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    A Popular Handbook to the National Gallery I
    A Popular Handbook to the National Gallery I
    A Popular Handbook to the National Gallery I
    Ebook2,047 pages39 hours

    A Popular Handbook to the National Gallery I

    By E. T. Cook

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    So far as I know, there has never yet been compiled, for the illustration of any collection of paintings whatever, a series of notes at once so copious, carefully chosen, and usefully arranged, as this which has been prepared, by the industry and good sense of Mr. Edward T. Cook, to be our companion through the magnificent rooms of our own National Gallery; without question now the most important collection of paintings in Europe for the purposes of the general student. Of course the Florentine School must always be studied in Florence, the Dutch in Holland, and the Roman in Rome; but to obtain a clear knowledge of their relations to each other, and compare with the best advantage the characters in which they severally excel, the thoughtful scholars of any foreign country ought now to become pilgrims to the Dome—(such as it is)—of Trafalgar Square.
    LanguageEnglish
    Publisheranboco
    Release dateAug 1, 2016
    ISBN9783736405523
    A Popular Handbook to the National Gallery I

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      A Popular Handbook to the National Gallery I - E. T. Cook

      Table of Contents

      WORKS OF JOHN RUSKIN Volume I.—FOREIGN SCHOOLS

      PREFACE BY JOHN RUSKIN

      GENERAL INTRODUCTION WITH SOME ACCOUNT OF THE NATIONAL GALLERY

      FOOTNOTES:

      GUIDE TO THE GALLERY AND INTRODUCTIONS TO THE SCHOOLS OF PAINTING

      THE EARLY FLORENTINE SCHOOL

      FOOTNOTES:

      THE FLORENTINE SCHOOL

      FOOTNOTES:

      THE SIENESE SCHOOL

      FOOTNOTES:

      THE SCHOOLS OF LOMBARDY

      FERRARESE AND BOLOGNESE SCHOOLS

      FOOTNOTES:

      THE UMBRIAN SCHOOL

      THE VENETIAN AND ALLIED SCHOOLS[23]

      FOOTNOTES:

      THE PADUAN SCHOOL

      FOOTNOTES:

      THE LATER ITALIAN SCHOOLS

      FOOTNOTES:

      THE EARLY FLEMISH AND THE GERMAN SCHOOLS

      FOOTNOTES:

      THE DUTCH SCHOOL

      FOOTNOTES:

      THE LATER FLEMISH SCHOOL

      THE SPANISH SCHOOL

      FOOTNOTES:

      THE FRENCH SCHOOL

      FOOTNOTES:

      NUMERICAL CATALOGUE, WITH BIOGRAPHICAL AND DESCRIPTIVE NOTES

      1. THE RAISING OF LAZARUS.

      2. CEPHALUS AND PROCRIS.

      3. A CONCERT.

      4. A HOLY FAMILY.

      5. A SEAPORT AT SUNSET.

      6. DAVID AT THE CAVE OF ADULLAM.[44]

      7, 37. GROUPS OF HEADS.

      8. A DREAM OF HUMAN LIFE.

      9. LORD, WHITHER GOEST THOU?

      10. THE EDUCATION OF CUPID.

      11. ST. JEROME.

      12. ISAAC AND REBECCA, OR THE MILL.[46]

      13. THE HOLY FAMILY.

      14. SEAPORT: THE QUEEN OF SHEBA.

      15. ECCE HOMO!

      16. ST. GEORGE AND THE DRAGON.

      17. THE HOLY FAMILY.

      18. CHRIST AND THE PHARISEES.[61]

      19. NARCISSUS AND ECHO.

      20. IPPOLITO DE' MEDICI AND THE ARTIST.

      21. PORTRAIT OF A FLORENTINE LADY.

      22. ANGELS WEEPING OVER THE DEAD CHRIST.

      23. THE VIRGIN OF THE BASKET.

      24. AN ITALIAN LADY AS ST. AGATHA.

      25. ST. JOHN IN THE WILDERNESS.

      26. THE CONSECRATION OF ST. NICHOLAS.

      27. THE POPE JULIUS II.

      28. SUSANNAH AND THE ELDERS.

      29. OUR LADY OF THE CAT.

      30. SEAPORT: ST. URSULA.

      31. THE SACRIFICE OF ISAAC.

      32. THE RAPE OF GANYMEDE.

      33. THE VISION OF ST. JEROME.

      34. VENUS AND ADONIS.

      35. BACCHUS AND ARIADNE.

      36. A LAND STORM.

      38. THE ABDUCTION OF THE SABINE WOMEN.

      39. THE NURSING OF BACCHUS.

      40. LANDSCAPE: PHOCION.

      41. THE DEATH OF PETER MARTYR.

      42. A BACCHANALIAN FESTIVAL.

      43. CHRIST TAKEN DOWN FROM THE CROSS.

      44. A BLEACHING GROUND.

      45. THE WOMAN TAKEN IN ADULTERY.

      46. THE BLESSINGS OF PEACE

      47. THE ADORATION OF THE SHEPHERDS.

      48. LANDSCAPE, WITH TOBIAS AND THE ANGEL.

      49. THE PORTRAIT OF RUBENS.

      50. ST. AMBROSE AND THEODOSIUS.

      51. A JEW MERCHANT.

      52. PORTRAIT OF GEVARTIUS.

      53. AN EVENING LANDSCAPE.

      54. A WOMAN BATHING.

      55. THE DEATH OF PROCRIS (see under 698).

      56. LANDSCAPE WITH FIGURES.

      57. THE CONVERSION OF ST. BAVON.

      58. A STUDY OF TREES.

      59. THE BRAZEN SERPENT.

      61. LANDSCAPE WITH FIGURES.

      62. A BACCHANALIAN DANCE.

      63. LANDSCAPE WITH FIGURES.

      64. RETURN OF THE ARK FROM CAPTIVITY.

      65. CEPHALUS AND AURORA.

      66. A LANDSCAPE: AUTUMN MORNING.

      67. THE HOLY FAMILY AND ST. GEORGE.

      68. A WOODY LANDSCAPE.

      69. ST. JOHN PREACHING IN THE WILDERNESS.

      70. CORNELIA AND HER JEWELS.

      71. A PARTY OF MULETEERS.

      72. LANDSCAPE WITH TOBIAS AND THE ANGEL.

      73. THE CONVERSION OF ST. PAUL.

      74. A SPANISH PEASANT BOY.

      75. ST. GEORGE AND THE DRAGON.

      76. CHRIST'S AGONY IN THE GARDEN.

      77. THE STONING OF ST. STEPHEN.

      78.[90] LANDSCAPE WITH RUINS.

