <a href="#Page_135">135</a>, <a href="#Page_197">197</a>.</li> - - - <li class="ifrst">Vair, Guillaume du, <a href="#Page_139">139</a>.</li> - - <li class="indx">Valladolid, <a href="#Page_172">172</a>.</li> - - <li class="indx">Van Asselen, <a href="#Page_58">58</a>.</li> - - <li class="indx">Vandeul, <a href="#Page_13">13</a>, <a href="#Page_46">46</a>.</li> - - <li class="indx">Vatican, <a href="#Page_9">9</a>.</li> - - <li class="indx">Venice, <a href="#Page_93">93</a>.</li> - - <li class="indx">Venice, Doge’s Palace, <a href="#Page_74">74</a>, <a href="#Page_77">77</a>.</li> - - <li class="indx">Venice, Gallery at, <a href="#Page_10">10</a>, <a href="#Page_38">38</a>, <a href="#Page_75">75</a>.</li> - - <li class="indx">Venturi, Dr., <a href="#Page_30">30</a>.</li> - - <li class="indx">Vercelli, <a href="#Page_111">111</a>.</li> - - <li class="indx">Verona, <a href="#Page_83">83</a>, <a href="#Page_105">105</a>.</li> - - <li class="indx">Verona, Church of San Zeno at, <a href="#Page_11">11</a>.</li> - - <li class="indx">Versailles, Château de, <a href="#Page_6">6–7</a>, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>, <a href="#Page_37">37</a>, <a href="#Page_58">58</a>, <a href="#Page_67">67</a>, <a href="#Page_77">77</a>, <a href="#Page_156">156</a>, <a href="#Page_252">252</a>, <a href="#Page_282">282</a>.</li> - - <li class="indx">Vicenza, <a href="#Page_109">109</a>.</li> - - <li class="indx">Vicq, Baron Henri de, <a href="#Page_144">144</a>.</li> - - <li class="indx">Victoria and Albert Museum, <a href="#Page_161">161</a>, <a href="#Page_304">304</a>.</li> - - <li class="indx">Vienna, <a href="#Page_123">123</a>, <a href="#Page_184">184</a>, <a href="#Page_194">194–195</a>, <a href="#Page_232">232</a>, <a href="#Page_238">238</a>, <a href="#Page_272">272</a>.</li> - - <li class="indx">Vienna Academy, <a href="#Page_141">141</a>.</li> - - <li class="indx">Villa Lemmi frescoes, <a href="#Page_40">40</a>.</li> - - <li class="indx">Villa Magliana, <a href="#Page_60">60</a>.</li> - - <li class="indx">Villa Pelucca, <a href="#Page_97">97</a>.</li> - - <li class="indx">Villeneuve near Avignon, Chartreuse of, <a href="#Page_233">233</a>.</li> - - <li class="indx">Visconti Arese, Antonio Litta, <a href="#Page_95">95</a>.</li> - - - <li class="ifrst">Wallace Collection, <a href="#Page_267">267</a>.</li> - - <li class="indx">Warham, Archbishop of Canterbury, William, <a href="#Page_165">165</a>.</li> - - <li class="indx">Weale, Mr. W. H. James, <a href="#Page_126">126</a>, <a href="#Page_129">129</a>.</li> - - <li class="indx">Westminster, Marquis of, <a href="#Page_145">145</a>.</li> - - <li class="indx">Whitehall, <a href="#Page_145">145</a>.</li> - - <li class="indx">Wignacourt, Alof de, <a href="#Page_120">120</a>.</li> - - <li class="indx">Wilczek Count, <a href="#Page_232">232</a>.</li> - - <li class="indx">William <span class="smcap">ii.</span> of Holland, <a href="#Page_128">128</a>.</li> - - <li class="indx">Windsor Castle, <a href="#Page_63">63</a>, <a href="#Page_148">148</a>.</li> - - <li class="indx">Windsor, Royal Library, <a href="#Page_38">38</a>.</li> - - <li class="indx">Wittenberg, <a href="#Page_162">162–163</a>.</li> - - <li class="indx">Wood, Hon. Edward, <a href="#Page_160">160</a>.</li> - - <li class="indx">Woverius, <a href="#Page_140">140</a>.</li> - </ul> - - <div class="center mt10"><i>Printed by</i> <span class="smcap">Morrison & Gibb Limited</span>, <i>Edinburgh</i></div> - -<p> </p> -<p> </p> -<hr /> - - <div class="transnote"> - <div class="large center mb2"><b>Transcriber’s Note:</b></div> - <ul class="spaced"> - <li>Blank pages have been removed.</li> - <li>Obvious typographical errors have been silently corrected.</li> - <li>Some missing or mismatched chapter headings have been corrected to match the table of contents.</li> - </ul> - </div> - -<hr class="pgx" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK THE LOUVRE: FIFTY PLATES IN COLOUR***</p> -<p>******* This file should be named 63719-h.htm or 63719-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/6/3/7/1/63719">http://www.gutenberg.org/6/3/7/1/63719</a></p> -<p> -Updated editions will replace the previous one--the old editions will -be renamed.</p> - -<p>Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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