Homan Votterton

THE NATIONAL
GALLERY
London
 3
Homan Potterton
was born in Ireland in 1946 and was
educated at Trinity College, Dublin. After post-graduate
studies at Edinburgh University he joined the staff of the
National Gallery of Ireland. From 1974 to 1980 he was
Assistant Keeper at the National Gallery, London, with
special responsibility for seventeenth- and eighteenth-
century Italian painting. In 1979 he organized the catalogue
for the National Gallery's exhibition Venetian Seventeenth-
Century Painting.

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 THE
NATIONAL
GALLERY
LONDON
HOMAN POTTERTON
With a Preface by
Michael Levey
and a complete catalogue of the paintings

34j illustrations, 7/ in colour

THAMES AND HUDSON

To Michael Levey

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© 1977 Thames and Hudson Ltd, London

Firstpublished in Great Britain in 1977
Reprinted 1988

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 CONTENTS

Preface by Michael Levey

Page/

History of the Collection

Page 9

Conservation Techniques

Page 14

Bibliography

Page 24

The Plates

Page 2j

Complete Catalogue of Paintings

in the National Gallery

Page 1/0
 jLjtMi
JU

Ru
i An aerial view of the National Gallery with a key to the successive extensions
that have been made to the building

Orange Street entrance V/////A 1837-38 (Wilkins)

^NXNX^I 1872-76 (E.M. Barry)

1 1 | [ | | j I | ] [J
1884-87 (Sir John Taylor)

Main entrance, Trafalgar Square

PREFACE
Like the National Gallery itself, this book is history of Western European painting, from
good enough to need no prefacing. Still, the Duccio around 1300 up to the earlv
in Italy
occasion of its publication offers an oppor- twentieth centurv in France, and happily not
tunity to pause and briefly consider not only only in France (as a portrait by Gustav Klimt
what the National Gallery is but - no less indicates). The story is the more fascinating for
pertinent today - what function it serves. being told through a concentrated series of
'The question of what it is, or has come to be, masterpieces, giving the Collection its parti-
can hardly be answered more agreeably than by cular lustre and including several
reading Homan Potterton's intelligent and Holbein's Embassadors and Velazquez's
steadily illuminating text, and by studying his 'Rokeby' I ~enus) unrivalled even in the col-
equally intelligent choice of plates. It emerges lections of their painters' native countries.
that the National Gallery is only a collection of Homan Potterton conscious of the oppor-
is

pictures - rather in the same way, of course, tunities offered facts. He has in-
by these
that Titian was only a painter or jane Austen terpreted his task not as the conventional one
only a novelist. But it is as well to be clear on of sprinkling approving adiectives like literary
thispoint at a time when 'tine art" is often talcum powder over major works of art but as a
reduced to the status of fine print and pre- way of deepening understanding of them.
sumed to lack the easy social-history-cum- incorporating inevitably much established
utilitarian appeal of, say, lace-bobbins, photo- knowledge but also fresh and scholarly obser-
graphs and fire-arms. Without owning any of vations (as in his discussion of Reynolds'
those, the National Gallerv vet manages to Banastre Tarktoti). Some lively visual juxtapo-
deserve to be called a great museum. Indeed, it sitions - for example a Japanese print of ladies
has become one of the greatest picture galleries with parasols facing Les Varapluus by Renoir -
of the world, though in sheer number of works testify to his unhackneyed approach and his
it remains one of the very smallest. Nor has it ability to stimulate one to look again at familiar
vast holdings of any one school or painter - masterpie::
any more than it has vast cellars of unexhibited That process of looking is really the essence
pictures. That virtually all its 2050 or so of the Gallery's function and the justification of
pictures are normally on show to the public is its existence. Nowadays we have lost the
not the least of its claims to attention. certainty of the Victorians that museums are
By good fortune it began modestly, inherit- good things, and do not seem too sure that art
ing nothing (least of all a royal or nationally- is necessarily a good thing. Some critics like to
based collection) and therefore having to win emphasize that a museum environment is not
its way in the artistic world. It has never the natural environment for which p:.~-

stopped growing, and it continues to search were painted. Latent puritanism worries about
out and acquire masterpieces, as well as other the accumulated "wealth' of our museums,
desirable pictures. The result to date can be fearing that works of art taken from their
appreciated in the pages which follow. Such is original settings are displayed only to in:r .

the range of pictures that a serious book like like so muchnational loot or booty. Sentiment
this on the Collection becomes something of a and self-interest often combine to suggest that
Old Master pictures become sterilized by being think of ways of facilitating that process,
cared for and assembled for public pleasure free helping our visitors to relax and let their eyes
of charge, when they could have remained gaze - without nervousness or too much awe -
deteriorating in dark churches abroad or in at what was created to give pleasure by being
country houses for which they were not gazed at. Information is needed, by every one
painted but where one pays for the privilege of of us; and knowledge increases pleasure.
peering at them dimly between the flowering Writing about the Collection happens to be
shrubs, wedding dresses, coronation chairs and only one aspect of all that the Gallery must do -
silver-framed family souvenirs. is, indeed, committed to doing — but this book

The National Gallery is not meant to serve shows how valuable such writing can be. Its
the lost cause of nostalgia. It possesses power- inspiration derives from an assembly of pic-
ful works of the imagination (caring for them tures which have been brought together for an
physically, as Homan Potterton early reminds important human activity: exercise of the
his readers, as well as in other ways) which imagination. No eye will ever exhaust the
deserve to be accessible to everyone and which enjoyment these pictures provide, and a life-
are capable of giving sustained pleasure. time spent gazing at them is wisely spent.
Certainly, those of us lucky enough to be
employed in the Gallery have increasingly to Michael Levey, Director

2 In the lower-floor galleries. The National Gallery is rare, if not unique, among the museums of the
world in that all the paintings in the Collection are on permanent exhibition. There are no 'cellars' and
no undiscovered or neglected masterpieces
 [Tic main facade of the National Gallery towards the north side of Trafalgar Square. It was designed
by William Wilkins and completed in 183I

HISTORY OF THE COLLECTION

The National Gallery was founded in 1824 it has become a treasure house of the nation's
when the government purchased for £s "7,000 heritage.
thirty-eight paintings from the collection of the The pictures purchased and presented in the
late John Julius Angerstein, a Russian emigre Gallery's first much what one
years were very
banker who had lived in London and who died would expect any late eighteenth-or early
in
in 1823. The Gallery was first opened to the nineteenth-century English collection. Many
public in Angerstein's former town house, 100 of them had recently been imported from
Pall Mall, on 10 May 1824. Shortly before the revolutionary Europe and came from the
government's purchase of the Angerstem palaces of dispossessed French and Italian
pictures. Sir George Beaumont and the Rev. aristocrats. The enormous Sebastiano del
William Holwell Carr had promised to give Piombo (No. 1 in the National Gallery in-
their important collections of paintings to the ventory), two Groups of Heads after Correggio
nation if a suitable building was provided to and two supposed paintings by the Carracci
house them; and in 1836 and 1831 respectively had come from the celebrated collection of the
the Beaumont and Holwell Carr pictures joined Dukes of Orleans; and all five paintings by
those of Angerstein in the new National Claude in the Angerstein collection had also
Gallery. Unlike most of the great national come out of France. Most of Angerstein's
collections of Europe, therefore, England's pictures, which included Raphael's Pope Julius
National Gallery is not built upon the foun- II (p. 78), were Italian of the sixteenth and
dations of a former royal collection, but is one seventeenth centuries; but the collection also
which has been assembled over a period of numbered paintings by Cuyp and Rembrandt,
more than 1 s c years by purchases reflecting the Rubens and Van Dyck and some English
tastes of successive Directors, and by the pictures including Lord Heathfield by Reynolds
generous gifts and bequests of private in- (page 142) and Hogarth's much-loved series
dividuals. As
the National Gallery has always Marriage a la Mode (pages 146 and 147).
seen it as its duty to retain in this country George Beaumont's collection was small,
Sir
masterpieces of paintings which have often number, but choice. There were
just sixteen in
long been in the possession of English families. three more Claudes, a further Rembrandt,
Rubens's Chateau de Steen (page ioo) and In 1855 Sir Charles Eastlake was appointed
one of the National Gallery's most famous the first Director of the Gallery and in the ten

paintings, The Stonemason's Yard by Canaletto years of his directorship, when he had absolute
(page 133). Many of the Gallery's small collec- authority in the choice of acquisitions, he
tion of Italian seventeenth-century paintings bought many outstanding early Italian pic-
came with the Holwell Carr bequest in 183 1: tures. Piero della Francesca was an artist newly
three by Domenichino as well as pictures by 'discovered' in the'mid-nineteenth century, and
Mola, Guercino and Annibale Carracci. Holwell Eastlake bought a masterpiece by him, The
Carr also bequeathed paintings by Rembrandt, Baptism of Christ (page 33), for £241 in 1861.
Rubens, Titian and Tintoretto. Appreciation of Botticelli was similarly in its
Within the first decade of its existence, infancy but Eastlake purchased three pictures
therefore, the National Collection had taken by him - two of these are now catalogued as
shape, and in the same period the Trustees also 'Studio' - while a fourth was actually bought as
made some independent purchases. In their a Masaccio but is now accepted as Botticelli.
choice of painting they favoured the work of Other triumphant acquisitions by Eastlake,
Titian {Bacchus and Ariadne, page 80), Annibale who travelled annually in Italy in pursuit of
Carracci (Domine, Quo VadisT) and Correggio possible purchases, were The Martyrdom of
{Mercury instructing Cupid, page 73, and the St Sebastian by the brothers Pollaiuolo (page
Madonna of the Basket): in other words, the work 35) for £3,155 in 1857; an altarpiece by
of painters already for the most part represen- Mantegna; a triptych by Duccio; three paint-
ted in the Gallery. It was Lord Farnborough, ings by Crivelli; the ever-popular Rout of San
one of the early Trustees, who came nearest to Romano by Uccello (page 30) and Mythological
formulating such purchasing policy as existed Subject by Piero di Cosimo (page 138).
in these early years when he said that 'it was a Eastlake's taste for the 'Primitives', as the
great point to obtain the best works of any early Italian painters were called, reflected
considerable master'; the main objectives of the contemporary taste in England. Classical ar-
purchasing policy, he argued, should be lim- chitecture had largely given way to Gothic,
ited 'to the works of Raphael, Correggio classical ornament to medieval, and in painting
and Titian. .which.
. must be obtained when-
. . itself several artists turned to these same early
ever the opportunity presents itself. This policy Italians for inspiration; attempts were even
seems indeed to have governed the purchases made to transplant the Italian technique of
made by the Trustees for almost the first thirty fresco painting into England. The Director's
years of.the Gallery's existence. By when
1853, taste was shared by Prince Albert, who also
a House of Commons Select Committee made exerted through patronage, both official and
an Inquiry into the affairs of the Gallery (an private, a strong influence on the arts in his
Inquiry which led to the appointment of the adopted country. The Prince also collected
first Director in 1855), the Trustees had further pictures, mainly 'Primitives', and in 1863
purchased three paintings each by Raphael, Queen Victoria presented a group of important
Rubens and Guido Reni, two each by early Netherlandish, German and Italian paint-
Rembrandt and Van Eyck, a Titian, Bellini's ings to the National Gallery at his wish.
Doge (page 49) and the Boar Hunt by Velazquez. Thus by 1865, when Eastlake died, the
All of these, with the exception of Titian's Tribute Italian schools of the fifteenth and sixteenth
Money, came from English private collections. centuries were well represented, as also were
By the middle of the century, however, the earlier Northern schools of painting, and
museum taste both in this country and else- the great painters of the seventeenth century,
where was changing in favour of a more Claude, Poussin, Rembrandt, Rubens and Van
historical approach to collecting; and it was felt Dyck.
desirable that the National Gallery should be 'a Although Dutch pictures had been collected
complete historical collection' meaning that 'it in England from the middle of the eighteenth
must commence from the time of Giotto'. Not century, Eastlake seems to have felt little
only were pictures by Italian painters earlier affinity with them, and indeed throughout his
than Raphael now sought but also those by entire directorate he bought only three Dutch
early German and Netherlandish artists; and in pictures, all by members of the Ruisdael family.
1854 the Trustees purchased twenty-seven But some private collectors in England at the
pictures predominantly by early German mas- time were buying Dutch seventeenth-century
ters from the Kriiger collection in Germany. paintings, and two of the greatest collections,
4 The gala
::
Fseventeenth-ce-i reach

those of Sir Roberr Pec rn EE: : : r: -:

. . :re N:::': Z- iJ.tr l.~ : ?: :: r: :tf

to the Gallery in 1 I71 and if-j aped Euraanrr. E: 7-e rze Eea_n:r:7 _a7: m-
The former, whk :-::: 7 7 . . -
-

numberei '
EE; als: :::.:::;.:; :;:;: ~r nan:
including three by Cuyp. : - . : H rair.nr.z-; : :E; art:?: I: "ia a a r. are
and the famous .Am:, :a :: 77 :; :: : Sir rrrier.:-: E_n;r. - a; 1.1
Ruber . are an aar i: 7" :::
7 : a r :~ 1 :;r :a rr r a a
::-.- ad rollectior 7 ::_:-. 7>f the e:Er:eer:r-eerr_n Italian ::7er: 1. Ir :er
pictures in the m ElHs bequest the Tn :"-f rr .
- . .

accepted ninety-:" : _ 1 :

;-
Cuyp and several by Van ce: rlefden and 77-. 7 rira: T.er . a 7:.i 1:1 ?;et:
Godfried Schalcken. Wynn Ellis also be- .:: the E - - - : 7 '
•
:

queathed the J : " . - page : a lar : 7 _ : - the:

id the 7 -^idwwxbTMir.r..- iccai; : :- a: a-nai a. j ana 1- re a
-
'
-.
. therefore : * - 3
- : : :r c a Encash
jrieaf . me to .a-:: r near.: a: a r;cr_rr: r_tr.tr: rela in-

be remarkably reprc . tra s: nigra a -a:::, :7a-

a:7i at nan:
Gallery; and in 1 9 3 z ti
mented by the bee uest of Gc
large:" -
rge
- .
5

.
:

~
"
_

:
::l>~;:nf
"a ' - 7-
c-estabashei Ergasr
Tar n:re renarn::.:
-
-
7- m
7
including six br Jan Steen. thcec Each :
-

7 : " 7
der Xeer and Van iofen and othc : _ 7 .
-a a - - . . _

Ruisdaels. An important item in the Salting 7 " 1 . :_

-
bequest ^as the T irgim mad Cri.s before _ 7 - 1.
a 7 _ Dm page - 7-;.- - - • 7. k "7 a 7a: an: ::a - .

The best kno\rn of a7 b - -ghteenth- ana the :7 _r .7 .•;-•:?- Ver r ese : r are E
cenni 1 Bancn als : r ur; .
5 Holbein's Ambassadors (see page 64) hangs in one of the rooms added to the building in 1975

first Vermeer: A Young Woman standing at a Memlinc's 'Donne' Triptych (page 56) and the
Virginal (page 125) - a picture which had double portrait by Jordaens (page 102). Current
originally been in the collection of Etienne legislation also makes the sale of works of art
Theophile Burger, whose researches 'dis- by private treaty to national museums attrac-
covered' and rehabilitated Vermeer in the late such transactions are
tive to potential sellers, as
nineteenth century. exempt from all taxes; Rembrandt's portrait of
During the nineteenth century the Trustees Hendrickje Stoffels (page 112) was bought in
purchased no contemporary painting by a 1976 with mutual benefits to both seller and the
foreign artist and it was not until the bequest of Gallery.
Sir Hugh Lane in 191 7 that the Gallery After the opening of the Tate Gallery in
acquired its first examples of many of the great 1897 many of the more modern paintings, both
nineteenth-century French painters, including British and foreign, were transferred there, and
Manet, Monet, Renoir, Pissarro and Degas. the Tate is now home of the national
the
Among the Lane pictures Renoir's Les Para- collection of modern
foreign art arid of British
pluies (page 163) is outstanding. A fund, painting. As a result of these transfers the
established by Samuel Courtauld in 1924 for National Gallery collection is now a relatively
the purchase of late nineteenth-century French small one with no more than about two
paintings, has resulted in many important thousand paintings, predominantly Old Mas-
acquisitions, not least La La by Degas (page ters.
164), Seurat's enormous Bathers, Asnieres (page The building in which the collection is
168) and two paintings by Cezanne. housed has been continuously enlarged with
Many outstanding purchases this century, the years. For its first fourteen years it had to
including The Rokeby Venus by Velazquez exist in temporary accommodation, first in
(page 108), Holbein's Christina of Denmark Angerstein's former town house, and later in a
(page 63) and the Leonardo Cartoon (page 71), neighbouring building in Pall Mall. It was not
have been made possible only with the help of until 1838 that the Gallery in Trafalgar Square,
the National Art-Collections Fund, an inde- designed by William Wilkins (1778-1839)
pendent body set up in 1903 to prevent the specifically as aNational Gallery, was opened.
export of works of art of outstanding merit. In Since that date, although Wilkins's long facade
1956 an Act of Parliament gave the Chancellor remains substantially the same, many extra
of the Exchequer the authority to accept works exhibition rooms have been added to the north
of art in lieu of Estate Duty, and this Act has of the original gallery. In 1939 the pictures
resulted in the acquisition by the Gallery of were exiled for safety to Wales, returning after
 the War. latest extension was in 1975 when
The
thirteennew rooms were added, and now,
perhaps uniquely among the museums of the
world, the National Gallery has sufficient space
to exhibit its entire collection.
Since World War II most of the pictures
now exhibited on the main floor have been
cleaned in the Gallery's own conservation
studios. In conjunction with a programme of
conservation, photographic and scientific
departments have also been developed. The
latter conducts research into the conditions in
which pictures should ideallv be exhibited and
analyses the pigments used by the painters in
different places and at different periods. A
framing shop within the Gallery maintains and
sometimes renews frames, many of which are
as old as the paintings which they contain. But
in recent years perhaps the Gallery's most
remarkable achievement is the publication of 6 The framing department. The large frame on the
detailed catalogues of all the pictures in the left is being prepared for The T 'endramin Family bv
collection, catalogues which have served as Titian (see page 8 1)

models for museums throughout the world;

and it is from these publications that much of
the information contained in this book has
been obtained. 7 One of the conservation studios

^tM^^
\m ^HL ^^^Hj jfl

Ikii-
*. !
a
i
at-
CONSERVATION TECHNIQUES
The structure of paintings arepainted. The canvas is stretched on a
None of the pictures in the National Gallery, wooden frame called a stretcher. The immediate
nor indeed any pictures anywhere, can be advantage of canvas over wood as a support is
regarded as just a coloured surface. A painting that it is somuch lighter and as a result can be
is a structure built up of a series of stratified used for much larger paintings. It is also much
layers. The basic 'layer' is called the support, less susceptible todamage caused by variation
which in the case of most National Gallery inatmospheric conditions; but as it is also
pictures is either wood, canvas or copper. In much less rigid as a support it can be torn and
general most earlier paintings have wooden the paint is more likely to crack or flake off.

supports. In Italy poplar was most often used, On top of the support is laid the ground, a
but from the sixteenth century canvas became smooth layer of plaster or paint. This ground is
more common, except in seventeenth-century often white, but some painters used other
Holland, where wood and copper panels were colours, for example Poussin in the seven-
almost universally employed. Rubens also teenth century used a red ground. The picture
frequently painted on wood. itself, which may have been preceded by a

The word 'canvas' is used to describe a preliminary drawing, is painted on this ground
variety of woven fabrics upon which pictures and often consists of several layers of paint
which may show changes made by the artist as
he worked on the picture. When such changes
8 The back of a picture painted on canvas showing are visible on the surface of the picture, they are
the stretcher
called pentimenti. The paint consists of pigment,
which is a coloured powder, and medium, the
material used to bind the powder. Pigments
vary considerably in their origin. Some of them
are taken from the earth, some, such as lead
white and cobalt blue, are synthetic pre-
parations, and some are based on dyes which
generally derive from plants. It is now often
possible to date a picture approximately on the
basis of an analysis of the pigments it contains,
for in the case of most pigments it is known
when and where they were used. The medium
used to bind the pigment also varies. In many
of the earlier Italian pictures, the medium is
egg which, when mixed with the pigment,
produces what is called egg tempera. From the
fifteenth centuryonwards drying oils are the
medium most consistently employed by paint-
ers throughout Europe. Finally, the top 'layer'
of a painting is a clear varnish which, in addition
to protecting the paint surface, helps show the
true brilliance of the colours.

Types of deterioration in a painting

Change or deterioration any one or all of the
in
several strata of a picture can be brought about
by a variety of means; and when it happens in
the National Gallery the picture is treated in
the Gallery's own conservation studios.

i4
9 Detail of The Rokeby Venus by Velazquez (compare page 108). This photograph shows the picture after it
had been slashed by a suffragette in 1914. The fine breaks near the top of the photograph are in the glass only

The most dramatic change that can take

is when it
place in a picture is maliciously
damaged. Fortunately this happens only very
rarely, but it did happen in 19 14 when
Velazquez's Rokeby Venus (page 108) was
slashed by a suffragette (9). Accidental damage
can also occur, as for example in the case of
Delaroche's Execution of Lady Jane Grey (page
155), which was damaged when the Thames
flooded the lower floors of the Tate Gallery,
where it was stored in 1928. Change or
deterioration in a picture may also be caused
because of the nature of the materials used by
the artist. Several paintings by Reynolds,
including Lord Heathfield (page 142), have an
unsightly surface 'cracking' which is caused by
the dark bitumen which the artist used in his
paint to give his picture a richer overall effect.
Most pictures become dark with age as a result
of the discolouration of the natural resin in the
varnish which protects the paint (10). A picture
may also be affected by the environment in
which it hangs. A painting on a wood panel
1 o Portrait of Hendrickje S toffels by Rembrandt
may warp or crack as a result of being kept in
(compare page 112). This photograph was taken
too dry an atmosphere, although, as more and
during cleaning when the discoloured surface
more rooms in the National Gallery are air- varnish had been removed from most of the left-
conditioned, this type of damage can be hand side of the painting, and also from a small
avoided by controlling the atmosphere. spot bottom right

15
 Pictures can also be substantially altered by
the efforts of past restorers, who probably
worked with the best intentions. In repairing a
damaged area a restorer might have repainted a
larger area than was necessary in order to
'blend in' his restoration with the original
paint. He might
also have 'improved' a picture
by painting out or changing an area of the
composition (13). Other improvements might
include the application of judicious draperies
and fig-leaves in areas which were at one time
considered indecent (1 1).
The simplest form of change that may take
place in any picture is that it just becomes dirty
as a result of the natural accretion of dirt and
grime only to be expected in a gallery which is
in the centre of a very large city.

1 3 (opposite) Detail of Sts Fabian and Sebastian by

Giovanni di Paolo. This photograph was taken
when a rectangular area of the picture (right) had
been cleaned revealing that at some time a restorer
had enlarged the form of St Sebastian's arm.
Presumably his intention was to 'improve' the
picture and at the same time repair the damage at
the saint's wrist

1 1 (above) Detail of An Allegory by

Bronzino (compare page 72). This
photograph, taken before the cleaning
of the picture, shows the drapery and
leaves which had been painted, in the
interests of modesty, over the body and
buttocks of Venus and Cupid
respectively

12 X-ray photograph of a detail from The

Virgin and Child before a firescreen by Robert
Campin (compare page 50). The modern
part of the picture can readily be
distinguished on the right by the greater
opacity of the paint in that area. The white
streaks are worm holes which have been
filled with white lead

16
 -.

HPH

*wA
14 The Nativity by Piero della
Francesca. This photograph,
taken under raking light, shows
how the wooden panel on which
the picture is painted is
extensively warped

Conservation of the support

Pictures painted on panel are more susceptible
to damage caused by the environment in which
they are kept than are paintings on canvas. This
arises out of the fact that one side of the wood
panel is 'sealed' by the paint of the picture
while the back is free to absorb or lose moisture
with any changes in the relative humidity of the
atmosphere. As it does so the panel will expand
or contract at right angles to the grain of the
wood, and may warp and eventually crack.
More often than not, however, a panel will
crack because of the attempts made in the
past to prevent its warping. These attempts
included 'cradling or 'buttoning' the back of
the panel. 'Cradling (15) consists of wooden
battens glued parallel to the grain of the panel
at intervals across it. Free-running slats were
inserted across these battens with the intention
that they should allow some movement of the
1 5 The back of The Nativity by Piero della
Francesca which in the past has been 'cradled' in panel while preventing it warping badly.
an attempt to prevent the picture warping Invariably these runners became jammed
which resulted in the panel cracking. ''Buttons'
(17) are tiny squares of wood glued along a join
at the back of a cracked panel. In modern
conservation it is the practice to remove any
restrictions previously applied to the back of a
panel and to allow movement, while attempt-
ing at the same time to keep it to a minimum by
maintaining the picture in as stable atmos-

18
pheric conditions as possible. When a panel is
excessively warped it may be treated by placing
it, pictureupwards, on a framework over
dampened The back of the panel absorbs
pacts.
the moisture which it has lost, and the picture
flattens. Where a panel is cracked the two
pieces are joined as simply as possible by
glueing the two edges to each other. Worm
may also cause damage to pictures on panel,
but this is easily treated by the use of suitable 1 6 A picture on panel which has warped.
insecticides. Badly eaten panels may be con- Photograph taken before treatment of the panel
solidated with a wax cement.
Most paintings on canvas which are older
than the nineteenth century have at some time
been lined; that is, a new canvas has been stuck
to the back of the original one in order to
strengthen it. When this process is repeated it is
called ' re- lining . In order to carry out a lining
the picture is removed from its stretcher and a
new canvas coated with adhesive is attached to
the back of the original canvas. Traditionally,
when this is done, the picture is ironed from
the back in order to force the adhesive through
the original canvas and into the ground of the
painting. The type of adhesive used varies: it
can be a flour paste mixed with glue or
alternatively a wax-resin mixture. In the case of
a wax-resin, it melts with ironing and per-
meates more readily through the old canvas
and ground and fixes from the back any loose
particles of paint. More recently a method of
lining has been developed which involves the
use of a specially designed hot-table (18). The
picture is placed, surface upwards, together
with its lining canvas and wax-resin under a
17 The back of a picture painted on a wooden
thin membrane on the hot-table. vacuum is A panel which has cracked. 'Buttons' have been
created under the membrane which draws the applied to mend the crack
painting and lining together while at the same
time the table is heated so that the wax melts 1 St Zenobius revives a Dead Boy by Bilivert during
and the two canvasses are evenly joined. relining on a hot-table
19 The Martyrdom of St Stephen
attributed to Antonio Carracci, before
cleaning

20 x-ray photograph of The Martyrdom

of St Stephen showing the figures of God
the Father and Christ, not visible in the
painting, in the top left-hand corner.
The x-ray also shows that the
composition was begun the other way
up: the figures of the saint and the right-
hand man stoning him are visible in the
area occupied by the sky in the finished
picture
21 Anengraving of The Martyrdom of St
Stephenmade in 1812 before the figures
of God the Father and Christ had been
painted out

22 (below) The Martyrdom of St Stephen

when the overpaint was
after cleaning
removed to reveal the figures in the sky
(top left)
 23 Detail of the Pieta by Zoppo showing the discoloured retouchings on Christ's body

Conservation of the paint surface carefully remove any old retouchings. All these
Most of the steps taken to conserve the support processes are carried out using appropriate
of a picture, as described above, also help solvents or in some circumstances scalpels. The
generally to make the paint surface more removal of old retouchings is the most difficult
secure; but small areas of flaking or blistering task, as caution must be exercised in deter-
paint can be secured much more simply. mining the extent of the retouchings, and also
Blisters are treated by allowing a suitable the wisdom in removing them; they may
adhesive to seep from the picture surface under sometimes be more 'convincing' than those a
the raised paint and then the paint is pressed restorer will be able to re-create.
down with a warm spatula until it sticks in Many old retouchings are perfectly obvious
place. Paint losses are painted back by the even to the naked eye, as the technique of the
restorer using pigments mixed with synthetic earlier restorer will be at such variance with
resins which be easily removable.
will in future that of the artist. Retouchings may also have
As a general principle the 'restoration'
should darkened (23) through some chemical change
be recognizable at close proximity but be at the in the paint used, and so will no longer match
same time sufficiently convincing so as not to in colour the surrounding area. More rarely
detract from the overall effect of the picture. retouchings fade or bleach. Sometimes an
engraving or old copy of a picture will exist
The cleaning of pictures which shows the composition in a different
There are three different stages in the cleaning state, and from that it will be possible to
of a picture, but not all pictures require the determine the extent of the retouched areas. In
restorer to proceed to the second or third. First the case of The Martyrdom of St Stephen,
of all the dirt on the surface of the painting is attributed to Antonio Carracci, an engraving
removed; then the old varnish, which is of 18 12 (21) showed the figures of God the
probably discoloured. Finally the restorer will Father and Christ in the top left-hand corner of
24 Detail of The Arnolfini Marriage'
'

by Jan van Eyck (compare page 52).

This photograph, taken in infra-red
light, shows the artist's drawing of an
earlier position for the hand which he
later abandoned and painted over

the picture; but these figures had been painted himself.X-radiographj is probablv the tech-
out (probably when the picture was owned bv a nique which shows the most dramatic results
clergyman, the Rev. William Holwell Carr) and when applied to a picture (20 and pages 4^ 73, .

were only revealed when the picture was 82, 91). The rays, which are directed through
cleaned. the picture on to a photographic plate, are
absorbed according to the density of the
Technical aids to the examination of pictures pigments and other material they pass through.
Retouchings may also be spotted by the use of White lead, which was used in practicaDy all
an ultra-violet light, which excites different tvpes pictures from the Middle Ages to the nine-
and degrees of fluorescence in different sub- teenth century, is the densest pigment, so that
stances, but provides information onlv about on an X-rav photograph areas of a picture
the very surface of a painting. Thus re- containing white lead will show lightest and
touchings fluoresce differently from original areas with little or no dense paint will show
paint, usually appearing as dark spots, and old dark. Holes in the picture will show black. As
varnish fluoresces with a lemon-vellow colour. the rays register the sum of all the super-
Infra-red radiation will penetrate a little deeper imposed layers of a picture, features of the
than ultra-violet and, particularlv in the case of support and ground are visible, together with
earlier pictures where the paint is often very any changes in the composition which the artist
thinly applied, an infra-red photograph may made during the execution of a picture.
show up the artist's original drawing (24). A During the cleaning and restoration of anv
variation between the original design and the picture at the National Gallerv all the stages in
visible picture, however, need not necessarilv the process are recorded by photographs which
be due to the retouchings of a later restorer,but are then used to form a 'Conservation Dossier"
may well represent, as in the case of Van Evck's on the picture. As a general principle nothing is
Arnolfini Marriage, a change made by the artist done which in future cannot be reversed.

23
BIBLIOGRAPHY
All the pictures in the Gallery are described in full in the following
National Gallery catalogues:

The Earlier Italian Schools by Martin Davies. Second Edition (revised) 1961

The Early Netherlandish School'by Martin Davies. Third Edition (revised)

1968.

The German School'by Michael Levey. 1959

The Sixteenth-Century Italian Schools by Cecil Gould. 1975

The Seventeenth and Eighteenth Century Italian Schools by Michael Levey. 1971

The Dutch School by Neil Maclaren. i960

The Flemish School, circa 1600-circa 1900 by Gregory Martin. 1970

The Spanish School by Neil Maclaren. Second Edition, revised, by Allan
Braham. 1970

The French School by Martin Davies. Second Edition (revised) 1957

The British School by Martin Davies. Second Edition (revised) 1959

The French School, Early 19th century, Impressionists, Post-Impressionists etc. by

Martin Davies with additions and some revisions by Cecil Gould. 1970

The author is indebted to Dr. N. B. Penny who suggested the possible

derivation of Banastre Tarleton's pose in the portrait by Reynolds (page 141)

24
French School (c. 1395 or later) harts encircled by collars of broom-cods.Such
Richard II presented to the Yirgin and Child were French and associated in particular
collars
bj his Patron Saints with the French King Charles VI whose
('The Wilton Diptych') daughter, Isabella, Richard married in 1396.
Each panel 45.7 x 29.2 cm Behind the kneeling King stand St John the
Baptist, St Edward the Confessor (with a ring)
and St Edmund, King and Martyr. The other
The Diptych is so called because it was for long side shows the Virgin accompanied by eleven
at Wilton House, the seat of the Earls of angels. While Richard kneels in an earthly
Pembroke, from where it was purchased by the landscape with trees in the background, the
Gallery in 1929. Before that it was in the Virgin and her host stand in a more 'heavenly'
collection of Charles I. Made to fold like a bed of flowers. The angels are personal to
book, it is clearly portable. The outside, which Richard: they wear his badge and also collars of
is damaged, is painted with the arms of Edward broom-cods. The Christ Child, whose halo is
the Confessor (King of England, d. 1066) ornamented with a Crown of Thorns and the
impaled with those of the Kingdom on one Nails of the Passion, gestures, possibly in
side and a white hart 'lodged' (the badge of benediction or alternatively towards the ban-
Richard II) on the other. The inside shows ner held bv one of the angels. The banner, a red
Richard II presented to the Virgin and Child by cross on a white ground, was the flag of
his patron saints, and is remarkably well England at one time; it was also the banner of
preserved. Richard II (1 367-1400) became Christ's Resurrection, and a flag associated
King of England at the age of ten and was with crusades.
deposed in 1399. The significance of many of the details in the
Armorial details in the picture suggest that it painting remains in doubt, and so does the use
cannot have been painted before 139^. On one or meaning of the Diptych itself. Its origin is
side Richard is shown in his Youth, kneeling, also uncertain. It is possibly English, more
with his hands open in expectation. His robe is probably French, but painted in a style that is
richly embroidered with a pattern of white known as International Gothic.

25
Duccio (active 1278, d. 13 19)
The Annunciation and Jesus opens the Eyes of a Man
born blind
43.2 X 43.8 cm and 43.2 x 45.1 cm

These two pictures are predella panels from

Duccio's masterwork, the high altarpiece of
Siena Cathedral, which the artist contracted to
paint 'with his own hand' on 9 October 1308
and which was placed in the Cathedral on 9
June 13 1 1. Called the Maesta (a generic term
for an altarpiece which showed the Virgin and
Child enthroned in majesty), the altarpiece was
painted on both back and front. The Annun-
ciation is from the front, which also contained
other scenes from the early life of Christ. The
reverse showed scenes from His ministry,
including the episode in St John's Gospel
where Christ, followed by the twelve Apostles,
gave sight at the Pool of Siloam to a beggar
born blind. Most of the other parts of the
altarpiece are in the Cathedral museum, Siena.
Ascribed to Giotto (i266?-i3 37) The Twelve stand in an enclosed space with
Pentecost tongues of tire on their heads, while outside
45.7 X 43.8 cm the multitude marvel, each man hearing the
Apostles speak in his own language.
Giotto, who was Florentine, is generally Working in the first decades of the four-
regarded as the founder of modern painting. teenth century, Giotto gave his paintings a
This panel is from a series which mav have naturalism and 'reality' which contrasted with
decorated a cupboard door in some sacristy. It the Byzantine-inspired paintings of his con-
may be Giotto's own work or, more probably, temporaries; and the innovations which the
executed in his studio. The subject of the artist made did not become commonplace in
picture is taken from the Acts of the Apostles. Italy for another hundred years.

27
 Giovanni di Paolo (active 1420, d. 1482)
Two predella panels from an altarpiece:
St John the Baptist retiring to the Desert and
The Baptism of Christ
31. 1 X 38.8 cm and 30.8 X 44.5 cm

These two panels, together with two others

also in the National Gallery, are predella panels
from an altarpiece the original location of
which is not known. The scene of the Baptism
of Christ is derived closely from a relief,
installed in 1427 on the font of the Baptistry in
Siena (where Giovanni di Paolo worked). This
relief was by the Florentine sculptor, Ghiberti;
and it was in Florence in the fifteenth century,
more than in Siena or any other centre, that
artists developed an understanding of per-
spective. The Sienese Giovanni di Paolo shows
St John setting off into a landscape that is

fantastically unreal; but under the influence of

the Florentines, the architectural elements of
the picture are portrayed in a manner that is

more realistic.

The Baptism of Christ by

Lorenzo Ghiberti (i 378-145 y
Detail from the Font of the
Baptistry at Siena
Paolo Uccello St George and the Dragon (detail). See page
Paolo Uccello (Y. 1397 •

I
475) the dragon, whereupon the princess led the
St George and the Dragon beast back to the city by her girdle. The
56.5 x 74.3 cm compiler of the National Gallery catalogue
notes that in Uccello's painting the Princess 'by
The which is a popular one in art, is
subject, some whim or carelessness continues to wear a
derived from The Golden Legend. A dragon girdle'! From the evidence of the Princess's
would stay outside a city only if it was regularly costume the picture may be dated to about
allowed to eat some of the inhabitants. The turn 1460. As a painting on canvas it is exceptionally
eventually came for the king's daughter to be rare; at that time most Italian pictures were
eaten, but St George arrived in time to wound painted on wooden panels.

See colour plate page 29

30
 . - _-- a painted equestrian statue. Although he wears
7 Romcam a coat of mail, his head is unprotected by

S
; - armc a _ .Dehmd him carries his hell
and he holds in his right hand the baton of a
-
fought in J une military commander rather than the sword
1432 between the Florentines and the Sic a* which he might actually have used in battle.
Nice lentino, the recently appointed The two parts of the picture, foreground and
_:er. surprised the enemy ground, are divided by a rose-hedge. In
z c me upon them at S the foreground the artist is anxious to convey a
no in the vallev of the River Arno. While e of depth, scale and space, but in the
in the background of ground the soldiers who wander through
iting foot-soldiers are shown and over hills are depicted with little
arriv fang xolc valiantlv held out against the regard to reality.
Sienesc eventual! v won the day. The
ind Uccello was a Florentine and a pupil of the
ne of three painted by the ar: sculptor Ghiberti. He later worked in Ven
room in the newly built p
. a mosaicist in the basilica of S. Marco. The Rout
of the Medici familv in Florence, probably in Romano contains elements which stem
three f ntings would from both Venetian and Florentine traditions.
-

veil above eye-level about

: 1 The meticulous painting of the rose-hedge is
m. more Venetian than Florentine; but the experi-
The is not a topographically accurate
picture mental attempts at perspective in the fore-
of the battle. It is more a com-
mat ground of the picture could only have been
memoration of Xiccolo as military leader. On made in the mid-fifteenth century bv an artist
bite horse, he stands out in the picture like who worked in Florence.
 Piero della Francesca (active 1439, d- H9 2 )

St Michael
133 X 59-4 cm
The picture is probably part of a polyptych
completed by 1469 which Piero painted as the
high altarpiece of the church of S. Agostino in
his home town of San Sepolcro. In the bottom
right-hand corner is part of a step which was
probably continued, possibly as part of the
Virgin's throne, in the (neighbouring) central
panel. St Michael's armour is inscribed: Angelas
Potentia del . . . ha; but the precise meaning of
the inscription is uncertain. Angelas,which
certainly refers to the Archangel himself, may
also be a reference to the donor of the
altarpiece: Angelo di Giovanni di Simone
d'Angelo.