      81. THE VISION OF ST. AUGUSTINE.

      82. THE HOLY FAMILY.

      84. MERCURY AND THE WOODMAN.

      85. ST. JEROME AND THE ANGEL.

      88. ERMINIA AND THE SHEPHERDS.

      91. VENUS SLEEPING.

      93. SILENUS GATHERING GRAPES.

      94. BACCHUS PLAYING TO SILENUS.[92]

      95. DIDO AND ÆNEAS.

      97. THE RAPE OF EUROPA.

      98. VIEW OF LA RICCIA.

      101, 102, 103, 104. THE FOUR AGES OF MAN.

      125. IZAAK WALTON (1593-1683).

      127. VENICE: THE SCUOLA DELLA CARITÀ.

      134. A LANDSCAPE.

      135. LANDSCAPE WITH RUINS.

      137. LANDSCAPE.

      138. A VIEW IN ROME.

      140. PORTRAIT OF A LADY.

      146. A VIEW ON THE MAES.

      147. CEPHALUS AND AURORA.

      148. THE TRIUMPH OF GALATEA.

      149. A CALM AT SEA.

      150. A GALE AT SEA.

      151. A RIVER SCENE.

      152. AN EVENING LANDSCAPE.

      153. THE CRADLE.

      154. A MUSIC PARTY.

      155. THE MONEY CHANGERS.

      156. A STUDY OF HORSES.

      157. A LANDSCAPE: SUNSET.

      158. BOORS REGALING.

      159. THE DUTCH HOUSEWIFE.

      160. A RIPOSO.

      161. AN ITALIAN LANDSCAPE.

      163. VENICE: A VIEW ON THE GRAND CANAL.

      165. THE PLAGUE AT ASHDOD.

      166. A CAPUCHIN FRIAR.

      167. THE ADORATION OF THE MAGI.

      168. ST. CATHERINE OF ALEXANDRIA.

      169. THE HOLY FAMILY.

      170. THE HOLY FAMILY.

      172. THE SUPPER AT EMMAUS.

      173. PORTRAIT OF A GENTLEMAN.

      174. PORTRAIT OF CARDINAL CERRI.

      176. ST. JOHN AND THE LAMB.

      177. THE MAGDALEN.

      179. VIRGIN AND CHILD ENTHRONED.

      180. A PIETÀ.

      181. THE VIRGIN AND CHILD WITH ST. JOHN.

      184. PORTRAIT OF A YOUNG LADY.

      186. PORTRAITS OF JAN ARNOLFINI AND HIS WIFE.

      187. THE APOTHEOSIS OF WILLIAM THE TACITURN OF HOLLAND.

      189. THE DOGE LEONARDO LOREDANO.

      190. A JEWISH RABBI.

      191. THE YOUTHFUL CHRIST AND ST. JOHN.

      192. PORTRAIT OF HIMSELF.

      193. LOT AND HIS DAUGHTERS LEAVING SODOM.

      194. THE JUDGMENT OF PARIS.

      195. A MEDICAL PROFESSOR.

      196. SUSANNAH AND THE ELDERS.

      197. A WILD BOAR HUNT.

      198. THE TEMPTATION OF ST. ANTHONY.

      199. LESBIA AND HER SPARROW.

      200. THE MADONNA IN PRAYER.

      202. DOMESTIC POULTRY

      203. CONVENTUAL CHARITY.

      204. DUTCH SHIPPING.

      205. ITINERANT MUSICIANS.

      206. THE HEAD OF A GIRL.

      207. THE IDLE SERVANT.

      208. THE FINDING OF MOSES.

      209. THE JUDGMENT OF PARIS.

      210. VENICE: THE PIAZZA DI SAN MARCO.

      211. A BATTLE-PIECE.

      212. A MERCHANT AND HIS CLERK.

      213. THE VISION OF A KNIGHT.

      214. CORONATION OF THE VIRGIN.

      215, 216. VARIOUS SAINTS.[115]

      218. THE ADORATION OF THE MAGI.

      219. THE DEAD CHRIST.

      221. HIS OWN PORTRAIT.

      222. A MAN'S PORTRAIT (dated 1433).

      223. DUTCH SHIPPING.

      224. THE TRIBUTE MONEY.

      225. BEATIFIC VISION OF THE MAGDALEN.

      226. VIRGIN AND CHILD, WITH ST. JOHN AND ANGELS.

      227. ST. JEROME IN THE DESERT.

      228. CHRIST AND THE MONEY-CHANGERS.

      230. A FRANCISCAN MONK.

      232. THE ADORATION OF THE SHEPHERDS.

      234. A WARRIOR ADORING THE INFANT CHRIST.

      235. THE DEAD CHRIST.

      236. CASTLE OF SANT' ANGELO, ROME.

      237. A WOMAN'S PORTRAIT.

      238. DEAD GAME.

      239. A MOONLIGHT SCENE.

      240. CROSSING THE FORD.

      242. THE GAME OF BACKGAMMON.

      243. AN OLD MAN.

      244. A SHEPHERD WITH A LAMB.

      245. PORTRAIT OF A SENATOR.

      246. MADONNA AND CHILD.

      247. ECCO HOMO!

      248. THE VISION OF ST. BERNARD.

      249. THE MARRIAGE OF ST. CATHERINE OF SIENA.

      250. FOUR SAINTS.

      251. FOUR SAINTS.

      252. THE CONVERSION OF ST. HUBERT.

      253. THE MASS OF ST. HUBERT.

      254-261. FRAGMENTS OF AN ALTAR-PIECE.

      262. THE CRUCIFIXION.

      264. A COUNT OF HAINAULT AND HIS PATRON SAINT.

      265. THE VIRGIN AND CHILD.

      266. THE DEPOSITION FROM THE CROSS.

      268. THE ADORATION OF THE MAGI.

      269. A KNIGHT IN ARMOUR.

      270. NOLI ME TANGERE!

      271. ECCE HOMO!

      272. AN APOSTLE.

      274. VIRGIN AND CHILD.

      275. VIRGIN AND CHILD, ST. JOHN AND AN ANGEL.

      276. TWO APOSTLES.

      277. THE GOOD SAMARITAN.

      278. THE TRIUMPH OF JULIUS CÆSAR.

      279. THE HORRORS OF WAR.

      280. THE MADONNA OF THE POMEGRANATE.

      281. ST. JEROME READING.

      282. THE GLORIFICATION OF THE VIRGIN.

      283. VIRGIN AND CHILD ENTHRONED.

      284. MADONNA AND CHILD.

      285. MADONNA AND CHILD.

      286. VIRGIN AND CHILD.

      287. LUDOVICO MARTINENGO.

      288. THE VIRGIN AND CHILD, MICHAEL AND RAPHAEL.

      289. THE NIGHT WATCH.

      290. A MAN'S PORTRAIT (dated 1432).

      291. PORTRAIT OF A GIRL.

      292. MARTYRDOM OF ST. SEBASTIAN.

      293. VIRGIN AND CHILD: STS. JEROME AND DOMINIC.

      294. THE FAMILY OF DARIUS.

      205. OUR SAVIOUR AND THE VIRGIN.

      296. THE VIRGIN ADORING THE INFANT CHRIST.

      297. THE NATIVITY.

      298. THE TWO ST. CATHERINES.

      299. PORTRAIT OF AN ITALIAN NOBLEMAN.

      300. THE VIRGIN AND CHILD.

      479. THE SUN RISING IN A MIST.

      498. DIDO BUILDING CARTHAGE.

      564. THE VIRGIN AND CHILD, WITH SCENES FROM THE LIVES OF THE SAINTS.

      565. THE MADONNA AND CHILD.

      566. MADONNA AND CHILD.

      567. CHRIST ON THE CROSS.

      568. THE CORONATION OF THE VIRGIN.

      569. AN ALTAR-PIECE.

      570-2. THE TRINITY, WITH ANGELS ADORING.

      573-5. THE NATIVITY, ADORATION, AND RESURRECTION.

      576. THE THREE MARIES AT THE SEPULCHRE.

      577. THE ASCENSION.

      578. THE DESCENT OF THE HOLY SPIRIT.

      579. THE BAPTISM OF CHRIST.

      579a. PARTS OF AN ALTAR-PIECE.

      580, 580a and b. THE ASCENSION OF ST. JOHN THE EVANGELIST.

      581. A GROUP OF SAINTS.

      582. THE ADORATION OF THE MAGI.

      683. THE ROUT OF SAN ROMANO.

      585. PORTRAIT OF A LADY.

      586. MADONNA AND CHILD ENTHRONED.

      589. THE VIRGIN AND CHILD.

      590. A PIETÀ.

      591. THE RAPE OF HELEN.

      592. THE ADORATION OF THE MAGI.

      593. VIRGIN AND CHILD.

      594. THE HOLY MONEY-DESPISERS.

      595. PORTRAIT OF A LADY.

      596. THE ENTOMBMENT OF CHRIST.

      597. ST. VINCENTIUS FERRER.

      598. ST. FRANCIS WITH THE STIGMATA.

      599. THE MADONNA OF THE MEADOW.

      600. THE BLIND BEGGAR.

      602. A PIETÀ.

      621. THE HORSE FAIR.

      623. MADONNA AND CHILD ENTHRONED.

      624. THE INFANCY OF JUPITER.

      625. AN ALTAR-PIECE.

      626. PORTRAIT OF A YOUNG MAN.

      627, 628. WATERFALLS.

      629. MADONNA AND CHILD.

      630. MADONNA AND CHILD WITH SAINTS.

      631. PORTRAIT OF A LADY.

      632, 633. TWO SAINTS.

      634. THE MADONNA OF THE GOLDFINCH.

      635. THE REPOSE.

      636. PORTRAIT OF A POET.

      637. DAPHNIS AND CHLOE.

      638. THE VIRGIN AND CHILD, WITH SAINTS.

      639. NOLI ME TANGERE!

      640. ADORATION OF THE MAGI.

      641. THE WOMAN TAKEN IN ADULTERY.

      642. CHRIST'S AGONY IN THE GARDEN.

      643. THE CAPTURE OF CARTHAGENA.

      644. THE RAPE OF THE SABINES.

      645. VIRGIN AND CHILD.

      646. ST. CATHARINE.

      647. ST. URSULA.

      648. VIRGIN AND CHILD.

      649. PORTRAIT OF A BOY.

      650. PORTRAIT OF A LADY.

      651. AN ALLEGORY: ALL IS VANITY.

      652. CHARITY.

      653. HUSBAND AND WIFE.

      654. THE MAGDALEN.

      655. THE READING MAGDALEN.

      656: A MAN'S PORTRAIT.