Piero della Francesca (active 1439, d. M9 2 )

The Baptism of Christ

167 x 116 cm

After a period working in Florence, Piero

returned to his native San Sepolcro in Umbria
soon after 1442 and this picture was one of his
first commissions. It was painted as the central

panel of a triptych for the high altar of

S. Giovanni Battista in San Sepolcro, the town
which is depicted in the background of the
picture.
The calm dignity of the painting derives in
part from Piero's use of extremely delicate
colours, and in part from the coherence of the
composition. The two-dimensional surface is
composed in a pattern of verticals - the tree,
the angels, the figure of Christ, etc. and
horizontals the dove, clouds and left hand of
the Baptist. The hovering dove (the Holy
Ghost) is at the apex of a triangle of which the
Baptist's outstretched arm and leg form one
side,and upon further scrutiny this triangle is
seen to be almost a pyramid, established by the
diminishing scale of the figures: Christ, the
neophyte removing his shirt and the figures in
the background. Piero is fascinated by the
landscape and the reflection of each tree in the
river is carefully painted in.
Although now considered one of the great-
est painters of the early Italian Renaissance,
Piero was for long unappreciated, and it was
only in the early 1860s, at about the time this
picture was purchased by the National Gallery,
that his paintings were becoming generally
known.

-
 Masaccio (1401— 1427/9)
The Virgin and Child
135.3 X 73 cm

The picture is reasonably identifiable as the

central panel of a polyptych which Masaccio
painted for a chapel in the church of the
Carmine at Pisa in 1426. The entire altarpiece,
which contained many panels, was probably
about fifteen feet high. Known as the 'Pisa
Polyptych' , it is the only documented work of
the artist who is considered, with Giotto a

century earlier, one of the founders of Italian

Renaissance painting.
Born near Florence, Masaccio probably
spent much of his very short working life in
that city, although he died in Rome. In the
present picture, the musical angels, unrelated
in scale to the principal figures of the Virgin
and Child, are inserted into the composition to
create a decorative effect in a manner which is
consistent with the work of Masaccio's lesser
Florentine contemporaries. The innovations
which Masaccio made, innovations which were
to influence all later painters of the Italian
Renaissance, are apparent in the seated figure
of the Virgin with the Christ Child. They are a
'real' mother and child: the folds of the
Virgin's robe fall as they do, not in order to
form a decorative surface pattern, but because
her body underneath dictates that that is how
they should fall. She, as Queen, is seated on a
throne, and He sucks grapes: a childish gesture
which symbolically suggests His Passion. The
fall of light from the left unifies the figures with

the space in which they are seated, and throws

into relief the solid forms of the Virgin's
throne. Painted against a plain gold back-
ground, the throne is strongly architectural
with carved classical columns, which are
carefully painted to be seen, like the altarpiece
itself, from below.

This interest in form and in architecture

reflects Masaccio's appreciation of the work of
his two great Florentine contemporaries: the
sculptor Donatello and the architect Brunel-
leschi.

M
Ascribed to Antonio (V. 1432-98) and Piero skilled as painters, sculptors, engravers and
(Y. 1 44 1 -not later than 1496) Pollaiuolo goldsmiths, ran a workshop in Florence; and
The Martyrdom of St Sebastian (according to Vasari) it was for the oratory of
291.5 202.6 cm S. Sebastiano, attached to the church of
SS. Annun2iata there, that this Martyrdom of
St Sebastian was painted in 1475.
The subject depicted, always called the Martyr- The artists' fascination with anatomy is even
dom of St Sebastian- although in fact the saint more apparent in the figures of the archers than
survived the ordeal - was a popular one in the in that of the nude saint. These six figures
Renaissance: it permitted artists commissioned adopt but three different poses which are seen
to paint a religious picture and interested in the from different angles; and one sees the same
new science of anatomy to portray a nude reversal of viewpoints in the pairs of horses in
figure. the background to right and left. A splendid
Other preoccupations of the Renaissance ruin is a model of Antique architecture, while
artistwere perspective, landscape, the Antique the landscape, an imaginary view of the Arno
and the effects of light and shade. The brothers valley outside Florence, is painted with a
Antonio and Piero Pollaiuolo, who were precision and depth that is breathtaking.

35
Sandro Botticelli (c. 1445-1 5 10) Gallery acquired five of his paintings between
Venus and Mars 1857 and 1878. The fragile weariness of his
69.2 x 173.4 cm Madonnas and his emphasis on line and
contour appealed to the aesthetic sensibilities
The picture shows Venus, Goddess of Love, of the late Victorians.
with Mars, God of War, lying beside her
asleep. Like other paintings of the theme, the
picture is an allegory of Beauty and Valour, or
Strife conquered by Love. Baby satyrs play
with the discarded armour of Mars; one of
them, possibly at the command of Venus,
attempts to awaken him by blowing a conch
shell in his ear; another climbs into his armour
and clutches a gourd. From their nest in the
trunk of the tree wasps swarm about the head Alesso Baldovinetti (c. 1426-99)
of Mars, probably demonstrating that the Portrait of a Lady in Yellow
pleasure of love (as brought by Venus) may 62.9 x 40.6 cm
also be accompanied by pain. In the distance is
the sea from which the goddess was born. When this Florentine portrait of the second
It is not certain when, or for whom, the half of the fifteenth century was purchased by
picture was painted. Among Botticelli's pat- the Gallery in 1 866 it was thought to have been
rons in Florence, were the Vespucci family, painted by Piero della Francesca. It was Roger
whose coat of arms includes vespae (wasps), and Fry in 191 1 who first suggested that it might be
it would not be unusual in the Renaissance for a by the Florentine Baldovinetti - an attribution
painter to play upon such a heraldic allusion. which is now fully accepted.
Painted oblong panels like this one (there are The identity of the sitter remains unknown;
others in the National Gallery) were probably but the pattern on her sleeve probably offers
incorporated in the wainscoting of a room or some clue. The flowers could for example be
perhaps used as bed-heads. Certainly the part of the lady's coat of arms, for her costume
subject of the present picture, the conquering and jewels are so luxurious that she was almost
power of love, would be a suitable one for the certainly noble.
decoration of a marriage bed. Profile portraits became popular in the
Botticelli, now perhaps the most famous of Renaissance, reflecting an interest in the
all late fifteenth-century Florentine painters, Antique; and this painted image of a lady is
was only 'rediscovered' in the second half of reminiscent of the profile heads to be seen on
the nineteenth century; and the National Antique gems and coins.

36
37
PlERO DI COSIMO (c. 1462-after 15 15) grieves over her. In the background is a river
A Mythological Subject or lake with several birds and animals.
65.4 X 184.2 cm Vasari wrote that Piero di Cosimo 'had by
nature a most lofty spirit, and he was very
strange and different in fancy from other
The subject of the picture remains unidentified, youths ... he set himself often to observe such
but probably taken from some Renaissance
it is animals, plants, or other things as Nature at
poem from classical mythology,
rather than times creates out of caprice, or by chance; in
though in the past it has been thought that the which he found a pleasure and satisfaction that
picture represented some incident from the drove him quite out of his mind with delight;
story of Cephalus and Procris. nymph with a A and he spoke of them so often in his discourse,
wound in her neck lies partly naked on the that at times, although he found pleasure in
ground while a satyr (and a faithful dog) them, it became wearisome to others'.

Sandro Botticelli (V. 1445-1 5 10} Florence that this portrait was painted. The
Portrait of a young Man sitter has not been identified.

37.5 X 28.3 cm Botticelli originally trained as a goldsmith

and subsequently learned painting, probably
from Filippo Lippi. In his early years he
In the nineteenth century this portrait was painted both pagan and religious subjects as
thought to be by the early fifteenth-century well as portraits and was eventually successful
Florentine artist, Masaccio (1401-27/29), and enough to run a studio. From about 1490,
it was as such that it was purchased by the however, like many of Florentine con-
his
National Gallery in 1859. Now, however, it is temporaries, he was influenced by the preach-
accepted as by Botticelli, one of the most ing of the Dominican monk, Savonarola (who
individual artists working in late fifteenth- was burned in Florence in 1498); his subject-
century Florence. In 148 1/2 he was in Rome, matter became more religious and his style less
painting frescoes in the Sistine Chapel, and it naturalistic than in his earlier work, e.g. the late
was probably shortly after his return to Mystic Nativity in the National Gallery.
39
 .

Cosimo Tura (before 1431-95)

The Virgin and Child enthroned
239.4 x 101.6 cm

The picture is the central panel of an altarpiece

from the church of S. Giorgio fuori le Mura at
Ferrara. Cosimo Tura worked in Ferrara from
145 1, mainly at the court of the Este family.
The throne on which the Virgin is seated is
inscribed with extracts in Hebrew from the
Ten Commandments, while above, also on the
throne, are the symbols of the four Evangelists.
On the throne, therefore, the Old Testament is
juxtaposed with the New, for it was by the life
of Christ, as recorded by the Evangelists in the
New Testament, that the prophecies of the Old
Testament were fulfilled.
The altarpiece, of which this is part, belonged
to the Roverella family, and the Latin inscrip-
tion on the organ case (now only decipherable
in part) suggests that it was installed on the

death of a member of the family. The inscrip-

tion (recorded in a book of 1492) reads: Arise
Child. The Roverella family strikes at the gate.
Grant that the way be opened. The law says 'Knock,
and thou shalt be within'
Cosimo Tura was the first great Ferrarese
painter and had a highly distinctive decorative
style. He was influenced by Mantegna, who
worked in neighbouring Mantua, while his
colouring owes much to Piero della Francesca,
who had earlier painted a cycle of frescoes
(now lost) at Ferrara.

Sassetta (i392?-i45o)
St Francis decides to become a Soldier
87 X 52.4 cm

The picture, which is one of a series of seven

panels in the Gallery, is part of a large
altarpiece which Sassetta painted between 1437
and 1444 for the high altar of the church of
S. Francesco at San Sepolcro. The altarpiece
had a large central picture (now in the Beren-
son collection, Florence) of St Francis Tri-
umphant, and smaller pictures (such as the
National Gallery panels) depicted scenes from
his life. There are two incidents shown in the
colour plate. Intending to go to war, St Francis
prepared rich clothes, but in an act of gen-
erosity gave them away to a knight poorer than
himself. Later while he slept an angel showed

40
 him in a dream a palace decorated with military
flags and floating in the air. At first St Francis
interpreted the dream as meaning that he
should follow a military career, but as the
banners were those of Christ, he later realized
that his life should be spent in the service of
God.
Sassetta and Giovanni di Paolo are the two
greatest of Sienese fifteenth-century painters.
In Siena, Byzantine traditions in painting
lingered longer than in Florence, and so
Sassetta's pictures are less 'realistic' than those
of contemporary Florentine painters. He paints
the popular legend of St Francis as taking place
in a delightful toyland setting, and he uses
colour in an enchanting manner. The architec-
ture used throughout to enhance the narrative
of the scenes is painted most meticulously; but
these palaces and churches are flimsy stage sets
whose floors have never been trodden, and
whose doors have never been closed.
Other panels from the altarpiece, which may
-Njjjt I M. have remained in the church until the eight-
eenth century, are now at Chantilly and in the
St Francis renounces his earthly father Louvre.

The Pope accords recognition to the St Francis bears witness to the Christian
I rt/nciscan Order faith before the Sultan
Andrea Mantegna (c. 1430-1506) Mantegna's picture, which may have been
The Agony in the Garden painted some time in the 1460s, probably
62.9 x 80 cm influenced Giovanni Bellini's treatment of the
same theme, also in the National Gallery. The
The subject is taken from the Gospels. After two men were brothers-in-law, as Mantegna
the Last Supper, Christ, knowing that He had married the sister of Giovanni and Gentile
been betrayed by Judas, went with three of His Bellini in 1453. Both Bellini brothers were
disciples to the Garden of Gethsemane. Asking influenced by Mantegna, who from 1459/60
them to keep watch, He went and prayed, only worked at Mantua in the service of the
to discover on His return that they had fallen Gonzaga family.
asleep. In Mantegna's picture, putti, bearing Some of Mantegna's paintings are executed
the instruments of the Passion - column, cross, in a grisaille technique in imitation of sculp-
sponge and spear - appear to the kneeling ture, and there are examples of these in the
Christ, while Judas leads a group of soldiers National Gallery. They were probably painted
from walled Jerusalem in the background. In under the influence of the Florentine sculptor,
the foreground are the sleeping disciples, Donatello, whose work at Padua Mantegna
Peter, James and John. could have seen when he was a young man.

43
 " ;: .

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if tI
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,

.<

Carlo Crivelli (active 1457-93) Virgin's throne, however, have a symbolic as

The Virgin and Child with St Jerome and well as an ornamental function. The swallow
St Sebastian (The 'Madonna delta Rondine') and gourd are symbols of resurrection, and the
Main panel: 150 X 107 cm apple - the fruit of the Fall - held in Christ's
Signed: carolvs crivellvs • •
hand is a symbol of salvation.
VENETVS MILES PINXIT
• •
Crivelli was a Venetian (he signs himself as
such throughout his life) who during his
The painting, which derives its name from the twenties was imprisoned in Venice for the
swallow perched on the Virgin's
(rondine) abduction of a sailor's wife. After his release,
throne, is an altarpiece complete in its original about the mid- 1460s, he seems to have left
frame and it comes originally from the church Venice and spent the rest of his life in that
of S. Francesco at Matelica. The arms on the region of Italy around Urbino known as the
step in front of the Virgin's throne are those of Marches. (In 1490 he was knighted by Fer-
the Ottoni, the ruling family of Matelica. The dinand II of Naples and thereafter signed
saints are (left) St Jerome, depicted as a Doctor himself, as here, 'miles' .) He worked in relative
of the Church in cardinal's robes and holding a isolation, and his style remained highly in-
book and a model of a church, and (right) dividual, although the garlands of fruit and
St Sebastian, shown (unusually) fully dressed flowers in his pictures remind one of his
and elegantly holding an arrow. Paduan contemporary, Mantegna; and his
Like all Crivelli's paintings, the picture is brilliantly decorative stuffs and costumes
immensely decorative. The garlands of fruit, suggest an International Gothic style as seen in
flowers and vegetables which adorn the the work of the Veronese painter, Pisanello.

44
 x-ray photograph

Antonello da Messina they looked in the opposite direction; but an

(active 1456, d. 1479) artist such as Antonello, fascinated by optical
Portrait of a Man effect, might well have used two mirrors when

35.6 X 25.4 cm painting his own portrait.

For a painting of its age the picture is in very
The picture is judged on stylistic grounds to good condition. The portrait has a reality
have been painted about 1475-9. The bottom which is almost frightening, with light falling
has been sawn off, but presumably, as in other on the face creating shadows and throwing the
portraits by Antonello, it showed a ledge head into relief against the plain black back-
bearing a cartellino with the artist's signature. ground. Details such as the lips, the shadow of
An inscription (which may date from the a beard, the folds in the sitter's white collar and
seventeenth century) on the back suggests that the individually painted hairs on his forehead
it is a self-portrait. If so, it would seem that are minutely observed. This is consistent with
Antonello (whose date of birth is unknown) the style of artists who learned much from
was still a relatively young man when he died. contemporary Netherlandish painting, which
The stare of the sitter towards the spectator is also contained much closely observed detail.
consistent with self-portraiture, when artists Antonello probably never visited the Nether-
have to paint from mirror images of them- lands, but at Naples, where he worked for
selves; but other portraits by Antonello of some years before 1456, there were paintings
different sitters have the eyes treated in the by Jan van Eyck and Rogier van der Weyden,
same manner. X-rays reveal that the position of the two greatest fifteenth-century Netherland-
the eyes has been altered and that originally ish painters.

45
 **»

»*§*&"
«»*' ^
G.B. CimadaConegliano(?i45 9/6o-i 5 17/1 made his pact of friendship with the beloved
David and Jonathan son of King Saul, Jonathan: 'The soul of
40.6 X 39.4 cm Jonathan was kindled in the soul of David, and
Jonathan loved him as his own soul.' Nothing
is known of the origin of the picture, but it is

David, by killing the Philistine Goliath, had possible that it was commissioned from Cima

delivered the Israelites from the Philistines. in commemoration of a particular friendship.

The youthful hero's triumphal entry into Cima was a contemporary in Venice of
Jerusalem bearing the head of Goliath is the Giovanni Bellini by whom
he was much
episode most usually depicted in painting, and influenced. The landscape in the
beautiful
this subject was regarded as an Old Testament present picture compares well with those in the
prefiguration of Christ's own triumphal entry paintings of Bellini, landscapes which were
into Jerusalem. Cima's picture is more unusual, inspired by the Veneto, the countryside neigh-
if not unique, in showing David accompanied bouring Venice: the walled town (supposedly
by Jonathan. It was on the day of his triumph, Jerusalem) in the background of David and
and before he went to Jerusalem, that David Jonathan is bathed in a north Italian light.

46
Giovanni Bellini (active c. 1459, d. 15 16) though they allude to the subject-matter of the
The Blood of the Redeemer picture they are of secondary importance:
47 X 34-3 cm indeed Christ's right hand obscures part of one
relief. The background landscape too relates to
Bellini's subject-matter: on the right the land is
The subject of the picture, which is a mystical barren with the ruined remains of an Antique
one rather than representing a particular pagan column and gateway. Two figures,
incident, is self-explanatory: Christ's blood turning their back on this landscape, look
shed asHis sacrifice to save sinners. Christ towards a town on the side of a verdant valley.
stands on a tiled floor holding the Cross which Here is life, the life for which Christ's sacrifice
bears the Crown of Thorns. A parapet behind was made, and this is the new Jerusalem.
Him is decorated with classical reliefs showing On stylistic grounds the picture seems
scenes of sacrifice. Their position, and the fact to have been painted about 1465, and is there-
that, in spite of every effort to identify them, fore about contemporary with the Agony in
they seem not to represent any particular the Garden by Giovanni Bellini, also in the
subjects of pagan sacrifice, suggest that al- National Gallery.

47
 Giovanni Bellini (active c. 1459, d. 15 16)
The Doge Leonardo Loredan
61.6 X 45.1 cm
Signed: IOANNES BELLINVS
Leonardo Loredan was born in 1436 and was
elected Dogeof Venice in 1501. In Bellini's
portrait he wears the Doge's cap, or corno, and
sumptuous robes of state. The style of the
painting indicates that the portrait was painted
sometime early in the sixteenth century, and it
seems most likely that it was painted on
Loredan's election as Doge. He would then
have been aged sixty-five.
The Doge was the elected head of the
Venetian republican government, but such was
the political organization of the state that his
actual powers were almost nil. He was merely a
figurehead, a symbol of the continuance of the
Venetian Republic, and almost imprisoned by
his office.
This impassive portrait of Doge Loredan is
conceived as the image of a ruler. The form is
that of a sculpted bust and neither hands nor
background are shown. Nothing distracts from
the head of the grave old man. Yet the picture,
perhaps most famous of all Venetian
the
portraits, conveys almost miraculously the
flesh and blood of the sitter. This is a tribute to
PlSANELLO (living C. I
39 5 , d. ? 145 5 ) the painter, Giovanni Bellini, the first truly
The Virgin and Child with St George and great Venetian artist.
St Anthony Abbot
47 x 29.2 cm
Signed: pisamtsjpi

The two Anthony Abbot (accom-

saints are St
panied by ahog and carrying a bell) and
St George (accompanied by a dragon and
wearing a fantastically decorative costume).
The Virgin and Child 'clothed in the sun' may
be a reference to the Woman and Child in
Revelation xii. The artist's signature in the
foreground seems almost disguised as part of
the fauna.
The immense popularity of the picture in the
National Gallery probably owes much to the
appeal of the sumptuously extravagant figure
of St George. He is an elegant fifteenth-century
courtier and his costumeis most likely inspired

by those of the members of the Este court at

Ferrara where Pisanello was employed. Many
drawings by Pisanello survive, among them
Bust of AMember of the Capponi family by an
sketches of costumes similar to that of unidentified Florentine sculptor of the fifteenth
St George. century. (Victoria and Albert Museum)

48
49
Robert Campin (i 378/9-1444) was similarly decorated, and upon which
The Virgin and Child before a Firescreen Solomon placed his mother, Bathsheba, thereby
63.5 X 49.5 cm providing an Old Testament parallel to the
Coronation of the Virgin. The Virgin is seated,
not upon the bench, but almost on the floor, and
The Virgin, seated (presumably on a low in that she approximates to a common fifteenth-
footstool) before a bench, and leaning on a century type: the Madonna of Humility. It was
cupboard, feeding the Christ Child. To the
is out of humility that all Christian virtues grew,
right a strip has been added to the panel and the just as the Christ Child grew when nurtured by
cupboard and chalice are modern. The back- the Virgin.
ground detail and the violently receding tiled Robert Campin worked at Tournai from the
floor have the effect of making the Virgin seem early years of the fifteenth century. He may
unduly large. have been one and the same as 'the Master of
Apart from the chalice, symbol of Christ's Flemalle' mentioned in the documents, and
Passion, the picture could be a simple domestic Rogier van der Weyden may have been his
interior with a mother nursing her child in pupil. His work was of enormous importance,
front of an open window. However, much of for like his great contemporary, Jan van Eyck,
the domestic detail has a religious significance. he brought a new realism to Netherlandish
The firescreen, which shields the Virgin from painting in the fifteenth century, a realism of a
the flames of the fire, serves also as a natural type demonstrated by this rather plump Flem-
halo.The lions decorating the wooden bench ish girl who provided the model for the
remind one of the throne of Solomon which Madonna in an upstairs room in Tournai.

5°
 ftVI P#l */U\

Jan van Eyck (active 1422, d. 1441)

A Man in a Turban
33.3 x 25.8 cm

The portrait is in its original frame which, as in

the case of other paintings by Van Eyck, is
inscribed at the top: 'Als ich can' in semi-Greek
lettering. These are thought to be the first

words of the Flemish proverb 'As I can, but

not as I would', and, in the context, they
presumably mean that the painter has done his
best in portraying the likeness of the sitter.
The man, who wears a fashionable contem-
porary head-dress of red material, is thought
by some to be Van Eyck himself. The basis for
such an hypothesis is his engaging glance, with
eyes turned directly towards the spectator, as
though they had been painted from a mirror.

K»IIE?.-OE-erCK-I

Page 52

Jan van Eyck (active 1422, d. 1441) while outside in the garden, the sun shines and
'The Arnolfini Marriage' {The Marriage of the trees bear fruit. Van Eyck miraculously
Giovanni Arnolfini and Giovanna Cenami) reflects the scene in the mirror (decorated with
81.8 x 59.7 cm scenes from Christ's Passion) on the back wall,
Signed: Johannes de eyck and in that mirror two people are reflected as
fuit hie. .1434 they enter the room: one of these may be the
painter himself, but he does not intrude upon
The man is Giovanni di Arrigo Arnolfini, a the calm dignity of the couple, and only the
merchant from Lucca who lived a great deal at dog registers his presence. This detail is perhaps
Bruges and was buried there in 1472. The lady the key to the picture's charm: a symbolic act is
is Giovanna Cenami, the daughter of another almost disguised by the realism of the domestic
Lucchese merchant who lived at Paris. The detail.
picture would have been painted at Bruges
where Van Eyck, who played an important
part in the discovery of oil-painting technique,
was working in the service of the Duke of
Burgundy from 1425. The picture is a marriage
portrait, and would seem to show the marriage
actually taking place. The signature, 'Jan van
Eyck was here', suggests the painter's presence
as a witness. At that time a couple might
contract a marriage without the services of a
priest simply by mutual consent with appro-
priate words and actions. Here the couple hold
hands, and he gestures as if taking an oath,
while the position of Madame Arnolfini's left
hand may well symbolize marriage. The single
candle in the chandelier is a marriage candle
and the griffon terrier is a symbol of fidelity.
Within the relative gloom of this room,
therefore, the couple make their solemn oath, Detail of the mirror

51
 1

Jan van Eyck 'The Arnolfini Marriage . See page 5

52
Master of the Life of the Virgin abbey church at Werden near Diisseldorf. The
(active second half 1 5 th century) church was renovated and new altarpieces
The Conversion of St Hubert installed by the Abbot Grimholt, who ruled
I2 3 ,8 X 8;. 2 cm between 1484 and 1 17. In 1803 the abbey was
5

suppressed and the pictures from it were taken

According to legend, as a young man over by the Prussian authorities and sub-
St Hubert was given to worldly pleasures, in sequently sold. The Conversion of St Hubert,
particular the chase. While hunting one Good which one of four panels from the altarpiece,
is

Friday he was confronted by a stag bearing a later formed part of the German Kriiger
crucifix between its antlers, and was thereupon collection, purchased by the National Gallery
converted to Christianity. His legend is some- in 1854. The whole altarpiece has recently been
times confused with that of St Eustace who reassembled so that (as originally) The Con-
was similarly converted, but Eustace was a version of St Hubert is on the left inside panel
Roman soldier of the second century, while with The Mass of St Hubert opposite; two
Hubert {c. 656-727) became first Bishop of groups of saints form the outside.
Liege. In the present picture scenes of hunting The name of the painter is unknown, but he
and hawking are shown in the background, is given the title used by the Gallery because of

while in the foreground Sc Hubert kneels a series of eight panels by him depicting scenes
before the stag. from the life of the Virgin. One of these panels
The picture is part of an altarpiece (probably is now in the National Gallery; the remainder

a diptych) which seems to have been painted are at Munich. Whoever he may have been, he
some time in the 1490s for the Benedictine worked at Cologne during the second half of

53
the fifteenth century, although his style, which Rogier van der Weyden (V. 1 399- 464)
betrays the influence of the Netherlandish The Magdalen reading
painters Bouts and Rogier van der
Dieric 61.6 X 54.6 cm
Weyden, suggests that he may have trained in
the Netherlands. He also seems to have This picture is a fragment from the right-hand
employed a workshop; The Conversion of side of a much larger picture, other parts of
St Hubert (which is of exceptionally high which survive in the Gulbenkian collection,
quality) and The Mass are both notably superior Lisbon. The original picture, which is in part
in quality to the outsides of the altarpiece, recorded by a late fifteenth-century drawing
suggesting that the most important paintings after it, showed the Virgin and Child with
were painted by the Master himself and the Saints John the Baptist, John the Evangelist,
remainder by his workshop. Joseph, Mary Magdalen, and probably one
other saint. The National Gallery fragment is
that part which represents the Magdalen
(recognizable by the jar of ointment which she
used to anoint Christ's feet). Parts of two other
figures, to the left and above her, are also
visible: that holding a rosary is probably St
Joseph his head is one of the Lisbon
fragments - and the kneeling figure to the left
(his toes just visible) can be identified as
St John the Evangelist. The background was,
until recently, overpainted in black. The
picture was purchased by the National Gallery
in i860.
The Magdalen, absorbed in her reading, has
a quiet piety. This is uncharacteristic of the
painter, whose work is generally more 'em-
otional' than that of the other great Netherland-
ish painter of the fifteenth century, Jan van
Eyck. The cut-off view through the window is
of a canal with a shooting archer on its bank,
and a figure walking on the opposite bank is
reflected in the water. Like other contemporary
Netherlandish painters, Rogier is fascinated by
the depiction of minute details such as the nails
on the floor. The effects of falling light are also
explored: St Joseph's beads have bright high-
lights while the clasps on the book and the
wooden tracery of the cupboard are delineated
by areas of light and shade.
Rogier, who lived at Tournai, was the most
important painter working in Flanders in the
mid-fifteenth century. He was probably the
same person as Rogelet de la Pasture who was
St Joseph by Rogier van der Weyden (Gulbenkian
Foundation, Lisbon) shown in association with part of apprenticed at Tournai to Robert Campin
the National Gallery's Magdalen reading between 1427 and 1432.

54
Hans Memlinc (active 1465, d. 1494) time. Stylistically the Triptych would seem to
Triptych: The Virgin and Child with Saints and have been painted some time late in the 1470s; it
Donors (' The Donne Triptych') descended in the family of Sir John Donne until
Central part: 70.8 x 70.5 cm, 1957, when it was acquired by the National
wings: 71 X 30.5 cm Gallery. Memlinc was probably a pupil of
Rogier van der Weyden by whom, as well as
The Virgin is enthroned with the Christ Child Dieric Bouts, he was influenced. His pictures
on her lap. He blesses Sir John Donne (the have a tranquil, pious quality and are painted in
donor of the altarpiece), who is protected by very beautiful colours.
St Catherine, while his wife, kneeling on the
opposite side with their daughter, is protected
by St Barbara. Sir John Donne, who was
knighted at Tewkesbury in i47i,diedin 1503.
He was a supporter of the Yorkist cause and in
the picture both he and his wife wear Yorkist
collars of roses and suns with Edward IV's
pendant, the Lion of March. The scene is
shown taking place within an architectural
setting which is continuous throughout the
three parts of the Triptych; the arms of the Jan Gossaert called Mabuse
donor decorate the capitals and the glass of the (active 1503, d. 1532)
window. On the left wing is St John the A Tittle Girl, (Jacqueline de Bourgogne?)
Baptist, on the right St John the Evangelist. 38 x 28.9 cm
Light floods in from the outside, making a
contrast between the interior scene and the The girl is traditionally identified as Jacqueline
exterior landscape. As in other early Netherland- de Bourgogne, daughter of Adolphe de Bour-
ish paintings, the Virgin and Saints are con- gogne (a patron of Gossaert) and Anne de
ceived as belonging to a heavenly world, while Bergues, whom Gossaert is known to have
the landscape is an earthly one. The two worlds painted. Jacqueline de Bourgogne's date of
are connected by the figure who peeps in birth is unknown, but her parents were married
through the window in the left wing and it is in 1 509, and as this portrait may be dated about
possible that this is a self-portrait of the artist. 1 5 20 on the basis of costume, she may have been

Sir John Donne is known to have visited about nine or ten at the time.
Bruges (where Memlinc worked) in 1468 and Her costume, which is elaborately em-
again in 1477; but as he lived much at Calais he broidered with pearls, is very sumptuous and
might easily have visited the painter at any expensive. In her left hand she holds an

56
armillary sphere —a skeleton celestial globe of painted in front of a simulated picture frame.
metal rings representing the equator, the Gossaert, who is called Mabuse because his
tropics, etc. By pointing to the sphere, she parents came from Maubeuge in Hainault,
would seem to be indicating something to the worked in Antwerp in his early years. About
spectator; perhaps her age, or even her destiny. 1508/9 he travelled to Italy and on his return
The sphere is inscribed with letters, but they worked chiefly at Middelburg, where Adolphe
are upside down, so this exquisite astronomical de Bourgogne lived. The painter's early style
instrument is nothing but a toy to this was derived from Hugo van der Goes and
enchanting little girl. Her presence is made all influenced by Diirer, but after his trip to Italy
the more real to us by the fact that she is his work became more Italianate.

57
 background, but a figure seated in a three-
dimensional space - a space filled with air. The
light side of the man's face is thrown into relief
by the dark background of the shutter, and the
dark side of his face by the light wall.
Bouts was particularly influenced by Rogier
van der Weyden - here the pose of the sitter
reflects Rogier's work. Jan van Eyck was also
an influence, for Bouts paid great attention to
the effects of illumination. But Bouts was an
innovator as a landscape painter, and in this
portrait the view through the window con-
tains, in a tiny space, an immense landscape
with a closely observed brownish-green fore-
ground giving way to distant blue hills.

PlETER BRUEGEL THE ELDER

(active 15
5 1, d. 1569)
The Adoration of the Kings
in X 83.2 cm
Signed: Brvegel M.D. LXIIII

Pieter Bruegelwas influenced by Hieronymus

Bosch and in turn influenced his son, the
landscape and flower painter and collaborator
of Rubens, Jan Bruegel the Elder called
Dieric Bouts (living c. 1448, d. 1475) 'Velvet' Bruegel. The Adoration of the Kings is
Portrait of a Man it relates to two
interesting in this context as
3 1.8 x 20.3 cm other pictures, by Bosch and Velvet Bruegel, in
Dated: . 1462 the National Gallery. One of the background
figures wears a hat with an arrow through it as
The picture, prominently dated 1462, is in does one of Christ's tormentors in Christ
excellent condition and is the earliest dated Mocked by Bosch (page 174); while 'the poses of
work of the artist, who worked Louvain. It
at the Moorish king, St Joseph and his companion
is thought also to be the example of a
earliest and the soldier are repeated in Velvet Bruegel's
type of portrait design - a figure in a room with Adoration painted thirty-four years later. Pieter
a view out of a window - which became a Bruegel the Elder is perhaps best known for his
commonplace in late fifteenth-century Nether- series of paintings representing the seasons of
landish painting. Such portraits (although the year.
probably not in the case of the present picture)
often formed one half of a diptych with a
representation of the Virgin and Child on the
opposite wing. In such cases the view of the
landscape suggested the earthly habitation of
the sitter in contrast to the heavenly one of the
Virgin.
Here the sitter seems lost in thought, the
position of his hands and eyes suggesting that
he is at prayer. Without showing the ceiling,
Bouts defines the corner of the room by the
subtle fall of shadows on the wall behind. The
portrait therefore is not just a head against a
J 9
 ^i* Joachim Patenier
than 1 5 24)
(active 15 15, d. not later

St Jerome in a rocky Landscape

36.2 x 34.3 cm

Several incidents from the legend of St Jerome

are shown taking place in this weird and
beautiful early sixteenth-century landscape. In
ft 1

the foreground, before a cavernous rock, the

ascetic saint removes the thorn from the paw of
j^m Hk/? ^lM .^1 the lion which later became his friend. Behind,

^
*•
and to the left, a blind man is led across a foot-
bridge by a dog, alluding to the fact that
St Jerome was the patron saint of those
suffering from diseases of the eyes. In the
centre of the picture, in the forecourt of a

yg^ •'•^B^ ^^ a
monastery an abbot receives two merchants
with camels and an ass. It was the task of St
Jerome's lion to guard the ass of the monas-
tery, but one day it was stolen by two
merchants with camels. Later the lion, re-
cognizing the ass, brought it to the monastery
with the merchants, who thereupon asked
pardon of the abbot. To the left is a pagan altar
with an outdoor idol and above it a castle.
The landscape, both in its treatment and use
Marinus van Reymerswaele of subject-matter, a penitent saint in the
(active ?i 509, d. after ?i 5 67) wilderness (a theme which Patenier frequently
The Two Tax-gatherers painted), is characteristic of the artist. Diirer
yz.i x 74.3 cm (who met Patenier in Antwerp in 1520/21)
referred to him as 'a good landscape painter',
The Dutch writing in the book may be and indeed he may be thought of as one of the
deciphered, and from it it is clear that the man first landscape painters; before him landscape
on the left is composing an account of munici- in northern art was limited to the backgrounds
pal revenues from imposts on wine, beer, fish, of other types of painting. Patenier's paintings
etc.As mention is made of a 'visbrugge', i.e. a were very popular with contemporary col-
fish-market on a bridge, it is possible that the lectors; he employed a workshop, and had
municipality concerned is Reymerswaele, one many imitators.
of the few towns where such a thing existed. He was born near Namur on the River
Indeed, in the document above the head of the Meuse in Belgium; and it was the natural rock
man on the right Reymerswaele is actually formation of the river valley near his birthplace
referred to as well as Cornells Danielsz, the which inspired his view of landscape. He later
name of a man who was living there in 1 5 24. worked at Antwerp where he died young some
However, rather than being an actual port- time before 1 24. Antwerp was then a trading
5

rait (the figures are dressed in fantastic cos- port which attracted rich merchants from most
tumes), the picture is more probably intended parts of Europe, many of whom collected
as a satire on the iniquities of extortion and pictures. Patenier's small and portable land-
usury. It is one of a group of pictures of similar scapes appealed to them; perhaps also they saw
subjects by Marinus. Some of the coins in the themselves as the penitent merchants whom
picture have been identified, and they preclude Patenier included in several of the pictures
a date of execution before 1526. which he painted on the theme of St Jerome.
Lucas Cranach the Elder (1472-1 5 5 3)
Cupid complaining to Venus
81.3 X 54.6 cm
Signed with Cranach's device of a winged
dragon

The subject of the picture is derived from a

third-century bc Greek poem by Theocritus,
Idyll XIX, The Honeycomb Stealer. The poem,
lines from which Cranach has inscribed in
Latin on the painting, tells how Cupid com-
plained to Venus of being stung bv bees while
stealing honeycombs: 'While the boy Cupid
plunders honey from the beehive, the bee
fastens on his finger with piercing sting.'
Cranach, however, adds a further couplet to
the inscription, not found in Theocritus, that
reads, 'So in like manner the brief and fleeting
pleasure which we seek injures us with sad
pain.' Latin translations of Theocritus' poem,
published in Germany in the 1520s, probably
inspired Cranach; while the several versions of
the subject by him (there are others in the
Borghese Gallery, Rome, the Berlin Museum
and elsewhere) suggest that the moral content
of the theme must have appealed to Renais-
sance patrons.
Cranach, who was also an etcher and
designer of woodcuts, was a great portraitist
and is thought to have painted the first
independent full-length portraits. He spent
much of his life as Court Painter to the Electors
of Saxony at Wittenberg, and in the refined and Hans Holbein the Younger (1497/8-1543)
sophisticated circles of the court he found Christina of Denmark, Duchess of Milan
patrons for those erotic female nudes upon 179. 1 x 82.6 cm
which his fame perhaps rests. Sometimes these
represent Eve, sometimes Charity, sometimes She was the younger daughter of Christian II
The Three Graces or, as in the case of the present of Denmark and was born in 1522. At the age
picture, Venus. Here she coyly raises her leg as of eleven she was married by proxy to Fran-
she glances at the spectator; and the fact that cesco Maria Sforza, Duke of Milan, who died
she is not entirely nude, but wears a sump- two years later. This portrait, in which she
tuously fashionable hat and necklace, only wears mourning, is probably derived from a
emphasizes her eroticism still further. She is a drawing made by Holbein on 12 March 1538
'contemporary' girl, but the picture dem- when she sat to him for owers space' at
'thre
onstrates that the pleasures of love which this Brussels. Holbein was employed as Court
'contemporary' Venus can bring to the court- Painter by Henry VIII, and the portrait of
iers of Wittenberg may also be accompanied bv Christina was painted at a time when Henry
pain. In the forest background a stag and doe had plans to marry her. Christina, however,
grazing together allude further to the subject- never became England's Queen, and in fact
matter of the painting, while to the right a onlv visited the country twice (after Henry's
disconcertingly real-looking German land- death, one might add!). Nevertheless,
scape makes the girl's pretence of being the Holbein's startlingly simple image of her as a
Antique goddess Venus seem all the more sixteen- vear-old girl is better known and loved
unconvincing. than most portraits of English royalty.

63
 1

Hans Holbein the Younger (1497/8— i 545) of arithmetic, a terrestrial globe and (top shelf)
Jean de Dinteville and Georges de Selve various astronomical instruments including a
(' The Ambassadors') cylindrical sundial, which gives the date as 1
207 x 209 cm April, and a polyhedral sundial, which gives
Inscribed: ioannes/holbein pingebat/i 5 33 the time as 10.30 a.m. The ages of both sitters
are given in the portrait: that of Dinteville on
The sitters are Jean de Dinteville (1504-55), the sheath of his dagger, De Selve's on the
Seigneur de Polisy, Bailly de Troyes, who was book under his elbow. A crucifix is partly
French ambassador to England during 1533, visible in the top left-hand corner, the brooch
and his friend Georges de Selve (1 508/9-41), on Dinteville's cap is ornamented with a skull,
Bishop of Lavaur, who visited him in London and, most striking of all, the curious shape
in April /May 1533. The mosaic floor is derived across the foreground of the picture also
from that existing in Westminster Abbey.
still assumes the form of a skull when viewed from
The on the what-not are (lower shelf) a
objects the extreme right.
lute with a broken string, a case of lutes, an Various attempts have been made at explain-
open hymnbook with music, a half-open book ing the meaning of the picture. The elaborate

64
 would seem, to demonstrate that the
still-life which he wears on chain about his neck is
a
sitterswere rich, powerful, learned and accom- part of the insignia of theOrder of Our Lady of
plished. But the presence of the skulls would the Swan, and shows the Virgin holding the
suggest that this still-life is also a vanitas: that is, Child in a crescent moon with rays. The other
one which serves to indicate the transcience of badge, a fish and a falcon on a branch, indicates
human existence. The skulls and broken lute- that he was a member of the Swabian Fish and
string are reminders of death, the various Falcon jousting company.
timepieces indicative of the march of time. The portrait was once believed to be by
The theme of mortality was one which Diirer, who may have been Baldung's teacher
interested Holbein. In some of his early work, and whose style sometimes resembles his.
and in a portrait such as The Ambassadors, the
theme is all the more tellingly illustrated
because of the realism of the details.