      657. A DUTCH GENTLEMAN AND LADY.

      658. THE DEATH OF THE VIRGIN.

      659. PAN AND SYRINX.

      660. A MAN'S PORTRAIT.

      661. THE MADONNA DI SAN SISTO.

      663. THE RESURRECTION.

      664. THE DEPOSITION IN THE TOMB.

      665. THE BAPTISM OF CHRIST.

      666. THE ANNUNCIATION.

      667. ST. JOHN THE BAPTIST AND SAINTS.

      668. THE BEATO FERRETTI.

      669. ST. SEBASTIAN, ST. ROCH AND ST. DEMETRIUS.

      670. A KNIGHT OF ST. STEPHEN.

      671. MADONNA AND CHILD ENTHRONED

      672. HIS OWN PORTRAIT.

      673. SALVATOR MUNDI.

      674. PORTRAIT OF A LADY.

      679. THE PORTRAIT OF AN ASTRONOMER.

      680. THE MIRACULOUS DRAUGHT OF FISHES.

      685. SHOWERY WEATHER.

      686. THE VIRGIN AND CHILD.

      687. ST. VERONICA.

      690. HIS OWN PORTRAIT.[166]

      691. ECCE HOMO!

      602. ST. HUGO OF GRENOBLE.

      693. ST. CATHERINE OF ALEXANDRIA.

      694. ST. JEROME IN HIS STUDY.

      695. MADONNA AND CHILD.

      696. MARCO BARBARIGO.

      697. PORTRAIT OF A TAILOR.

      698. THE DEATH OF PROCRIS.

      699. AGOSTINO AND NICCOLO DELLA TORRE.

      700. THE HOLY FAMILY.

      701. THE CORONATION OF THE VIRGIN.

      702. MADONNA AND CHILD.

      703. MADONNA AND CHILD.

      704. COSIMO, DUKE OF TUSCANY.

      705. STS. MATTHEW, CATHERINE, AND JOHN.

      706. PRESENTATION OF CHRIST IN THE TEMPLE.

      707. ST. PETER AND ST. DOROTHY.

      708. MADONNA AND CHILD.

      709. MADONNA AND CHILD.

      710. PORTRAIT OF A MONK.

      711. MATER DOLOROSA.

      712. ECCE HOMO!

      713. MADONNA AND CHILD.

      714. MADONNA AND CHILD.

      715. THE CRUCIFIXION.

      716. ST. CHRISTOPHER.

      717. ST. JOHN ON THE ISLAND OF PATMOS.

      718. CHRIST ON THE CROSS.

      719. THE READING MAGDALEN.

      720. A REPOSE (see No. 160).

      721. PORTRAIT OF A LADY.

      722. A LADY'S PORTRAIT.

      724. OUR LADY OF THE SWALLOW.

      726. CHRIST'S AGONY IN THE GARDEN.

      727. THE TRINITY.

      728. MADONNA AND CHILD.

      729. THE ADORATION OF THE KINGS.

      732. A CANAL SCENE.

      734. A MILANESE LAWYER.

      735. ST. ROCH WITH THE ANGEL.

      736. A VENETIAN SENATOR.

      737. A WATERFALL.

      739. THE ANNUNCIATION.

      740. MADONNA AND CHILD.

      741. THE DEAD ORLANDO.

      742. PORTRAIT OF A LAWYER.

      744. THE GARVAGH MADONNA.

      745. KING PHILIP IV. OF SPAIN.

      746. A LANDSCAPE WITH RUINS.

      747. ST. JOHN THE BAPTIST AND ST. LAWRENCE.

      748. MADONNA AND CHILD, WITH ST. ANNE.

      749. THE GIUSTI FAMILY OF VERONA.

      750. THE DOGE GIOVANNI MOCENIGO.

      751. MADONNA AND CHILD.

      752. MADONNA AND CHILD.

      753. ON THE ROAD TO EMMAUS.

      755. RHETORIC.} 756. MUSIC.  }

      757. CHRIST BLESSING LITTLE CHILDREN.

      758. PORTRAIT OF THE COUNTESS PALMA OF URBINO.

      766, 767. HEADS OF SAINTS.

      768. ST. PETER AND ST. JEROME.

      769. ST. MICHAEL AND THE DRAGON.

      770. LEONELLO D'ESTE.

      771. ST. JEROME IN THE DESERT.

      772. MADONNA AND CHILD ENTHRONED.

      773. ST. JEROME IN THE DESERT.

      774. MADONNA AND CHILD.

      775. AN OLD LADY.

      776. ST. ANTHONY AND ST. GEORGE.

      777. MADONNA AND CHILD.

      778. MADONNA AND CHILD.

      779, 780. FAMILY PORTRAITS.[182]