Hans Baldung Grien (1484/5 — i 545

Portrait of a Man
59.3 x 48.9 cm
Dated: 1 5 14

The identity of the sitter in this portrait, which

was painted in 15 14, remains unknown. It
seems unlikely that he is, as has been suggested,
one of the Margraves of Baden for whom
Baldung worked from about 1 10. The man is, 5
Man by Baldung
Detail of the Portrait of a
however, a nobleman, as one of the badges showing .the badges worn by the sitter

65
Ascribed to Durer (1471- 152S the artist, now Prado, Madrid. In spite of
in the
The Painter's Father this reliable pedigree, the portrait hasbeen the
51 X 40.3 cm subject of controversy. While it is accepted as
Inscribed: 1479 Albrecht . Thvrer . der . elter . probably the oldest and best of several extant
vnd alt 70 ior
. . versions of the design, not all scholars are
agreed that it is by Durer himself. The citizens
This picture is probably the one described in of Nuremberg in 1636 almost certainly thought
1639 as follows: '(the painters father) in a black that it was, and so did Charles I; but the
antique old Hungarian fashioned black cap, in drawing of all but the head in the picture is not
a dark yellow green robe, where his hands are of a quality that might be expected from the
hidden in the wide sleeves, painted upon a greatest artist of the Northern Renaissance.
reddish all cracked board'. Albrecht Durer the Elder, who would have
That picture was presented in 1636 to been seventy when this image of him was
Charles I by the city of Nuremberg, Diirer's recorded, was a goldsmith working in Nurem-
place of birth, together with a self-portrait of berg and was also his son's first teacher.

66
Lucas van Leyden (active 1508, d. 1533) contour against the black of his cap; but most
A Managed 38 of all perhaps it is in the black and blue mantle
47.6 x 40.6 cm that line is most subtly and beautifully used.
His age, thirty-eight, is inscribed on the piece
Portraits by Lucas, who was primarily an of paper which he clutches in his hand.
engraver but also a designer of stained glass, By tradition Lucas (whose exact date of birth
are relatively rare. At Leyden he was a pupil of is unknown) is regarded, on account of some

his father (by whom no works are known), but highly competent engravings which might
in 1 5 21 he visited Antwerp and there met have been executed while he was still a boy, as
Diirer. It may have been at this time that the having been a child prodigy. A study of a series
present picture was executed, as it belongs to a of self-portraits by him would also indicate that
type which probably reflects the influence of he might have been of a delicate, even neurotic,
Diirer. temperament; his earliest biographer, Van
The
brilliant deployment of line characteris- Mander, said that he led a dilettante life,
tic of a great engraver is apparent in the worked in bed and dressed in yellow silk
portrait. The tightly closed lips are almost clothes; but he might have been confusing him
incised and the brightly lit right cheek forms a with another artist.

67
Leonardo da Vinci (145 2-1 5
19) (bottom both arms extended over the
left)
'
The Virgin of the Rocks' Child; (centre) a second child was
finally
189 X 120 cm introduced to give coherence to the pose of the
Virgin with both arms outstretched.
This strange and magical altarpiece is made
In front of a grotto the Virgin kneels protect- all the more so because, although pictures by

ing St John the Baptist with one hand and Leonardo da Vinci are rare, there exists in the
indicating the pre-eminence of the Christ Child Louvre another picture almost identical in
with the other. An angel supports the Christ design and size to it. Scholars remain divided
Child, who blesses the Baptist. St John, in on the questions of whether both are by
representing the human race, is blessed by the Leonardo and how they originated. The
Saviour and protected by the Virgin, who altarpiece was originally commissioned from
represents Mother Church. Leonardo for the church of S. Francesco
The evolution of the artist's design for the Grande in Milan in 1483, but in 1 508 it was still
picture is suggested by a sheet of drawings, unfinished. The London picture (which is
now in the Metropolitan Museum of New unfinished) was removed from S. Francesco
York. At first (top right) the Virgin was shown Grande in the eighteenth century. The history
kneeling with both hands folded gazing upon of the Louvre version can only be traced back
the Christ Child. This was a traditional concept to 1625 when it was seen at Fontainebleau, but
for a painting of the Nativity. Then (top left) generally agreed to be not only the earlier
it is

one of the Virgin's arms was extended and but also the finer of the two versions.

1 :-\
f \

Studies by Leonardo da Vinci for the f 'irgin oj the Rocks

(Metropolitan Museum, New York)

68
 -

Study by Leonardo da Vinci for The Virgi

and Child with St Anne (British Museum)

Leonardo da Vinci (1452-15 19) bottom of the sheet show that the Virgin was
Cartoon: The Virgin and Child with St Anne and originally placed cross-legged on the knees of
St John the Baptist St Anne and that Leonardo also experimented
141. 5 X 104.6 cm with the position of the Christ Child. It was
only after many corrections and changes to the
main drawing on the sheet that the final form of
The subject of the Cartoon, which Leonardo is the design was established.
known to have treated at least three times, is The Cartoon (from the Italian cartone,
a combination of two themes, particularly meaning large paper) has a haunting and
associated with fifteenth-century Florentine evocative beauty. St Anne, almost the same age
painting: the Virgin and Child with St Anne as her daughter, looks towards her with a
(the mother of the Virgin) and the Virgin and strange and secret smile. In turn the Virgin
Child with St John the Baptist. looks at the Christ Child who blesses the
In Leonardo's Cartoon the inclusion of Baptist. The particularly tender treatment of
St John suggests the earthly mission of Christ the subject, and the fact that both women are of
whose forerunner he was, while St Anne in similar age, led Sigmund Freud to relate
pointing heavenward indicates that it was by Leonardo's fondness for the theme to the
God's will that Christ was born in order to save artist's own personal life. Leonardo was
sinners. illegitimate and, it is supposed, spent the early
The evolution of Leonardo's design for the years of his life with his peasant mother, but
Cartoon, which was probably drawn in the late later was 'adopted' by his father's wife. Thus,
1490s, can be traced in a drawing now in the in a sense, he had two mothers, the Virgin and
British Museum. The small drawings on the St Anne of his pictures.

70
71
Agnolo Bronzino (1503-72) to pain. The put to who prepares to shower the
An Allegory couple with roses is Folly. The aged winged
146 x 116 cm figure, top right, is Time, and just as Venus
disarms Cupid, so too does Time (by reaching
Vasari described this picture as one 'of singular for her drapery) attempt to disarm Fraud.
beauty that was sent to King Francis I in The subject of the picture is therefore a
France, wherein was a nude Venus, with Cupid traditional one, Cupid disarmed by Venus; but
who was kissing her, and Pleasure on one side in Bronzino's painting it is not through force,
with Folly and other Loves, and on the other but rather through sweetness that Venus
side Fraud and Jealousy and other passions of achieves her victory: the pillow on which
love'. In the picture Cupid is indeed beguiled Cupid kneels may, as in other paintings,
by the kiss of his mother Venus as she seeks to signify flattery. By holding the golden apple
equip herself with his powers by robbing the awarded her by Paris, Venus reminds us of
arrow from his quiver. Jealousy tears her hair another contest in which she was also vic-
in anguish, while the head above her upon torious.
closer scrutiny is seen to be nothing more than The was probably painted some time
picture
a hollow mask and is therefore probably Fraud. in the 1 Bronzino was a Florentine, a pupil
540s.
The girl in the green dress, half animal, half of Pontormo and much influenced by Michel-
human, is Pleasure, and proffering a honey- angelo. About ten years before it was painted
comb in one hand and the sting from her tail in Michelangelo had made a cartoon for a nude
the other, reminds us of the dual aspect of her Venus kissing Cupid, and a painting after that
nature: the sweetness she brings may also lead cartoon was made by Pontormo.

72
 can be little doubt but that Venus in the Louvre
picture is earthly and intended to represent
profane love, while in the London painting she
is winged and celestial,and her son, by
discarding his bow and arrows, has renounced
sensual love in favour of learning.
X-ray photographs show that the artist
altered the positions of the heads of both
Venus and Mercury, and he may originally
have intended to show Mercury standing. The
picture's compositional relationship to a Re-
naissance Holy Family, with a standing Mer-
cury in the place of St Joseph, would then have
been more obvious than it is today.

x-ray photograph

Antonio Allegri da Correggio

(active 1 5 14, d. 1534)
Mercury instructing Cupid before Venus
155 X 91 cm

Winged Venus has brought her son Cupid to

be taught reading by Mercury. It would have
been more usual for Mercury to instruct Cupid
in the use of those weapons of love, his bow
and arrows; but Correggio's translation of the
theme into one of 'learning' would have
appealed more to the Renaissance mind.
The picture, which was probably painted
about 1520/25 for a member of the Gonzaga
family at Mantua, is in all likelihood intended
to represent more than just education. Its
possible pendant from the same collection is a
picture now in the Louvre, which shows Venus
being gazed upon lustfully by a satyr as she lies
asleep with her son Cupid. Together the two
pictures w ere probably intended to convey the
T

dual aspects of love, sacred and profane. There

Michelangelo (1475 — i 564) the dead weight of Christ, the artist would
The Entombment almost seem to be painting a sculptural group.
161. 7 x 149.9 cm The picture is in oil and seems likely to have
been painted in two stages. The two figures on
the spectator's left are much more smoothly
The painting (which is unfinished) shows the painted and accord best with the artist's earlier
body of Christ being carried to the tomb after work, while the remaining finished parts of the
the Crucifixion. The figure supporting Christ picture employ a broader technique. Com-
on the spectator's right is probably St John; the positionally the picture owes much to the
bearer on the left is St Mary Magdalen; the famous Antique marble group of the Laocoon
outlined figure, bottom right, is possibly which was discovered in Rome at a time when
intended for the Virgin. The other female Michelangelo was also working in the city. The
figure is either Mary Salome or Mary the sister writhing serpents, which in the sculpture
of Martha. It seems likely that the unpainted envelop the figures of Laocoon and his sons,
area, to right, shows the tomb with two figures are paralleled in the painting by the linen bands
preparing it. used to support the figure of Christ, and
Michelangelo, by whom only one authenti- Christ's right foot rests on the step in a manner
cated panel painting is known, the so-called similar to Laocoon's. The Laocoon was disco-
vered in January no6 and Michelangelo is
l

Doni Tondo' in the Uffizi, was also an architect

and sculptor. The present picture is accepted as known to have left Rome suddenly in April of
his work by most, though not all, scholars. In the same year. It is very likely that the earlier
his treatment of the anatomy of the figures, and parts of The Entombment were painted before
the tensions produced as they strain to support his sudden flight.

The Laocoon. Antique marble

group of the 2nd 1st century BC
(The Vatican Museum)
75
 Andrea del Sarto (1486-1 30) 5

Portrait of a young Man

72.4 x 57 cm
Signed with the artist's monogram

The identity of the sitter in this hauntingly

evocative portrait remains as elusive as the gaze
of the sitter himself. It was originally identified
at the Gallery as a self-portrait, and indeed the
pose and stare conform well with those usually
found in artists' self-portraits. But as a sup-
posed self-portrait is known which is quite
unlike the present sitter, this identification is
now disregarded. Later the picture was called a
1
Portrait of a Sculptor' and the object in his
hands was thought to be a block of stone, but
this possibility is alsonow discounted.
The design of the picture is outstanding,
with the sitter seated at an angle and almost
with his back to the spectator. The understated
colouring and diffused lighting enhance the
introspective and contemplative quality of the
sitter. This is characteristic of the painter, who,
more than any other Florentine artist in the
early sixteenth century, was influenced by the
Venetians. After the departure of Michelangelo
and Raphael for Rome in the first decade of the
sixteenth century, Andrea became (with Fra
Bartolomeo) the most important artist work-
ing in Florence.

Parmigianino (1503-40) between 1527 and 1531; but soon thereafter it

The Mystic Marriage of St Catherine was probably acquired by Cardinal Scipione
74.2 x 57.2 cm Borghese in Rome.
Parmigianino, as his name implies, came
The subject derived from The Golden Legend,
is from Parma, and his style was naturally
where it is recorded that in a vision influenced by that of Correggio, much of
St Catherine of Alexandria was mystically whose work was to be seen there. The
married to Christ. The saint is recognizable by composition of the present picture, and certain
her attribute of the spiked wheel on which she details such as the bearded head at the bottom,
was martyred. The head at the bottom left, are derived from Correggio; but Parmigianino
probably that of some saint, cannot be iden- also refers to other High Renaissance artists,
tified with certainty. including Raphael and Michelangelo; he would
The picture is possibly that which Vasari have seen their work at Rome before he was
described as painted by Parmigianino for a forced to flee the city when German troops
close friend with whom he lodged at Bologna sacked it in 15 27.

76
77
Raphael (1483-1520} Raphael (148 3-1 520)
Pope Julius II Altarpiece: Madonna and Child with the Baptist
108 X 80.7 cm and St Nicholas of Bari ('The Ansidei Madonna7 )
209.6 X 148.6 cm

This is one of the pictures bought at the time of This is an altarpiece, in exceptionally good

the foundation of the National Gallery in 8 24;

1 condition, probably painted by Raphael in
but until it was cleaned in 1970 it was thought 1505 for the chapel of the Ansidei family in the
to be no more than an old copy of a lost church of S. Fiorenzo at Perugia. It was
original. It is now recognized as Raphael's removed from the church in 1764 when it was
original portrait and it is in very good bought through Gavin Hamilton by the family
condition. It was painted in Rome in 1 5 1 1/1 2 - of the Duke of Marlborough, from whom it
the only years in which the Pope is known to was purchased by the National Gallery in 1885
have worn a beard. A drawing for the Pope's for the then unprecedented sum of £70,000.
head is at Chatsworth. The enthroned Madonna directs the atten-
The Delia Rovere Pope Julius II tion of the Christ Child to the open book on
(1433- 1 13) was the first great patron of
5 her knee. The throne is inscribed Salve Mater
Michelangelo, from whom he commissioned Christi, and the Baptist points towards the
both a tomb for himself and the ceiling of the Christ Child indicating His pre-eminence. As
Sistine Chapel. He also employed Raphael to the Ansidei family chapel was dedicated to
decorate the celebrated Stanze in the Vatican St Nicholas of Bari, he too is included in the
and Bramante to rebuild St Peter's. altarpiece.The gold balls at his feet refer to the
episode when the saint provided dowries for
the three daughters of an impoverished noble-
man by throwing a bag of gold for each
through their father's window at night.

78
Titian (active before 1 5 1 1 , d. 15 76) The right-hand- side of the
rare in Italian art.
Bacchus and Ariadne painting compositionally recognizable as a
is

175 X 190 cm Triumph, with excited revellers bearing

Signed: TICIANVS F. trophies. The animation of this part of the
picture is in contrast to the empty left-hand

Ariadne, the daughter of the King of Crete, side where Bacchus and Ariadne gaze at one
was abandoned on the island of Naxos by another against a clear background. Ariadne is
Theseus. Several classical authors describe startled and curious, Bacchus is in-
how, while wandering distractedly along the stantaneously infatuated, but as yet only the
seashore and wearing an ungirt tunic she was foremost of Bacchus' train is even aware of
surprised by the god Bacchus, who, leaping Ariadne's presence. In an instant the lovers will
from his cheetah-drawn chariot, threw her be united and the revellers' dance will cease.
crown to the heavens (thereby creating a The picture was commissioned by Duke
constellation) and instantly promised her Alfonso d'Este as one of a series of pictures of
I

marriage. In his train he brought satyrs and bacchanalian subjects intended to adorn a small
bacchantes and the drunken Silenus on an ass. room Another picture
in his castle at Fcrrara.
His followers, some girt with writhing snakes, which is known to have come from
the same
variously carried tambourines and cymbals and room is The Feast of /he Gods by Giovanni
the limbs of a slaughtered heifer. Bellini (now in Washington) which was partly
Before Titian's time the subject was relatively repainted by the young Titian. A Worship of

80
Venus and a Bacchanal of the Andrians, both the fact that more than one generation is

by Titian and now in the Prado, were also part represented.

of the same series. The Bacchus and Ariadne was The significance of the painting is related to
probably largely painted in Venice in the the cross on the altar. This was from the Scuola
summer of 1522 and dispatched to Ferrara on di San Giovanni Evangelista in Venice (it is
30 January 1523, where it was completed by still there) and contained a relic of the True

Titian in the spring of that year. Cross on which Christ was crucified. An
ancestor of the Vendramin family (also An-
drea, and the first to be ennobled) had been
Titian (active before 1 5 1 1 , d. 1576) Guardiano of the Scuola in the fourteenth
The Vendramin Family century and had received the cross as a gift on
205.7 x 301 cm behalf of the Confraternity. Shortly afterwards
when it was being carried in procession the

The two principal sitters in the portrait, which cross almost fell into a canal, but was mira-
was probably painted in the early 1 540s, are the culously suspended above the water until
brothers Gabriel (who gestures with his right Andrea Vendramin rescued it. On a later
hand towards the spectator) and Andrea occasion when Andrea Vendramin prayed to it
Vendramin. The other men are the seven sons his cargo ships were saved during a storm at
of Andrea. The family are shown on the steps sea. Titian's portrait, therefore, is a proud
of an altar and in adoration of a cross, although statement of the family's veneration for the
the more youthful sitters, who are either bored cross and as it shows more than one generation
by or unaware of the significance of the setting, in adoration of it, it suggests that the Vend-
devote their attention to a pet dog. Being an ramin family will continue to invoke its
all-male portrait-group (Andrea's six daughters protection.
are excluded from it) the picture has dynastic The composition of the painting is striking
connotations. The oldest sitter, Andrea, as well with the principal figures, the cross and the
as one of the youngest, "by glancing at the flickering candles silhouetted against the sky,
spectator, remind us of age and youth, and high above the spectator.
Titian (active before 1 5 1 1 d. 15 76)
, the marble. Titian also made other changes to
Portrait of a Lady ('La Schiavona') the composition. Originally there was a cir-
1 19.4 X 96.5 cm cular 'window' in the top right-hand corner,
but this was later painted out by the artist
The identity of the sitter in this portrait, which, himself. Titian's paint was removed in an early
on the evidence of the costume, was probably restoration of the portrait and the window area
painted about 1 5 1 1, is unknown; but as early as again inpainted by the restorer. That alteration
1 64 1 she was referred to as 'La Schiavona' - the was removed at the National Gallery in
Slav woman. She rests her left hand on a 1959/60, when a new restoration of the area
marble parapet which bears a relief profile was made.
portrait of herself. On the parapet are inscribed X-ray photographs reveal an elliptical shape
the letters t.v., probably referring to the artist in the area now
occupied by the profile relief.
'Titianus Vecellius'. On the basis of comparison with other por-
The is an afterthought, since
raised parapet traits by Titian, this shape could originally
her left painted underneath it, and
sleeve is have been intended as a dish held by an
folds in the drapery are confused with veins in attendant page.

x-ray photograph of La Schiavona I .,/ Schiavona photographed during restoration

82
83
Lorenzo Lotto (V. 1480-after 1556) inscribed:nec vlla impvdica lucretiae
A Lady as Lucre tia exemplo vivet ('after Lucretia's example let no
95.9 x 1 10.5 cm violated woman live').

The portrait is painted not without wit - both

on the part of the painter and the sitter: there is
The portrait was originally Palazzo
in the no reason to suppose that Lucrezia Pesaro was
Pesaro in Venice and the lady depicted is anything but virtuous, but she willingly allows
probably Lucrezia Valier, who married Bene- Lotto to proclaim her virtuousness in a manner
detto Pesaro in 1533. The costume would which serves only to arouse our suspicions.
indicate that it was painted either just before or Lotto was probably a Venetian by birth, but
very soon after her marriage. As she is Lucrezia worked at various centres in the north of Italy
she points to the drawing of her Roman name- and also in Rome. His style is highly original
sake, Lucretia, which she holds in her left hand. and individual. In this picture the composition,
The Roman Lucretia, a virtuous woman who with the sitter highlighted against a blank
committed suicide after being raped is a trad- background and 'leaning out' towards the
itional symbol for chastity. In Lotto's portrait, spectator, is dramatic, and of a type which is
therefore, Lucrezia Pesaro consciously asserts known to have had an influence on the young
her own virtue. The note on the table is Caravaggio.
Paolo Veronese latter towards himself, and as his
gestures
(born probably 1528, d. 1588) armour decorated with laurel, it may be that
is

The Family of Darius before Alexander he is the victorious Alexander.

236 X 474 cm An eighteenth-century account suggests that
the picture was painted (probably in the 1 5 70s)
for a member of the Pisani family of Venice in
After the Battle of Issus, Alexander the Great return for hospitality received by the artist,
and his friend Hephaestion visited the family of possibly at the Pisani villa at Este. It is further
his defeated enemy, Darius. The mother of thought that many of the principal figures in
Darius, supposing Hephaestion, who was the the picture are portraits of members of the
taller of the two, to be Alexander, offered him family.
the obeisance due to the victorious monarch. Veronese's crowded, sumptuous and
Alexander magnanimously forgave her by pageant-like canvasses suggest the splendour
saying of Hephaestion that he too was Alexan- of sixteenth-century Venice. Part of that splen-
der. In Veronese's picture it is by no means dour was the architecture of Andrea Palladio
clear which of the two principal figures is and Sansovino, and it is from a typically
Alexander. At first sight it is natural to take Venetian colonnade in the background that
him to be the more prominent figure in red figures lean to glimpse the scene taking place in
who gestures towards his companion; but the the foreground of the picture.
Paolo Veronese while Chastity, carrying a white ermine, leads a
(born probably 1 5 28, d. 1588) lady away. In the background are statues of
A series: An Allegory of Love Pan, with his pipes and a satyr - both emblems
Each canvas about 186 x 186 cm of lust. In another picture Cupid, his arrow
held aloft, leads a man towards the bed of a
The original setting of these four paintings, naked and possibly drunken woman (an empty
which probably decorated a ceiling, is not beaker is beside her bed). A third picture shows
known. They once belonged to the Holy a woman who probably represents Supreme
Roman Emperor, Rudolf II, at Prague and Pleasure, as she represented naked except for
is

later to Queen Christina of Sweden. They came pearls and is seated on silk. This woman is
to England in the 1790s. The four pictures may shown as the conqueror of both active and
be interpreted generally as allegories illustrat- contemplative man the one is dressed in
ing themes on the pleasures and pains of love. armour, while the other seems inspired by
In one picture Cupid chastises a naked man music. The final picture shows a couple, both
fully clothed and holding together an olive Gallery. Characteristically, Tintoretto's ver-
branch, symbol of peace, and crowned, by a sion is more agitated and dramatic than most
figure who is possibly Fortune, accompanied others. The saint drives his lance into the
by a cornucopia and enthroned on a sphere. dragon while the princess stumbles towards
Cupid holds a conjugal chain, and a dog, the spectator in her flight. Tintoretto received
symbol of fidelity, looks on. many commissions from the Church in his
native Venice and was himself religious. In this
painting he brings a religious significance to
the story of St George. The princess seems to
Jacopo Tintoretto (151 8-94) be saved by Divine intervention: God the
St George and the Dragon Father appears in a radiance in the sky, while
157.5 X 100.3 cm the dragon's earlier victim lies on the ground in
an attitude which suggests the crucified Christ.
The subject of St George and the Dragon, The picture may have been commissioned as a
which is half historical, half legend, was a private altarpiece, but it is not known for
popular one with painters of all periods and whom. It was possibly painted some time in the
there are several other versions in the National 1 560s.

87
Jacopo Tintoretto (15 18-94)
The Origin of the Milky Way
148 x 165 cm

Jupiter, wishing to immortalize the infant

Hercules, whose mother was the mortal Alc-
mene, fed him at the breast of the sleeping
goddess Juno. According to the legend, lilies
sprouted where Juno's milk fell to earth, and
the stars of the Milky Way appeared where the
milk spilled heavenward. This account of the
origin of the lily was given in a Byzantine
botanical textbook, Geoponica, of which Italian
translations were published in Venice in 1542
and 1549; and it is probably from that book
that Tintoretto's treatment of the theme is
derived. Juno is attended by her peacock and
Jupiter by his eagle, bearing a thunderbolt. A
putto carries a net, symbol of deceit, while The Origin of the Milky Way drawn by an unknown artist
others hold erotic symbols such as a flaming after the picture by Tintoretto. (Accademia, Venice)
torch, a bow and arrows.
The earthly lilies are not visible in the The picture, which probably belongs to the
National Gallery picture, which has been cut at 1 570s, may have been
painted for the Emperor
some time. The original appearance of the Rudolf II Prague. Mythological paintings by
in
painting is recorded in sketches by other artists Tintoretto are relatively rare; the majority of
which show that a figure representing Earth his pictures, which are often on a vast scale, are
once occupied the bottom part of the painting, of religious subjects and were mostly commis-
where lilies were also depicted. sioned either by the Church or State in Venice.

ss
Ascribed to Niccolo dell'Abate spires miraculously clings to the jagged coast-
(V.1 509/12-71) line of some weird and elegant land.
The Story of Aristaeus Xiccolo dell'Abate was born in Modena in
189 x 237.5 cm northern Italy, and in his painting of landscape
was probably influenced bv the work of Dosso
Dossi, who worked in neighbouring Ferrara.
Several episodes from the classical story of the His treatment of figures owed much to the
shepherd Aristaeus are shown taking place Mannerist style of Parmigianino, who worked
simultaneously in the picture. In the fore- in Parma. By 1552 Niccolo was painting in
ground Aristaeus is pursuing Eurydice (who is France in the service of the Crown, and it was
also depicted dead on the ground) while to the in the decoration of the chateau of the French
right he consults with his mother Cyrene. kings at Fontainebleau that he developed a
Orpheus, in the middle distance, charms the highly individual and decorative style, which
wild animals with the music from his lyre. he shared with other Italian artists also work-
The artist's treatment of the story is as ing at Fontainebleau - Francesco Primaticcio
fanciful and fantastic as the landscape in which and Giovanni Battista Rosso among them.
it takes place. In the background a cool and This school of painting is referred to as the
unreal city with palaces, temples, towers and First School of Fontainebleau.
 Annibale Carracci (1 560-1609)
e
Tbe Three Maries'
92.8 x 103 cm

the Crucifixion and the body of Christ

It is after

has been removed from the Cross. He is

mourned by the Virgin (who supports Him),
the Magdalen (towards his feet) and two other
women who are probably Mary Salome and
Mary the mother of James. The subject
therefore is not quite either of the traditional
themes of Pietd or Lamentation, which show the
Virgin alone with her dead son or with the
other Maries and St John the Evangelist. X-
radiographs and pentimenti reveal several extra
figures underneath the picture; and as they are
painted at right angles to the figures which are
visible they seem to suggest that the artist
originally intended to use the canvas for a
different upright composition.
The was probably painted about
picture
Adam Elsheimer (i 578-1610) 1604, that is, and
fairly late in the artist's career,
St Lawrence prepared for Martyrdom at a time when he had just finished, after some

16.J x 20.6 cm seven years' work, his masterpiece: the fres-

coed decoration of the Gallery of the Farnese
Elsheimer was a German artist whose minutely Palace, Rome. Annibale had settled in Rome in
painted small pictures on copper were to prove 1595, having moved there from Bologna,
enormously influential for later seventeenth- where, with other members of his family, he
century painters. By 1600 he had settled in had established a famous teaching Academy in
Rome and it was almost certainly after that date the 1 5 80s. The teaching in that Academy was
that this" picture was painted: the building in based largely on a revaluation of the ideals of
the background is based on the ruins of the the High Renaissance, but Annibale was also
Temple of Vespasian in the Roman Forum and particularly influenced by the work of Correg-
the statue of Hercules is vaguely derived from gio, which he would have seen in neighbouring
the Farnese Hercules then recently discovered in Parma. Bellori, an early biographer of An-
Rome. nibale, wrote: 'One cannot insist enough on the
St Lawrence was martyred by being roasted extent to which Annibale penetrated and took
on a gridiron for refusing to reveal the possession of Correggio's style - of his com-
supposed treasures of the Church, but in this position and of the expression of his figures'.
picture Elsheimer seems to imply that the saint The present picture indeed owes much in
was martyred for refusing to worship pagan composition to a painting by Correggio, still at
idols. Parma.
Although the painting is not mentioned in
any of the early literature on Annibale, it has
been one of the most famous of the artist's
works since the eighteenth century. The design
was used early in the eighteenth century for a
Gobelins tapestry; Diderot referred to it as 'une
des plus sublimes compositions du Carrache';
and at the Manchester Exhibition of 1857 (the
most gigantic art exhibition ever) the picture
was the most popular of all the paintings
exhibited.

90
x-ray photograph of The Three Maries
by Annibale Carracci
 )

DOMENICHINO (i ^ 8 I- 164 I becomes more remote it becomes lighter, and

Landscape with Tobias laying hold of the Fish the sky settles on the horizon with a pink glow.
45 X 33.9 cm As a young man, Domenichino trained in
the Bolognese Academy of the Carracci family
Tobias, having been attacked by a great fish and came to Rome in 1602 to work with
while bathing in the River Tigris, was in- Annibale Carracci on the decoration of the
structed by his companion, the Archangel Farnese Palace. Most of his more important
Raphael, to catch the fish and gut it. Tobias commissions were for altarpieces and the
later used the fish's gall to cure the blindness of frescoed decoration of churches, mainly in
his father Tobit. Rome and Naples; but perhaps his most
In the very foreground of the painting, and important contribution as a painter was his
framed by tall trees, the Archangel and Tobias development of the type of classical landscape
enact their story; but the real subject of the as seen in the present picture. Annibale too
picture is the beautiful landscape which recedes painted such landscapes, and the work of both
behind them. Splashes of white in the river lead artists influenced, later in the seventeenth
the eye through the middle distance towards century, the greatest of all classical landscape
the far hill-top towns. As the landscape painters, Claude Lorraine.

92
Michelangelo Merisi da Caravaggio extremely naturalistic, and on looking at the
(1571-1610) picture the spectator becomes involved in the
The Supper at Emmaus moment of recognition in a way that the artist
141 X 196 cm intended he should be. The dramatic lighting
draws our attention: the table, painted close-to,
The story of the Supper at Emmaus is told only puts the scene in focus, and the blank back-
in St Luke's Gospel. After the Resurrection two ground does not lead the eye away from the
of the disciples, Cleophas and another, un- figures. Such details as the torn sleeve of
named, were overtaken on the road to Emmaus Cleophas, the outstretched arm of the other
by a stranger who walked with them until disciple and the basket of fruit about to topple
evening. Upon reaching an inn, the disciples from the table make the picture-space an
invited the stranger to sup with them, and extension of the space in which the spectator is
when at supper He took bread, .blessed it, standing. Symbolism plays its part. The bread
broke it and gave it to them (as at the Last and wine suggest the Eucharist, the pome-
Supper) they recognized Him as their Master. granate is a symbol of Resurrection, and the
The Subject was a traditional one in art and piercing light may be the light of salvation.
many versions of it are known from the late The scallop shell is the emblem of the pilgrim,
fifteenth century onwards. In comparison, with for traditionally the disciples at Emmaus were
earlier treatments of the theme Caravaggio's depicted as pilgrims.
picture is revolutionary, and it influenced (as The picture is a youthful work by the artist
most of his pictures did) an enormous number and was possibly painted about 1602 in Rome.
of artists later in the seventeenth century. The It is the earlier of two versions of the subject by
scene portrayed is dramatic, immediate and him.

93
Philippe de Champaigne (1602-74)
Cardinal Richelieu
259.7 X 177.8 cm
Inscribed: P. de Champaigne

There are several versions of this portrait of

Cardinal Richelieu, who was Chief Minister of
France under Louis XIII and who died in 1642.
These portraits would have been painted as
gifts and were based on a standard image of
Richelieu which he approved in 1640.

Nicolas Poussin (1594?- 1665)

Landscape with a Man killed by a Snake
1 19.4 X 198.8 cm

Poussin's landscapes, in contrast to those of

Claude, his great French contemporary in
Rome, have an almost two-dimensional qual-
ity. All the elements of the composition are

subordinated to an overall surface pattern. The

forms of the architecture assume geometric
proportions an effect which is enhanced when
buildings are reflected in water. This picture,
probably painted in 1648, may show the plain
and town of Fondi, between Rome and Naples,
which Poussin is known to have seen. The
plain of Fondi was notorious for the snakes also be intended to express the various states of
which infested it, and the scene in the painting fear: the running man
is more frightened than

may have been inspired by an incident which the woman, who turn is more frightened
in
the painter witnessed. Poussin's picture may than the fisherman in the boat.
Claude (1600-82) There is a similar picture to this in the Doria-

Seaport: The Embarkation of the Queen of Sheba Pamphilj collection in Rome, and the picture is
148.6 x 193.7 cm also recorded in the Liber Veritatis. The
me
Signed: Claude Gi. i.r. facit. por. son. a/tesse. drawing is inscribed quadro faict per lexellent
ledrc. de. Bvillon a Romae. 1648 Sig principe panfil, but, nevertheless, it is clear
that it is the National Gallery composition
Throughout his life Claude was attracted bv which is the one recorded.
the subject of seaport scenes. Another picture
in the National Gallery shows the embarkation
of St Ursula; but in the present picture it is the
Queen of Sheba who embarks for the court of
King Solomon. By placing the sun low in the
distant sky, Claude was able to paint the effects
of light falling on water, architecture and ship's
rigging. The buildings to right and left and in
the middle distance perform the same function
in the composition as do the trees in Claude's
views of the Roman Campagna (see p. 96): that
is, they lead the eye into the picture towards the

horizon.
Claude's pictures became very popular
during his lifetime and from about 163 he <;

recorded them in drawings which he retained

as a precaution against forgeries or copies.
Collected together in a book called the Liber The Embarkation of the Queen of Sheba. Drawing by
Veritatis, they are now in the British Museum. Claude from the Tiber Veritatis. (British Museum)

95
Claude (1600-82) The real subject of the picture is the
The Marriage of Isaac and Rebekah (' The Mill') beautiful landscape. Claude was a French
149 X 196 cm painter who went to Italy at about the age of
Signed: CLVDIO G.L. . thirteen and spent almost all his life in Rome.
I.N.V. ROMAE 1648/F Influenced by such artists as Elsheimer and
Paul Brill, he created a type of poetic classical
landscape in paint which was to influence
landscape painters throughout Europe for over
The artist has inscribed a title for the picture in two centuries. Such pictures were inspired by
French on the tree stump in the centre. It reads: the Roman Campagna and by the remains of
mari (age) disac avec rebeca. Abraham, the classical ruins which the artist could have seen
father of Isaac, sent his servant Eleizer to find a there. A sense of tremendous distance is
suitable bride for his son. When Rebekah gave created by the placing of trees or buildings in
Eleizer and his camels water from a well (the diminishing scale on either side of the com-
scene most usually depicted by artists) he position, and some feature (such as the mill in
brought her back to Canaan as Isaac's bride. the present picture) is used to set the middle
Claude's picture shows figures dancing and distance. The view is unified by the use of
celebrating in a beautiful landscape, but which colour with a dark brown/green foreground, a
of the figures is Isaac or Rebekah is as light green middle distance and a pale blue
irrelevant as is the title itself. horizon which blends into the sky.
Nicolas Poussin (? 15 94- 1665) closer scrutiny the figures seem almost frozen
The Adoration of the Golden Calf in movement. The same is apparent in
effect
154 x 214 cm another Poussin in the National Gallery, the
Bacchanalian Revel before a Term of Pan (page
Moses, when leading the Israelites out of 203), where indeed many of the dancers adopt
Egypt into Canaan, ascended Mount Sinai and the same poses.
received from God the Tablets of the Law. Poussin was born in Normandy and spent
Upon returning and discovering the Israelites his early years in Paris, but settled in Rome
worshipping an idol, the Golden Calf which when he was thirty, returning to France on
Aaron had fashioned for them out of golden only one occasion for about eighteen months in
ornaments, Moses cast the stone tablets to the 1 641/2. In contrast to the Baroque style of most

ground and broke them. The picture, with its contemporary painters working in Rome,
pendant, The Crossing of the Red Sea (now in Poussin's paintings are noticeably classical, and
Melbourne), was painted, probably about are influenced by both Raphael and the Anti-
163 5 /-j, for Amadeo dal Pozzo, a cousin of one que. In the present picture the group of the
of the artist's most famous patrons, Cassiano mother with her children is a Raphaelesque
dal Pozzo. Charity, and the frieze of figures is not unlike
All the people in the picture are shown in that on an Antique sarcophagus. In his earlier
action, the dancing figures forming a frieze in paintings Poussin had been influenced by
front of the statue and the other groups all Venetian colour, but the influences apparent in
gesturing towards it. In spite of this, however, the present picture became more important to
the picture has a very static quality, and upon him from the 1630s onwards.

97
 Peter Paul Rubens (i 577-1640)
Minerva protects Pax from Mars
203 x 298 cm

Helmeted Minerva rebuffs Mars, God of War,

while a nude female figure representing Pax
(Peace) feeds with milk from her breast a child
who is Plutus, God of Wealth. Youthful
Hymen, God of Marriage, bearing a torch,
crowns a young girl. A satyr offers fruits from a
& f»Y cornucopia and a female figure brings in
objects of luxury. A pittto in the sky brings
an olive wreath and a caduceus, symbols of
Peace and Concord. The picture is therefore
conventionally allegorical. It represents the
benefits of peace. Wealth grows, marriage
flourishes, while Plenty and Luxury are also in
evidence.
But Rubens intended a more specific mean-
ing than that. In June 1629 he came to England
as the envoy of Philip IV of Spain. Throughout
Drawing by Rubens for the figure of Hymen
(Albertina, Vienna) his career he acted as diplomat as well as being
a painter. His mission was to negotiate a peace
treaty between England and Spain, and in this
he was ultimately successful. He was later
knighted by Charles I and left England in May
1632. It was during his stay in England and
while the negotiations for peace were proceed-
ing that he painted this picture which he made in silver for Charles I by Theodore
presented to Charles I. It is fitting, therefore, Rogiers. The dish can no longer be traced, but
that the benefits of Peace are shown as only an etching of it, and the ewer which accom-
being possible if Mars is successfully repulsed. panied it (and for which Rubens also made a
When in London Rubens lodged with one of design), was published in the seventeenth
Charles I's courtiers, Sir Balthasar Gerbier. century.
The boy Hymen, and two of the girls which he The National Gallery's design, painted in
protects in Rubens's picture, are portraits of grisaille to suggest the medium in which it
three of Gerbier's children, based on drawings. would be executed, was probably painted in the
early 1630s; on several occasions Rubens
provided designs for sculptors in wood, stone
and ivory as well as for silversmiths.