      781. RAPHAEL AND TOBIAS.

      782. MADONNA AND CHILD.

      783. THE EXHUMATION OF BISHOP HUBERT.

      788. AN ALTAR-PIECE.

      790. THE ENTOMBMENT OF CHRIST.

      794. A DUTCH COURTYARD.

      796. A VASE OF FLOWERS.

      797. A MAN'S PORTRAIT.

      798. CARDINAL RICHELIEU.

      802. VIRGIN AND CHILD.

      803. THE CIRCUMCISION OF CHRIST.

      804. MADONNA AND CHILD ENTHRONED.

      805. PEELING PEARS.

      806. THE PROCESSION TO CALVARY.

      807. MADONNA AND CHILD ENTHRONED.

      808. ST. PETER MARTYR.

      809. THE HOLY FAMILY.

      810. PARDON DAY IN BRITTANY.

      811. TOBIAS AND THE ANGEL.

      812. THE DEATH OF ST. PETER MARTYR.

      814. DUTCH BOATS IN A CALM.

      815. DUTCH BOATS AT FLUSHING.

      816. THE INCREDULITY OF ST. THOMAS.

      817. TENIERS'S COUNTRY-SEAT AT PERCK.

      818. COAST SCENE.

      819. OFF THE MOUTH OF THE THAMES.

      820. LANDSCAPE WITH RUIN.

      821. A FAMILY GROUP.

      822. AN EVENING LANDSCAPE.

      823. ON THE MEUSE.

      824. A RUINED CASTLE.

      825. THE POULTERER'S SHOP.

      826. FIGURES AND ANIMALS.

      827. FORDING THE STREAM.

      828. LANDSCAPE WITH CATTLE.

      829. A STAG HUNT.

      830. THE AVENUE, MIDDELHARNIS.

      831. THE RUINS OF BREDERODE CASTLE.

      832. A VILLAGE WITH WATERMILLS.

      833. A FOREST SCENE.

      834. A DUTCH INTERIOR.

      835. COURT OF A DUTCH HOUSE.

      836. A VIEW IN HOLLAND.

      837. THE HAY HARVEST.

      838. THE DUET.

      839. THE MUSIC LESSON.

      840. A LADY FEEDING A PARROT.

      841. A FISH AND POULTRY SHOP.

      842. A GARDEN.

      843. BLOWING BUBBLES.

      844. MATERNAL INSTRUCTION.

      845. A LADY AT A SPINNING WHEEL.

      846. THE ALCHYMIST.

      847. A VILLAGE SCENE.

      848. A SKATING SCENE.

      849. LANDSCAPE WITH CATTLE.

      850. A MAN'S PORTRAIT.

      851. VENUS SLEEPING.

      852. THE CHAPEAU DE POIL.

      853. THE TRIUMPH OF SILENUS.

      853. a-p.

      854. A FOREST SCENE.

      855. A WATERFALL.

      856. THE MUSIC-MASTER.

      857, 858, 859, 860. THE FOUR SEASONS.

      861. A COUNTRY SCENE.

      862. THE SURPRISE.

      863. THE RICH MAN IN HELL.

      864. THE GUITAR LESSON.

      865. A COAST SCENE.

      866. A STREET IN COLOGNE.

      867. THE FARM COTTAGE.

      868. THE FORD.

      869. A FROST SCENE.

      870. SHIPPING IN A CALM.

      871. BATHING AT LOW WATER.

      872. A SLIGHT BREEZE.

      873. THE COAST OF SCHEVENINGEN.

      874. A CALM AT SEA.

      875. A LIGHT BREEZE.

      876. A GALE.

      877. HIS OWN PORTRAIT.

      877 A. THE CRUCIFIXION.

      877 B. RINALDO AND ARMIDA.

      878. THE PRETTY MILKMAID.

      879. THE INTERIOR OF A STABLE.

      880. ON THE SEA SHORE.

      881. GATHERING FAGGOTS.

      882. A LANDSCAPE.

      883. A BEGGAR BY THE ROADSIDE.

      884. SAND DUNES.

      895. PORTRAIT OF A WARRIOR.

      896. THE PEACE OF MÜNSTER.

      901. A LANDSCAPE.

      902. THE TRIUMPH OF SCIPIO.

      903. CARDINAL FLEURY.

      904. MADONNA AND CHILD.

      905. THE MADONNA IN PRAYER.

      906. THE MADONNA IN ECSTASY.

      907. ST. CATHERINE AND ST. MARY MAGDALENE.

      908. THE NATIVITY OF CHRIST.[193]

      909. THE MADONNA OF THE WHITE ROSE.

      910. THE TRIUMPH OF CHASTITY.

      911. ULYSSES AND PENELOPE.

      912, 913, 914. THE STORY OF GRISELDA.

      915. MARS AND VENUS.

      916. VENUS WITH CUPIDS.

      920. ORPHEUS.

      923. A VENETIAN SENATOR.

      924. A GOTHIC INTERIOR

      927. AN ANGEL ADORING.

      928. APOLLO AND DAPHNE.

      929. THE BRIDGEWATER MADONNA.

      930. THE GARDEN OF LOVE.

      931. THE MAGDALEN.

      932. A KNIGHT OF MALTA.

      933. BOY WITH A BIRD.

      934. VIRGIN AND CHILD.

      935. A RIVER SCENE.

      936. THE FARNESE THEATRE, PARMA.

      937. VENICE: SCUOLA DI SAN ROCCO.

      938. VENICE: REGATTA ON THE GRAND CANAL.

      939, 940. VENICE: THE PIAZZETTA, AND THE DUCAL PALACE.

      941. VENICE: THE GRIMANI PALACE.

      942. ETON COLLEGE.

      943. A PORTRAIT.

      944. TWO USURERS.

      945. ST. AGNES ADORING.

      946. A MAN'S PORTRAIT.

      947. A PORTRAIT.

      948. LANDSCAPE: A SKETCH.

      949. LANDSCAPE WITH GIPSIES.

      950. VILLAGE GOSSIPS.

      951. THE GAME OF BOWLS.

      952. THE VILLAGE FÊTE.

      953. THE TOPER.

      954. A LANDSCAPE.

      955. WOMEN BATHING.

      956. AN ITALIAN LANDSCAPE.

      957. GOATHERDS.

      958. OUTSIDE THE WALLS OF ROME.

      959. A RIVER SCENE.

      960. THE WINDMILLS.

      961. DORT (THE LARGE DORT).

      962. DORT (THE SMALL DORT).

      963. A SKATING SCENE.

      964. A RIVER SCENE.

      965. RIVER SCENE WITH STATE BARGE.

      966. A RIVER SCENE.

      967. DUTCH SHIPPING.

      968. THE PAINTER'S WIFE.

      969. A FROST SCENE.

      970. THE DROWSY LANDLADY.

      971, 972. LANDSCAPES.

      973. SANDBANK.

      974. LANDSCAPE.

      975. THE STAG HUNT.

      976. A BATTLE.

      977. A SEA-PIECE.

      978. A RIVER SCENE.

      979. A STIFF BREEZE.

      980. DUTCH SHIPS OF WAR.

      981. A STORM AT SEA.

      982. A FOREST SCENE (dated 1658).

      983. A BAY HORSE (dated 1663).

      984. LANDSCAPE WITH CATTLE.

      985. SHEEP AND GOATS.

      986. THE WATERMILLS.

      987. A ROCKY TORRENT.

      988. AN OLD OAK.

      989. WATERMILLS, WITH BLEACHERS.

      990. A WOODED PROSPECT.

      991. THE BROKEN TREE.

      992. ARCHITECTURAL SCENE.

      993. A HOUSE AMONG TREES.

      994. A STREET IN A TOWN.

      995. A WOODY LANDSCAPE.

      996. A CASTLE IN A ROCKY LANDSCAPE.

      997. SCOURING THE KETTLE

      998. SINGING A DUET.

      999. BY CANDLE-LIGHT.

      1000. THE ESTUARY OF A RIVER.

      1001. HOLLYHOCKS AND OTHER FLOWERS.

      1002. FLOWERS, INSECTS, AND FRUIT.

      1003. DEAD PARTRIDGES AND OTHER BIRDS.

      1004. AN ITALIAN LANDSCAPE.

      1005. PLOUGHING.

      1006. HURDY-GURDY.

      1007. A ROCKY LANDSCAPE.

      1008. A STAG HUNT.

      1009. THE OLD GRAY HUNTER.

      1010. RENAISSANCE ARCHITECTURE.

      1011. PORTRAIT OF A LADY.

      1012. PORTRAIT OF A MAN.

      1013. GEESE AND DUCKS.

      1014. THE MARTYRDOM OF ST. LAWRENCE.

      1015. FRUIT, FLOWERS, AND DEAD BIRDS.

      1016. A PORTRAIT OF A GIRL.

      1017. A WOODY LANDSCAPE.

      1018. A CLASSICAL LANDSCAPE.

      1019. THE HEAD OF A GIRL.

      1020. GIRL WITH AN APPLE.

      1021. PORTRAIT OF A WOMAN.

      1022. AN ITALIAN NOBLEMAN.

      1023. AN ITALIAN LADY.

      1024. AN ITALIAN ECCLESIASTIC.

      1025. AN ITALIAN NOBLEMAN.

      1031. MARY MAGDALENE.

      1032. CHRIST'S AGONY IN THE GARDEN.

      1033. THE ADORATION OF THE MAGI.

      1034. THE NATIVITY OF CHRIST.

      1035. PORTRAIT OF A YOUNG MAN.

      1036. A MAN'S PORTRAIT.

      1041. THE VISION OF ST. HELENA.

      1042. A MAN'S PORTRAIT.

      1045. A CANON AND HIS PATRON SAINT.

      1047. A FAMILY GROUP.

      1048. PORTRAIT OF A CARDINAL.

      1049. THE CRUCIFIXION.

      1050. A SEA VIEW.

      1051. OUR LORD, ST. THOMAS, AND ST. ANTHONY.

      1052. PORTRAIT OF A YOUNG MAN.

      1053. A CHURCH AT DELFT.

      1054. A VIEW IN VENICE.

      1055. A VILLAGE CARD PARTY.

      1056. A KISS IN THE CUP.

      1057. A RIVER SCENE.

      1058. VENICE: THE CANAL REGGIO.

      1059. VENICE: SAN PIETRO IN CASTELLO.

      1060. TWO VEDETTES ON THE WATCH.

      1061. DELFT: SCENE OF AN EXPLOSION

      1062. A BATTLE PIECE

      1063. A MAN'S PORTRAIT.

      1074. AN OYSTER SUPPER.

      1075. VIRGIN AND CHILD, ST. JEROME, AND ST. FRANCIS.

      1077. ALTAR-PIECE (dated 1501).

      1078. THE DEPOSITION FROM THE CROSS.

      1079. THE ADORATION OF THE MAGI.

      1080. HEAD OF JOHN THE BAPTIST.

      1081. A MAN AT PRAYER.

      1082. THE VISIT OF THE MADONNA TO ST. ELIZABETH.

      1083. CHRIST CROWNED WITH THORNS.

      1084. THE FLIGHT INTO EGYPT.

      1085. VIRGIN AND CHILD.

      1086. CHRIST APPEARING AFTER HIS RESURRECTION.

      1087. THE MOCKING OF CHRIST.

      1088. THE CRUCIFIXION.

      1089. MADONNA AND CHILD WITH ST. ELIZABETH.

      1090. PAN AND SYRINX.

      1002. ST. SEBASTIAN.

      1093. OUR LADY OF THE ROCKS.

      1094. PORTRAIT OF A MAN.

      1095. PORTRAIT OF ANNA MARIA SCHURMANN.

      1096. A HUNTING SCENE.

      1098. VIRGIN AND CHILD.

      1100. A SCENE IN A PLAY.

      1101. MASKED VISITORS AT A MENAGERIE.

      1102. THE CHEVALIER ANDREA TRON.

      1103. VIRGIN AND CHILD, WITH SAINTS.

      1104. THE ANNUNCIATION.

      1105. THE PROTHONOTARY-APOSTOLIC, JULIANO.

      1106. THE RESURRECTION.

      1107. THE CRUCIFIXION.

      1108. THE VIRGIN ENTHRONED.

      1109. THE MARRIAGE OF THE VIRGIN.

      1109a. VIRGIN AND CHILD.

      1113. A LEGENDARY SUBJECT.

      1114-1118. THE FIVE SENSES.

      1119. MADONNA AND CHILD WITH SAINTS.

      1120. ST. JEROME IN THE DESERT.

      1121. PORTRAIT OF A YOUNG MAN.

      1122. ST. JEROME.

      1123. VENUS, ADONIS, AND MYRRHA.

      1124. THE ADORATION OF THE MAGI.

      1125. SUMMER AND AUTUMN.

      1126. THE ASSUMPTION OF THE VIRGIN.

      1127. THE LAST SUPPER.

      1128. THE CIRCUMCISION OF CHRIST.

      1129. KING PHILIP IV. OF SPAIN.

      1130. CHRIST WASHING HIS DISCIPLES' FEET.

      1131. JOSEPH AND HIS KINDRED IN EGYPT.

      1132. THE VESTIBULE OF A LIBRARY.

      1133. THE NATIVITY.

      1134. MADONNA AND CHILD.

      1135, 1136. THE CLEMENCY OF TRAJAN.