Peter Paul Rubens (15 77-1640)

The Birth of Venus
61 x 78.1 cm

Venus, wringing the sea-foam from her hair

with her right hand, steps ashore on the island
of Cythera (or Cyprus). She is assisted by the
Three Graces and crowned by Cupid and
Persuasion while Desire, riding on a Triton,
follows in her wake. In the outer border are
(above) Neptune, God of the Sea, and Amphi-
trite and (below) Cupid and Psvche. The
Etching by Jacob Neefs of a silver basin and ewer, the
picture is probably a design by Rubens for the design for which was supplied by Rubens. (Teylers
decoration of a dish which was subsequently Museum, Haarlem)

99
Peter Paul Rubens (15 77-1 640) Now in his last years he lived in semi-retirement
The Chateau de Steen at Steen, and it is not impossible that the
1 3 1.8 x 229.9 cm sportsman with the gun in the foreground is
intended to be a self-portrait.
Five years before his death in 1640 age of
at the
sixty-three, Rubens bought Chateau de
the
Steen, and this view of the castle and surround-
ing landscape was probably painted soon
afterwards. The castle remains largely un- Peter Paul Rubens (1 577-1640)
altered today. Rubens's view is due north, the Susanna Tunden ? ('Le Chapeau de PaiHe')
town on the horizon is probably Antwerp and, 79 X 54/54-6 cm
from the position of the sun, it is clear that it is

early morning. The flowering plants in the Ever since Reynolds saw this portrait in
hedgerow in the foreground indicate that it is Antwerp in 1781, when he described it as [The
autumn. Chapeau de Paille\ the picture has been thus
The picture is a mass of detail with the affectionately, but quite inaccurately, known.
minutiae of country life flowers, birds and The wearing a felt hat similar to
sitter is in fact
trees - lovingly and carefully portrayed. Black- others worn by both men and women in the
berry brambles, partridges, kingfishers, magpies Netherlands in the early 1620s.
are all recognizable, and from the castle a She is most probably Susanna Fourment
cart, laden with farm products, sets off to (1 599-1643), the third daughter of an Antwerp
market. The picture, probably more than any silk and tapestry merchant. She was widowed
other landscape which Rubens painted, is a at an early age and re-married in 1622, when
joyful celebration of country life and the her husband was Arnold Lunden. Her young-
freedom which it offers, and it is as such that he est sister, Helena, married Rubens (as his
probably saw it himself. second wife) in 1630.
Rubens, diplomat as well as painter, had led It was not unusual for people to have
an enormously active life and had travelled betrothal portraits painted, and Susanna
continuously between the courts of Europe. Lunden's age and costume would seem to
suggest that the picture was painted at the time appeal and popularity. With her red dress
of her second marriage in 1622: the ring she dramatically juxtaposed against the wind-
wears on the first finger of her right hand is buffeted blue sky, Susanna Fourment shyly
almost certainly a wedding ring. Rubens was a contemplates the spectator; and knowing her
friend of the Fourment family and very pro- circumstances, about to embark on a second
bably the affection with which the portrait was marriage, one sees in her glance a sense of joy
obviously painted accounts for its tremendous and hope.
Jacob Jordaens (1593 1678) The portrait may also be a marriage picture,
? Govaert van Surpele and bis wife but asGovaert van Surpele was married twice,
23.4 X 188.9 cm in 16 14 to Catharina Cools (d. 1629) and in 1636
to Catharina Coninckx (d. 1639), it cannot be
stated with certainty which of his two wives is
The armorial bearings in the picture identify the included in the portrait, although the style of the
male sitter as a member of the Van Surpele picture and the age of the sitter would indicate
family of Diest. It seems most likely that he is that it was painted some time in the 1630s.
Govaert van Surpele (1 593-1674) who held Jordaens worked in Antwerp, and was an
several important government positions. The assistant of Rubens. Van Dyck was the most
portrait was probably commissioned to com- fashionable portraitist in Antwerp after his
memorate his appointment to some particular return from Italy in about 1627, but in this
office, the emblem of which is the staff he holds portrait of a middle-aged couple Jordaens
in his right hand. As the sitter also wears a competes with him successfully and achieves
sword and sash it seems probable that the office something of the grandeur and assurance that
was military rather than civil. one associates with the younger artist.
Anthony van Dyck (i 599-1641)
The Abbot Scaglia adoring the Virgin and Child
106.7 x I2 ° cm

Representing the House of Savoy, the Abbot

Scaglia played an active part in promoting peace
between England and Spain in the 1620s.
Subsequently, because of his anti-French sym-
pathies, he fell out of favour with the Duke of
Savoy and from 1632 he lived in retirement at
Brussels. It was probably soon thereafter that
this picture was painted; and as the Virgin in the
painting bears a strong resemblance to the
Duchess of Savoy, the picture may have been
commissioned by Scaglia as part of the efforts
which he is known to have made to establish
better relations between himself and the family.
The composition of the painting is based on a
lost picture by Titian which Van Dyck saw in
Italy in the 1620s and recorded in his Italian The Virgin and Child with a donor by Van Dyck after Titian.
sketchbook (now in the British Museum). (British Museum)
 Diego Velazquez (i 599-1660)
Philip IV of Spain in Brown and Silver
195 x 1 10 cm
Signed, on the paper in his right hand: Senor.
Diego Velasqu^. Vint or de V. Mg.

Philip IV (1605-65) was King of Spain from

162 1 and appointed Velazquez as his Court
Painter in 1623. Between 163 1 and 1635
Velazquez painted several portraits of the
King, of which this is one. As it is signed (and
only a few of the painter's pictures are) it would
seem that Velazquez considered it to be
particularly important. The signature is in the
form of a petition to the King from the painter.

Anthony van Dyck (1 599-1641)

Equestrian Portrait of Charles I
367 x 292 cm

The is one of two equestrian portraits

portrait
in National Gallery (the other is by
the
Rembrandt) and one of two such portraits of
Charles I by Van Dyck: the other is at Windsor.
Charles I became King of Great Britain and
Ireland in 1625. His rule led to civil war and to
his own execution.
The King, who
is identified by a tablet
hanging on the tree behind him which reads
CAROLVS REX MAGNAE BRITANIAE, IS shown in
armour similar to that made in the royal
workshops at Greenwich between 16 10 and
1620. The decoration hanging on the gold
chain about his neck is the Lesser George. An
equerry to the right holds his helmet. The
breed of the King's horse has been the subject
of inconclusive speculation. It is thought to be
a 'great horse', but the possibility of its being
Flemish or Spanish has also been suggested. A
drawing in the British Museum for the horse
has an anonymous rider sketched in.
Charles I was possibly the greatest art patron
of all English monarchs. He assembled a noted

collection of paintings which was dispersed by

Study by Van Dyck for Equestrian Portrait oj Charles I

(British Museum)
 He patronized Rubens, and
sale after his death. form an elegant and exquisite record of that
his appointment of the Flemish Van Dyck as doomed court, and British portrait painters of
his Court Painter in 1632 had almost immeasur- later generations sought and found inspiration
able consequences for British painting. Van in Van Dyck when commissioned to paint later
Dyck's portraits of the King and his courtiers monarchs and their courtiers.

105
El Greco (1541-1614) allude to the theme of the
Sacrifice of Isaac,
Christ driving the Traders from the Temple picture: The Expulsion refers to the unre-
106.3 x I2 9-7 cm deemed, while The Sacrifice of Isaac was an Old
Testament prototype of the Crucifixion and
therefore here stands for the Redemption.
El Greco painted the subject of Christ driving the El Greco ('the Greek') was born in Crete,
Traders from the Temple several times. For him and some years working in Venice and
after
and his contemporaries Christ's act of purific- Rome had settled at Toledo in Spain by 1577.
ation probably symbolized the Counter- He was much influenced by contemporary
Reformation movement to purge the Church Italian painters; several of the poses in the
of heresy. On the right-hand side of the picture present picture derive from Michelangelo,
are the redeemed, while to the left are the Raphael, Titian and Tintoretto. But his style
unredeemed traders, almost as in a Last was highly individual, both in colouring and in
judgment. The dramatic figure of Christ in the his intense, indeed ecstatic, treatment of
centre is emphasized by the open arch behind mystical subjects. The National Gallery's
Ilim, and the reliefs in the background, which Christ driving the 'Traders from the Temple was
show The Expulsion from Paradise and The probably painted about 1600.

106
Francisco de Zurbaran (i 598-1664) Prefect of Antioch and was thereupon thrown
St Margaret into a dungeon, where she was devoured by
163 X 105 cm Satan in the form of a dragon. As she was
subsequently delivered when the dragon burst
The Saint is here represented, in striking open, she became the patron saint of pregnant
contemporary costume, as a shepherdess, and women, and as such enjoyed a certain pop-
the picture may well be a portrait, not of a ularity. This picture was probably painted in
shepherdess, but of a lady of fashion disguising the early 1630s, soon after Zurbaran, who was
herself as one. Declaring herself a Christian popular as a painter of religious pictures,
virgin, St Margaret refused to marry the settled in Seville.

107
Diego Velazquez (i 599-1660) Venetian painters of the sixteenth century.
The Toilet of Venus {'The Rokeby Venus') Those painters, in particular Titian, had
122 X 177 cm popularized such themes as a nude, reclining
Venus, and Venus at a mirror attended by
Cupid, and there were at least two such
This is the artist's only surviving painting of a paintings by Titian in the Royal Palace,
female nude, a subject which is extremely rare Madrid. In his painting Velazquez combines
in Spanish seventeenth-century painting (al- both themes, but makes of the picture some-
though Velazquez is known to have painted at thing peculiarly his own. His nude Venus has a
least four). The Rokehy Venus is first recorded in very different kind of beauty from that of the
165 1 when it hung, in a black frame, in the Venetian nudes of Titian.
Madrid palace of the Marques del Carpio, the The mirror in the picture is given special
son of Philip IV's First Minister. The picture prominence and recalls for us the use of the
came to England in 18 13 and was sold soon mirror in another famous Velazquez, Las
afterwards to John Morritt of Rokeby Park in Meninas. In that picture the mirror reflects
Yorkshire, from which it takes its name. images of Philip IV and his Queen present in
The picture may have been painted either the painter's studio. In the Rokeby Venus the
shortly before, or during, Velazquez's second 'reflection' is unreal: held at such an angle the
visit to Italy in 1649/5 1. Earlier, in 1629/31, he mirror would not reflect the face of Venus, and
had also visited Italy, where he spent some time even if it did, it would show more than her
in Venice copying and studying the great head.
Bartolome Esteban Murillo (1617-82) Murillo was accepted in 1665 as a member of
Christ healing the Paralytic at the Pool of Bethesda the Confraternity which owned the hospital of
237 X 261 cm La Caridad ('Charity') in Seville. Between 1667
and 1670 he painted a series of pictures for
the church attached to it. This is one of
The subject is taken from St John's Gospel, them, illustrating Works of Mercy from the
where recorded that those suffering from
it is Bible. The pictures, which were already
diseases would come to a pool (with five famous in the artist's lifetime, remained the
arches) in Jerusalem, called Bethesda. At a most famous works of art in Seville until they
certain season an angel would descend into the were partially dispersed by Napoleon's com-
pool and whoever stepped in thereafter would mander in the Peninsula in 18 10.
be miraculously cured. In Murillo's picture a Murillo was born in Seville where he
paralysed man appeals to Jesus that he has no worked throughout his life. He only oc-
one to immerse him and Jesus replies, 'Rise, casionally visited Madrid, where he came
take up thy bed and walk' and the man is at that under the influence of Velazquez and also of
moment cured. The pool, with its classical the paintings of Van Dyck and Rubens in the
arcade, appears in the background. Royal Collection.
Rembrandt (1606-69) Rembrandt are in the National Gallery). As the
Jacob Trip Trips had at least twelve childrenprobable
it is

1 30.5 x 97.2 cm that these numerous portraits were painted for

Signed: Rewbr. their family. This portrait was probably pain-
ted in the last months of Jacob Trip's life, and
Jacob Trip (1575 661) was a successful
1 possibly when he was on a visit to his son in
merchant from Dordrecht whose businesses Amsterdam where Rembrandt worked.
included the manufacture of armaments. There The picture is a fine and characteristic late
are at least six other known portraits of him portrait by the artist; and it has many of the
and many portraits of his wife (two by qualities which now make the artist's portraits
so popular: colouring inspired by the Ven- used the precious vessels stolen from the
etians, rich use of paint and above all a Temple Jerusalem, Belshazzar is astounded
at
compassionate treatment of the sitter. From by the hand of God writing on the wall. As
the 1640s Rembrandt's practice declined (he neither the King nor his sages could interpret
was once immensely successful) and in 1656 he the writing (for it is in a sort of code) the
was declared bankrupt. Knowing the troubled prophet Daniel was called upon to explain it to
circumstances of the artist's own life, this the King.
portrait of the eighty-six-year-old Jacob Trip Rembrandt's form of the words, which in
seems all the more moving. other paintings of the subject were either
omitted or inscribed in Latin, probably in-
dicates that the picture was painted for a
Jewish patron. The formula employed by
Rembrandt (1606-69) Rembrandt was probably suggested by a
Belsha^ar's Feast friend, Menassah Ben Israel; he published a
167.6 x 209.2 cm book in Amsterdam in 1639 in which he argued
Signed: Rembrand.f 163Q) that the writing on the wall was written, as
here, in Hebrew from top to bottom and from
The subject is taken from the Old Testament right to left - a suggestion which was rejected
Book of Daniel. The Hebrew writing on the by both Catholic and Protestant theologians.
wall, to be read vertically from right to left, The final digit of the dated signature is
foretells with the words Mem, Mem Tekel missing, but the picture is likely to have been
Upharsin, the downfall of Belshazzar and the painted after 1635, although not necessarily as
kingdom of Babylon. At a banquet for his late as 1639, the date of publication of Ben
princes, wives and concubines, at which he Israel's book.
 Woman bathing in a Stream by Rembrandt

Rembrandt (1606-69) paintings executed in the 1650s: she is for

Hendrichje Stoffels example almost certainly the Woman bathing in a
101.9 x 83.8 cm Stream, also in the National Gallery, and there
Signed: Rembrandt, f. 16 (?/) 9 are other portraits of her in Berlin, Bonn and
the Louvre. A picture in the National Gallery
The sitter, Hendrickje Stoffels, was born about of Scotland of a woman in bed is also generally
1625 and from about 1649 was the artist's supposed to represent Hendrickje.
mistress (Rembrandt's wife, Saskia, had died in Rembrandt, who was born in Leyden, set
1642). In July 1652 Hendrickje was summoned himself up in Amsterdam, probably in early
before the council of the Reformed Church 1632. By then he was already known and
and admonished for living in sin with Rem- during the 1630s became enormously success-
brandt. Later that year she bore him a ful. After the death of his wife Saskia his
daughter, Cornelia. The reason why Rem- business declined and, although he still re-
brandt never married Hendrickje is assumed to ceived a number of commissions, he was
be because, by the terms of Saskia's will, he eventually declared bankrupt in 1656. From
would have had to give up half his estate on re- 1660 onwards Hendrickje, together with his
marriage. Hendrickje predeceased the artist by son Titus, 'employed' the artist, thus protect-
six years. ing him from his creditors. Later in life he
Although there is no documented portrait of received fewer portrait commissions and
Hendrickje by Rembrandt, she is generally turned more often to biblical subjects and
supposed to be the model in several of his landscapes.
Rembrandt Saskia van Ulenborch (detail). See page 114
 3 j

Rembrandt (1606-69) affinities with Rembrandt's other paintings of

Sasha van Ulenborch this time.
123.5 x 97.5 cm The picture has often been called Saskia as
Traces of a false signature: Rem ( ..) a ( .) 163 Flora - the Roman goddess of Spring and
Flowers whom Titian characterized in a
famous picture of a beautiful young girl
Saskia van Ulenborch (1612-42) married Rem- holding a bouquet of flowers. It seems more
brandt in 1634. She was the daughter of a likely, however, that Rembrandt was only
wealthy burgomaster of Leeuwarden and her depicting his young wife in a type of fanciful
cousin was an art-dealer in Amsterdam with Arcadian costume and as a shepherdess - she
whom Rembrandt lodged from 1632 probably holds a shepherdess's staff. There are numerous
until his marriage. Saskia brought the painter a Dutch portraits of the period of men and
large dowry, and bore him four children; but at women as shepherds and shepherdesses; and it
her death at the age of thirty in 1642 only one is probable that the twcnty-nine-year-old
son, Titus, survived. Rembrandt, recently married and recently
The picture may have been at some time settled in Amsterdam, where such pictures
slightly reduced in size. The signature seems to became popular in the early 1630s, was here
be false, but it may well have been copied from following a contemporary fashion. Whether
one on the part of the picture which was she is Flora, a shepherdess, or just Saskia, the
removed. The date in the signature seems picture has a joyfulness and delicate beauty
about right, as it accords well with the age ot unique among the portraits by Rembrandt in

the sitter. The portrait also has stylistic the National Gallery.

See colour plate page 1

1

114
Hendrick ter Brugghen (?i 5 88-1629)
A Md n playing a Lute
100.5 X 78.- cm
Signed: H T Brugghen . fecit . 1624 (HTB in
monogram)

Ter Brugghen was one of several Dutch

painterswho went to Rome in the early years of
the seventeenth century and was there in-
fluenced by the lighting etfects and in his choice
of subject-matter bv Caravaggio (d. 1610) and
his Roman followers. He returned to
Utrecht
about 161 5. From about 1620 he
painted
several pictures of single musicians in fancy
dress. These figures, painted against a blank
background, often make a direct appeal to the
spectator, and the attractiveness of the pictures
is enhanced by the exceptional beauty of the

painting and the clarity of the colouring.

Gabriel Metsu (1629-67)

A Man and Woman beside a I Irginal
38.4 52.2 cm
Signed: G. Metsit

As in many Dutch seventeenth-century genre

pictures the scene here is one of courtship, to

which music is a traditional and obvious

accompaniment. It is perhaps with irony that
the virginal (which appears also in other
paintings bv the artist) is inscribed with verses
from the Psalms: 'In thee Lord do I put my
trust, let me never be ashamed.' The picture
on the back wall (left) is a known painting bv
Metsu now in the Alte Pinakothek, Munich)
and shows the Twelfth Xight Feast. The
boisterous nature of the feast is no doubt
intended to contrast with the dignified ex-
change between the couple in the foreground.
Aelbert Cuyp (1620-91) and detail is diffused into yellow shadowy
A Hilly Riper 'Landscape forms.
135.2 x 200 cm Cuyp was born in Dordrecht, where he
Signed: A: cuyp passed all his life, and possibly only rarely left
the city. Yet it is hard to believe that his
intensely poetic vision of landscape could have
been inspired by that of his native Holland. He
A mounted horseman in a brilliant red coat has never went to Italy, but his pictures share the
stopped to ask the way of a shepherdess same mood as those by Claude Lorraine which
tending her sheep. Like the birds wheeling were inspired by the Roman Campagna. Other
their way across the sky to roost, he too seems Dutch painters of his time did travel to
to be towards the end of his travels, while cattle Italy and returned, mainly to Utrecht, bringing
and sheep also lie down to rest. with them an Italianate style in painting. It was
The picture is painted from a low viewpoint they, in particular Jan Both, who influenced
which emphasizes the contours of the fore- Cuyp; but he surpassed all of them in his
ground details of dogs, cattle - even weeds and mastery of light.
grasses. The light, strong only in the very Of all Dutch landscape painters Cuyp has
foreground where it highlights the foliage, always been the most popular with British
permeates the landscape and imbues it with a collectors, and like Claude, who was also much
warm evening glow. A darkly coloured fore- collected, his paintings had enormous influence
ground becomes light as it reaches the horizon on later British landscape painters.
Meyndert Hobbema (163 8-i 709) The picture is a masterpiece of breathtaking
The Avenue, Middelharnis simplicity. The severely foreshortened avenue
103.5 x 141 cm directs the attention of the spectator to the
Signed: M: hobbema f 1689 distant view of the small village protruding
above the flat horizon. From the distance
figures walk towards the spectator along the
avenue, thereby emphasizing its indefinite
distance, while spindly trees sway against a
Middelharnis is a village on the north coast of cold and cloudy sky.
the island of Over Flakee in the mouth of the Hobbema was a pupil in Amsterdam of
Maas in the province of South Holland. Jacob van Ruisdael - perhaps the greatest of all
Hobbema's picture was painted in 1689, Dutch landscape painters. Some of his pictures
twenty-five years after the trees along the approximate very strongly to those of his
avenue were planted. The view is still recogniz- teacher; but in a picture such as The Avenue,
able, although the trees are gone and the Middelharnis, one of the last great Dutch
church of Middelharnis, to the left of the landscapes, Ruisdael's more romantic, stormy
avenue, has lost its bulbous spire. nature gives way to peaceful understatement.

l
7
Philips Koninck (1619-88)
An Extensive Landscape with a Road by a Ruin
137.4 x 167.7 cm
Signed: P. Koninck 16 jj

According to a seventeenth-century biog-

rapher, Philips Koninck was a pupil of Rem-
brandt in Amsterdam; but this is now thought
to be unlikely. He was the son of a wealthy
goldsmith, and himself the well-to-do owner
of a shipping and hostelry business. In his life-
time he was known as a painter of portraits
and genre and history pictures; but today he is
best remembered for his panoramic views of
the flat Dutch countryside. In these, which are
generally painted from a high viewpoint, heavy
clouds seem to move across the landscape
allowing light through here and creating
shadows there.

118
Jan van Goyen (i 596-1656)
River Scene with Shipping
49.2 x 68.9 cm

Jan van Goyen, who worked from 1632 at The

Hague, was the most important Dutch land-
scape painter of the first half of the seventeenth
century. Many of his pictures are painted in
near monochrome, and he concentrated more
on achieving atmospheric effects than on
topographical delineation. Most of his works
contain water, but the chief glory of many of
them is the superb skies, which, as he employed
a low horizon, generally occupy about two-
thirds of the picture's space. As in the present
picture, the sky is often pierced by the
protruding forms of ships' sails or windmills,
and the tonal effect is set off by dark fore-
ground figures.

119
Pieter de Hoogh ( 629 after 1684?)
1 the early 1660s, that he painted his best work.
The Courtyard of a House in Delft A contemporary in Delft was Vermeer, and
73.5 x 60 cm their work has much in common: both were
Signed: P.D.H. AN° i6j8 fascinated by the effects of falling light, and
both painted scenes in which a doorway leads
'into' the picture towards a bright background.
De Hoogh worked in Delft in the 1650s and it This picture is one of the earliest dated works
was there, before his move to Amsterdam in by the artist.
Jacob van Ruisdael (c. 1628-82) but nevertheless one which the artist repeated
A Landscape with a ruined Castle and a Church in at least four other pictures, one of which is

109.2 x 146. 1 cm also in the National Gallery. The picture is

Signed: JvRuisdael (JvR in monogram) typical of the painter's work, being a

late
panoramic view across a vast expanse of flat
Jacob van Ruisdael was the greatest of all landscape. Here it is early morning and the
Dutch landscape painters. He had many imit- d*y's first light breaks through the clouds and
ators, and among his pupils was Hobbema, steals across the landscape. This treatment of
whose masterpiece, The Avenue, Midde/harnis, is light gives the pictureromantic quality,
a
in the National Gallery. Ruisdael was born in which was to appear in other of Ruisdael's
Haarlem, the centre of school of landscape
a paintings featuring waterfalls and pine trees.
painters in the early seventeenth century, and These latter pictures were inspired by the
the artist's earliest pictures show the neigh- landscapes of Allart van Everdingen, who had
bourhood of his birthplace. In 1657 he moved visited Scandinavia.
to Amsterdam, where he lived until his death. On occasion, other artists painted the figures
In his last years he was less active as a painter in Ruisdael's landscapes, and those in the left,
and possibly practised as a surgeon he is foreground of this painting, as well as the
presumed to have taken a medical degree at animals, are by Adriaen van de Velde, a painter
Caen University in 1676. who worked in Amsterdam and who often
This picture was probably painted some painted the figures and animals in the pictures
time in the late 1660s. The view is imaginary, of other artists.
 4

Carel Fabritius (1622-54) likeness of Carel Fabritius one cannot be

Self-Portrait (?) certain.
70.5 x 61.6 cm Fabritius, who worked in Delft, was a
Signed: C. fabritius. 16 talented artist, a pupil of Rembrandt and an
')

important influence on later Delft painters,

such as De Hoogh and Vermeer. He produced
The informality and experimental nature of the little, however, because at the age of thirty-two

picture, and the stare of the sitter towards the he was killed in the explosion of the municipal
spectator, suggest that this painting is a self- arsenal at Delft which destroyed a large part of
portrait which would have been painted from a the city. This portrait was painted within
mirror; but as there is no extant documented months of his death.
Fraxs Hals Qc. 15 80-1666) prepared. After Rembrandt, whose style is
A Familj Group in a Landscape quite different, Hals was the greatest Dutch
148.5 x 25 1 cm portraitist of the seventeenth century, and his
real genius was for group portraiture. Al-
though he painted predominantly in tones of
The particular family in this elaborate picture black and grey, with the paint often applied
remain unidentified. With the exception of the very broadly, his portraits have a marvellous
elderly lady, in old-fashioned clothes, they are liveliness on account of the virtuosity of his
dressed in the costume of the late 1640s. They technique.
are presumably husband and wife with their six Although born in Antwerp, he worked most
children, a nurse or aunt and a grandmother. of his life in Haarlem, where he was en-
In spite of the unnaturalness of their setting, ormously popular. In spite of this his pictures
all the people in the portrait have a spontaneity were largely unknown in the eighteenth cen-
and liveliness, and as often with a modern-day tury and were onlv 're-discovered' in the
photograph, the image seems to have been nineteenth, when his work influenced such
captured before all the sitters were quite painters as Manet and the Impressionists.
Thomas de Keyser (i 596/7-1667) Johannes Vermeer (1632-75)
Constantijn Huygens and his (?) Clerk A Young Woman standing at a Virginal
92.4 X 69.3 cm 52.7 x 45.2 cm
Signed: TDK AN 162/ (TDK in monogram) Signed: IV Meer (or IMeer; the capitals
are in monogram)

Constantijn Huygens (1 596-1687), after serv- The painting on the back wall of the room in
ing at the Dutch Embassy in London, where he which the lady is playing the virginal alludes to
was knighted by James I, was secretary to the the subject-matter of Vermeer's picture. It
Stadholders Prince Frederick Henry and later shows a cupid holding a playing card aloft, a
Willem II in Amsterdam. He was particularly
interested in the fine arts and is shown in this
portrait with architectural drawings, com-
passes and a chittarone, and globes, reflecting his
interest in music, architecture and astronomy.
The tapestry in the background, which shows
St Francis before the Sultan, is woven with
Constantijn Huygens's coat of arms in the
upper border.

Perfectus Amor noti est nisi ad mum, from

Amorum Emblemata by Otto Vaenius (1608)

124
gesture whose meaning is explained by one of Vermeer, who was forgotten until the late
the illustrations in Otto Vaenius's Amorum nineteenth century, worked in Delft and of all
Emblemata (Antwerp, 1608). There Cupid Dutch painters he was the greatest master at
holds a small tablet inscribed with the number conveying the effects of falling light. His
1 while he tramples on another inscribed with meticulous pictures (of which there are perhaps
the numbers 2 to 10. T-he verse accompanying no more than forty in existence) are painted
this illustration praises fidelity to one as with a brilliant sense of colour. Many of his
opposed to the love of many. Vermeer's pictures, while apparently representing no
painting is therefore probably intended to more than a relatively simple Dutch interior,
represent a faithful woman. are generally symbolic in content.

125
Sebastiano Ricci (165 9-1 734) The composition of the picture, which was
Bacchus and Ariadne probably painted in the first decade of the
75.9 X 63.2 cm eighteenth century, is derived from a painting
by a seventeenth-century Venetian painter,
Ariadne, having been abandoned by Theseus Giulio Carpione. It was not unusual for Ricci
on the island of Naxos, was discovered there to copy the work of earlier painters and his
while asleep by the god Bacchus on his return 'discovery' of Veronese as a rich source of
from the East: hence the leopards which pictorial inspiration was enormously influential
accompany him in this painting. Bacchus, who for the later development of eighteenth-
brought in his train bacchantes, one with a century Venetian decorative painting.
tambourine, the other with cymbals, and a Ricci, who was born north of Venice,
satyr and pipe-playing cherub, instantly fell in travelled and worked as a young man outside
love with her and proposed marriage. In the of Italy; he came to England in 171 2 when he
sky putti carry a hymeneal torch (or marriage hoped to be given the job of decorating the
flame), thus celebrating the union of Bacchus dome of St Paul's Cathedral. About 17 16 he
and Ariadne. settled in Venice where he died in 1734.
Giovanni Battista Tiepolo (i 696-1 770) left, is of Faith. As the altarpiece
the statue, top
A I 'ision of the Trinity to Pope St ClementQ) was commissioned or bought from
either
69.2 x 55.2 cm Tiepolo by Clemens August, Archbishop-
Elector of Cologne, the saint may be identified
The picture is a wodello for an altarpiece, once as the Archbishop-Elector's namesake, the
at Schloss Nymphenburg near Munich, and second-century Pope, St Clement. Clemens
now in the Alte Pinakothek at Munich. A August himself had visited Venice and had also
modello is a small-scale version of a large commissioned altarpieces from two other
picture, generally executed by an artist in order Venetian artists, Pittoni and Piazzetta. The
to show a patron how the completed picture chapel at Nymphenburg, in which this altar-
will look. piece was installed, was consecrated in 1739
The design of this modello is of a familiar type and it is likely that Tiepolo's painting was
and shows a kneeling saint receiving a vision of executed shortly before that.
the Trinity. The saint is recognizable as a pope, Tiepolo was popular as a painter of altar-
for a seated angel near him holds a papal tiara pieces; several wodelli like the present picture
and three-barred patriarchal papal cross; the survive, including one other in the National
vision is shown taking place inside a church; Gallery.

27
Giovanni Battista Tiepolo (1696-1770) wagered Antony that she would spend a
The Banquet of Cleopatra fortune on a single banquet. This she did, by
44.2 x 65.7 cm dissolving one of her pearls, the largest and
finest ever known, in a goblet of vinegar. The
The subject of the picture is the banquet given story is derived from Pliny's Natural History,
atAlexandria by Cleopatra for her lover the which describes the properties of pearls.
Roman statesman, Mark Antony. Cleopatra The picture, which is a sketch, is one of the
several treatments of the theme by Tiepolo, the
most famous of which is an enormous fresco
'
painted in the Palazzo Labia, Venice, some
time in the 1740s.
The sketch, in contrast to the Palazzo Labia
fresco, is horizontal in shape but nevertheless it
may represent a preliminary idea for the subject
by Tiepolo. A drawing of the subject by
Tiepolo, which is related to the present picture,
>*' ' is in the Victoria and Albert Museum. The
& drawing is also linked with another National
2fi Gallery picture, which was among the most
famous pictures in eighteenth-century Venice,
Veronese's Family of Darius before Alexander
(page 61). Tiepolo's background architecture
Study by G.B. Tiepolo for The Ban'quel of Cleopatra and the standing page on the right are derived
(Victoria & Albert Museum) from Veronese.

12X
 t.

G.B.Tiepolo
An Allegory with
Venus and Time
See page 130
Giovanni Battista Tiepolo (1696-1770) The picture, which was once part of a ceiling
An Allegory with Venus and Time decoration in a palace of the Contarini family in
292 X 190 cm Venice, may well have been commissioned by a
member of the family to celebrate the birth of
an heir. The family may have hoped for their
When Giovanni Domenico Tiepolo (Giovanni heir to have the attributes, valour and strength
Battista's son) made an etching after the of the Trojan hero. If neither of these possibi-
present picture he called it '7/ Parto di Venere' lities occurred to them, then in a general way

{'The Confinement of Venus'). The painting they certainly could have considered their son
indeed represents Venus, recognizable by her to be born of Beauty; and as he is consigned to
attributes of doves and chariot, while her son, Eternity, his future, and that of the Contarini
Cupid, holding a quiver of arrows, flutters at family, seem assured.
the bottom of the composition. The baby boy The Venetian G. B. Tiepolo was the greatest
to whom Venus has given birth is possibly decorative painter of the eighteenth century.
Aeneas, and by consigning him to the arms of This picture was probably painted in the 1750s
winged Time, the goddess suggests that he when the artist was at the height of his fame.
may be immortal because as Time's scythe has He was chiefly patronized by the Venetian
fallen he probably represents Eternity. In what aristocracy, but he also carried out frescoed
is possibly a preliminary drawing for the decorations at Wiirzburg and, for the Spanish
picture, Venus half-embraces Time, who royal family, in Madrid, where he died.
nurses the new-born child. The Three Graces
are in attendance on a cloud and prepare to
shower the new-born boy with roses. See colour plate page 129

r
[ enus giving Cupid to Time by G.B. Tiepolo
(Metropolitan Museum, New York)

130
Giovanni Domemco Tiepolo (i 727-1 804)
The Marriage of Frederick Barbarossa and
Beatrice of Burgundy
72.4 x 52.6 cm

The Emperor Frederick I of Germany and

Beatrice of Burgundy were married at W'iirz-
burg in ns6 bv the Prince-Bishop of Wurz- Details of drawings bv G.B. Tiepolo for
burg, Gebbhard von Henneberg. Six centuries the frescoes in the Residenz at Wurzburg
(Staatsgalerie, Stuttgart)
later, in 1^49, the then Prince-Bishop, Carl
von Greiffenclau, commissioned Gio-
Phillipp
vanni Domenico's father G.B. Tiepolo, to show the page holding the train and the
fresco,
decorate the staircase and Kaisersaal of his crown on the cushion. Tiepolo, influenced
palace with frescoes which include that event. throughout his life bv the work of the
This picture seems to be a record of the fresco, sixteenth-centurv Venetian painter Veronese,
though there are some differences between the characteristically places the marriage in a
two. Drawings at Stuttgart, which mav be setting more reminiscent of sixteenth-century
preparatory drawings bv G.B. Tiepolo for the Venice than twelfth-century Germanv.
Canaletto ( 1697 1 768) Day originally commemorated a Venetian
Venice: the Basin of S. Marco on Ascension Day naval victory in the tenth century. Then in
1 21.9 x 182.8 cm 1 178 Pope Alexander III presented the Doge
with a ring, in gratitude for having saved the
The view is towards the Doge's Palace with the Papacy from Frederick Barbarossa. On sub-
campanile of S. Marco rising behind. To the sequent Ascension Day ceremonies the Doge
left is the domed church of S. Maria della would bless a ring and throw it into the water.
Salute. The picture records the embarkation of When Canaletto painted his picture, the cere-
the Doge for the annual Ascension Day mony was an anachronism for by the eight-
ceremony of the Wedding of the Sea. Canaletto eenth century Venice's power, both at sea and
painted several versions of the subject. on the mainland, had long since declined. The
The custom of the Doge being rowed in Wedding of the Sea served only as a nostalgic
state to the mouth of the Lido on Ascension reminder of her days of former grandeur.

132
Canaletto (1697-1768) What is possibly the key to the painting's
Venice: Campo S. Vidal and S. Maria della Carita attraction that it is not a usual view. The
is

('The Stonemason's Yard') other paintings by Canaletto in the National

123.8 x 162.9 cm Gallery (and indeed most other paintings by
Canaletto) show the tourist's Venice: regattas
on the Grand Canal, the Ascension Day
ceremony of the Wedding of the Sea, and the
The view is from the Campo S. Vidal across the Piazza S. Marco. But in The Stonemason s Yard
Grand Canal to S. Maria della Carita. The the spectacle is simply that of everyday life: a
campanile of S. Maria della Carita collapsed in woman draws water from a well, another hangs
1744, but apart from that the view which out bed-clothes and her neighbour pauses in
Canaletto painted remains largely unchanged her sweeping to tend a crying child.
and the stone well-head is still there. The Before Canaletto other painters, notably
picture has long been affectionately known as Luca Carlevaris (1665-173 1), had executed
The Stonemason' s Yard, but there is no history of views of Venice; but it was Canaletto who
there ever having been a stonemason's yard at developed the genre, and he had many fol-
the Campo S. Vidal, and Canaletto did not lowers. Venice in the eighteenth century was
usually paint capricci (imaginary views). The one of the most visited of all European cities;
church of S. Vidal was rebuilt in the early years and it was for the tourist market that
of the eighteenth century, and these Canaletto's views were exclusively painted. It
stonemason's huts and half-hewn stone blocks is hardly surprising, therefore, that such scenes

are likely to be connected with that project. as The Stonemason s Yard are relatively rare in
The picture, probably painted about 1730, is an his ceuvre, for few English milords would
early painting by the artist, and a masterpiece. want such scenes of Venetian everyday life.

133
Francesco Guardi (1712-93)
Venice: The Punta della Dogana with S. Maria
delta Salute
56.2 x 75.9 cm

There are several paintings by Guardi which

show this same view. Like Canaletto, Guardi
painted his views of Venice from nature, from
engravings after other artists' work, or from
memory. This view is based on a drawing by
Guardi (now in the Albertina, Vienna) - and
whereas sometimes the artist's finished pictures
differ considerably from his drawings, this one
is closely related to it, and many details such as
The P/mta delta Dogana by Guardi
the sails of the boats and the poses of the (Albertina, Vienna)
gondoliers are identical.
As a young man, Guardi may have worked
with Canaletto; but his views of Venice are
much more atmospheric than those of the
earlier master and as such they perhaps appeal
to us more today.

134
PlETRO LONGHI (l702?-85)
r
Exhibition of a Rhinoceros at T enice

60.4 \ 47 cm

Brought to Europe in 1741 by Captain David

Montvandermeer, the rhinoceros was probably
the first seen by Europeans for over two
centuries. It was therefore a celebrated animal: r
/imz fiif
a learned scholar, Scipione Maffei, published a
dissertation on it in 175 1, and it 'sat' for its

portrait several times and in several places,

including Paris, where Oudry painted it in
1750.
Longhi was commissioned by at least two
patrons to paint it when it came to Venice for
the Carnival of 175 1; and this picture is
inscribed on the back of the canvas, per The inscriptionon the reverse of the Exhibition of a
commissione del Nobi/e Uomo Sier Girolamo Rhinoceros at \'eniceby Longhi which records that the
picture was painted for Girolamo Mocenigo
Moceni^o Patricio Veneto. Most of Longhi's
naive little pictures of patrician Venetians are
known in several versions and, as in the case of temporary, Hogarth: both painted scenes of
the present painting, he himself painted re- daily life. But there the comparison ends, for

plicas. He also had imitators and pupils who Hogarth saw fit to satirize that life and point to
duplicated his designs further. His style is often its foibles in a manner which would have been

compared with that of his English con- quite alien to Longhi.

135
Jean-Baptiste Chardin (1699-1779) Jean-Baptiste Perronneau ( 171 5 ?— 8 3)
The Young Schoolmistress Portrait of Jacques Calotte
61.6 X 66.7 cm 89 X 71.5 cm
Signed: chardin Signed: Perroneau

Chardin's subject-matter is generally not much This delightfully informal, witty and very
different from that of some Dutch seventeenth- French portrait is of Jacques Ca2otte (1719-92),
century painters: still-life and everyday scenes a poet and novelist who was guillotined during
of bourgeois life. But the application of his the French Revolution. Perronneau was best
paint and the superbly delicate sense of colour known as a pastellist. This painting is in oil but
are very different. Furthermore, Chardin's ithas much of the delicacy associated with the
paintings generally contain a moral, often on a chalkiness of the pastellist's medium.
theme of discipline or the benefits of education.
Here a young child is firmly made to con-
centrate by his young teacher who may well be
his sister.

Nicolas Lancret (1690-1743)

A Lady and a Gentleman with two Girls in a
Garden ('La Tasse de chocolaf)
88.9 X 97.8 cm

As a family portrait (the family have not been

identified) this picture has a charm that raises it

above the type of fete-galante (derived from

Watteau) which Lancret usually painted. It was
exhibited, as a lady 'prenant du Caffe avec des
enfants', at the Salon of 1742, the last of
Lancret's lifetime.