      1137. PORTRAIT OF A BOY.

      1138. THE CRUCIFIXION.

      1139. THE ANNUNCIATION.

      1140. CHRIST HEALING THE BLIND.

      1141. SUPPOSED PORTRAIT OF THE ARTIST.

      1143. THE PROCESSION TO CALVARY.

      1144. MADONNA AND CHILD.

      1145. SAMSON AND DELILAH.

      1147. HEADS OF NUNS.

      1148. CHRIST AT THE COLUMN.

      1149. MADONNA AND CHILD.

      1150. PORTRAIT OF A MAN.

      1151. THE ENTOMBMENT.

      1152. ST. JOHN THE BAPTIST.

      1154. GIRL WITH A LAMB.

      1155. THE ASSUMPTION OF THE VIRGIN.

      1157. THE NATIVITY.

      1159. THE CALLING OF ABRAHAM.

      1160. THE ADORATION OF THE MAGI.

      1165. ST. HIPPOLYTUS AND ST. CATHERINE.

      1166. THE CRUCIFIXION.

      1168. PORTRAIT OF A JESUIT.

      1169. MRS. ROBERT HOLLOND.

      1170. ST. AUGUSTINE AND ST. MONICA.

      1171. THE ANSIDEI MADONNA.

      1172. CHARLES THE FIRST.

      1173. AN UNKNOWN SUBJECT.

      1188. THE BETRAYAL OF CHRIST.

      1189. THE PROCESSION TO CALVARY.

      1190. A BOY'S PORTRAIT.

      1192, 1193. SKETCHES FOR ALTAR-PIECES

      1194. CHRIST DRIVING OUT THE TRADERS.

      1195. THE BIRTH OF VENUS.

      1196. A COMBAT BETWEEN LOVE AND CHASTITY.

      1199. MADONNA AND CHILD.

      1200, 1201. GROUPS OF SAINTS.

      1202. MADONNA AND CHILD, WITH SAINTS.

      1203. MADONNA AND CHILD.

      1206. LANDSCAPE AND FIGURES.

      1211, 1212. SCENES AT A TOURNAMENT.

      1213. PORTRAIT OF A PROFESSOR.

      1214. CORIOLANUS, VOLUMNIA, AND VETURIA.

      1215. MADONNA AND CHILD.

      1216, 1216 a & b. THE FALL OF THE REBEL ANGELS.

      1217. THE ISRAELITES GATHERING MANNA.

      1218, 1219. JOSEPH AND HIS BRETHREN.

      1220. THE VIRGIN AND CHILD

      1221. DARBY AND JOAN.

      1222. A STUDY OF FOLIAGE, BIRDS, ETC.

      1227. VIRGIN AND CHILD

      1229. VIRGIN AND CHILD.

      1230. PORTRAIT OF A GIRL.

      1231. PORTRAIT OF A GENTLEMAN.

      1232. PORTRAIT OF A GENTLEMAN.

      1233. THE BLOOD OF THE REDEEMER.

      1234. A MUSE INSPIRING A COURT POET.

      1239, 1240. THE MURDER OF THE INNOCENTS.

      1241. CHRIST PREACHING IN THE TEMPLE.

      1243. PORTRAIT OF A YOUNG MAN.

      1247. THE CARD PLAYERS.

      1248. PORTRAIT OF A LADY.

      1251. PORTRAIT OF A MAN.

      1252. A FRUIT-PIECE.

      1255. A STUDY OF STILL LIFE.

      1256. A STUDY OF STILL LIFE.

      1257. THE BIRTH OF THE VIRGIN.

      1258. A STUDY OF STILL LIFE

      1260-1270. EARLY GREEK PORTRAITS.

      1277. A MAN'S PORTRAIT.

      1278. A CONVIVIAL PARTY.

      1280. CHRIST APPEARING AFTER HIS RESURRECTION

      1282. SAN ZENOBIO RESTORING TO LIFE A DEAD CHILD.

      1284. ST. FRANCIS AND ST. MARK.

      1285. PORTRAIT OF NAPOLEON I.

      1286. A BOY DRINKING.

      1287. INTERIOR OF AN ART GALLERY.

      1288. FROST SCENE.

      1289. LANDSCAPE WITH CATTLE.

      1291. THE ASSUMPTION OF THE VIRGIN.

      1292. A FAMILY GROUP.

      1293. MUSICAL PASTIME.

      1294. AN ALLEGORICAL SUBJECT.

      1295. MADONNA AND CHILD, WITH SAINTS.

      1296, 1297. LANDSCAPES.

      1298. LANDSCAPE: RIVER SCENE.

      1299. PORTRAIT OF A YOUTH.

      1300. VIRGIN AND CHILD.

      1301. PORTRAIT OF SAVONAROLA.

      1302. THE SOUL OF ST. BERTIN.

      1303. A CHOIR OF ANGELS.

      1304. MARCUS CURTIUS.

      1305. A FAMILY GROUP.

      1308. PORTRAIT OF A MAN.

      1309. PORTRAIT OF A YOUNG MAN.

      1310. ECCE HOMO!

      1311. A WINTER SCENE.

      1312. THE VILLAGE COBBLER.

      1313. THE ORIGIN OF THE MILKY WAY.

      1314. THE AMBASSADORS.

      1315. THE ADMIRAL PULIDO PAREJA.

      1316. AN ITALIAN NOBLEMAN.

      1317. THE MARRIAGE OF THE VIRGIN.

      1318. UNFAITHFULNESS.

      1319. VIEW IN ROME.

      1320, 1321. A MAN AND HIS WIFE.