137
 Study by Goya for a portrait of the
Duke of Wellington. (British Museum)

Francisco de Goya (1746- 1 done merely to establish the pose, and the
The Duke of Wellington painting done from life. On subsequent oc-
64.3 x 52.4 cm casions, possibly in May 1814 when the Duke
paid a second visit to Madrid, Goya altered
the Duke's uniform: it is now unrecognizable
As general in command of British forces in as any known British military dress. He also
Spain during the Peninsular War, the first added the pink sash, the Order of the Golden
Duke of Wellington (1769-1852) defeated Fleece, the Gold Cross and other decorations.
Napoleon's brother Joseph, King of Spain, at In the portrait as we now see it the Duke
the Battle of Vitoria in 1 8 1 3 After the Battle of
. wears the Order of the Golden Fleece (awarded
Salamanca Wellington entered Madrid on him in August 1812) on a red ribbon about his
12 August 18 12 and left it on 1 September. neck; the Military Gold Cross surmounted by
While he was there Goya painted (on a three clasps; the Order of the Bath (top); the
mahogany panel) this portrait, but made Portuguese Order of the Tower and Sword
alterations to it subsequently. (lower left); and the Spanish Order of San
The first state of the portrait probably Fernando (lower right). Two other paintings
corresponded to a drawing of the Duke by of the Duke of Wellington by Goya are known:
Goya now in the British Museum. In that an equestrian portrait (now in Apsley House,
Wellington wears a plain jacket, the Peninsular London) in which the features of the Duke are
Medallion on a ribbon about his neck and three superimposed on those of an earlier sitter, and
stars on his chest. But the liveliness of the a half-length portrait now in the National
painted portrait suggests that the drawing was Gallery, Washington.

138
i39
George .Stubbs (i 724-1 806) popularity. This was the class that patronized
The Milbanke and Melbourne Families Stubbs, and his genius has left for us an image
97 x 149 cm of the age that is supreme. The Milbanke and
Melbourne Families is in the tradition of a
conversation piece: miniature portraits in their
The sitters are traditionally identified as, from natural setting. It is an intensely English
left to right, Lady Melbourne, nee Elizabeth picture: the spreading tree, the foxgloves and
Milbanke (1751-1818), her father Sir Ralph the cool mist over the lake in the background is
Milbanke (1722-98), her brother John Mil- the natural setting for this typical upper-class
banke (d. 1800) and her husband the first family— a rather dowdy daughter who has
Viscount Melbourne (1748-1828). The picture married well, her sensible father, her coxcomb
was probably painted about 1770. Sir Ralph brother and her dutiful husband.
Milbanke was the grandfather of Anne Isabella Stubbs was born in Liverpool and first
Milbanke, who married the poet Lord Byron. worked as a portraitist. He is chiefly known for
During the second half of the eighteenth his paintings of horses, a subject which
century 'country life' became the passion of the fascinated him. His Anatomy of the Horse,
English upper classes. Country-house building published in 1767, is a work of scientific
reached its peak and among the new landed research based on drawings made from the
aristocracy hunting and racing developed in dissected carcasses of horses.

[40
Sir Joshua Reynolds (1723-92)
General Sir Banastre Tarleton
236.2 x 145.4 cm

The who was twenty-eight when the

sitter,
portrait was painted, distinguished himself on
the British side during the American War of
Independence. After fighting in North Caro-
lina he returned to England, a popular hero,
early in 1782. Almost immediately he was
painted by both Reynolds and Gainsborough
(the latter portrait now lost) and both portraits
were exhibited at the Royal Academy that year.
Later in Tarleton achieved notoriety by
life

becoming the lover of Mrs Robinson ('Perdita')

and so cuckolding the Prince of Wales. In the
portrait Reynolds discreetly indicates that
Tarleton had lost two fingers from his right
hand. He wears the green uniform of
Tarleton's Green Horse, a cavalry branch of
the troop known as the British Legion which
was raised by him during the American War of
Independence. The flag bears an eagle, cannon
and a wreathed 'L'.
Reynolds, dissatisfied that British patrons in
the eighteenth century collected only Old

The l^ansdowne Mouse Hermes by a Greek sculptor of

the fourth century bc. Photograph here printed in
reverse. (Ny Carlsberg Glyptotek, Copenhagen)

Masters and commissioned nothing but port-

raits from British painters, attempted through-
out his career to raise the standard and status of
British art. This he did often by depicting his
sitters in poses derived from Old Masters or
Antique sculpture and, going a step further,
clothed in 'classical' costumes. His more
extreme essays in this manner can now appear
unsympathetic; but a portrait such as that of
Banastre Tarleton succeeds brilliantly because
the pose (which is probably inspired by a statue
of Hermes dating from the fourth century bc)
seems quite natural and without affectation. It
is perfectly reasonable that Tarleton should

pause to adjust his leggings on the battlefield

and that the horses should be frenzied at the
sounds of firing cannon. The Hermes, imported
into England in the 1770s, shortly before
Reynolds painted this picture, was at Lans-
downe House, London, and was one of the
most celebrated statues of the day.

141
Sir Joshua Reynolds (1723-92) print publisher, for after Heathfield had
'Lord Heathfield become a popular hero there would have been
142.2 x 1 1 3.7 cm a lively demand for engraved portraits of him.
He sat to Reynolds in August and September
The sitter is George Augustus Eliott 1787. The artist chose a pose which made him
(1717-90), created Lord Heathfield in 1787. He look for all the world like an eighteenth-
was a Scotsman, educated at the University of century St Peter, holding in his hand the key,
Leyden and later at the French military college, not to the Kingdom of Heaven, but merely to
La Fere. One-time aide-de-camp to George II, that of Gibraltar. Behind him the smoke of
he was a distinguished soldier, and in 1775 was warfare rises and cannons are aimed at the
appointed Governor of Gibraltar when a shore below the Rock.
Spanish invasion of the Rock seemed im- This is a very late picture by the artist and is
minent. From 1775 to 1783 he successfully a masterpiece. In it Reynolds has discarded his
withstood the Spanish siege and upon his rigid application of what he thought of as the
return to England was created a Knight of the Grand Style. Lord Heathfield is not, as one
Bath, whose Ribbon and Star he is wearing in might expect him to be, depicted in the armour
the portrait, and Lord Heathfield. of some Roman general; instead the pose is

The picture was commissioned from Rey- relatively informal, and therein lies the power
nolds by Alderman John Boydell, a famous of the portrait.
Thomas Gainsborough (1727-88) simple portrait of young love. They do not
The Morning Walk look at each other, but communicate by the
236.2 x 179. 1 cm gentle touch of Mrs Hallett's hand on the arm
of her husband. Their gazes are tinged with
The William Hallett (1 764-1 842) and
sitters are sadness — sadness that their present transports
his wife Elizabeth, nee Stephen (176 3/4-1 8 3 3), of shared happiness may not last, and the
who had been married on 30 July 1785. The bond between them excludes all others: even
picture was probably painted soon afterwards, the dog must await some attention in vain.
as it was described in the Morning Herald of 30 It is probable that the portrait was always
March 1786 as having 'promenaded from interpreted in such terms, and indeed the
Gainsborough's gallery where it was no Victorians invented a tragic end to the story.
longer on view'. The title The Morning Walk is The Critic of 1859 gives the totally untrue
probably no older than the late nineteenth information that Mrs Hallett died soon after
century. the marriage, while Mr Hallett 'became a low
Both Mr and Mrs Hallett are twenty-one, debauched gambling roue, gouty, bloated, and
and as neither of them were famous, aristo- poverty stricken, and married again some low
cratic or rich it is easy to see the picture as a person'.

[43
 become ill for the first time - he was later
declared to be insane, and the Queen personally
undertook to look after him. Sittings for the
portrait were difficult, but in spite of that the
picture is a triumph. The painter who was just
twenty at the time did not care for the dress
chosen by the Queen, and when he asked her to
converse with her daughters, the Princesses,
'to give animation to the countenance her . . .

Majesty thought that rather presuming, and

continued to listen to one of them reading'.
The Queen then refused a final sitting; and it
was Mrs Papendiek who modelled the posi-
tions of the bracelets and scarf.

Thomas Gainsborough (1727-88)

Mr and Mrs Andrews
69.8 x 1 19 cm

The sitters are traditionally identified as Robert

Andrews (? 1726- 1806) and his wife Frances
Mary, nee Carter (c. 1723-80). They were
married in 1748, about four years before
Gainsborough painted their portrait. They are
painted on their farm Auberies near Sudbury in
Suffolk. The church in the background (centre)
is St Peter's, Sudbury and the tower to the left

is that of Lavenham church.

was unusual, if not exceptional, for
It
Sir Thomas Lawrence (1769-1830) Gainsborough to paint an identifiable view,
Queen Charlotte but the spot where Mr and Mrs Andrews are
239.4 x 147.3 cm shown seated is still recognizable today. The
tree is still there and the land is still arable,
Charlotte Sophia of Mecklenburg-Strelitz although planting now obscures the distant
married King George III 1761 and was
in views. Although the figures in the picture are
crowned Queen in that year.Horace Walpole almost doll-like (Gainsborough in fact made
described her as 'not tall nor a beauty. Pale and figure studies from dressed-up dolls), the artist
very thin; but looks sensible and genteel.' The seems intent on showing Mr Andrews as a
picture was painted at Windsor and the view in farmer. The corn is well harvested, the distant
the background is towards Eton College fields are enclosed with hedges and well-
Chapel. The Queen wears a bracelet with a painted gates, and cattle to the left are sheltered
miniature of George III. The picture was by sheds. Mr Andrews carries a gun, for by
probably painted in 1789 and exhibited at the eighteenth-century game laws only those qual-
Royal Academy the following year. ified by estate or social standing might shoot
The circumstances under which the portrait game. The picture therefore reflects an interest
was painted are described in the journals of Mrs in agriculture, which at the time was a
Papendiek who was 'Assistant Keeper of the relatively new 'enthusiasm' for the English
Wardrobe and Reader to her Majesty'. When upper and middle classes.
the artist was first introduced to the Queen 'her Gainsborough was in his late twenties when
Majesty was rather averse to sitting to him, he painted the picture. He had by
then returned
saying that she had not recovered sufficiently to his native Suffolk after an apprenticeship,
from all the trouble and anxiety she had gone possibly to a French engraver, Hubert Grave-
through to give so young an artist a fair lot, in London. Elements of the picture, such as
chance'. In the previous year the King had the exquisite seat, are demonstrably Rococo,

144
reflecting the influence of Gravelot and other
London-based French artists of the 1740s.

William Hogarth (1697-1764)

The Shrimp Girl
63.5 X 50.8 cm

A young Cockney fishwoman carries a platter

of shrimps on her head. The picture is
obviously unfinished, and clearly painted for
the artist's pleasure: it remained in the pos-
session of his widow until 1790. Mrs Hogarth
called it The Market Wench' and told those who
'

looked at it: 'They say he could not paint flesh.

There's flesh and blood for you; - them!'
Hogarth himself had written: 'When a
subject is trifling or dull the execution must be
excellent or the picture is nothing. If a subject
is good providing such material parts are taken

care of as may convey perfectly the sense, the

action and the passion may be more truly and
distinctly conveyed by a coarse, bold stroke
than the most delicate finishing.' Certainly the
artist must have felt that in The Shrimp Girl he
had a good subject; the nose and mouth seem
the only areas which are fully finished, and yet
the portrait has a tremendous liveliness.
Hogarth is perhaps best known for his series
of engravings, such as Marriage a la Mode; but it
is in the presence of an uncontrived master-

piece like The Shrimp Girl that one realizes that

he was a pure painter of outstanding genius.
William Hogarth (1697-1764) The Visit to the Quack Doctor
A Marriage a la Mode
series: The subject of this picture is venereal disease,
Each picture about 70 x 90.8 cm and the Viscount jovially brings his mistress,
who is scarcely more than a girl, to visit a
These are the original six paintings from which quack doctor. The sinister nature of the subject
engravings were made and published in 1745 to is suggested by the objects in the room, while

form perhaps the most famous of all Hogarth's behind the couple, even the skeleton seems to
moral series. The subject of the series is be making amorous advances to its neighbour.
contemporary high life and a marriage based
on money and vanity.
The Countess's Morning Levee
The heroine, now a countess, as shown by the
coronets on her bed and mirror, gives a levee,
but ignores all her guests except Silvertongue,
who is inviting her to a masquerade. The
progress of their intrigue is indicated by the
Negro boy in the foreground who points to the
horns of Actaeon. The pictures on the wall,
apart from the portrait of Silvertongue, illus-
trate themes of licentiousness: Jupiter and Io,
The Rape of Ganymede, Lot and his daughters. On
the left an Italian castrato is singing, accom-

The Marriage Contract panied by a flautist.

The engaged couple, soon to be fettered like
the pair of dogs in front of them, are on the left. The Killing of the Earl
They express little interest in each other, The scene is a bagnio where the Countess and
indeed the girl's attention is entirely taken up Silvertongue have gone after the masquerade.
by Counsellor Silvertongue, the lawyer who is The Earl has surprised them, and Silvertongue,
soon to become her lover. To the right the shown escaping through the window., has
father of the girl, a wealthy alderman and the killed him.
young Viscount's father, the gouty Lord
Squander, negotiate the contract. Lord Squan-
der indicates that his family tree may be traced The Suicide of the Countess

back to William the Conqueror. The Countess has just read on a broadsheet that
Silvertongue has been hanged for killing her
husband, the Earl. Her child by the Earl
Shortly after the Marriage embraces her (he is shown to be, like his father,
The disarray of the room is evidence that the diseased), while her father removes a diamond
marriage is also in disarray, and the painting ring from her finger. The room, which is
over the chimneypiece shows Cupid ironically intended to be in the house of the Countess's
commenting on the loveless union by playing father, shows evidence of poverty the broken
bagpipes. The young wife is breakfasting late window panes and the hungry dog. Perhaps
after a card party, and the little dog discovers a her father is naturally mean, or more likely, he
woman's handkerchief in the pocket of the has spent all his money on his daughter's
Viscount, who has just returned from a dowry, and the marriage which was based on
drunken night out. such vanity is now ended in squalor.

146
mat

LI >w af|
to*v
i.

i
"II
f&M.

M7
John Constable (1776-18 3 7) valleys and peaceful farm-houses of Suffolk
The Haywain forming a scene of exhibition to amuse the gay
1 30 x 185 cm and frivolous Parisians' but the French artists
Signed: John Constable pinxt. London 1821 who were impressed included Delacroix, and
Constable's paintings were to influence the
The artist, the greatest of English landscape later French landscape painters of the Barbizon
painters,came from East Bergholt in Suffolk, School.
and it was from the Suffolk landscape that he Constable was among the earliest of land-
drew his inspiration. The scene of The Hay wain scape painters who attempted to depict the
is on the River Stour at Flatford Mill, which transient effects of nature: light, clouds and
was owned by the painter's father, and the rain. This he did in small rapid sketches where
house in the picture is that of a neighbour, he also 'stated' his composition. These small
Willy Lot: 'Willy Lot was born in this house oil-sketches were followed by other sketches of
and is said to have passed more than eighty different parts of the picture, and finally the
years without having spent four whole days artist made a full-size study in oils of the final
away from it.' picture. In comparison with the full-size
The picture was exhibited at the Royal studies, the finished pictures are more co-
Academy in 1821 when the painter was forty- herent, both in composition and colour, and for
five, and although he had been exhibiting for that reason seem more 'classical'. But this
almost twenty years, his work was still very would not always have been so, and when
much unappreciated. The Haywain was seen at looking Constable's Haywain it does well to
at
the Academy by the French painter Gericault remember it was painted as early as 1821,
that
and made a tremendous impression upon him; more than fifty years before the Impressionists
and when later (in 1824) it was exhibited at the created the type of landscape of which it was a
Paris Salon it created a sensation. Constable precursor, and which today we consider
himself was intrigued to think 'of the lovely 'normal'.

148
J. MAY. Turner (1775-185 1) Turner's career' a view which is shared by most
Ulysses deriding Polyphemus modern critics. He also considered 'the sky. . .

132 x 203 cm [to be] . . . beyond comparison the finest that

exists in Turner's oil paintings'. The picture
was exhibited at the Royal Academy in 1829
The subject is taken from Homer's Odjssej, and is based on a sketch which the artist almost
Pope's translation of which was probably used certainly painted in Italv on his second visit
by Turner: there, in 1828/9. The particularly brilliant use
of colour in the picture marks a departure from
The land of Cyclops lav in prospect near. . .

the artist's earlier paintings and opens the way

And from their mountains rising smokes
for 'typical' late Turners. A contemporary
appear.
critic considered the picture 'a specimen of
Polyphemus, a one-eyed Cyclops, imprisoned colouring run mad'.

Ulysses with twelve of his companions in a Although the subject of the picture is
cave. Turner's picture shows Ulysses, having 'traditional' and drawn from mythology,
blinded Polvphemus, escaping at dawn: the sun Turner's treatment of it is 'modern' in that it
drawn by horses rises to the right. The reflects a preoccupation with the force and
shadowy figure of Polyphemus is seen above reality of nature. The mountain of Poly-
the ship of Ulysses, upon which sailors scram- phemus, smoke billowing from it and fire
ble to raise the sails, while the ship's swift below, is recognizably volcanic, and the
passage is assisted by sea-nymphs. phosphorescent sea-spray, cast up by the speed
John Ruskin, the artist's greatest champion, of Ulvsses' ship, is suggested by the sea-
regarded this picture as 'the central picture in nvmphs.

49
JOHANN ZOFFANY (l733?-l8lo)
Mrs Oswald
226.5 x 8.8 cm
1 5

The identity of the sitter is not certain, but she

is probably Mary Oswald, the daughter of
Alexander Ramsey of Jamaica, who married
Richard Oswald in 1750 and died in 1788. The
costume indicates that the picture was pro-
bably painted in the first half of the 1760s.
Zoffany was a German painter who worked in
England from 1761. This portrait of a middle-
aged woman in a landscape is a masterpiece of
exquisite understatement.

John Constable (1776-1837)

Salisbury Cathedral and Archdeacon Fisher's House
52.7 x 76.8 cm

Constable's friend Archdeacon Fisher had the

use of the house known as Leydenhall in the
Cathedral Close at Salisbury during his life-
time. In July and August 1820, Constable, his
wife and two daughters stayed with the Fishers
atLeydenhall and it was almost certainly at that no longer owns her.' The Temeraire,
the breeze,
time that this picture was painted. The house is which took its name from a French ship which
partly hidden by the trees on the right; in the had been captured in 1759 at Lagos Bay, was a
background is the cathedral spire, and the river warship of ninety-eight guns that had been
in the is the Avon. The picture
foreground launched in 1798. Her crew distinguished
has all the appearances of a sketch painted from themselves at the Battle of Trafalgar in 1805,
nature. On his return to London Con- afterwhich the ship was known as The Fighting
stablewrote to the Archdeacon 'My Salisbury Temeraire. She was taken out of service in 1838,
sketches are much liked - that in the Palace had her masts removed at Sheerness (where the
grounds - the bridges - and your house from temporary masts visible in Turner's picture
the meadows.' were fitted) and on 18 September 1838 was
towed from there by the Thames to Rother-
hithe to be broken up. Turner very possibly
saw that voyage. In his picture the ghostly
J.M.W. Turner (1775-185 i) form of the old ship is contrasted with the
The Fighting Temeraire' tugged
'
to her last Berth powerful black tug; and the poignancy of the
to be broken up, i8j8 Temeraire^ last voyage is emphasized by the
90.8 x 121. 9 cm brilliantly setting sun. The picture is about age,
the age of the old ship contrasted with the
The picture was exhibited at the Royal Acad- youth of the tug, and symbolically suggesting
emy of 1839 with the quotation in the cata- the passing of an old era and the emergence of
logue: 'The flag which braved the battle and the new industrial one.

Mi
 J.A.D. Ingres (1780-1867)
Madame Moitessier seated
120 x 92 cm
Signed: J. Ingres i8s6

The sitter is Marie-Clotilde-Ines de Foucauld,

who was born in 1821 and who married
Sigisbert Moitessier in 1842. She died in 1897.
When the artist was first asked to paint the
portrait, shortly after her marriage, he refused,
and only after being introduced to Madame
Moitessier, and being struck by her beauty, did
he agree to paint her.
Although not finally delivered until 1857,
the portrait was started as early as 1844/5. At
first it included, standing at her mother's knee,
the sitter's small daughter Catherine, with
Madame Moitessier's left hand resting on her
head. Ingres, who at first thought Catherine
'charmante' later found her 'insupportable',
and possibly for that reason erased her from the
portrait. An alternative explanation would be
that in the period over which the portrait was
painted Catherine would have grown consider-
Eugene Delacroix (i 798-1 863) ably, and as an almost grown-up girl might
Christ on the Cross well have dominated a picture which was
73.3 X 59-5 cm intended primarily to represent her mother.
Signed: Eug. Delacroix 18'jj Probably about the time of the death of his wife

This one of several paintings of the Cruci-

is

fixion by Delacroix, who, in his later life, was

attracted more and more towards painting
religious subjects, particularly those related to
Christ's Passion. With his own art constantly
rejected by the public, Delacroix himself
suffered much in later life and we know from
his diaries that he was despondent during his
last years.His treatment of the Crucifixion is a
highly emotional one, with the swooning
Maries at the foot of the Cross, the menacing
sky and the strongly shadowed figure of the
crucified Christ. This is a picture of suffering
more human than religious. As it was painted
in 1853, ten years before the artist's death, one
may see it as a personal statement of his own
torments.
Delacroix, the major painter of the Roman-
tic movement in France, was inspired in his use

of colour by Constable, Veronese and Rubens.

An earlier treatment of Christ on the Cross by Detail of aRoman fresco from Herculaneum
him is closely based on Rubens's famous depicting Heraktes and Telepbus
picture of the same subject, the Coup de Lance. (Museo Nazionalc, Naples)
in 1849, Ingres abandoned the portrait, and it Ingres was a superb draughtsman, and his
was only after the completion of another with his brilliant use of line
strict classical style
same lady standing (now in the
portrait of the and contour made him the direct opponent of
National Gallery, Washington), in 185 1, that the Romantic movement as expressed in the
he resumed work on the present picture which work of Delacroix. Madame Moitessier's fleshi-
was eventually finished in 1856. The pose is ness is contained within the supreme contours
derived from an Antique painting from Hercu- of her arms and shoulders. The chintz of her
laneum, now in the Museum at Naples, a copy gown, her jewels and the furnishings of the
of which Ingres possessed. The setting, with room in which she is seated convey the wealth
the large mirror reflecting a profile of the of someone of her social class in the period in
sitter's face, is typically ingenious. which she lived, that of the Second Empire.

53
Eugene Delacroix (1798-1863) the formality of his black clothes and fixing the
Baron Schwiter spectator with an uneasy glance. There is a
217.8 x 143.5 cm tradition that part of the landscape background
Signed: Euge Delacroix in the portrait was painted by Paul Huet
(1803-69), a painter who knew Delacroix
through the teacher P.N. Guerin.
latter's
Baron Louis- Auguste Schwiter (1805-84) was Like many of the artist's pictures the Portrait
twenty-one when this portrait was painted. He of Baron Schwiter was refused (in 1827) by the
was a life-long friend of Delacroix and was Salon, for Delacroix's romantic style in paint-
named by the painter on his death as one of ing was opposed to the classicism favoured in
those who were to take charge of and classify official Parisian art circles. The landscape with
his drawings. Delacroix also bequeathed him brooding, almost eerie, distant hills is romantic
paintings by Watteau and Chardin. Schwiter and Delacroix displays his powers as a colourist
himself was a reasonably successful painter, in the heavily impastoed flowers and the juxta-
exhibiting landscapes and portraits at the Salon position of the blue vase and red hat-lining.
between 183 and 1859. He was also a col-
1 As an artist, Delacroix was the antithesis of his
lector. Delacroix's treatment of the sitter is contemporary, the great draughtsman Ingres;
immensely sympathetic. Youthfully handsome, in an area such as the sitter's right hand the
an aristocrat rather than an artist (he possibly form, rather than being drawn, is allowed to
wears a decoration below his waistcoat), emerge subtly and beautifully from the paint.
Schwiter stands in the portrait constrained by
Paul Delaroche (1795-1856) treatment of the subject of her execution,
The Execution of Ladj Jane Grej painted in the nineteenth century, when there
246 x 297 cm was a vogue for historical subject-matter. It
melodramatically emphasizes the tragic nature
of the scene. Lady Jane's satin dress is as pure
Lady Jane Grey (1537-54) had a distant claim as she, and as yet unstained by blood. She is
to the throne of England as a great grand- supported probably by the Lieutenant of the
daughter of Henry VII and upon the death of Tower, Sir John Brydges, while a lady-in-
the young King, Edward VI, who was a waiting, having removed Lady Jane's jewels,
Protestant like herself, she was proclaimed has fainted.
Queen and reigned for nine days in 1553. The The picture created a sensation when exhi-
party of the Roman Catholic Mary I, however, bited at the Paris Salon in 1834 at a time when
proved to be stronger, and Lady Jane was Delaroche was at the height of his popularity.
convicted of high treason, sentenced to death Drawing his subject-matter from history, and
and executed in the Tower of London on 12 frequently illustrating the tragic moments in
February 1 5 54 at the age of seventeen. She was the lives of famous men and women, Delaroche
noted for her beauty and exceptional in- produced huge pictures which appealed to the
telligence and met her fate with pious and Parisians, many of whom had witnessed similar
stoical resignation. This picture is a historical scenes in the streets of their own city.

155
Jean-Baptiste Corot (i 796—1 875) of what the artist saw in the countryside round
The Roman Campagna, with the Claudian Aqueduct Rome. With Corot the view is real, and what is
21.6 x 33 cm more the picture was painted on the spot
Signed: COROT directly from nature. Claude had imbued his
landscapes with suggestive atmospheres, but
Corot actually conveys the air (or lack of it)
It is morning in theRoman Campagna and we over the sun-baked fields, and it seems unlikely
are near the Via Appia Nuova looking towards that the rain, promised by the clouds, will ever
the remains of the Aqua Claudia (the arches to fall.

right and left). Datable about 1826, this is an early picture

Many painters had been inspired by the by the artist, who was born in Paris but
Roman Campagna - among them another travelled in Italy between 1825 and 1827. It was
Frenchman, Claude Lorraine, in the seven- while painting out of doors in Italy that he
teenth century. With Claude the Campagna developed his individual treatment of land-
was but inspiration; his great classical land- scapes: broad areas of colour, little use of half
scapes were rarely real views, but distillations tones and brilliantly strong cast shadows.

156
Edouard Manet (1832-85) hus attracted such a distinguished audience is
Music in the Tuileries Gardens not visible in the picture, nor indeed can it be
76 X 118 cm said that the audience is giving the music their
Signed: ed Manet 1862 undivided attention.
Such an open-air scene suited the artist's
technique. He used brilliant contrasts between
The scene is gardens in Paris
in the Tuileries light and shadow and painted with black to
and the picture dated 1862. A nineteenth-
is stupendous effect. In this picture the dappled
century account describes how Manet "went sunshine which falls through the trees en-
almost every day to the Tuileries from two to hances the sense of animation in the scene.
four and made studies in the open air of Some of the figures seem to be left unfinished;
children playing under the trees and groups of some, such as the two ladies in the foreground,
nurses slumped in chairs. Baudelaire was his are given undue prominence.
constant companion.' In the picture the figure This is one of the earliest pictures in which
in profile against the large tree to the left is the Manet painted a bustling scene of fashionable
poet Baudelaire, Manet's friend and champion. contemporary fife.Such paintings were either
On the extreme left is the artist himself, and his ridiculed or rejected by the Parisian art public
brother Eugene is the person standing in and were constantly refused by the Salon.
profile right of centre. The man with the Manet, however, unlike some of his artist
moustache, seated to the right against a tree is contemporaries, did not want to be a rebel, and
the composer Offenbach. The orchestra which longed for official acceptance.

57
ml* ^
Claude Monet (i 840-1926) Probably in September 1870, Monet and
The Thames below Westminster Pissarro, who were then comparatively un-
47 x 72.5 cm known painters, came to London as refugees
from the war between their own country and
Camille Pissarro (i 830-1903) Prussia. Another refugee was the Parisian art
Lower Norwood under Snow dealer, Durand-Ruel, who established a gallery
35.3 X 45-7 cm in Bond Street, where both artists exhibited.
Pissarro settled in the London suburb of
Gustave Courbet (1819-77) Norwood, and although he and Monet re-
The Girls of the Seine Banks turned to France in 1871 both artists made
96.5 X 13 1.1 cm subsequent visits to this country. This view of
the Thames below Westminster by Monet, and
Pissarro's view of Lower Norwood in winter,
were painted on that first visit; and both were
exhibited at Durand-Ruel's gallery, which was
the chief means of bringing the Impressionists'
paintings to the English public's attention.
Courbet's painting of two prostitutes on the
banks of the Seine is a composition sketch for

the large picture of the same subject now in the

Petit Palais, Paris. When the picture was
exhibited at the Salon of 1 8 5 7 it caused a public
outrage. The Parisian public did not welcome
the opportunity to view such scenes of con-
temporary life presented in the name of art.

159
Claude Monet (1840-1926) It was a painting by Monet, which had as its

Water Lilies theme the play of light on water, that had given
200.7 X 4 2 6-7 cm the Impressionist movement its name. Called
Stamped: Claude Monet Impression, Sunrise, it was exhibited in Paris in
1874, when a critic derisively seized upon its
The the water-garden at the artist's
subject is titleto dub a style of painting (which is now
house in Giverney, mid-way between Paris and seen as perhaps the most important of 'modern'
Le Havre. Monet had bought a house there in art movements) Impressionism.
1890 and by diverting a stream created a water-
garden in which he planted lilies. This lily-
pond provided the theme of several series of
paintings during his last years. The present
enormous picture was painted some time after
1 9 16 when the artist had a specially large studio
built to accommodate
a series of huge can-
vasses, almost re-creations in paint of the
pond itself. Monet presented nineteen other
canvasses from this series to the French state in Henri Rousseau (1844-1910)
1922, and they were installed in the Orangerie Tropical Storm with a Tiger ('Surpris')
in Paris five years later. 129.8 X 161. 9 cm
Earlier in his life Monet had also painted Signed: Henri Rousseau 1891
series of pictures with similar subject-matter:
first Poplar Trees, then Haystacks, later the With its highly fanciful subject-matter, and

facade of Rouen Cathedral and the Thames. In meticulously painted very strong colours, the
those pictures the artist developed his tech- painting is typical of the artist's work. Al-
nique to become the leading Impressionist though Rousseau (who is called le Douanier
painter. Paint is applied in touches to convey because he held a post in a toll station outside
the flickering and changing effect of light on a Paris) never had anything but the highest
surface; outlines are hazy, and colour, even in opinion of his own work, his genius was for
areas of shadow, is in a high key. Monet's long unrecognized. In 1908 a dinner was given
paintings of water lilies, shimmering pools of in his honour in the Paris studio of Picasso, an
colour devoid of form, and painted forty years event which marked the beginning of the
after the great decade of Impressionism, artist's recognition as a painter of genius rather
1870 80, are the ultimate in the artist's pursuit than simply a decorative painter in the 'primi-
of his ideals. tive' style.

160
Vincent van Gogh (185 3-90)
Sunflowers
92.1 X 73 cm
Signed: Vincent

This is one of several paintings of sunflowers

which Van Gogh painted towards the end of

his life when he was living at Aries in
Provence. At this time in his life he suffered
from repeated bouts of insanity and finally shot
himself in July 1890.
The startlingly brilliant colour in these
several paintings of sunflowers may readily be
seen as an expression of the tormented state of
the artist's mind at this time.
PlERRE-AuGUSTE RENOIR (1841-1919) doctrine that the artist should paint what he
Les Varapluies sees without embellishment. Renoir therefore
180.3 x 1 14.9 cm paints this scene in the rain without any formal
composition as such; and by filling the figures
out across the canvas he makes the spectator
Paris in the 1880s and a crowd bustles with
It is feel part of the scene portrayed. In that way the
umbrellas in the rain. A snub-nosed girl in the emphasizes the actuality of his subject: La
artist
centre lowers her umbrella and looks to see if Vie Parisienne.
the shower is over; a fashionable mother Like other artists working in late nineteenth-
hurries her dallying children through the rain; century Paris, Renoir was influenced by the
and a midinette (a working girl who finishes contemporary mania for things Japanese. The
work mid-day) makes her way with a closed
at disregard for mathematical perspective ap-
box on her arm. parent in Japanese prints led nineteenth-
The picture was painted in two stages century painters to experiment with unusual
(probably in 1 88 1/2 and 1885/6) and the two viewpoints. Artists like Degas and Renoir
parts are clearly recognizable by the difference became fascinated by the Japanese use of line
in technique. The earlier part, the mother and and surface pattern. For Renoir Japanese ladies
the two an impressionistic style,
little girls, is in with parasols were easily translated into a
and the remainder of the painting is more contemporary Parisian crowd walking in the
'classical'. It was part of the Impressionists' rain.

A Japanese print of the

eighteenth century
 CIRttUE FERWANDO
TOU8 JLJES SOIOHIIS

Miss LALA
LA FEMME CANON

A contemporary poster advertising

Miss La La's performance at the Cirque
Fernando, Paris

Edgar Degas (i 834—191 7) chouart in Paris; and the National Gallery's

La La at the Cirque Fernando, Paris picture was exhibited in Paris later that year.
116.8 x 77.5 cm It was from about the middle of the 1870s
Signed: degas that Degas favoured the use of unusual
viewpoints in his paintings. Taking his themes
from contemporary Parisian life, ballet girls,
'During the past week an additional attraction cabaret artistes and women at their toilet, he
has been added in the person of a dusky lady was also interested in the new technique of
known as La La, whose feats of strength fairly photography. Looking at this image of La La,
eclipse anything and everything of the kind suspended momentarily from the ceiling, it is
that has gone before. She does all that her not difficult to see it as a painted snapshot. The
muscular rivals have done and a great deal composition is unusual: we are left to imagine
more. She has we believe already astonished all the gasping crowd who witness her perfor-
Paris, and we have little doubt that her fame in mance, while the rope from which she is
London will rapidly spread.' Thus read the suspended, unattached within the framework
review of La La's performance at the Westmin- of the picture, is but a taut line from top to
ster Aquarium in March 1879. It was in bottom.
January same year that Degas had made
in that Degas was a marvellous draughtsman, and
sketches of her when she performed at the perhaps more than any of his contemporaries
Cirque Fernando on the Boulevard Roche- he experimented with colour, technique and

164
the effects of light and form. In his later life, scale. Between 1895 and his death in 1906,
when he suffered increasing he
blindness, however, he painted three very large versions
turned to painting with pastel and modelling of the subject, the earliest of which is probably
sculptures in wax (many of which were the present picture. Unable to find a model in
subsequently cast in bronze). Provence, or rather unwilling to scandalize the
neighbourhood by painting nudes from the
life, Cezanne used for the pictures studies from

the nude which he had made many years

Paul Cezanne (i 8 39-1906) previously. In spite of this the draughtsman-
Bathers ship in each of the three pictures remains very
127.2 196. 1 cm distorted.
Unlike the Impressionists, who sought to
From 1886, when his father died, Cezanne was render the surface of objects, Cezanne's ap-
wealthy enough to live in relative seclusion proach was more analytical and he attempted to
near Aix-en-Provence where he had been born. model his forms through colour alone. Two of
Throughout his life he had been attracted by his large paintings of bathers, including this
the Renaissance theme of nude figures in a one, were exhibited in Paris at the Salon
landscape, and although ill equipped as a d'Automne in 1907 and were decisive in-
draughtsman to paint the nude, he painted fluences on the development of Cubist painting
several pictures of bathers, generally on a small as practised by Braque and Picasso.

165
Paul Cezanne (1839- 1906) four pictures, now in the Petit Palais, Paris,
The Painter's Father which he painted on the walls of the salon in
167.6 x 1 14.3 cm the Jas-de-Bourfon. As he signed one of these
'Ingres' and dated it 181 1, they were probably
In 1859, when Cezanne was twenty, his father satirical in intention and likely to have been
bought the property known as the Jas-de- painted very soon after his father's purchase of
Bouffon outside Aix-en-Provence. At this time the house. This portrait of his father reading a
the painter, on the insistence of his father, was newspaper, which comes from the same room,
studying law at the University of Aix in prep- was in all likelihood painted soon afterwards,
aration for a career in the family banking and is therefore also very early work.
business. Cezanne's own wish, much opposed The picture is painted in oil on top of the
by his father, was to go to Paris and study art, ordinary housepaint which covered the plaster
and this he finally did, dropping his legal of the walls. The paint, together with a very
studies, in April 1 861. thin layer of plaster, was removed about 1907
Among the painter's very earliest works are and mounted on canvas.

166
Gustav Klimt (1862-1918) painter of decorative schemes, was the most
Portrait of Hermine' Gallia (illustrated in its important Jugendstil, or Art Nouveau, painter
frame) in Austria and one of the founders of the
170.5 x 96.5 cm Vienna Secession movement, a group of artists
Signed: Gustav Klimt 1904 who consciously rejected the academic style
prevalent in the late nineteenth century. A
feature of the movement was that it was con-
Hermine Gallia was the wife of Moritz Gallia, a cerned with all aspects of design, including that
Viennese avant-garde art patron. The portrait of everyday objects. In this case Klimt also
was painted in 1904. Klimt, principally a designed the dress the sitter is wearing.

167
 l^nHMHHHHHHHHHHHBHHHI

Georges-Pierre Seurat (1859 91) Une Baignade, Asnieres, which is the French
Bathers, Asnieres title of this picture, was painted in 1883/4
201 x 300 cm before Seurat had evolved his theories fully,
Signed: Seurat and in the picture different methods of painting
are combined. The outlines of the figures are
When submitted to the Salon in 1884 the precisely, almost academically, drawn and
picture was refused and it remained in the indeed Seurat made elaborate crayon studies
artist's possession until his death at the age of for all of the principal figures in the picture.
thirty-two in 1891. The clump of trees on the The water is Impressionistic in style and parts
right of the painting is the island called La of the picture, for example the orange hat of the
Grande Jatte at Asnieres, which is on the Seine, boy in the water, were later reworked by the
north of Paris. artist in a Divisionist technique.
Seurat studied at the Ecole des Beaux-Arts in It was in another picture, Sunday Afternoon on
Paris from 1877 and early became interested in the Grande Jatte (now in Chicago), that Seurat
scientific theories of colour. He evolved a put his theories of colour fully into practice.
theory, Divisionism or Pointillism,
called That picture, exhibited at the last Impressionist
whereby primary colours, applied in small Exhibition in 1886, led to Seurat's style (and
dots, were intended to mingle in the eye of the that of his followers) being called Neo-
spectator to create secondary colours. Impressionism.

168
 Studies by Seurat for Bathers, Asnieres
(Yale University Art Gallery and a Private Collection)
Complete Catalogue of the Paintings
in the National Gallery
A Number in bold type indicates the page on which a painting is illustrated
Reproductions in the catalogue illustrate works listed in the adjacent text

Aack, Johannes van der Angelico, Fra follower of

(7. 1636-80) The Adoration of the Kings
An Old Woman seated Sewing The Rape of Helen by Paris
Altarpiece: The Annunciation
Allori, Alessandro (15 3 5- 1607)
The Vision of the Dominican Habit
ascribed to
The Virgin and Child with Angels
A Knight of S. Stefano
Antonello da Messina (active
Altdorfer, Albrecht
1456-79)
(c. 1480-15 38)
Salvator Mundi
Landscape with a footbridge
Portrait of a Man 45
Amstel, Jan van (active 1 527- Christ Crucified
c. 1 543) - after S. Jerome in his Study
Itinerant Entertainers in a Brothel
Antonello da Messina - follower
Antonello da Messina: S. Jerome Andrea di Aloigi, called of
in his Study
L'Ingegno (c. 1484 c. 15 16) The Virgin and Child
ascribed to
Arentsz, Arent (c. 1586-r. 1635)
The Virgin and Child
Fishermen near Muiden Castle
Andrea di Bonaiuto da Firenze
Augsburg (?) School, 16th century
(active 1343
c. -c. 1377)
Portrait of a Man
ascribed to
The Virgin and Child with Ten Saints Austrian School, 1 5th century
The Trinity with Christ Crucified
Andrieu, Pierre (1821-92)
ascribed to Avercamp, Hendrick (1 585-1634)
Still Life with Fruit and Flowers A Winter Scene with Skaters near a
Castle
Angelico, Fra (active 1417-55)
Christ Glorified in the Court of
A Scene on the Ice near a Town

Heaven Bacchiacca (1495-1 5 57)

The History of Joseph. I
Austrian School, 15th century: Angelico, Fra - ascribed to
The History of Joseph. II
The Trinity with Christ Crucified Roundel: A Martyr Bishop or Abbot
Bacchiacca - ascribed to
Marcus Curtius

Badalocchio, Sisto (1585 1621)

Christ Carried to the Tomb

Bakhuizen, Ludolf (1631-1708)

Dutch Men- of-War and small Vessels
off linkhui^en
The Eendracht' and a Fleet of Dutch
'

Men-of-War
A Beach Scene with Fishermen
An English Vessel and a Man-of-War
in rough Sea
A View across the River near
ower of Fra Ang he Rape of Helen hy Paris Dordrecht (?)

170
Dutch Men-of- War entering a Bassano, Jacopo - after
Mediterranean Port The Departure of Abraham

Baldovinetti, Alesso (c. 1426-99) Bassano, Leandro (15 57-1622)

Portrait of a Lady in Yellow 37 The Tower of Babel

Baldung Grien, Hans Bassano, Leandro - style of

(1484/5-1545) Portrait of a Man
Portrait of a Man 65 Bassano, Leandro - follower of
The Trinity and Mystic Pietd
Adoration of the Shepherds

Balen I,Hendrick van Bassen, Bartholomeus van (active

(15 75?— 1632), and a follower of 1613-52)
Jan Bruegel I
Interior of a Gothic Church
Pan pursuing Syrinx
Bassen, Bartholomeus van (?)
Barbari, Jacopo de' (active Interior of a Church
1 500-16?) Barbari: A Sparrowhawk
A Sparrowhawk Bastiani, Lazzaro (active
1449-15 12)
Barendsz, Dirck (1534-92) The Virgin and Child
Three Men and a little Girl
Batoni, Pompeo Girolamo
Barnaba da Modena (active (1708-87)
1361-83) John Scott of Banks Fee (?)
Pentecost Time orders Old Age to Destroy
The Coronation of the Virgin: the Beauty
Trinity: the Virgin and Child: the
Baugin, Lubin (c. 1610-63)
Crucifixion
The Holy Family with SS. Elizabeth
Baroccio, Federico (1535?— i6iz) and John and Angels
Holy Family with Infant Baptist (' The
Bazzani, Giuseppe (1690-1769)
Madonna of the Cat')
S. Anthony of Padua with the Infant
Copy drawing after above
Christ
Bartolo di Fredi (active
Beccafumi, Domenico
1353-1410)
(i 4 86?-ij 5
i)
S. Anthony Abbot
An unidentified Scene

Bartolommeo, Fra (1472?-! 5 17) Tanaquil

Batoni: Time orders Old Aj
The Virgin adoring the Child, with S. Mania
to Destroy Beauty
Joseph
Beerstraaten, Jan (1622-66)
Bartolommeo, Fra - ascribed to The Castle of Muiden in Winter
The Madonna and Child with S. John
Bega, Cornells (i63i/2?-64)
Bartolommeo Veneto (active An Astrologer

1502—c. 1 546 Begeijn (or Bega), Abraham

Portrait of Ludovico Martinengo (active 165 5-97)
Portrait of a Lady Peasants with Castle by a Ruin

Barye, Antoine-Louis (1796-1875) A River between rocky Cliffs

The Forest of Fontainebleau Bellini, Gentile (active

c. 1460-1507)
Basaiti, Marco (active 1496-15 30)
The Virgin and Child enthroned
Portrait of a young Man
The Virgin and Child Bellini, Gentile ascribed to

Bassano, Jacopo (active

A Man with a Pair of Dividers
The Sultan Mehmet II
c. M35-9 2 )
The Purification of the Temple Bellini, Gentile - after (?) Gentile Bellini: A Man with a
The Good Samaritan The Doge Niccolo Marcello (?) Pair of Dividers

171
 1

Bellini, Giovanni (active The Market Place and Town Hall,

c. 1459--1516) Haarlem
The Doge Leonardo Loredan,
Bergognone, Ambrogio (active
full-face 49
1481-1523?)

I to* y si
The Virgin and Child
The Madonna of the Meadow
The Agony in the Garden
Altarpiece: The Virgin and Child
with SS. Catherine of Alexandria
and Siena

i 1 The Blood of the Redeemer

S.Dominic
Pietd
47
The Virgin and Child with Two
Angels

4k S The Virgin and Child

The Agony in the

Christ carrying the Cross

Garden

Bellini, Giovanni - ascribed to The Virgin and Child

The Assassination of S. Peter Martyr
Bergognone, Ambrogio
•
Bellini, Giovanni - studio of ascribed to

f A Dominican, with
S. Peter Martyr added
the Attributes of Members of a Confraternity (?)

^.... -Mr *r
The Circumcision
Bergognone, Ambrogio -
S. Paul
style of
Giovanni Bellini: The Virgin The Virgin and Child
and Child S. Ambrose (?)
The Virgin and Child
Bernini, Gian Lorenzo
Bellini, Giovanni follower of
(1598-1680)
S. Jerome reading in a Landscape
SS. Andrew and Thomas
A Man in Black
Bertelot, Guillaume (active
Bellotto, Bernardo (1720-80)
1600-48) - ascribed to
A Caprice Landscape with Ruins
c.

Tame (bronze)
Benozzo di Lese, called Gozzoli
Bijlert, Jan van (1603? 71)
(c. 1421-97)
Altarpiece: The Virgin and Child
A Group Portrait

enthroned among Angels and Saints Bilivert, Giovanni (15 76- 1644)
S. Zenobius revives a Dead Boy
Benozzo di Lese after
The Virgin and Child enthroned with Bissolo, Francesco (active
Angels 1492-15 54)
Benson, Ambrosius (active The Virgin and Child with SS.

1 5 1 8?— 5 o) Michael and Veronica and two

The Magdalen reading Donors
Giovanni Bellini: S. Dominic The Virgin and Child with S. Paul
Benvenuto di Giovanni (1436- and a female Martyr
c. 1509)
Triptych: The Virgin and Child, with Blancour, Marie (17th century?)
SS. Peter and Nicholas A Bowl of Flowers
The Virgin and Child
Boccaccino, Boccaccio (active
Berchem, Nicolaes (1620-83) 1493-15 24/5)
Peasants with Cattle by a ruined Altarpiece: The Way to Calvary
Aqueduct
Mountainous Landscape with Muleteers Boilly, Louis-Leopold ( 1 76

A Man and a Youth Ploughing 1845)

Peasants in a Landscape A Girl at a Window

Berchem, Nicolaes - ascribed to Bol, Ferdinand (1616 80)

Peasants and Cattle fording a Stream An Astronomer
Berckheyde, Gerrit (1638
A Lady with a Fan
98)
The Market Place at Haarlem BOLTRAFFIO, Giovanni Antonio
Berchem: Peasants with Cattle The Interior of the Grote Kerk, (c. 1466/7? 5 16) 1

by a ruined Aqueduct Haarlem The Virgin and Child

172
A Man in Profile

Boltraffio, Giovanni Antonio

follower of
The Virgin and Child
Narcissus

Bonfigli, Benedetto (active

111 / LJm
1445-96)
The Adoration of the Kings, Christ on
the Cross

Bonheur, Rosa (1822-99) an d

Micas, Nathalie
The Horse Fair
<P
M
1

Bonifazio di Pitati (1487-1 3) 5 5

Giovanni Bellini: The Madonna of the Meadow
Madonna and Child with S. James the
Greater. Jerome, Infant Baptist and
Catherine of Alexandria

Bonifazio di Pitati - studio of

A Huntsman

Bonifazio di Pitati - style of

The Labours of the Months: January
to June; July to December

Madonna and Child with SS. John the

Baptist, Elizabeth and Catherine of

Alexandria

Bonifazio di Pitati - after

Dives and Lazarus

Bono da Ferrara (active i442?-6i?)

S. Jerome in a Landscape
Berckheyde: The Market Place at Haarlem
Bonsignori, Francesco
(i455?-i5i9?)
Tortrait of an elderly Man
The Virgin and Child with four Saints

Bonvin, Francois (1817-87)

The Pasturage
Still Life

Borch, Gerard ter (161 7-81)

A Woman making Music with two
Men
The Swearing of the Oath of
Ratification of the Treaty of
Miinster
Portrait of a young Man
Portrait of Hermanna van der Cruis
An Officer dictating a Letter

Bordon, Paris (1500-71)

Daphnis and Chloe
Portrait of a young Lady
Christ as Light of the World
Christ baptising S. John Martyr,
Duke of Alexandria n of the Treaty of Miinster

173
 Bordon, Paris - imitator of Botticini, Francesco (c. 1446-97)
A Young Woman with Carnations Altarpiece: S. Jerome in Penitence,
with Saints and Donors
Borssom, Anthonie van
(1629/30-77) Botticini, Francesco - ascribed to
A Garden Scene Altarpiece: The Assumption of the
Virgin
Bosboom, Johannes (18 17-91)
The Interior oj the Bakenesserkerk, Boucher, Francois (1703-70)
Haarlem Pan and Syrinx
Landscape with a Water mi 11
Bosch, Hieronymus (living
1474-15 16) Boucher, Francois studio of
Christ Mocked ( The Crowning with The Billet- Doux
Thorns)
Boudin, Louis-Eugene (1824-98)
Bosch, Pieter van den The Entrance to Trouville Harbour
(c. 1613/15-f. 1663)
1
A Squall from the West'
ascribed to Deauville Harbour
Bosch: Christ Mocked (The Crowning
with Thorns) A Woman scouring a Tot The Beach at Tourgeville-les-Sablons
Beach Scene, Trouville
Both, Jan {c. 161 8?-} 2)
Beach Scene, Trouville
A Rocky Landscape
A Village by a Stream
A Rocky Italian Landscape
Beach Scene, Trouville
Men and Cattle by a Pool
Laundresses by a Stream
A View on the Tiber (?)

Peasants with Mules and Oxen Bourdon, Sebastien (16 16-71)

A Rocky Landscape with an Ox-Cart The Return of the Ark
Both, Jan, and Poelenburgh, Bouts, Aelbrecht c. 1473- 549)
Cornelis van Christ Crowned with Thorns
A Landscape with the Judgment of
Bouts, Dieric (living c. 1448-75)
Paris
The Entombment
Botticelli, Sandro (c. 1445-1 5 10) The Virgin and Child with S. Peter
The Adoration of the Kings and S. Paul
Portrait of a young Man 39 Portrait of a Man 58
Venus and Mars 36 The Virgin and Child
Tondo: The Adoration of the Kings
Bouts, Dieric - studio of
Mystic Nativity
'Mater Dolorosa'
Four Scenes from the early Life of
Christ Crowned with Thorns
S. Zenobius
Three Miracles of S. Zenobius Bouts, Dieric - follower of
The Virgin and Child
Botticelli, Sandro studio of
Tondo: The Virgin and Child with Braij, Jan de (c. 626^-97)
1

S. John and two Angels Portrait of a Woman

Tondo: The Virgin and Child with
Bramantino (living 1490-15 30)
S. John and an Angel The Adoration of the Kings
The Virgin and Child
Tondo: The Virgin and Child with Breenbergh, Bartholomeus
S. John the Baptist (i599/i6oo?-5 7)

The Virgin and Child with a The Finding of the Infant Moses by
Pomegranate Pharaoh's Daughter

Botticelli, Sandro follower of Brekelenkam, Quiringh van

The Virgin and Child with an Angel (active 1648 67/8)
S. Francis A Man and a Woman by a Fire
An Allegory A Tailor's Shop
Tondo: The Adc A Lady in Profile A Woman asleep with a Bible (?) in
the Kings
:>f The Virgin and Child her Lap

174
Brescian School, 1 6th century
The Death of S. Peter Martyr
'
The Garden of Love'
Adoration of the Shepherds
Madonna and Child

Brescianino, Andrea del (living

1 oG-c 1525) and Raffaello del
5 .

(living 1506-45)
Madonna and Child with the Infant

Baptistf?) and SS. Paul and

Catherine of Siena

Bronzino, Agnolo (1503-72)

An Allegory jz
Portrait ofPiero de' Medici (' The
Gouty')
Madonna and Child with the Baptist
and S. Anne or S. Elizabeth

Bronzino - studio of
Portrait of Cosimo I de' Medici,
Grand Duke of Tuscany

Bronzino - follower of
Portrait of a Lady

Brouwer, Adriaen (i6o6?-38)

Four Peasants in a Cellar

Brown, John Lewis (1829-90)

The performing Dog

Bruegel the Elder, Pieter (active

1551-69) Boudin: Beach Scene, Trouville
The Adoration of the Kings 59

Bruegel, Jan I (1 568-1625) Busati, Andrea (active 1503-28)

The Adoration of the Kings The Entombment

Brugghen, Hendrick ter Butinone, Bernardino (active

(i 5
88?-i62 9 ) 148 5-1 507) - ascribed to
Jacob reproaching Laban for giving him The Adoration of the Shepherds
Leah in Place of Kachel
A Man playing a Lute 115
Buytewegh the Younger, Willem
(1625-70)
Brussel, Paulus Theodorus van A Dune Landscape
(1754-9O
Byzantine School, 17th century
Flowers in a Vase
Noli Me Tangere
Flowers in a Vase
Fruit and Flowers Byzantine School, c. 1 8oo(?)
Entombment of the Virgin
Bruyn the Elder, Bartholomeus
(1492/5-1555) Calame, Alexandre (1810-64)
A Man of the Strauss (?) Family The Lake of Thun Bouts: The Entombment
The Virgin, S. John, S. Mary
Calraet, Abraham van
Magdalene and a Holy Woman
(1642-1722)
Buonconsiglio, Giovanni (active A Horse with a Saddle nearby
1495-1535/7) The Interior of a Stable
S. John the Baptist Scene on the Ice outside Dordrecht

!75
 Campin, Robert (i 378/9-1444)
The Virgin and Child before a
Firescreen
V or trait of a Man
Campin, Robert - ascribed to
A Man
A Woman
Campin, Robert - after (?)
The Virgin and Child with two Angels

Campin, Robert - imitator of

(early 16th century ?)

The Death of the Virgin

Canaletto, Giovanni Antonio

Canal, called (1 697-1 768)
Venice: Campo S. Vidal and S.
Campin: A Man Campin: A Woman Maria della Carita 133
Venice: Upper Reaches of the Grand
Canal with S. Simeone Piccolo
Venice: The Feastday of S. Koch
Venice: A Regatta on the Grand
Canal
Eton College
Tondon: Interior of the Rotunda at
Ranelagh
Venice: Pia^a S. Marco
Venice: Pia^a S. Marco and the

Colonnade of the Procuratie Nuove

Venice: The Basin of S. Marco on
Ascension Day 132
Venice: A Regatta on the Grand
Canal

Canaletto: Eton College Canaletto, Giovanni Antonio

studio of
Venice: The Pia^etta from the Molo
Venice: The Doge's Palace and the
Riva Degli Schiavoni
Venice: Pala^o Grimani
Venice: Tint ranee to the Cannaregio
Venice: S. Pietro in Castello

Canaletto, Giovanni Antonio

follower of
Venice: S. Simeone Piccolo
Venice: Upper Reaches of the Grand
Canal facing S. Croce

Venice: Upper Reaches of the Grand

Canal facing S. Croce

Cappelle, Jan Van de

(c.1623/5-79)
A Small Vessel in light Airs
Vessels in light Airs
A Shipping Scene with a Dutch Yacht
Cappelle: A Shipping Scene with a Dutch Yacht firing a Salute firing a Salute

176
A
A
River Scene with a Dutch Yacht
firing a Salute
River Scene with Passengers
Disembarking
A Small Dutch Vessel before a light
Carracci, Annibale -
Landscape with a River and Boats

Carracci, Antonio
(i 5 8 9 ?-i6i8)
Martyrdom of S. Stephen
(?)
style of

l^H
Breeze
A River Scene with Vessels becalmed Carracci, Ludovico (15 55-1619)
Vessels moored off a Jetty Susannah and the Elders

Caravaggio, Michelangelo Merisi Carriera, Rosalba Giovanna I

da(ij73-i6io) (1675-1757)
The Supper at Emmaus 93 Portrait of a Man
Caravaggio. Michelangelo Merisi Carriera, Rosalba Giovanna after
da - ascribed to Rosalba Carriera mn K '
Ili
1
j. !

Salome receives the Head of S. John the

Castagno, Andrea del
Baptist
(c. i 4 2i?-5 7
)
Canaletto: Venice: Piazza S. Marco
Giovanni Busi, called Cariani The Crucifixion and the Colonnade of the
(active 1509-47) Procuratie Nuove
Catena, Yincenzo (active
Holj Family with S. Lucy, another
1506-31)
female Saint and a youthful Donor
A Warrior Adoring the Infant Christ
A Member of the Albani Family
and the Virgin

Giovanni Busi - ascribed to S. Jerome in his Study-

Madonna and Child Portrait of a young Man

Portrait of the Doge, Andrea Gritti
Carmontelle (171 7-1 806)
Mozart with his Father and Sister Catena, Yincenzo - ascribed to
Madonna and Child with the Infant
Carpaccio, Vittore (active
Baptist
1490-1523,6)
S. Ursula taking Leave of her Cavallino, Bernardo (1616-56?)
Father (?) Christ driving the Traders from the
Temple
Carpaccio, Vittore - ascribed to
The Adoration of the Kings Ceruti, Giacomo (active first half
1 8th century)
Carracci, Agostino (15 5 7-1602) Portrait of a Priest
and (?) Annibale (1 560-1609)
Cephalus carried off by Aurora in her Cesare da Sesto (c. 1477-15 23) Annibale Carracci: Christ appearing
Chariot studio of to S. Peter on the Appian Way
A Woman borne off by a Seagod'(?)
Salome

Cezanne, Paul (1839-1906)

Carracci, Annibale
Self-Portrait
Christ appearing to S. Peter on the
Mountains in Provence
Appian Way ('Do mine, Quo
Vadis?')
An Old Woman with a Rosary
The Grounds of Chateau Noir
Silenus gathering Grapes
Bathers 165
Marsyas (?) and Olympus
The Painter's Father 166
Christ appearing to S. Anthony Abbot
during his Temptation Champaigne, Philippe de
The Dead Christ mourned ( The Three (1602-74)
Maries) 91 Triple Portrait of the Head of
Richelieu
Carracci, Annibale - circle of
Cardinal Richelieu 94
S. John the Baptist seated in the
The Vision of S. Joseph
Wilderness
Landscape with a hunting Party Champaigne. Philippe de
Erminia takes Refuge with the ascribed to
Shepherds Cardinal de Ret% Cezanne man with a Rosarv

177
 mmagmammm Chantrey, Sir Francis Legatt A Seaport
(1781-1841) Landscape: David at the Cave of

1
Mm *
'
4k? m Charles Long, Lord Farnborough
(marble)

Chardin, Jean-Baptiste S meon

Adullam
Landscape: The Marriage of Isaac and
Rebekah ('The Mill') 96
Seaport: The Embarkation of the
(1699-1779)
Queen of Sheba 95
'La Fontaine'
Landscape: Narcissus

w**,^" The Young Schoolmistress

The House of Cards
136
Seaport: The Embarkation of S.
Ursula
Chardin, Jean-Baptiste Simeon Landscape with a Goatherd and Goats
imitator of Landscape: Hagar and the Angel
Wfcm*. Still-Life Landscape: Aeneas at Delos

Charlet, Nicolas-Toussaint Claude - ascribed to

(1792-1845) A View in Rome
Children at a Church Door
Claude: Landscape: Hagar and Claude - after
the Angel Chintreuil, Antoine (1814-73) Landscape: Death of Procris
Landscape
Clays, Paul Jean (1819-1900)
Petrus Christus (active
Ships lying off Flushing
I442?- 7 2/ 3 )
Ships lying near Dordrecht
Portrait of a young Man
Cima da Conegliano, Giovanni Codde, Pieter (1 599-1678)
Battista (1459/60?-!
Group Portrait
5 17/18)
The Virgin and Child A Woman holding a (?) Mirror

The Virgin and Child with a Goldfinch

Coecke van Aelst, Pieter
Altarpiece: The Incredulity of
(1 502-50) - attributed to the
S. Thomas
studio of
S. Jerome in a Landscape
Triptych: The Virgin and Child
Christ crowned with Thorns
enthroned
David and Jonathan 46
The Virgin and Child Cologne School, 15 th century
A Male Saint Portrait of a Woman
S. Sebastian
Coninck, David de (1 643 /5 ?— 99 or
Cima da Conegliano, Giovanni
later)
Battista - ascribed to
Petrus Christus: Portrait Dead Birds and Game with Gun Dogs
of a young Man
The Virgin and Child with SS. John
the Evangelist (?) and Nicholas Constable, John (1776-18 37)
Cima da Conegliano, Giovanni The Cornfield
Battista - after The Hay wain 148

The Virgin and Child with SS. Paul The Cenotaph to Reynolds

and Francis (?)

Memory, Coleorton
Salisbury Cathedral and
Cipper, Giacomo Francesco (active
Archdeacon Fisher's House 150
first half 1 8th century)
Weymouth Bay
Head of a Man in Blue

Head of a Man in Red Coques, Gonzales (1614/18-84)

Glaesz, Pieter (1596/97 1661) A Family Group
Still Life with Drinking Vessels Portrait of a Lady as S. Agnes
Sight ( Portrait of Robert van den
Glaesz, Pieter ascribed to
Hoecke)
Still Life with a Nautilus Cup
Hearing
Claude (1600-82) Touch
Landscape: Cephalus and Procris Smell (Portrait of Lucas Fay d' Her be)

( (instable: The Cornfield reunited by Diana Portrait of a Man

178
Coques, Gonzales -

r
after
Taste

Coques, Gonzales - imitator of

Portrait of a Woman
1 *
Corneille de Lyon
M33/4-74) -style of
Portrait of a
Bust Portrait of a
Portrait of a
Portrait of a
Man

Lady
Man
Man
(active

>» ^w ^^^UpW^^^^^^^^^
m $*J--"~ x k
Cornelis van Haarlem
(1 562-1638)- after
>
Two Followers of Cadmus devoured by
a Dragon

Claude: Landscape: David at the Cave of Adullam

Corot, Jean-Baptiste-Camille
(1796-1875)
The Marsh of Arleux
The Leaning Tree- trunk
The Wood Gatherer
Evening on the Lake
A Waggon in the Plains of Ar to is

A Flood
Cows standing in a Marsh
Souvenir of a Journey to Coubron
Avignon from the West
'Summer Morning
The Roman Campagna, with the

Claudian Aqueduct 156

A Horseman (M. Pivot) in a Wood
The Seine near Rouen
Corot: Avignon from the West
A Woman in Bridal Dress (?)

Dardagny, Morning
The Waggon - Souvenir of Saintry
The Agony in the Garden
Corot, Jean-Baptiste-Camille Ecce Homo
ascribed to
Cossa, Francesco del 1435-
A Peasant Woman {c.

1477)
c.
Seascape with Figures on Cliffs
S. Vincent Ferrer (?)

Correggio, Antonio Allegri da

Costa, Lorenzo (1459/60-1535)
(active 1514-34)
Madonna and Child with SS. Peter,
Mercury instructing Cupid before
Philip, and the two SS. John
Venus 73
Portrait of Battista Fiera
Ecce Homo
The Madonna of the Basket
A Concert
The Nativity
The Magdalen
Head of an Angel Costa, Lorenzo - follower of
Heads of two Angels The Story of Moses: The Israelites
Head of an Angel Gathering Manna; The Dance of
Christ taking Leave of His Mother Miriam

Correggio, Antonio Allegri da Costa and (?) Maineri

Correggio: The Madonna of the Basket
after The Virgin and Child with
Group of Heads S. William of Aquitaine (?) and
Group of Heads S. John Baptist

179
 Courbet, Jean-Desire-Gustave
(1819-77)
The Sea near Palavas
Self-Portrait
In the Forest
The Diligence in the Snow
The Pool
Still Life: Apples and Pomegranate
The Girls of the Seine Banks 159
Beach Scene

Courbet, Jean-Desire-Gustave
ascribed to
Landscape

Couture, Thomas (1815-79)

Caught by the Tide

Cranach the Elder, Lucas

(1472-1553)
Cuyp: A Milkmaid and Cattle near Dordrecht
Portrait of a Woman
Portrait of a Man
Charity
The Close of the Silver Age (?)
Cupid complaining to Venus 62

Crespi, Giuseppe Maria

(1665-1747)
S. Jerome in the Desert

Crivelli, Carlo (active 1457-93)

Pietd
The Vision of the Blessed Gabriele
Altarpiece: The Virgin and Child
with SS. Jerome and Sebastian (The
'Madonna della Ron dine') 44
Altarpiece: The Annunciation, with
S. Lmidius

Degas: Beach Scene

'
The Demidoff Altarpiece'
Altarpiece: The Virgin and Child
with SS. Francis and Sebastian
The Immaculate Conception
S. Catherine of Alexandria
S. Mary Magdalene

Crivelli, Carlo - ascribed to

SS. Peter and Paul

Cuyp, Aelbert (1620-91)

A Hilly Riper Landscape 116
Bust Portrait of a Man
A Horseman with Cowherds in a

Landscape
A Herdsman with Cows by a River
Ubbergen Castle
A Milkmaid and Cattle near
Dordrecht
A Herdsman with Cattle near
David: Chrisi n Dordrecht

180
Peasants and Cattle by the River Delacroix, Ferdinand- Victor-
Merwede Eugene (1798-1863)
A Riper Scene Baron Schwiter 154
The Maas at Dordrecht in a Storm Abel Widmer
Ovid among the Scythians
Cuyp, Aelbert - ascribed to
Christ on the Cross 152
A Boy holding a Horse
Delacroix, Ferdinand- Victor-
Cuyp, Aelbert - imitator of Eugene - ascribed to
A Herdsman with Cattle near a River Victor Considerant

Daubigny, Charles-Francois Delaroche, Paul 795—18 56)

(1
(1817-78) The Execution of Lady Jane
Willows
Grey 155
River Scene with Ducks
Alders Delen, Dirck van (1604/5-71)
The Garden Wall An Architectural Fantasy

St Paul's from the Surrey Side

Delft School, c. 1650—5 ;(?)
Portrait of Honore Daumier An Interior with a Woman refusing a
View on the Oise
Glass of Wine Crivelli: The Annunciation, with
Landscape with Cattle by a Stream S. Emidius
Detroy, Jean-Francois
Daumier, Honore- Victorin (1679-1752)
(1808-79) Jason swearing eternal Affection to
Don Quixote and Sancho Pan^a Medea

David, Gerard (active 1484-15 23) Detroy, Jean-Francois - after

An Ecclesiastic praying 'Le Jeu du Pied de Boeuf
Canon Bernardinus de Salviatis and
Diana, Benedetto (active
three Saints
1482-1525)
The Deposition
Salvator Mundi
The Adoration of the Kings
The Virgin and Child with Saints and Diaz de la Pena, Narcisse-Virgilio
Donor (1807-76)
Christ nailed to the Cross 'Sunny Days in the Forest'
The Storm
David, Gerard - studio of A Common, with a stormy Sunset
S. Jerome in a Landscape
Venus and two Cupids
David, Gerard - studio of (after
Diaz de la Pena, Narcisse-Virgilio
Hugo van der Goes?) ascribed to
The Virgin and Child Cows at a Pool

David, Gerard - follower of Diepraem, Arent(?) (i622?-7o?)

Wings of an Altarpiece A Peasant smoking

Decker, Cornells (active 1640-78) Dietrich, Christian Wilhelm

A River Landscape with a Cottage Ernst (1712-74)
The Wandering Musicians
Degas, Hilaire-Germain-Edgar
(1834-1917) Dolci, Carlo (1616-86)
Beach Scene The Virgin and Child with Flowers
Princess Metternich
DOMENICHINO (1581-1641)
Young Spartans
Landscape with Tobias laying hold of
La La at the Cirque Fernando,
the Fish 92
Paris 164
S. George killing the Dragon
Elena Carafa
The Vision of S. Jerome
Ballet Dancers
Combing the Hair Domenichino and assistant(s) Domenichino: S. George killing
Woman drying Herself Apollo slaying Coronis the Dragon

181
 The Judgment of Midas Dughet, Gaspard (1615-75)
The Transformation of Cyparissus Landscape: Abraham and Isaac
Apollo pursuing Daphne approach the Place of Sacrifice
The V laying of Marsyas Landscape: Storm
Apollo and Neptune advising Landscape near Albano (?)
Laomedon on the Building of Troy Ariccia
Apollo killing the Cyclops Tivoli(?)
Mercury Herds of
stealing the Storm: Moses and the Angel (?)
Admetus guarded by Apollo
Dughet and Maratti
Domenico Veneziano (active Storm: The Union of Dido and Aeneas
1438-61) Dughet - style of
Fresco: Head of a beardless Saint Landscape with Figures
Fresco: Head of a bearded Saint Landscape with Figures
Fresco: The Virgin and Child
Dure, Jules-Louis (18 11-89)
enthroned
Willows, with a Man fishing
Donck, G. (active 1627-40)
Durer, Albrecht (1471-1528)
(?) Jan van Hensbeeck and his Wife,
ascribed to
Maria Koeck, and a Child
The Painter's Father 66
Dossi, Dosso (active 1 5 1 2-42)
A Man Durer, Albrecht - style of
embracing a Woman
Domenichino: Apollo pursuing Daphr The Virgin and Child (' The Madonna
The Adoration of the Kings
with the Iris')
Pieta
A Bacchanal Dutch School c. 1640-45

Dou, Gerrit (1613-75)

Portrait of a Man
A Man with a Pipe
Portrait of a Woman and Child

A Poulterer's Shop Dutch School c. 1650-55

Portrait of a young Woman A Distant View of Dordrecht

Drost, Willem (?) (active 1652- Dutch School, mid- 17th century
c. 1654) imitator of
Portrait of a young Woman A Company of Amsterdam
Militiamen
Drouais, Francois-Hubert
(1727-75) Dutch School (?) c. 1635-40
Le Comte de Vaudreuil A Portrait of a Man
Dubbels, Hendrick (i62i?-76?) Duyster, Willem (c. 1599-163 5)
Shipping becalmed off Shore Soldiers fighting over Booty

Dubufe, Claude-Marie
A Couple playing Trick-Track,

(1790-1864) Dyck, Anthony Van (1 599-1641)

'
The Surprise' The Emperor Theodosius forbidden
entry to Milan Cathedral
Duccio (active 1278-1319)
Cornells van der Geest
Triptych: The Virgin and Child with
Carlo and Ubaldo see Rinaldo
Saints
conquered by Love for Armida
The Annunciation 26
Equestrian Portrait of Charles I 105
Jesus opens the Eyes of a Man born
blind 26
A Woman and Child
The Abbot Scaglia adoring the Virgin
The Transfiguration
and Child 103
The Virgin and Child with four
William F eliding,Earl of Denbigh
1st
Angels
Lady Elizabeth Thimbelby and
Duccio - follower of Dorothy, Viscountess Andover
The Virgin and Child with six Angels
Dyck, Anthony Van ascribed to
Ducreux, Joseph (1735-1802) Portrait of a Man
Drouais: Le Comte de Vaudrcuil Portrait of a Man Portrait of a Woman

182
Dyck, Anthony Van - after Self-Portrait (?) 122
Robert Rich, 2nd Earl of Warwick
Fantin-Latour, Ignace-Henri-
Dyck, Anthony Van - ascribed to Jean-Theodore (1836-1904)
the studio of 'The Rosy Wealth of June'
Prince Rupert, Count Palatine Still Life

Prince Charles Louis, Count Palatine Roses

Dyck, Anthony Van - after(?) Ferrarese School (?)

Three Men Mystic Figure of Christ

Dyck, Anthony Van - style of Ferrarese School, 16th century

The Horses of Achilles The Conversion of S. Paul Dosso Dossi: The Adoration of the
Kings
Portrait of a Woman Virgin and Child with SS. Dominic
Two Englishmen and Catherine of Siena

Dyckmans, Josephus Laurentius Ferrari, Defendente (active

(1811-88) 1-35?) - style of
1 5 1

The Blind Beggar S. Peter Martyr and a Bishop Saint

Eeckhout, Gerbrand van den SS. Nicholas of Tolentino and John the
Baptist
(1621-74)
Four Officers of the Amsterdam
Fiorenzo di Lorenzo
Coopers' and Wine-Rackers' Guild
(c. i440?-i 522/5)
Elsheimer, Adam (1 578-1610) Part of an Altarpiece
S. Lawrence prepared for
Fiorenzo di Lorenzo - ascribed to
Martyrdom 90
The Virgin and Child
Tobias and the Archangel Raphael
S. Paul on Malta Flemish School c. 1620
The Baptism of Christ Cognoscenti in a Room hung with
Pictures
Emilian (?) School, 1 7th century
Portrait of a Painter Flemish School c. 1650
A Mathematician (?) Portrait of a Man
English School, 19th century Flemish School c. 1660
Portrait of a Man A Boy holding a Rose
Portrait of a Woman
Flemish School, 17th century
Everdingen, Van Dyck: The Emperor Theodosius
Allart van (1621-75) Portrait of a Man forbidden entry to Milan Cathedral
A Saw-Mill by a Torrent
Flemish(?) School, 17th century
Everdingen, Cesar van (?) Portrait of a Man
(i6i6/i 7?-7 8)
Portrait of a Dutch Commander (?) Flemish School, first half of 17th
century - ascribed to
Eyck, Jan van (active 1422-41)
The Raising of Lazarus
The Marriage of Giovanni (?)

Arnolfini and Giovanna Flemish School, 1636 - ascribed

Cenami 2 to
(?) 5

A Man in a Turban 5
Portrait of a Man
Portrait of a young Man Flemish School, latter part of 17th
Eyck, Jan van - follower of century - ascribed to
Marco Barbarigo Portrait of a Lady

Fabritius, Barent (1624-73) Flinck, Go vert (1615-60)

The Adoration of the Shepherds Portrait of Rembrandt aged about yy

The Naming of S. John the Baptist

Florentine School, 14th
Fabritius, Carel (1622-54) century(?) Van Dyck: Lady Elizabeth Thimbelbv
A View of Delft Fresco: Plead of male Saint and Dorothy, Viscountess Andover

183
 Wing of a Diptych: The Dead Francia, Francesco
Christ and the Virgin (c. 1450-1517/18)
The Baptism of Chist Altarpiece: The Virgin and Child
with S. Anne and other Saints:
Florentine School, 1 5th century
Lunette to above: Pieta
The Combat of Love and Chastity
The Virgin and Child with two Saints
Tondo: The Virgin and Child,
Bartolomeo Bianchini
S. John and an Angel
Tondo: The Holy Family with Francia, Francesco ascribed to
Angels Mourning over the dead Christ
The Virgin and Child with two Angels
Roundel: God the Father Francia, Francesco - after

Cassone, with the Story of the The Virgin and Child with an Angel
Schoolmaster of Falerii
Franciabigio (c. 1482/3— i 525)
SS. Catherine and Bartholomew
Portrait of a Knight of Rhodes
The Virgin and Child
French(?) School, c. 1395 or later
Florentine School, 1 5th century: The Florentine(P) School, 15 th
Richard II presented to the Virgin and
Combat of Love and Chastity century
Child by his Patron Saints (' The
Portrait of a young Man Wilton Diptych') 25
Florentine School, 1 6th century
French School (?), 15th century (?)
Portrait of a Lady
The Virgin
A Knight of S.John
French School, 16th century
(P)Florentine School, 16th
Paul, Sire DAndouins (?)
century
Portrait of a Lady
Portrait of a Lady
Portrait of a Boy French School 16th century
(?),
A Bearded Man Portrait of a Boy
Portrait of Savonarola Portrait of a Man
Fontainebleau School, 16th French School (?), 16th century (?)
century Portrait of a Man
Cleopatra Portrait of a young Lady
Foppa, Vincenzo (active
French School (?), 17th century
1456— 1515/16)
The Visitation
Altarpiece: The Adoration of the
Francia: The Virgin and Child with
S. Anne and other Saints Kings French School, 18th century
Madame de Gle'on (?)
Forain, Jean-Louis (18 2-1 931) 5

Legal Assistance French School, early 19th century

Fortuny, Mariano (1838-74) Portrait of a Boy

The Bull-Fighter's Salute

French School (?), early 19th

Fragonard, Jean-Honore century

(1732- 1806) - ascribed to An '
Academie
Interior Scene
French School (?), 19th century
Francesco di Antonio A Black Woman
(c. 394 1433 or later)
1

Fromentin, Eugene (1820-76)

The Virgin and Child with six Angels
The Banks of the Nile
and two Cherubim

Francesco di Giorgio Fungai, Bernardino

(1439- 1510/12) (146CW.15 16)
S. Dorothy and the Infant Christ Tondo: The Virgin and Child with
Cherubim
Franchoijs, Peeter (1606-54)
Gainsborough: The Painter's Daughters ascribed to Fyt, Joannes (161 1-6 1)
chasing a Butterfly Portrait oj Lucas Fayd' Herbe(?) Dead Birds in a Landscape

184
Fyt, Joannes - ascribed to
A Still Life with a Parrot
Gaddi, Agnolo (active 1369-96)
ascribed to
Part(?) of an altarpiece: The
Coronation of the Virgin

Gainsborough, Thomas
(1727-88)
The Watering Place
Mrs Siddons
Dr Ralph Schomberg
Gainsborough 's Forest ('Cornard
Wood')
The Painter's Daughters chasing a
Butterfly
The Painter's Daughters with a Cat
Pomeranian Bitch (?) and Puppy
John Plampin
The Morning Walk 143
Mr and Mrs Andrews 145

Gargiulo, Domenico (?)

(i6i2?-<r. 1675)
The Finding of Moses

G arofalo (1 48 1 ?- 1 5 5 9)
S. Augustine with the Holy Family
and S. Catherine of Alexandria
The Holy Family with SS. John the

Baptist, Elizabeth, Zacharias and

Francis (?)

The Agony in the Garden

Madonna and Child with SS. William
of Aquitaine, Clare, Anthony of
Padua and Francis
An Allegory of Love
S. Catherine of Alexandria
A Pagan Sacrifice

Gaudenzio, Ferrari (active

1508-46)
Christ rising from the Tomb
The Annunciation
S. Andrew (?)

Gauguin, Paul (1848-1903)

Flower Piece

Geertgen tot Sint Jans (late 1 5 th

century) - ascribed to
The Nativity, at Night

Gericault, Jean-Louis-Andre-
Theodore (1791-1824)
A Horse frightened by Lightning

Gericault, Jean-Louis- Andre-

Theodore ascribed to
An '
Academie Gericault: A Horse frightened by Lightning

185
 German School, 16th century Ghirlandaio, Domenico
Portrait of a Woman follower of

German
Portrait of a young Man in Red
(?) School, 17th century
The Virgin and Child with S. John
S. Christopher carrying the Infant

Christ Ghirlandaio, Domenico

style of
German School - ascribed to
Costanza Caetani
Virgin and Child with an Angel in a
Landscape Ghirlandaio, Ridolfo
Gerolamo dai Libri (1483-1561)
1474-15 5 5?)
(c.
The Procession to Calvary

The Virgin and Child with S. Anne Portrait of a Man

Gerolamo da Santacroce (active Giambono, Michele (active

1 5 16-56?) - ascribed to 1420-62)

A Youthful Saint reading Saint with a Book

Style of Domenico Ghirlandaio:

A Saint with a Fortress and Banner
Giampietrino (active first half
Costanza Caetani Gerolamo da Vicenza (active 1 6th century)
1488) Christ carrying his Cross
The Death and Assumption of the Salome
Virgin
Giannicola di Paolo (active
Gerome, Jean-Leon (1824-1904) 1484-1544) - ascribed to
A Student of the Ecole Poly technique The Annunciation

Gheyn III, Jacob de Giaquinto, Corrado (1703-66)

(c. 596-1641) - after
1
Apotheosis of the Spanish Monarchy (?)
S. Paul reading
Gibson, John (1790- 18 66)
Ghirlandaio, Domenico William Bewick (marble bust)
(c.1448-94)
A Legend of SS. Justus and Clement Giolfino, Niccolo
of Volterra (c. 1 476/7-1 5 5 5) - ascribed to
Portraits of the Giusti Family of
Ghirlandaio, Domenico r
I erona (?)
studio of
Portrait of a Girl Giordano, Luca (1634-1705)
The Virgin and Child A Homage to Veld^que^
S. Anthony of Padua miraculously
restores the Foot of a self mutilated
Man
The Martyrdom of S. Januarius

Giordano, Luca - style of

The Toilet of Bathsheba

Giorgione (active 1 506-10)

The Adoration of the Magi
Sunset Landscape with S. Koch (?),
S. George and S. Anthony Abbot

Giorgione - imitator of
A Man in Armour
Homage to a Poet
Nymphs and Children in a Landscape
with Shepherds

Giorgione: Sunset Landscape with S. Roch(?), S. George and Giotto ( 1 266? 1 337) - ascribed to
S. Anthony Abbot Pentecost 27

186
Giovanni Battista of Faenza Giulio, Romano (1499?- 546)
(active 1495?-! 5 16) studio of
The Virgin and Child in Glory The Infancy of Jupiter
The Incredulity of S. Thomas
Giulio, Romano and
Giovanni da Milano (active Giovanfrancesco Penni
c. 1346-69?) S. Mary Magdalene borne by Angels
Three pinnacles from an altarpiece:

The Almighty: The Virgin: Isaiah Giusto de' Menabuoi (active

1363/4-87/91)
Giovanni da Milano - style of
Triptych: The Coronation of the
Christ and the Virgin with Saints
Virgin, and other scenes

Giovanni del Ponte

Goes, Hugo van der (active
1385-1437/42?)
(c.
1467-82)
Triptych: The Ascension of S. John
The Nativity, at Night
the Evangelist, with Saints Giordano: A Homage to Velazquez
Pinnacles to the above altarpiece Gossaert, Jan, called Mabuse
(active 1503-32)
Giovanni di Paolo (active
1420-82)
A Man with a Rosary
Portrait of Damiao de Goes (?)
SS. Fabian and Sebastian
The Baptism of Christ 28
An Elderly Couple

The Head of S John the Baptist

.
A Tittle Girl (Jacqueline de
Bourgogne?) 57
brought to Herod
The Adoration of the Kings
The Birth of S. John the Baptist

John the Baptist retiring to the

S. Gossaert, Jan - follower of
Desert 28 The Magdalen
Giovanni Francesco da Rimini
Gossaert, Jan - after
(active 1441-f. 1470)
The Virgin and Child
The Virgin and Child with two Angels
Goya, Francisco de (1746-1828)
Giovanni Martini da Udine
(c. 145 3-1 535)" ascribed to
A Picnic
Altarpiece: The Virgin and Child
A Scene from El Hechi^ado Por
Gossaert: The Adoration of the Kings
Fuer^a(The Forcibly Bewitched)
with S. George, S. James the
Dona Isabel de Poreel
Greater and a Donor
Don Andres del Peral
Giovanni da Oriolo (active The Duke of Wellington 139
1439-80/88)
Lionello D'Este
Goyen, Jan van (1 596-1656)
A View over Overschie
Giovenone, Gerolamo (active
A Scene on the Ice near Dordrecht
M13-5O A Windmill by a River
Altarpiece: The Virgin and Child
A Scene on the Ice
with Saints and Donors Fishermen laying a Net

Girolamo da Carpi (c. 1501-56) A River Scene

Cardinal Ippolito De Medici Fishermen hauling a Net

conferring an Office on Monsignor River Scene with Shipping 119

Mario Bracci
Goyen, Jan van - ascribed to
Girolamo da Treviso (active A Cottage on a Heath
1 5 24-44)
Altarpiece: Madonna and Child with Goyen, Jan van — imitator of

Angels, Saints and a Donor Sailing Vessels in a Breeze

Girolamo da Treviso Greco, El (1541-1614)

ascribed to Christ driving the Traders from the
The Adoration of the Kings (after Temple 106
Baldassare Peruzzi) The Adoration of the Name of Jesus Goya: Don Andres del Peral

187
 Greco, El - ascribed to Haccou, Johannes Cornells
S. Jerome as Cardinal (1798-1839)

Greco, El studio of
A Road by a Cottage

The Agony in the Garden of Hackaert, Johannes (1628/9-

Gethsemane c. 1685) and Nicolaes Berchem

Greco, El - after
A Stag Hunt
S. Peter (?) Haensbergen, Johan van
(1642- 1 70 5) - ascribed to
Greco-Roman
Women bathing in a Landscape
A Young Woman
A Man with a Wreath Hals, Dirck (1 591 1656)
A Young Woman with a Wreath A Party at a Table

Greuze, Jean-Baptiste Hals, Frans (c. 1580? 1666)

(1725-1805) Portrait of a middle-aged Woman

A Girl Portrait of a Man in his Thirties

A Child with an Apple A Family Group in a Landscape 123

A Girl with a Tamb Portrait of a Man
Portrait of a Woman
Greuze, Jean-Baptiste Portrait of Jean de la Chambre at the
follower of
«&* of 33
A Girl Portrait of a Woman
Guardi, Francesco (171 2 93) Harpignies, Henri-Joseph
Venice: Pia%%a S. Marco
(1819 1916)
A Gondola on the Lagoon near Mestre
The Painter's Garden at Saint-Prive
Venice: The Punta della Dogana with
A River Scene
S. Maria della Salute 134 Olive Trees at Menton
Venice: The Doge's Palace and the
River and Hills
Molo Autumn Evening
An Architectural Caprice with a
Palladian- Style Building Heda, Gerrit (active 1641-c. 1702)

A Caprice with a ruined Arch Still Life

An Architectural Caprice Still Life with a Lobster

A View near Venice (?) Heem, David Davidsz de (?)

Caprice Viewj with Ruins (active 1668)
Heist: Portrait of a Ladv
A Caprice with Ruins on the Seashore
Still Life
An Architectural Caprice
View on the Venetian Lagoon with the
Heimbach, Wolfgang
(active 1636-78)
Tower of Malghera
Venice: Pia^a S. Marco
Portrait of a young Man
Venice: The Arsenal Helst, Bartholomeus van der
Venice: The Grand Canal with (i6i3?- 7 o)
Pala^^o Pesaro Portrait of a Girl
Venice: The Punta della Dogana Portrait of a Lady
Venice: The Giudecca with the Zi telle
Helst, Bartholomeus van der
Guardi, Francesco imitator of ascribed to
Venice: Entrance to the Cannaregio Portrait of a Man
A Ruin Caprice
Hemessen, Katharina de (1527/8
A Ruin Caprice
c. 1566?)
Guercino ( 1 5 91- 1 666) Portrait of a Man
Angels weeping over the dead Christ Portrait of a Lady
7 'he Incredulity of S. Thomas
HemesseN, Katharina de
I lonthorst: Christ before
Guercino - after ascribed to
the I Ugh Priest A Bearded Man holding a I .amp A Lady with a Rosary

188
Hendriks, Wybrand (1744-183 1)
Fruit, Flowers and Dead Birds

Herp I, Guilliam van (i6i4?-77)

S. Anthony of Padua (?) distributing
Bread

Heyden, Jan van der (1637-1712)

A View in Cologne

An Architectural Fantasy
A Farm among Frees
An Imaginary View
The Huis Ten Bosch at the Hague
A Square before a Church

Hobbema, Meyndert (163 8-1 709)

A Woody Landscape
Guercino: The Incredulity of S. The
The Avenue, Middelharnis 117
The Ruins of Brederode Castle
A Landscape with a Stream
A Musical Party
A Stream by a Wood A Stable Interior
A Woody Landscape with a Cottage
Wood
Cottages in a Hoogstraten, Samuel van
A Road winding past Cottages (1627-78)
The Haarlem Lock, Amsterdam A Peepshow with Views of the Interior

of a Dutch House
Hogarth, William (1697-1764)
The Marriage Contract 147 Hoppner, John (i75 8?-i8io)

Shortly after the Marriage 147 Sir George Beaumont

The Visit to the Quack Doctor 147 Hughtenburgh, Johan van

The Countess s Morning Levee 147
(1647-173 3)
The Killing of the FarI 147 A Battle
The Suicide of the Countess 147
The Shrimp Girl 145 Huijsum, Jan van (168 2-1 749)
Flowers in a terracotta Vase
Holbein the Younger, Hans Hollyhocks and other Flowers in a Vase
(1497/8-1343)
Jean de Dinteville and Georges de Selve Huijsum, Jan van - style of
('The Ambassadors') 64 Flowers in a stone Vase

Christina of Denmark, Duchess of

Huysmans, Jan-Baptist
Milan 63
(1654-1716)
Hondecoeter, Melchior de A Cowherd in a woody Landscape
(1636-95) Ingres, Jean-Auguste-Dominique
A Cock, Hens and Chicks
(1780-1867)
Geese and Ducks
The Due D'Orleans 1810-1842
Birds and Butterflies among Plants
Oedipus and the Sphinx

Honthorst, Gerrit van M. de Norvins

Angelica saved by Ruggiero
(1590-1656)
Christ before the High Priest Pindar and Ictinus

S. Sebastian
Madame Moitessier seated 153
Elizabeth, Queen of Bohemia Inness the Elder, George (1825-94)
Delaware Water Gap
Hoogh, Pieter de (1629-f. 1684?)
A Woman and her Maid in a Isabey, Louis-Gabriel-Eugene
Courtyard (1803-86)
An Interior Scene 'Grandfather's Birthday'
The Courtyard of a House in Delft 120 'Fish Market, Dieppe' Ingres: Angelica saved by Ruggiero

189
 Israels, Jozef (1824-1911) A Landscape with Farm Animals
An Old Man Writing Peasants at a Ford
Fishermen carrying a drowned Man Farm Animals in an Italian Landscape
Sheep and Goats
Italian School (?), 13th century
Self-Port rait (?)
The Virgin and Child with two Angels
The Conversion of S. Paul
Italian School, 16th century
Johnson, Cornelius (1 593-1661)
The Attack on Cartagena
Portrait of a Lady
The Continence of Scipio
The Rape of the Sabines Jongkind, Johan Barthold
The Reconciliation of Romans and (1818-91)
Sabines Skating in Holland
Tor trait of a young Man River Scene
Tortrait of a young Man
Joos van Wassenhove (active
A Man and his Wife
1460-r. 1480/85)
A Jesse- Tree Rhetoric (?)
The Holy Family
Music
Tortrait of a Tady with a Dog
Jordaens, Jacob (1 593-1678)
Italian School, 17th century
The Holy Family and S. John the
Bust Portrait of a bearded Man Baptist
Bust of a Man The Virgin and Child with
Italian School, 17th (?) century SS. Zacharias, Elizabeth and John
An Old Man holding a Pilgrim-Bottle the Baptist

Govaert van Surpele (?) and his

Italian School, 18th century
wife 102
S. Catherine of Alexandria (?)
Juan de Flandes (active 1496-
Italian School (?), 17th (?) - studio of
c. 15 19)
century
Christ appearing to the Virgin with
A Dead Soldier
the Redeemed of the Old Testament
Italian (?) School, 17th (?) Juel, Jens (1745-1802)
century Joseph Greenway
(ardin: Self^Portrait (?) The Dying Alexander (porphyry)
Kessel, Johan van (?) (164 1/2-80)
Italian School, 19th century A Torrent in a mountainous Landscape
ascribed to
Keyser, Thomas de (15 96/7-1667)
Portrait of a Woman
Constan tijn Huygens and his (?)
Italian School (various periods) Clerk 124
Portrait of a young Man
Keyser, Thomas de - ascribed to
Bust of Andrea Mantegna in Relief
Portrait of a Alan and a Woman
Portrait of an old Man
Portrait Group Klimt, Gustav (1862-19 18)
Portrait of Hermine Gallia 167
Jackson, John (1778-1831)
The Rev. William Holwell Carr Koninck, Philips (1619-88)
William Seguier A Landscape with a Hawking Party
An Extensive Landscape with Houses
Jacometto Veneziano (active
in a Wood
c. 14-jz-c. 1498)
Portrait of a Boy
An Extensive Landscape with a Road
by a Ruin 118
Portrait of a Man
An Extensive Landscape with a Town
Janssens, Hieronymus (1624-93) in the middle Distance
follower of
La Fargue, Paulus Constantijn
'La Main Chaude'
-I Ai.*. (1729-82)
Joos: Music Jardin, Karel du (1621/2?—78) The Grote Markt at the Hague

190
Lagoor, Jan de (active 1645-59)
A Stag Hunt in a 'Landscape
La Hire, Laurent de (1606-56)
Allegorical Figure of Grammar

Lancret, Nicolas (1690-1743)

The Your Ages of Man: L'Enfance;
L' Adolescence; La Jeunesse; La
Vieillesse

The Tour Times of the Day: Le

Matin; Le Midi; L Apres-diner;
La Soiree
A Lady and Gentleman with two
Girls in a Garden 136

Lanino, Bernardino (active

1528-81/3)
Altarpiece: Madonna and Child with
S. Mary Magdalene, a sainted Pope,
Lastman: Juno discovering Jupiter with Io
S. Joseph (?) and S. Paul

Largillierre, Nicolas de
Lenain, Louis - after
(1656-1746)
Four Figures at Table
Portrait of a Man
Lenain, The brothers - follower of
Largillierre, Nicolas de
Three Men and a Boy
ascribed to
Princess Rdkoc^i Leon y Escosura, Ignacio de
(1834-1901) - ascribed to
Lastman, Pieter (15 83—163 3)
A Man in seventeenth-century
Juno discovering Jupiter with Jo Spanish Costume

La Tour, Maurice-Quentin de Leonardo da Vinci ( 1 4 5 2- 1 5

1 9)
(1704-88) '
The Virgin of the Rocks' 69
Henry Dawkins Cartoon: The Virgin and Child with
S. Anne and S. John the
Lawrence, Sir Thomas
Baptist 71
(1769-1830)
John Julius Angerstein Leonardo da Vinci associate of
Queen Charlotte 144 (Ambrogio or Evangelista
John Julius Angerstein Preda)
An Angel in Green with a Vielle
Lazzarini, Gregorio (165 5-1730)
An Angel in Red with a Lute
Antonio (?) Correr
Leonardo da Vinci - follower of
Le Brun, Vigee, Elizabeth-Louise
The T Irgin and Child
(1755-1842)
The Head of S. John the Baptist
Mile Brongniart
Lepine, Stanislas- Victor-Edmond (?)
Le Brun, Vigee, Elizabeth-Louise
(1835-92)
after
A Gateway behind Trees
The Painter's Self-Portrait in a straw
The Pont de la Tournelle, Paris
Hat
Nuns and School Girls walking in the

Lenain, The Brothers (17th Tuileries Gardens, Paris

century): Le Prince, Jean-Baptiste

Lenain, Antoine {c. 15 88-1648) (1734-81)
A Woman and five Children The Necromancer

Lenain, Louis {c. 1 593-1648) Le Sueur, Eustache (1616-55)

The Adoration of the Shepherds S. Paul preaching at Ephesus La Tour: Henry Dawkins

191
 Lingelbach, Johannes (1622-74)
Peasants loading a Hay Cart

Linnell, John (1792-1882)

Samuel Rogers

Liotard, Jean-Etienne (1702-89)

A Grand Vi^ir (?)
Lippi, Filippino (1457?-! 504)
Altarpiece: The Virgin and Child
with SS. Jerome and Dominic
An Angel adoring (fragment)
The Adoration of the Kings
The Virgin and Child with S. John
Moses brings forth Water out of the
Rock
The Worship of the Egyptian Bull-
God, Apis
Filippino Lippi: The Virgin and Child with
SS. Jerome and Dominic Lippi, Fra Filippo (c. i4o6?-69)
S. Bernard's Vision of the Virgin

The Annunciation
Seven Saints

Lippi, Fra Filippo - ascribed to

The Virgin and Child

Lippo di Dalmasio (c. 135 2?-

f.1410)
'
The Madonna of Humility'

Liss, Johann (c. 1595-1629/30)

Judith in the Tent of Holofernes
Fra Filippo Lippi: The Annun
Lochner, Stephan (active
1442-51)
Leyden School, latter half of the SS. Matthew, Catherine of
17th century Alexandria and Jvhn the Evangelist
A Young Astronomer
Longhi, Alessandro (1733-1813)
Leyster, Judith (1609-60)
Caterina Pen^a
A Boy and a Girl
Longhi, Pietro (i702?-8 5)
Liber ale da Verona (Y. 1445-
c. 1526)
An Interior with three Woman and a
seated Man
The Virgin and Child with two Angels
Exhibition of a Rhinoceros at
Dido's Suicide
Venice 135
Licinio, Bernardino (V. 1491- A Fortune- Teller at Venice
c. 1549) A Lady receiving a Cavalier
Portrait of Stefano Nani A Nobleman kissing a Lady's Hand
Madonna and Child with S. Joseph
Looten, Jan (c. 161 8-<r. 1680?)
and a female Martyr
A River Landscape
Lievensz, Jan (1607-74)
Liss: Judith in the Teni A Landscape with Tobias and the Lorenzetti, Ambrogio (active
• it I lolofernes Angel I3I9-47)
Portrait of Anna Maria Schurman Fresco: A Group of Poor Clares
Self-Port rait (fragment)

192
Lorenzetti, Pietro (active Lucas van Leyden - style of
1320-45) - ascribed to Lot's Daughters make their Father
S. Sabinus before the Governor (?) drink Wine
Fresco: A Crowned female Figure
12- 32)
Luini, Bernardino (active
Fresco: A Female Saint in Yellow
15

Christ among the Doctors

Lorenzo di Credi (c. 1458-15 37) The Virgin and Child with S. John
The Virgin and Child
Luini, Bernardino studio of
The Virgin adoring the Child
The Virgin and Child
Lorenzo Monaco, Don {c. 1372-
Luini, Bernardino after
c. 1422)
Christ
Altarpiece, left portion: Adoring
S. Catherine
Saints
Altarpiece, right portion: Adoring Machiavelli, Zanobi (c. 1418-79)
Saints Triptych: The Virgin and Child with Lochner: SS. Matthew, Catherine of
Altarpiece, centre portion: The Saints Alexandria and John the Evangelist
Coronation of the Virgin SS. John the Baptist and Evangelist
S. Benedict admitting SS. Maurus and Mark and Augustine UK
Placidus into the Benedictine Order
SS.
A -'J!

Incidents in the Life of S. Benedict

Maderno, Stefano (c. 1 576-1636)

Si?
after
Lorenzo Monaco, Don Hercules and Antaeus (bronze)
ascribed to
Illuminated Letter B, cut from a Madrazo, Raimundo de
choral book (1841-1920)
S. Benedict in the Sacro Speco at
Portrait of a Lady
Subiaco
Maes, Nicolaes (1634-93)
Lorenzo d'Alessandro da A Girl Rocking a Cradle
Sanseverino (active 1468-1503) A Woman scraping Parsnips
Altarpiece: The Marriage of A Sleeping Maid and her Servant
S. Catherine of Siena Christ blessing Children
Portrait of a Man ^fcjll
Lorenzo Veneziano (active
Portrait of Jan de Reus
1 3 56?— 72) - ascribed to Portrait of a Man Manet: The Waitress
The 'Madonna of Humility with
SS. Mark and John the Baptist Mancini, Antonio (185 2-1930)
La Douane
Loschi, Bernardino (active
En Voyage
1 500-40)
- ascribed to
The Marquis del Grillo
Portrait said to be of Alberto Pio
Aurelia

Loth, Johann Carl (1632-98)

Manet, Edouard (1832-83)
Mercury piping to Argus
Eva Gonzales
Lotto, Lorenzo (c. 1480-c. 1556) Music in the Tuileries Gardens 157
The Physician, Giovanni Agostino Fragments of the Execution of
delta Torre, and his Son, Niccolo Maximilian: The Firing Party; A
Family Group Non-Commissioned Officer holding

The Prothonotary Apostolic, Giovanni his Rifle; Two Fragments of

Giuliano General Miramon

Virgin and Child, with SS. Jerome Sketch

and Anthony of Padua The Waitress

A Lady as Lucretia 84
Mansueti, Giovanni (active
Lucas van Leyden (active 1485-1527?)
1508-33) Symbolic Representation of the
A Man aged 38 67 Crucifixion Manet: Eva Gonza

193
 Mantegna, Andrea (c. 1430-1506) Marmion, Simon - style of
Altarpiece: the Virgin and Child with The Virgin and Child, with Saints and
the Magdalen and S. John the Donor
Baptist S. Clement and a Donor
The Introduction of the Cult of Cybele
Marziale, Marco (active
at Rome
1493-1507)
Samson and Delilah
Altarpiece: The Circumcision
The Agony in the Garden 43 Altarpiece: The Virgin and Child
The Holy Family with S. John
with Saints

Mantegna, Andrea - after Masaccio (1401-27/29)

Illuminated Initial D The Virgin and Child 34
Mantegna, Andrea - follower of Masaccio - follower of
The Vestal Virgin Tuccia with a Sieve The Nativity
Sophonisba drinking Poison
Masolino - ascribed to
Mantegna, Andrea - imitator of SS. John the Baptist and Jerome
e'
Mantegna: Samson and Delilah 'Noli Me Tanger A Pope and S. Matthias
The Resurrection
Massys, Quinten (1465-15 30)
The Maries at the Sepulchre
The Virgin and Child with
Marco d'Oggiono (active SS. Barbara and Catherine
149CW. 1524)
c. The Virgin and Child enthroned, with
The Virgin and Child four Angels

Margarito of Arezzo (active Massys, Quinten - studio of

1262?) The Crucifixion
The Virgin and Child enthroned, with
Massys, Quinten - after
Scenes of the Nativity and the Lives
Christ: The Virgin
of the Saints
Massys, Quinten - after (?)
Marieschi, Michiel Giovanni A Grotesque old Woman
(1710-43)
Massys, Quinten - follower of
Buildings and Figures near a River
A Donor
with Rapids
A Female Figure standing in a Niche
Marinus van Reymerswaele S. Luke painting the Virgin and
(active 1 5oa?-67?) Child
Two Tax-gatherers 60 Master of the Aachen
Maris, Jacobus Hendricus Altarpiece (c. end 1 5th
century)
(1837-99)
A Woman nursing a Baby The Crucifixion

A Drawbridge in a Dutch Town Master of the Bambino Vispo

A Girl feeding a Bird in a Cage (early 15 th century)
A Beach ascribed to
A Windmill and Houses The Beheading of a Female Saint
Three Windmills
A Girl outside a House
Master of the Bruges Passion
Scenes (early 16th century)
Maris, Matthijs (1839-1917) Christ presented to the People
Men unloading Carts, Montmartre
Master of Cappenberg (early
Maris, Willem (1844- 19 10) 16th century)
Ducks alighting on a Pool The Coronation of the Virgin
Christ before Pilate
Marmion, Simon (active 1449-89)
The Soul of S. Bertin carried up to Master of the Cassoni (mid-i 5 th

Masolino: SS. John the Baptist God century) - ascribed to

and Jerome A Choir of Angels Birth plate: The Triumph of Love

194
Master of the Death of the Master of the Magdalen
Virgin (active 1507-37) Legend (late nth-early 16th
The Holy Family century) - studio of
The Magdalen
Master of the Death of the
Virgin - after Master of the Mansi Magdalen
The Adoration of the Kings (early 16th century)

Master of the Death of the Judith and the infant Hercules

Virgin - follower of
Master of Moulins (active
The Crucifixion c. 1483-f. 500) - studio of
1

The Annunciation Charlemagne, and the Meeting of

Master of Delft (early 16th SS. Joachim and Anne at the

century) Golden Gate

Scenes from the Passion
Master of the Osservanza
Master of the Female Half- (active c. 1436)
Lengths - studio of Triptych: The Birth of the Virgin
S. John on Patmos Massys: The Virgin and Child
The Rest on the Flight to Egypt Master of the Pala Sforzesca enthroned, with four Angels
(active c. 1495) - ascribed to
Master of the Female Half-
S. Paul
Lengths - ascribed to the
The Virgin and Child with Saints and
studio of
Donors
A Female Head
Master of the Prodigal Son
Master of the Female Half-
(active 15 3 5?—^. 560)
Lengths - style of 1

ascribed to the studio of

S. Christopher carrying the Infant
Pieta
Christ

Master of Liesborn (latter half Master of Riglos (mid- 15 th

5th century) century)

1

From The Liesborn Altarpiece: The The Crucifixion

Annunciation; The Presentation in
Master of the S. Bartholomew
the Temple; The Adoration of the
Altarpiece (active late
Kings; Head of Christ Crucified;
1 5th/early 16th century)
SS. John the Evangelist, Scholastic
SS. Peter and Dorothy
and Benedict; SS. Cosmas and Master of Liesborn: The
Presentation in the Temple
Damian and the Virgin Master of Saint Giles (active

Master of Liesborn - circle of

c. 1500)
S. Giles and the Hind
SS. Ambrose, Exuperius and Jerome
The Mass of S. Giles
SS. Gregory, Maurice and Augustine
The Crucifixion with Saints Master of the S. Ursula
The Virgin and Child with a Donor Legend (active late i5th/early
S. Dorothy 1 6th century) - circle of
S. Margaret S. Lawrence showing the Prefect the

Master of the Life of the Treasures of the Church

Virgin (latter half 1 5 th century)

Master of S. Veronica (active
The Presentation in the Temple
early 1 5 th century) - circle of
Master of the Life of the S. Veronica with the Sudarium
Virgin - studio of
Master of San Francesco (end
SS. Jerome, Bernard (?) Giles and
1 3 th century) - ascribed to
Benedict (?)
Crucifix
SS. Augustine, Ludger (?) , Hubert
and Gereon (?) Master of the Story of
The Conversion of S. Hubert 53 Griselda (16th century) Master of S. Veronica: S. Veronica
The Mass of S. Hubert The Story of Patient Griselda with the Sudarium

195
 Master of the View of Sainte Mengs, Anton Raphael (1728-79)
Gudule (end th century) 1 5 The Virgin and Child with the Infant
Portrait of a young Man S. John

Master of 1 5 1 8 (early 1 6th Mercier, Philippe (1689-1760)

century) - studio of Portrait of a Man
The Crucifixion
Metsu, Gabriel (1629-67)
The Visitation of the Virgin to

S. Elizabeth
An Interior with Music Makers
The Flight into Egypt
A Man and Woman beside a

Virginal 115
Matteo di Giovanni (active Two Men and a sleeping Woman
1452-95) An Old Woman with a Book
The Assumption of the Virgin The Interior of a Smithy
S. Sebastian A Woman drawing
Matteo di Giovanni - imitator of
Meulen, Adam-Francois van der
Christ crowned with Thorns
(1632-90)
Mazo, Juan Bautista del Philippe-Francois d'Arenberg saluted
(c. 1612-67) by a Troop of Horsemen
Queen Mariana of Spain in Mourning
Michel, Georges (1763-1843)
Mazo, Juan Bautista del ascribed to
ascribed to Landscape with Trees, Buildings and a
Don Adrian Pulido Pareja Road
Mazza, Damiano (active 1573)
Stormy Landscape: Ruins on a Plain

The Rape of Ganymede

Michelangelo (1475 — i 564)
Mazzola, Filippo (1460-1505) The Entombment 75
The Virgin and Child with S. Jerome
Matteo di Giovanni: S. Sebastian Michelangelo - ascribed to
(?) and the B. Bernardino da
Madonna and Child with the Infant
Feltref?)
Baptist and Angels ( The
Mazzolino, Lodovico (active 'Manchester Madonna')
1504-24)
Madonna and Child with SS. Joseph,
Michelangelo - after
Leda and the Swan
Elizabeth, Francis and the Infant
Baptist Michelangelo - paintings after
The Trinity with the Madonna, SS. drawings by
Joseph and Nicholas of Tolentino '
The Dream' ('II Sogno')
and Angels The Purification of the Temple
Christ and the Woman taken in The Holy Family
Adultery
Christ disputing with the Doctors
Michele da Verona (c. 1470-1 544)

Coriolanus persuaded by his Family to

The Nativity
spare Rome
Melone, Altobello (active
1 5 16-18) Miereveld, Michiel van
The Walk to Emmaus (1567-1641)
Portrait of a Woman
Memlinc, Hans (active 1465 94)
SS. John the Baptist and Lawrence Mieris the Elder, Frans van
A Young Man at Prayer (1635-81)
Triptych: The Virgin and Child with A Woman feeding a Parrot
Saints and Donors 56 The Artist's Wife (?)

Self Portrait
Memlinc, Hans - studio of
The Virgin and Child with an Angel, Mieris the Elder, Frans van
S. George and Donor after
Mcmlinc: A Young Man at Prayer The Virgin and Child An Old Fiddler

196
Mieris, Willem van (1662-1747)
A Woman and a Fish-Pedlar

MlGNARD, Pierre (1612-95)

The Marquise de Seignelay and two of
her Children

Mignard, Pierre - ascribed to

Portrait of a Man

Milanese School, 15 th century

The Virgin and Child
Bona of Savoy (?)

Millet, Francisque (1642—79)

Mountain Landscape, with Lightning

Millet, Jean-Francois (1814-75)

The Whisper Mola: S. John the Baptist preaching in the Wilderness

Millet, Jean-Francois
ascribed to
Landscape with Buildings

Mocetto, Gerolamo (c. 1458-

1531)
The Massacre of the Innocents (two
fragments (?))

Mola, Pier Francesco (1612-66)

S. John the Baptist preaching in the

Wilderness
The Rest on the Flight into Egypt

Mola, Pier Francesco - style of

Leda and the Swan

Molenaer, Jan (1609-68)

Monet: The Beach at Trouville
A Young Alan and Woman making
Music
Children making Music

Momper II, J 00s de - follower of

(1564-1635)
A Music Party before a Village

Monet, Claude-Oscar (1840— 1926)

Lavacourt (?) , Winter
The Beach at Trouville
The Water-Lily Pond
Flood Water
Water Lilies 160
Irises

River Scene
The Thames below Westminster 158

Montagna, Bartolomeo
(1459-1523)
The Virgin and Child BR
Three Saints Monet: The Water-Lilv Pond

197
 Montagna, Bartolomeo Moroni, Giovan Battista (active
ascribed to 1546-78)
The Virgin and Child Portrait of a Man ('The Tailor')
Fresco: The Virgin and Child Portrait of a Man holding a Letter
Portrait of a Gentleman
Monticelli, Adolphe (1824-86)
Portrait of a Lady
The Bayfield
Canon Ludovico di Ter^i
Sunrise
Portrait of a Gentleman
Sunset
Portrait of a Gentleman
Torchlight Procession
Chastity
Subject Composition
Leonardo Salvagno (?)
Fountain in a Park
Portrait of a Man
Meeting Place of the Hunt
Count Lupi (?)
Still Life: Oysters and Fish
Still Life: Fruit Moroni, Giovan Battista
Wild Flowers ascribed to
Moretto da Brescia: Portrait of a Man An Angel
Subject Composition
Conversation Piece An Angel
Subject Composition S. Joseph

S. Jerome
Mor Van Dashorst, Anthonis
(active 1544-76/7) Mostaert, Jan (c. 1475-1556)
Portrait of a Man The Head of S. John the Baptist, with
mourning Angels and Putti
Morales, Luis de (active
1546-86?) Mostaert, Jan - style of
The Virgin and Child Christ crowned with Thorns

Morando, Paolo (c. 1486-15 22) Moucheron, Frederick de

S. Koch (1633-86)
Figures in an Italian Garden
The Virgin and Child, S. John the

Baptist and an Angel A Landscape with classical Ruins

Murillo, Bartolome Esteban

Moreau, Gustave (1826-98)
(1617 82)
S. George and the Dragon
The Two Trinities (' The Pedrose
Munllo: Self-Portra
Moretto da Brescia (c. 1498-1 5 54) Murillo')
Portrait of a Man A Peasant Boy leaning on a Sill
Altarpiece: Madonna and Child with The Infant S. John with the Lamb
S. Bernardino and other Saints Christ healing the Paralytic at the Pool
Portrait of a Gentleman of Bethesda 109
Altarpiece: Madonna and Child with Self-Portrait
SS. Hippolytus and Catherine of
Murillo, Bartolome Esteban
Alexandria
ascribed to
Madonna and Child with Saints
The Adoration of the Shepherds
Portrait of a Member of the Averoldi
Family (?) Murillo, Bartolome Esteban
Christ Blessing S. John the Baptist after
The Birth of the Virgin
Morisot, Berthe (1841-95)
Summer's Day Murillo, Bartolome Esteban
follower of
Morone, Domenico (c. 1442- The Immaculate Conception of the
c. 1 5 17) Virgin
Scene at a Tournament S. John Baptist in the Wilderness
Scene at a Tournament
Murillo, Bartolome Esteban
Murillo: A Peasant Boj leaning
Morone, Francesco (c. 1471 1529) style of
on a Sill 7 'be I 'irgin and Child A Young Man drinking

198
Nardo di Cione (active c. 1343- Portrait of a bearded Man
c. 1365) A Young Man holding a Ring
Altarpiece: Three Saints Philip the Fair and his Sister
Margaret of Austria
Nattier, Jean-Marc (1685-1766)
The Magdalen (?)
Manon Balletti The Virgin and Child enthroned
Bust of a Man in Armour The Magdalen weeping
Nazari, Narzario (1724—c. 1793) The Virgin and Child with two Angels
Andrea Tron The Birth of the Virgin (?)
Acts of Charity (?)
Neapolitan School, 17th century A Little Girl with a Basket of
Christ disputing with the Doctors
Cherries

Neapolitan School, 18th century Portrait of a Man aged 42: a Member

Portrait of a Lady of Boulenge de la Hainiere Family

Neeffs I, Peeter (active 1605- Netscher, Caspar (1635-84)

c. 1660) Two Boys blowing Bubbles
View of a Chapel at livening A Lady teaching a Child to Read
A Lady at a Spinning Wheel
Neeffs I, Peeter, and Peeters I,
Portrait of a Lady and a Girl
Bonaventura Portrait of a Lady
An livening Service in a Church
Netscher, Caspar - studio of
Neer, Aernout (Aert) van der
Portrait of a young Man
(1630-77)
An livening View near a Village Netscher, Caspar - after

A Moonlit View A Musical Party

An livening View along a River
Neufchatel, Nicolas de (active
A Frozen River near a Town
1 561-7)
Golfers and Skaters near a Village Portrait of a young Lady
A Landscape with a River at Evening
A River Landscape with a Village Neufchatel, Nicolas de
A Village by a River in Moonlight style of

An Evening Landscape with a Horse A Man with a Skull

and Cart Niccolo dell' Abate (e. 1 509-71)

ascribed to
Neer, Eglon Hendrik van der
The Story of Aristae us 89
(i6 3 4?-i 7 o3)
'

Judith Netherlandish School: The

Niccolo di Buonaccorso (active
Magdalen weeping
Netherlandish School, 15 th
1372-88)

century The Marriage of the Virgin

S. Ambrose with Ambrosius van Niccolo di Liberatore (active

Engelen (?)
1456-1502)
The Virgin and Child Triptych: Christ on the Cross, and
A Girl writing
other Scenes
The Magdalen
A Man with a Pansy and a Skull Niccolo di Pietro Gerini (active

A Young Man praying 1 368-141 5) - ascribed to

The Virgin and Child with Saints and Triptych: Baptism of Christ, with
the

Angels in a Garden SS. Peter and Paul

The Virgin and Child with S. Anne Nome, Francois de (1593-r. 1644?)
A Man Fantastic Ruins with Saint Augustine
Landscape: A River among Mountains
and the Child
Mevr. van der Goes, nee van Spangen
The Virgin and Child in a Landscape North German School,
Edward Count of East
the Great, 1 6th- 1 7th century
Friesland ( 146 2-1 j 28) Christ carrying the Cross Netscher: Two Boys blowing Bubbles

199
 North Italian School, 16th Os, Georgius Jacobus Johannes
century van (1782-1861)
The Adoration of the Magi Fruit, Flowers and Game
S. Hugh
Os, Jan van (1744-1808)
Portrait of a Musician
Fruit, Flowers and a Fish
Portrait of a Man in Hat
a large black
Dutch Vessels in calm Water
Portrait of a Lady in a plumed Hat
Ostade, Adriaen van (1610-85)
North Italian School, 17th
An Alchemist
century
An Interior of an Inn
The Adoration of the Shepherds
Two Peasants
A Man holding an armless Statuette
A Peasant holding a Jug
North Italian School, 1 8 th
Ostade, Adriaen van - after
century - ascribed to
The Interior of a Theatre
A Cobbler

Ostade, Isack van (1621-49)

Nouts, Michiel (?) (active 1636)
The Outskirts of a Village
A Family Group A Winter Scene
Ochtervelt, Jacob (165 z—c. 1710) A Farmyard
A Woman by a Harpsichord Peasants and a Cart
A Young Lady Trimming her Finger The Interior of a Barn with two
Nails Peasants
A Musical Party
Ostade, Isack van - style of
Olis, Jan (c. 16 10? -76) An Inn by a frozen River
A Musical Party
Pacchiarotto, Giacomo (1474-
Parmigianino: Altarpiece: Madonna Oost I, Jacques van (1 601 -71) c. 1 540) - ascribed to
and Child with SS. John the
Baptist and
A Boy aged Eleven Altarpiece: the Nativity with Saints
Jerome
Oost I, Jacques van - ascribed to Pacher, Michael (active 1465?— 98)
Two Boys before an Easel circle of

Orcagna (Andrea di Cione) The Virgin and Child enthroned with

(active 1343-69) - style of Angels and Saints

Altarpiece: The Coronation of the Padovanino ( 1 5 8 8- 1 648) - after

Virgin, with Adoring Saints Cornelia and her Sons
The Trinity
Palm a Giovane (1 544-1628)
Seraphim, Cherubim and Angels
Mars and Venus
Adoring
The Adoration of the Shepherds Palma Vecchio (active 1 5 10-28)
The Adoration of the Kings Portrait of a Poet, probably Ariosto
The Resurrection A Blond Woman
The Maries at the Sepulchre
Palma Vecchio - ascribed to
The Ascension
S. George and a female Saint
Pentecost
Small altarpiece: The Crucifixion Palmezzano, Marco (c. 1458
'Noli Me Tangere' 15 39)
The Dead Christ in the Tomb, with
Orley, Bernaert van (c. 1488?
- style of
the Virgin Mary and Saints
1 541)
The Virgin and Child in a Landscape Panini, Giovanni Paolo (c. 1692-

Orsi, Lelio (c. 151 1-87)

1765?)

ascribed to
Roman Ruins with Figures

The Walk to Emmaus Rome: The Interior of S. Peter's

Ortolano, L' (c. 1487-r. 1524) Paolo da San Leocadio (active

Altarpiece: SS. Sebastian, Koch and 1472 1520)

Perugino: The Virgin and Chile
w nh S. John Demetrius The Virgin and Child with Saints
Pape, Abraham de (V. i62i?-66)
Tobit and Anna (?)

Parmigianino (i 503-40)
Altarpiece: Madonna and Child with
SS. John the Baptist and Jerome
The Mystic Marriage of
S. Catherine 77
Patexier, Joachim (active 1 5 1 5
—
c. 1 5 24) - ascribed to
S. Jerome in a rocky Landscape 61

Patexier, Joachim studio of

Landscape with the Rest on the ¥ light
into Egypt

Patexier, Joachim - style of

The Virgin and Child with a
Cistercian Xun (?)
Pellegrini: An Allegory of the Marriage of the Elector Palatine

Pater, Jean-Baptiste (169 5-1 736)

imitator of
'La Danse'

Pellegrixi, Giovanni Antonio

(1675-1741)
An Allegory of the Marriage of the
Elector Palatine
Rebecca at the Well

Perroxxeau, lean-Baptiste
(i7i 5 ?-8 5 )
A Girl with a Kitten
Madame Legrix (?)
Portrait of Jacques Calotte 137

Perugixo, Pietro (living

1469-15 23)
The Virgin and Child with S. John
Three panels of an altarpiece: The
Virgin and Child with SS. Raphael
and Michael
Altarpiece: The Virgin and Child
with SS. Francis and Jerome

Perugixo, Pietro - after

The Baptism of Christ

Perugixo, Pietro - follower of

The Virgin and Child in a Mandorla
with Cherubim
The Virgin and Child, with SS.
Dominic and Catherine of Siena,
and two Donors

Peruzzi, Baldassare (1481-1536)

The Adoration of the Magi

Pesellixo (c. 1422-57)

Altarpiece: The Trinity with Saints Pesellino: The Trinity with Saints
 Piazza, Martino (active <r.
1 5 13—
22) - ascribed to
S. John the Baptist in the Desert

Piazza da Lodi, Calisto (active

1 5 14-62) - ascribed to
Portrait of a Man
Piazzetta, Giovanni Battista
(1683-1754)
The Sacrifice of Isaac

Piero di Cosimo (c. 1462-r. 1515)

A Mythological Subject 38
The Tight between the Lapiths and the

Centaurs

Piero di Cosimo ascribed to

Portrait of a Man in Armour

Piero della Francesca: The Nativity Piero della Francesca (active

1439-92)
Part (?) of an altarpiece: The
Baptism of Christ 33
S. Michael 32
The Nativity

Piero della Francesca after (?)

A Battle

PlNTORICCHIO (r. 1454-15 I

3)
S. Catherine of Alexandria with an
ecclesiastical Donor
The Virgin and Child
Fresco: Scenes from the Odyssey

Pisanello (c. 1 395-145 5?)

The Virgin and Child with SS. George

and Anthony Abbot 48
The Vision of S. Eustace (?)

Pontormo: Joseph in Egypt

Pissarro, Camille (1830-1903)
View from Eouveciennes
Paris, the Boulevard Montmartre at

•V Night

?
4 r&&0 '

f.
*
The Cote des Boeufs at
near Pontoise
The Louvre under Snow
Tower Norwood under Snow
I' Hermitage,

158

iw J&i s • **
Pittoni, Giovanni Battista
pfi_^^ ^*i (1687-1767)
The Nativity with God the Father and

3^ A
the Holy Ghost

Poel, Egbert van der (1621-64)

View of Delft
of 16J4
after the Explosion

Poelenburgh, Cornelius van

%
Prcti: The Marriage at Cans An
(15 86?- 1 667) - ascribed to
Italian Landscape
Pollaiuolo, Antonio and Piero The Holy Family with SS. Elizabeth
del (c. 1432-98; c. 1441-96) and John
ascribed to
Poussin, Nicolas - after (?)
Altarpiece: The Martyrdom of
Bacchanalian Festival (The Triumph
S. Sebastian 35
of Silenus)
Apollo and Daphne
Poussin, Nicolas - follower of
Pontormo ( 1 494- 1 5 5 7)
Phineus and his Followers turned to
Joseph in Egypt
Stone
A Discussion
Poussin, Nicolas - follower of (?)
Pontormo - ascribed to
Italian Landscape
Madonna and Child with the Infant

Baptist Poussin, Pierre-Charles

(18 1
9-1 904)
Poorter, Willem de (1608-r. 1648)
'Pardon Day in Brittany'
An Allegorical Subject
Pozzoserrato, Ludovico (active
Pordenone, Giovanni Antonio
1 581-1605) - ascribed to

(c. 1483-1539) Landscape with Mythological Figures

S. Bonaventure
The Sons of Boreas pursuing the
Pittoni:The Nativity with God the
S. Louis of Toulouse Father and the Holy Ghost
Harpies

Pordenone, Giovanni Antonio Preda, Giovanni Ambrogio

ascribed to (c. 145 5-f. 1508)
Portrait of a Lady Francesco di Bartolomeo Archinto (?)

Profile Portrait of a Lady

Portuguese School, first half of
1 6th century Preti, Mattia (1613-99)
The Mystic Marriage of S. Catherine The Marriage at Cana

Pot, Hendrick (c. 1 585-1657) Previtali, Andrea (active

A Merry Company at Table 1502-28)
The Virgin and Child with a Donor
Potter, Paulus (1625-54) The Virgin and Child with SS. John
A Landscape with Farm Animals the Baptist and Catherine
Cattle and Sheep in a stormy The Virgin and Child
Landscape SalvatorMundi
Sabator Mundi
Poussin, Nicolas (1 594?— 1665)
Bacchanalian Figures nurturing a Child
A Bacchanalian Revel before a Term
of Pan
Cephalus and Aurora
The Annunciation
The Adoration of the Golden Calf 97
Landscape with a Man killed by a
Snake 94
The Adoration of the Shepherds
Landscape in the Roman Campagna
with a Man scooping Water
Landscape in the Roman Campagna

Poussin, Nicolas (?)

Landscape: A Man washing his Feet
at a Fountain

Poussin, Nicolas - after

Sleeping Nymph surprised by Satyrs
The Plague at Asdod Poussin: A Bacchanalian Revel before a Term of Pan
 Previtali, Andrea - ascribed to Raphael - after
The Virgin and Child with two Angels '
The Sis tine Madonna'
Scenes from an Eclogue of Tebaldeo Madonna and Child

Procaccini, Giulio Cesare Raphael - derivative of

(i 574-1625) - ascribed to A Female Saint
The Dead Christ Supported by Angels
Rembrandt (1606-69)
Provoost, Jan (1465-15 The Deposition
29)
ascribed to The Woman taken in Adultery

The Virgin and Child in a Landscape The Adoration of the Shepherds

A Woman bathing in a Stream
Prud'hon, Pierre (called Pierre- A Franciscan Monk
Paul) - after A Man in a Cap
Raphael: An A Clotho Self Portrait aged 63
An Elderly Man as S. Paul
Pulzone, Scipione (c. 1550-98) S'elf Portrait aged 34
Portrait of a Cardinal
Portrait of an 83-year-old Woman
Philips Lucas% (?)
Puvis de Chavannes, Pierre-Cecile
Christ presented to the People
(1824-98)
The Beheading of S. John the Baptist
Jacob Trip no
Margaretha de Geer
(unfinished)
The Hair Dressing (unfinished)
A Man in a Room
Saskia van Ulenborch 113 -f 114
Death and the Maidens (sketch)
Margaretha de Geer, bust length
Summer (sketch)
An old Man in an Armchair
Quast, Pieter (c. 1605 -41) Equestrian Portrait
A Stable Interior Belsha^ar's Feast in
A Standing Man Hendrickje S toffels 112

Raffaellino del Garbo (active Rembrandt and Dou, Gerrit

c. i479?-i5 27) - ascribed to Anna and the blind Tobit
Portrait of a Man Rembrandt - ascribed to
Tondo: The Virgin and Child with
A Seated Man
two Angels
Tondo: The Virgin and Child with Rembrandt - after
Raphael: S. Catherine of Alexandria The Militia Company of Captain
the Magdalen and S. Catherine of

Alexandria Banning Cocq

Raguineau, Abraham (1623- Rembrandt - follower of

c. 1681) A Young Man and a Girl playing
Portrait of a young Man Cards
Diana bathing surprised by a Satyr (?)
Raphael (148 3-1 520)
Pope Julius II Rembrandt - imitator of
78
S. Catherine of Alexandria An Elderly Man
An Allegory (' Vision of a Knight') Reni, Guido (15 75 — 1642)
An Allegory Christ embracing S. John the Baptist
Madonna and Child with the Infant Lot and his Daughters leaving Sodom
Baptist The Coronation of the Virgin
Altarpiece: Madonna and Child with The Adoration of the Shepherds
the Baptist and S. Nicholas of Bari
('The Ansidei Madonna') Reni, Guido - studio of (?)
79
Madonna and Child The Toilet of Venus

The Procession to Calvary Reni, Guido - after

Altarpiece: The Crucified Christ with S. Jerome
the Virgin Mary, Saints and Perseus and Andromeda
Rembrandt: Equestrian Portrait Angels

204
Susannah and the Elders
Head of Christ crowned with Thorns

Reni, Guido - style of

S. Mary Magdalene

Renoir, Pierre-Auguste
(1841-1919)
The Umbrellas (Les Parapluies) 163
The Cabaret
Water Nymph
Moulin Huet Bay, Guernsey
Portrait of Misia
Dancing Girl with Tambourine
Dancing Girl with Castanets
Nude

Reynolds, Sir Joshua (1723-92)

Rembrandt: Self-Portrait aged 34 Rembrandt: Margaretha de Geer
Lord Heathfie Id 142
Captain Robert Orme
Mr Huddesford and Mr Bampfylde
Anne, Countess of Albemarle Roghman, Roelant (active
Lady Cockburn and her three eldest c. 1646-86)
Sons A Mountainous Landscape
General Sir Banastre Tarle ton 141
Roman School (?), 1st to 2nd
Ribalta, Francisco (1 565-1628) century (?)

The Vision of Father Simon Mosaic: Crane, Python and Lizard

Ribera, Jusepe de (i59i?-i662) Roman School (?), 12th century (?)

The Lamentation over the dead Christ Mosaic: 'The Water of Life

Jacob with the Flock of Laban Roman School, 7th century

1

S. Cecilia
Ricard, Louis-Gustave (1823-73)
Portrait of a Man Romanino, Gerolamo (c. 1484-
The Countess of Desart as a Child
1559)
c.

Altarpiece: The Nativity with

Ricci, Sebastiano (1659-1734)
SS. Alessandro of Brescia, Jerome,
Bacchus and Ariadne 126 Reynolds: Anne, Countess
Gaudioso and F Hippo Beni^i
Esther before Ahasuerus of Albemarle

Romanino, Gerolamo
Rigaud, Hyacinthe (16 5 9-1743) ascribed to «**•
Portrait of Antoine Paris Pegasus and the Muses

Rigaud, Hyacinthe - studio of Rosa, Salvator (1615-73)

Cardinal Fleury Landscape with Mercury and the

Dishonest Woodman
Rijckaert, Marten (15 87-1631)
Self-Portrait
ascribed to
Landscape with Tobias and the Angel
A Landscape with Satyrs
Rosa, Salvator - after
Roberti, Ercole de' (active '
The Philosophers' wood'
1479-96) An Angel appears to Hagar and
The Israelites gathering Manna Ishmael in the Desert

Roberti, Ercole de' - ascribed to Rosa, Salvator - style of

The Last Supper Tobias and the Angel
The Adoration of the Shepherds, and A Coastal Scene
the dead Christ Mountainous Landscape with Figures Rosa: Self-Portrait

205
 1

Aurora abducting Cephalus

A Shepherd with his Flock in woody
Landscape
Thomas Howard, 2nd Earl of
Arundel
Peasants with Cattle by a Stream in a
woody Landscape
The Judgment of Paris
Ludovicus Nonnius

Rubens, Peter Paul - ascribed to

A Wagon fording a Stream

Rubens, Peter Paul - studio of

Drunken Silenus supported by Satyrs
Rubens: The Judgment of Paris
Rubens, Peter Paul - ascribed to
the studio of
The Holy Family with Saints in a

Landscape
Roslin, Alexandre (1718-93)
The Archduke Albert
The Dauphin Louis de Trance

Rousseau, Henri ('le Douanier')

Rubens, Peter Paul - after

844-1910)
(1
An Allegory showing the Effects of

Tropical Storm with a Tiger 161

War
Ruisdael, Jacob van (c. 1628-82)
Rousseau, Philippe (1816-87)
The Fish Market
A Bleaching Ground

Still Life, with Oysters

A Waterfall

A Valley
A Landscape with a Waterfall and a
Castle on a Hill
Rousseau, Pierre-Etienne- Ruins in a Dune Landscape
Theodore (181 2-67) A Pool surrounded by Trees
River (?) Scene A Waterfall near a Village
Rubens: The Duke of Buckingham
conducted to the Temple of Virtus
Sunset in the Auvergne (?) Two Watermills
(?)
Moonlight: The 'bathers A Road winding between Trees
The Valley of Saint- Vincent (?) A Landscape with a ruined Castle and
Rocks a Church 121
Landscape The Shore at Egmond-aan-7.ee
An Extensive Landscape with Ruins
Rubens, Peter Paul (1 577-1640)
The Rape of the Sabine Women
A Ruined Castle Gateway

Minerva protects Pax from Mars

A Cottage by a River
98
Vessels in a Breeze
S. Bavo about to receive the Monastic
Habit at Ghent Ruisdael, Jacob van ascribed to
The Brazen Serpent A Landscape with a ruined Building
The Chateau de Steen 100 A Rocky Hill with Cottages below
A Landscape with a Shepherd and his
Ruisdael, Jacob van - follower of
I 'lock
Three Watermills with Washerwomen
The Duke of Buckingham conducted to

the Temple of I Irtus (?)

A Road into a Wood
The Skirts of a Forest
The judgment of Paris
A Roman Triumph Ruisdael, Jacob van imitator
The Miraculous Draught of I Hshes A Castle on a Hill
Susanna Lunden (?) ('Le Chapeau de
Russian School, 17th century
Pai/le') 10
7 'he 7 'rans figuration
A Lion Hunt
The Birth oj I enus 99 RuYSCH, Rachel (1664- 1750)
Ruisdael: A Waterfall The 'Coup de Lance' Flowers in a Vase

206
Ruysdael, Jacob Salomonsz van Fhe Pope accords Recognition to the

(1629-81) Franciscan Order 42

A Waterfall by a Cottage The Stigmati^ation of S. Francis
S. Francis bears Witness to the
Ruysdael, Salomon van {c. 1600-
Christian Faith before the
70) Sultan 42
A 'Landscape with a Carriage
Fhe Legend of the Wolf of Gubbio
River Landscape Fhe Funeral of S. Francis
A River nith Fishermen
A T lew of Deventer Sassoferrato (1609-85)
A T lew of Rhenen from the West Fhe \ Irgin in Prayer
Ruysdael: A View ot Rhenen
Rirer Scene Fhe T 'irgin and Child embracing
from the West
Sayery, Roelandt ^6?— 1639)
Sacchi, Andrea (i)99?-i66i) (1 5

SS. Anthony Abbot and Francis of Orpheus

Assisi
Sayoldo, Gian Girolamo
(c. 1480— c. 1548)
Sacchi, Pier Francesco (c. 148 s-
S. Mary Magdalene approaching the
1528)
S. Paul writing Sepulchre
S. Jerome
Saexredam, Pieter (1 59^— 1665)
The Buurkerk at Utrecht
Schalcke, Cornells van der
(1611-71)
The Grote Kerk, Haarlem
A River Fandscape
Saftleyen, Herman (1609-85)
Christ teaching out of S. Peter's Boat
Schalckex, Godfried (1643— 1706
Lesbia weighing her Sparrow against
on the Fake of Gennesaret
Jewels
Saixt-Aubin, Gabriel-Jacques de An old Woman scouring a Pot
(1724-80) A Woman singing and a Slan with a
A Street Show in Paris ('Fa Parade Cittern
du Boulevard') A Man offering Gold to a Girl

Salyiati, Francesco (1510—63) Scheffer, Ary (179 s -18 5 8)

follower of Mrs Robert Hollond
Saenredam: The Buurkerk at Utrecht
Charity SS. Augustine and Monica

Salyiati, Giuseppe (active Schiayoxe, Andrea (active

1535-75) 1 >4o?-63) - ascribed to

justice A Mythological Figure
Fwo mythological Figures
Saxti, Giovanni (1469—94)
Fhe Virgin and Child Schiayoxe, Giorgio
(1436 7-1504)
Saxtyoort, Dirck (1610 11-80)
Poljptych of ten Panels
A Girl with a Finch
Schiayoxe, Giorgio - ascribed to
Santyoort, Philippus van (active
Fhe T Irgin and Child
c. 1711-21)
Fhe Rape of Fa mar by Amnon Scholderer, Otto Franz
(1834-1902)
Sarto, Andrea del (i486— 1 5 30)
Portrait of the Artist's Wift
Madonna and Child with SS.
Lilac
Elizabeth and the Baptist
Portrait of a young Man Schoxgauer, Martin (active

1469-91) - stvle of
Sassetta (1 392^-1450)
Fhe I 'irgin and Child in a Garden
S. Francis decides to become a
Soldier Schweickhardt, Heinrich
S. Francis renounces his Earthlj Wilhelm (1746-97)
Father Cattle Schetter: SS. Augustine and Monica
 Signorelli, Luca (1441?-! 23) 5

Fresco: The Triumph of Chastity:

Love disarmed and bound
Altarpiece: The Circumcision
Altarpiece: The Adoration of the
Shepherds
The Adoration of the Shepherds
Altarpiece: The Virgin and Child
with Saints
The Holy Family
Fresco: Coriolanus persuaded by his
Family to spare Rome
Predella: Esther before Ahasuerus,
and three Visions of the Triumph of
S. Jerome

Sisley, Alfred (1839-99)

The Horse Trough at Marly
Sebastiano: Madonna and Child with SS. Joseph and John
the Baptist and a Donor -
Snijders, Frans (15 79-165 7)
follower of
Sebastiano del Piombo
Still Life of Fruit and Vegetables
1485-1547)
(c.

The Raising of Lazarus Snijers, Peeter (1681-1752)

A Lady as S. Agatha Still Life with dead Chickens and a
Madonna and Child with SS. Joseph Lobster
and John the Baptist and a Donor
The Daughter of Herodias Sodoma (1477-1 549)
Madonna and Child with SS. Peter,
Seg(h)ers, Hercules (1589-^.1633) Catherine of Siena and a Carthusian
style of
Donor
A Mountainous Landscape S. Jerome in Penitence

Segna di Bonaventura (active

Sodoma - ascribed to
1 298-1 3 31) - style of
Madonna and Child
Crucifix
Head of Christ crowned with Thorns
Seisenegger, Jakob (1504-67) bearing the Cross

Portrait of a Girl
Sodoma - follower of
Seurat, Georges-Pierre (1859-91) The Nativity with the Infant Baptist
Bathers, Asnieres 168 and Shepherds

Shee, Sir Martin Archer Sogliani, Giovanni Antonio

(1769-1850) (1492-^1544)
W. T. Lewis as the Marquis in '
The Madonna and Child
Midnight Hour'
Solari, Andrea (active
Siberechts, Joannes (1627-
c. 1495 1524)
c. 1703) Giovanni Cristoforo Longoni
A Cowherd passing a Horse and Cart
A Man with a Pink
in a Stream

Sienese School, 14th century Solari, Andrea - studio of

The Marriage of the Virgin The Virgin and Child

S. Mary Magdalene
Solario, Antonio de (active
S. Peter
1502-18?)
Sievier, Robert William S. Catherine of Alexandria

Signorelli: Altarpiece: (1794 1865) ascribed to S. Ursula

The Circumcision Wynn Bllis (marble bust) The Virgin and Child with S. John

208
Solimena, Francesco (165 7-1 747) The Interior of an Inn
Didoreceiving Aeneas and Cupid
Steen, Jan - after
disguised as Ascanius
An Itinerant Musician

Sorgh, Hendrick (c. 1610-70)

Steenwyck, Harmen (161 2-
A Woman playing Cards with two
c. 1656)
Boors
Still Fife: An Allegory of the
Two Lovers at Table
Vanities of Human Fife

South German School, 15 th

Steenwyck II, Hendrick van
century
(c. 1 580-^. 1649)
John on Patmos
S.
A Courtyard of a Renaissance Palace
South German School, 16th The Interior of a Gothic Church
century
Steenwyck II, Hendrick van, and
Portrait of a Man
Bruegel, Jan I
Spagnalo - (active 1 504-28) The Interior of a Gothic Church
ascribed to The Interior of a Gothic Church Solari: Giovanni Cristoforo Longoni
Christ crowned with Thorns
Steenwyck II, Hendrick van, and
The Agony in the Garden
a follower of Bruegel, Jan I
Christ at Gethsemane
Croesus and Solon
Spanish School, 17th century
Steenwyck II, Hendrick van
Landscape with Figures
imitator of
Spanish School, 17th century Interior of a Church at Night
ascribed to
Stevens, Alfred (182 3-1 906)
A Man, and a Child eating Grapes Fe Cadeau
Spinelli, Giovanni Battista (?) Fffet d' Orage a Honfleur

(?-c. 1647)
Storck, Abraham (1644-f. 1704)
The Nativity
The Maas at Rotterdam
Spinello Aretino (active
Strozzi, Bernardo (15 81-1644)
373- 1 4n)
I

Two Haloed Mourners

A Personification of Fame
Fresco:
Fresco: S. Michael and Other Angels Stubbs, George (1 724-1 806)
Fresco: Decorative Border A Fady and a Gentleman in a
Fresco: Decorative Border Carriage Spranger: The Adoration of
the Kings
The Milbanke and Melbourne
Spranger, Bartholomaeus
Families 140
(1546-1611)
The Adoration of the Kings Subleyras, Pierre (1699-1749)
after
Stanzione, Massimo (1585 ?— 165 6)
The Bark of Charon
after
Monks and Holy Women mourning SUTTERMANS, Justus (1597-1681)
over the dead Christ The Grand Duke Ferdinand II of
Fuscany and his Wife Vittoria
Steen, Jan (1625/6-79)
della Rovere
A Young Woman playing a
Harpsichord Suttermans, Justus - ascribed to
Music making on a Terrace Portrait of a Man
A Man blowing Smoke at a drunken
Swabian School, 15 th century
Woman
Portrait of a Woman of the Hofer
A Pedlar selling Spectacles
Family
Peasants merry-making outside an Inn
A Peasant Family at Meal- Time Tacconi, Francesco (active

A Man offering an Oyster a Woman to 1458-1500) Steen: A Young Woman playing

Skittle Players outside an Inn The Virgin and Child a Harpsichord

209
 Taillasson, Jean-Joseph
(1745-1809)
Virgil reading the Aeneid to

Augustus and Octavia

Tassi, Agostino (?) (V. 580-1644)

Diana and Callisto

Teniers II, David (1610-90)

The Covetous Man
A Man holding a Glass and an old
Woman lighting a Pipe
A View of Het Sterckshof near
Antwerp
Spring
Summer
Autumn
Winter

Taillasson: Virgil reading the Aeneid to

A Cottage before a River

Augustus and Octavia A Peasant caressing a Kitchen Maid

The Rich Man being led to Hell

A View of a Village
Peasants playing Bowls
Two Men playing Cards in the Kitchen

of an Inn
Peasants at Archery

Teniers II, David - ascribed to

Peasants making Music in an Inn
Backgammon Players
A Gypsy telling a Peasant his Fortune
in a hilly Landscape

Teniers II, David - after

A Country Festival near Antwerp

Teniers II, David - follower of

An Old Woman peeling Pears
Teniers II, David - imitator of
Personification of Autumn (?)

Giovanni Domenico Tiepolo: The Deposition A Doctor tending a Patient's Toot

from the Cross An Old Woman reading

Tiepolo, Giovanni Battista

(1696-1770)
SS. Maxim us and Oswald (?)

SS. Augustine, Louis of France, John

the Evangelist and a Bishop Saint
The Virgin and Child appearing to a
Group of Saints
A Vision of the Trinity to Pope
S. Clement (?) 127
Two Men in oriental Costume
Rinaldo turning in Shame from the
magic Mirror
A Seated Man, a Woman with a jar,
and a Boy
fintoretto: Christ washing his Disciples' Feet Tiro Orientals seated under a Tree
An Allegory with Venus and Tocque, Louis (1696-1772)
Time i
29 Portrait of a Man
The Banquet of Cleopatra 128 Mademoiselle de Coislin (?)

Tiepolo, Giovanni Domenico Tocque, Louis - studio of (?)

(1727-1804) jean Michel Degrilleau

The Deposition from the Cross
Toro, J(ean?)-Bernard-Honore
The Marriage of Frederick Barbarossa
(1672-173 1) - ascribed to
and Beatrice of Burgundy 131
The Entrance to Hell (?)
The Building of the Trojan Horse
The Procession of the Trojan Horse Toulouse-Lautrec, Henri de
into Troy (1864— 1901)
The Deposition from the Cross Woman seated in a Garden

Tintoretto, Jacopo (151 8-94) Tournieres, Robert (1667-175 2)

S. George and the Dragon 87 ascribed to
Christ washing his Disciples' Feet La Barre and other Musicians Titian: Portrait of a Man
The Origin of the Milky Way 88
Treck, Jan Jansz (c. 1606-52?)
Portrait of Vincen^o Morosini
Still-Life with a pewter Flagon
Tintoretto, Jacopo - ascribed to
Tschaggeny, Charles-Philogene
Jupiter and Semele
(1815-94)
Tintoretto, Jacopo - style of An Episode of the Field of Battle
Portrait of a Cardinal
Tura, Cosimo (c. 1431-95)

Tintoretto, Jacopo - after The Virgin and Child enthroned 40

The Miracle of S. Mark S. Jerome
The Virgin
Tintoretto, Jacopo follower of
An Allegorical Figure
Portrait of a Lady

Turner, Joseph Mallord William

Titian (active before 1 5 1 1-76)
(1775-185 1)
The Holy Family and a Shepherd
Calais Pier: An English Packet
Venus and Adonis
Arriving
Bacchus and Ariadne 80
Sun Rising Through Vapour:
The Tribute Money
Fishermen Cleaning and Selling
'Noli Me Tangere'
Fish
Madonna and Child with SS. John
Dido building Carthage, or the Rise of
and Catherine of
the Baptist
the Carthaginian Empire Titian: An Allegory of Prudence
Alexandria
Portrait of a Man
Madonna and Child
The Vendramin Family 81
Portrait of a Lady ('La
Schiavona) 83
An Allegory of Prudence
The Death of Actaeon

Titian - after
A Boy with a Bird
Portrait of a Man (? Girolamo
Fracastoro)
The Trinity

Titian - follower of
Mythological Scene

Titian - imitator of Turner: Sun Rising Through Vapour: Fishermen

A Concert Cleaning and Selling Fish
 1

Ulysses deriding Polyphemus 149 Uden, Lucas van (1 595-1672), and

The Parting of Hero and Leander - Teniers II, David
from the Greek of Musaeus Peasants merrymaking before a country
The 'Fighting Temeraire' tugged to her House
last Berth to he broken up,
Ugolino de Nerio (131 7-27)
i8}8 151
The Betrayal
Rain, Steam, and Speed - the Great
The Way to Calvary
Western Railway
The Deposition
Margate (?) from the Sea
Isaiah
The Evening Star
SS. Simon and Thaddeus (Jude)
Tuscan School, 15 th century Two Angels
Side parts of an altarpiece SS. Bartholomew and Andrew
Tuscan School, 16th century The Resurrection
(?)

Heads of Angels Umbrian (?) School, late 14th

Tyrolese School, 1 5 th century century
The Dormition of the Virgin Fresco: A Saint
Tzanes, Emmanuel (1610/20-
Fresco: A Saint
Fresco: A Bishop Saint
c. 1699)
SS. Cosmas and Damian Unknown, 17th century
Sportsmen Resting
Vallin: Dr. Forlenze
Uccello, Paolo (c. 397-1475) 1

The Rout of San Romano 3 Unknown, 18th century (?)

S. George and the Dragon 29 + 3° Prince Charles Edward Stuart (' The
Young Pretender')

Unknown, 19th century (?)

A Struggle in the Desert

Unknown, 19th century (?)

A White House among Trees

Unknown
Portrait of a Lady

Vaillant, Wallerant (?) (1623-77)

A Boy seated drawing

Valdes Leal, Juan de (1622-90)

The Immaculate Conception, with two
Ugolino: The Deposition Donors

Valentin, Le (1 91 ? 1632) 5

The Four Ages of Man

Vallin, Jacques-Antoine
{c. 1760-r. 183 1)

Dr. Forlenze

Van Gogh, Vincent (185 3-90)

A Cornfield, with Cypresses
The Chair and the Pipe
Sunflowers 161
Long Grass with Butterflies

Velazquez, Diego (1599 1660)

Philip I V hunting wild Boar (' La
Tela real')

Philip IV of Spain
Philip IV of Spain in Brown and
A Cornfield, with Cypresses Silver 104
Christ after the Flagellation Velsen, Jacob van (active
contemplated by the Christian Soul 1625-56)
Kitchen Scene with Christ in the House A Musical Party
of Martha and Mary
Venetian School, 14th century
The Toilet of Venus 108
Portrait of a Lady
S. John the Evangelist on the Island of
The Virgin and Child with SS.
Patmos
Christopher and John the Baptist,
Portrait of Archbishop Fernando de
and Doge Giovanni Mocenigo
Valdes
Augustus and the Sibyl
The Immaculate Conception
S. Jerome in a Landscape
Velde, Adriaen van de (1636-72) Pieta
A Farm with a dead Tree Altarpiece of the Virgin Mary
Peasants with Cattle fording a Stream
Venetian School, 16th century
Golfers on the Ice near Haarlem
Portrait of a Man
The Edge of a Wood
Cattle near a Building
A Colossal decorative Figure
Portrait of a Lady
A Goat and a Kid
A Naval Battle Velazquez: The Immaculate Conception
A Farm by a Stream
The Story of Cimon and Efigenia
Velde, Adriaen van de
Venetian School (?), 16th century
ascribed to
Cattle by a Ruin
A Concert
Solomon and the Queen of Sheba
Velde, Esaias van de (c. 1 590-
Venetian School, 17th century
1630)
ascribed to
A Winter Landscape
The Nativity
Velde, Jan van de (1619/20-
Venetian School, 18th century
c. 1663)
ascribed to
Still-Life
Portrait of a Man
Velde the Younger, Willem van
de(i633-i 7 o 7 ) Verbeecq, Pieter (c. i6icw. 1654)

Dutch Vessels inshore

A White Horse standing by a sleeping

A Dutch Vessel in a Squall Man

Dutch Men-of- War and small Vessels Vermeer, Johannes (1632-75)
in a Calm A Young Woman standing at a
Dutch Vessels inshore and Men bathing
Virginal 125 Velazquez: S. John the Evangelist on
Dutch Vessels the Island of Patmos
offshore in a Breeze
A Young Woman seated at a Virginal
The Shore at Scheveningen
An English Vessel and Dutch Men- of- Vermeulen, Andries (1763-1814)
War becalmed A Scene on the Ice

Vessels close hauled

Vermeyen, Jan Cornelisz
Two small Dutch Vessels and a Man-
(1500-59) - style of
of-War
A Man holding a coloured Medal
Small Dutch Vessels at Sea
A Dutch Yacht saluting as two Barges Vernet, Claude-Joseph (1714-89)
Pull alongside A Sea-Shore
A Dutch Man-of-War and other A Sporting Contest on the Tiber
Vessels in a Breeze A River with Fishermen
Boats pulling out to a Yacht in a Calm
Vernet, Claude- Joseph
Three Ships in a Gale
ascribed to
A Dutch Man-of-War and other
An Imaginary Seaport
(?)
Vessels in a strong Breeze
Small Dutch Vessels ashore Vernet, Emile-Jean-Horace
Dutch Vessels lying inshore in a Calm, (1789-1863) Vermeer: A Young Woman seated
one saluting Portrait of Napoleon at a Virginal

213
 The Family of Darius before
Alexander 85
S. Mary Magdalene laying aside her
Jewels
The Vision of S. Helena
Allegory of Love, I 86
Allegory of Love, II 86
Allegory of Love, III 86
Allegory of Love, IV 86

Veronese, Paolo - after

The Rape of Europa

Veronese School
Trajan and the Widow ( 1)
Trajan and the Widow (2)

Verrocchio, Andrea del (c. 1435 —

88) - ascribed to
The Virgin and Child with two Angels

Verrocchio, Andrea del

Veronese: Adoration of the Kings follower of

Tobias and the Angel

Verschuring, Hendrick
(1627-90)
Cavalry attacking a fortified Place

Victors, Jan (1619-f. 1676)

A Village Scene with a Cobbler

Vittoria, Alessandro
ascribed to
Portrait Bust of Leonardo Rinaldi

Vivarini, Alvise (active

1457-1505)
The Virgin and Child
Portrait of a Man
Vivarini, Antonio (active
i44o?-84?) and Alemagna,
Giovanni d' (?-c. 1449/50)
Vivarini: Panel
from an Altarpiece: Panel from an altarpiece:
SS. Peter and Jerome SS. Peter and Jerome
Panel from an altarpiece:

Vivarini: Panel
SS. Francis and Mark
from an Altarpiece:
Vivarini, Bartolomeo (c. 1432-
SS. Francis and Mark
c. 1499?)
The Virgin and Child with SS. Paul
and Jerome

The Battle of Jemappes ( 1792) Vlieger, Simon de [c. i6oo?-54)

The Battle of Valmy ( 1792) A Dutch Man-of- War and various
The Battle of Mont mirail'( 1X1 4)
' Vessels in a Breeze
The Battle of Hanan (1813) A View of an Estuary

Veronese, Paolo (1528-88) Vliet, Willem van der

The Consecration of S. Nicholas (1 583-1642)
Adoration of the Kings Portrait of Suitbertus Purmerent

214
Voet, Jakob Ferdinand
(1639-1700?)
Cardinal Carlo Cerri

Vouet, Simon (1 590-1649)

Ceres and harvesting Cupids

Vries, Adriaen de (c. 1 560-1626)

after
Girl bathing (marble)

Vries, Roelof van (1630-f. 168 1)

A View of a Village

Vroom, Cornelis (c. 15 90-1 661)

A Landscape with a Riper by a
Wood

Vuillard, Edouard (1868— 1940)

The Chimnejpiece
Lunch at Villeneuve-sur- Yonne (two
paintings)

Walscappelle, Jacob van

(1664-1727)
Flowers in a glass Vase

Watteau, Jean-Antoine
(1684-1721) Follower of Verrocchio: Tobias and the Angel

'La Gam me d' Amour'

Watteau, Jean-Antoine - after

'L 'Accord Parfait'

Weenix, Jan (i642?-i7i9)

A Deer Hound with dead Game and
Implements of the Chase

Weenix, Jan Baptist (1621-60?)

A Huntsman Cutting up a Dead
Deer, with Two Deerhounds

Weier, Jacob (active 1645—70)

Cavalry attacked by Infantry

Werff, Adriaen van der

(1659-1722)
Portrait of a Man in a quilted Gown
A Boy with a Mouse Trap
The Rest on the Flight into Egypt

Wet, the Elder, Jacob de (active

1633-r. 1675)
A Landscape with a River at the Foot
of a Hill

Weyden, Rogier van der

399-1464)
(c. 1

The Magdalen reading 55 Vouet: Ceres and harvesting Cupids

215
 3

Portrait of a Lady (reverse, Christ A Stream in the Dunes, with two

Crowned with Thorns) Bathers
Pieta A Stag Hunt
S. ho (?) Two Vedettes on Watch by a Stream

Weyden, Rogier van der A Horse being shod outside a Village

follower of Smithy
Cavalry making a Sortie from a Fort
The Exhumation of S. Hubert
on a Hill
Christ appearing to the Virgin

Wijnants, Jan (active Wouwermans, Philips

1643- 84)
ascribed to

A Landscape with a dead Tree, and a Cavalry attacking Infantry

Peasant driving Oxen and Sheep Two Horsemen at a Gipsy

along a Road Encampment, one having his

Peasants driving Cattle and Sheep by a Fortune told

Sandhill, and two Sportsmen with Wtewael, Joachim {c. 1 5 66—1638)

The Judgment of Paris
A Landscape with a high Dune and
Ysenbrandt, Adriaen (active
Peasants on a Road
Van der Weyden: Portrait of a Lady 1510 51)
A Landscape with two dead Trees and
The Magdalen in a Landscape
two Sportsmen
A Landscape with a Woman driving Ysenbrandt, Adriaen - style of
Sheep through a ruined Archway The Entombment
A Track by a Dune, with Peasants Zaganelli, Bernardino (active
and a Horseman
1499 c. 1509)
Wilson, Richard (171 3/14-82) S. Sebastian

Holt Bridge on the River Dee

Zaganelli, Francesco (active
The Valley of the Deep)
1499- 1 5
2)

Witte, Emanuel de (c. 1615-92) Altarpiece: The Baptism of Christ

The Interior of the Oude Kerk, The Dead Christ with Angels
Amsterdam, during a Sermon
Zais, Giuseppe (1709-84)
Adriana van Heusden and her
Landscape with a Group of Figures
Daughter at the new Fishmarket in
Landscape with a Group of Figures
Amsterdam (?)
fishing
The Interior of the Oude Kerk,
Landscape with a ruined Tower
Amsterdam, during a Sermon
Zoffany, Johann (i733?-i8io)
Wood, John Warrington Mrs Oswald 150
(1839-86)
Zoppo, Marco (c. 1432-^. 1478)
Van der Weyden: S. Ivo (?) Sir Austen Henry Layard (marble)
Pieta
Wouters, Franchoys (16 12- A Bishop Saint
c. 1660)
Nymphs surprised by Satyrs
Zuccarelli, Francesco (1702-88)
Landscape with Cattle and Figures
Wouwermans, Jan (1629-66)
Zuccari, Federico (i54o?-i6o9)
A Landscape with a Farm on the
pasticheur of
Bank of a River
The Conversion of the Magdalen
Wouwermans, Philips (161 9 68)
Calvalrymen halted at a Sutler 's Booth
Zugno, Francesco (1709-87)
ascribed to
The Interior of a Stable
The Finding of Moses
A View on a Seashore with Fishwives
offering Fish to a Horseman Zurbaran, Francisco de
A White Horse, and an old Man (1598 1664)
binding Faggots S. Francis in Meditation

A Dune Landscape with a River and S. Margaret 107

many Figures S. Francis in Meditation

216
^^s. WORLD OF ART
The National Gallery •
London
Homan Potterton. 345 illustrations, 75 in colour

The National Gallery in London houses one of the richest

collections of paintings in the world. As Sir Michael

Levey says in his preface to Homan Potterton's guide,

'No eye will ever exhaust the enjoyment these pictures

provide, and a lifetime spent gazing at them is wisely
spent'. Homan Potterton, an Assistant Keeper at the
National Gallery for many years, here tells the story of
the growth of this great collection and has chosen nearly
350 illustrations of its masterpieces from all periods. There
is a section on the technique of restoring paintings and a

catalogue of the National Gallery's works is included.

'Will for long remain the standard introduction to the

Gallery. . .Mr Potterton shows himself second to none

in his selection of the principal paintings, with notes of
easy authority and humour' (The Antique Collector)
'The author has that gift of writing in a style clearly

understandable to the general reader, without at any point

sacrificing his academic principles' (The Museums Journal)

Thames and Hudson r L

ISBN D-SDD-EDlbl-?
On the cover

Venus, detail from

Giovanni Battista Ticpolo's

Allegory with Venus anil Time

Printed in Singapore 780500"201619