      1323. PIERO DI MEDICI.

      1324. SCORN.

      1325. RESPECT.

      1326. HAPPY UNION.

      1327. A WINTER SCENE.

      1329. AN INTERIOR.

      1330. THE TRANSFIGURATION.

      1331. VIRGIN AND CHILD.

      1332. GEORGE, 1ST EARL OF BERKELEY.

      1333. THE DEPOSITION FROM THE CROSS.

      1334. THE FORTUNE-TELLER.

      1335. THE MADONNA.

      1336. THE DEATH OF DIDO.

      1337. ECCE HOMO!

      1338. THE ADORATION OF THE SHEPHERDS.

      1339. THE NATIVITY OF ST. JOHN.

      1340. LANDSCAPE.

      1341. A WOODLAND SCENE.

      1342. LANDSCAPE.

      1343. AMSTERDAM MUSKETEERS ON PARADE.

      1344. A LANDSCAPE.

      1345. LANDSCAPE.

      1346. A WINTER SCENE.

      1347. FARMYARD SCENE.

      1348. LANDSCAPE WITH GOAT AND KID.

      1352. LANDSCAPE.

      1353. LANDSCAPE WITH SATYRS.

      1375. CHRIST IN THE HOUSE OF MARTHA.

      1376. A DUEL IN THE PRADO (A SKETCH).

      1377. THE ADORATION OF THE SHEPHERDS.

      1378. AN INTERIOR WITH FIGURES.

      1380. FRUIT AND FLOWER PIECE.

      1381. THE HOLY WOMEN AT THE SEPULCHRE.

      1383. LA JEUNE FEMME AU CLAVECIN.

      1386. SOLDIERS QUARRELLING OVER THEIR BOOTY.

      1387. PLAYERS AT TRIC-TRAC.

      1390. A SEA-PIECE.

      1393. A MEDITERRANEAN SEAPORT.

      1397. AN OLD WOMAN SEWING.

      1399. PORTRAIT OF A GENTLEMAN.

      1400. CHRIST BEFORE PILATE.

      1401. A FRUIT-PIECE.

      1406. THE ANNUNCIATION.

      1409. THE MARRIAGE OF ST. CATHERINE.

      1410. VIRGIN AND CHILD

      1411. A DIPTYCH.

      1412. VIRGIN AND CHILD, WITH ST. JOHN.

      1415. PORTRAIT OF A LADY.

      1416. VIRGIN AND CHILD, WITH SAINTS.

      1417. CHRIST'S AGONY IN THE GARDEN.

      1417a. ILLUMINATED INITIAL LETTER.

      1418. ST. JEROME IN HIS STUDY.

      1419. THE LEGEND OF ST. GILES.

      1420. A VIEW IN HAARLEM.

      1421. A TERRACE SCENE.

      1422. THE HOLY FAMILY.

      1423. PORTRAIT OF A LADY.

      1424. TOBIAS AND THE ANGEL.

      1425. PORTRAIT GROUP.

      1427. THE DEAD CHRIST: A PIETÀ.

      1429. THE ROTUNDA AT RANELAGH.

      1430. ARCHITECTURAL SUBJECT WITH FIGURES.

      1431. THE BAPTISM OF CHRIST.

      1432. THE MARRIAGE OF ST. CATHERINE.

      1433. PORTRAIT OF A LADY.

      1434. A BETROTHAL.

      1436. THE VISION OF ST. EUSTACE.

      1437. THE DESCENT OF THE HOLY GHOST.

      1438. HEAD OF ST. JOHN THE BAPTIST.

      1439. FISHING IN THE RIVER.

      1440. ST. DOMINIC.

      1441. THE ADORATION OF THE SHEPHERDS.

      1442. SHIPS IN A GALE.

      1443. INTERIOR OF A CHURCH.

      1444. PEASANTS WARMING THEMSELVES.

      1445, 1446. STUDIES OF FLOWERS.

      1447. A HUNTING PARTY.

      1448. A VILLAGE GREEN IN FRANCE.

      1449. CARDINAL RICHELIEU.

      1450. THE HOLY FAMILY.

      1451. INTERIOR OF A CHURCH.

      1454. A GONDOLA.

      1455. THE CIRCUMCISION.

      1456. VIRGIN AND CHILD, WITH ANGELS.

      1457. CHRIST DRIVING THE TRADERS OUT OF THE TEMPLE.

      1459. THE WINE CONTRACT.

      1461. ST. SEBASTIAN.

      1462. SEA-PIECE WITH SHIPPING.

      1465. CHRIST RISING FROM THE TOMB.

      1466. THE WALK TO EMMAUS.

      1468. THE CRUCIFIXION.

      1469. STILL LIFE.

      1470. A BATTLE SCENE.

      1471. THE PICNIC (MARIENDA CAMPESTRE).

      1472. THE BEWITCHED.

      1473. PORTRAIT OF DOÑA ISABEL CORBO DE PORCEL.

      1476. JUPITER AND SEMELE.

      1478. THE CRUCIFIXION.

      1479. A WINTER SCENE ON THE ICE.

      1481. A PHILOSOPHER.

      1489, 1490. PORTRAITS OF VENETIAN SENATORS.

      1493. LANDSCAPE, WITH VIEW OF THE CARRARA MOUNTAINS.

      1495. CHRIST DISPUTING WITH THE DOCTORS.

      1653. PORTRAIT OF HERSELF.

      1660. PORTRAIT OF HIMSELF.

      1661, 1662. WINGS OF THE ALTAR-PIECE, No. 1093.

      1664. LA FONTAINE.

      1665. PORTRAIT OF A YOUNG MAN.

      1674. A BURGOMASTER.

      1675. PORTRAIT OF AN OLD LADY.

      1676. CHRIST DISPUTING WITH THE DOCTORS.

      1680. PORTRAIT OF A YOUNG MAN.

      1682. VIRGIN AND CHILD.

      1683. STUDY OF A HORSE.

      1686. STUDY OF FLOWERS.

      1689. A MAN AND WIFE.

      1694. VIRGIN AND CHILD WITH ST. JOHN.

      1695. LANDSCAPE WITH NYMPHS.

      1696. MADONNA AND CHILD.

      1699. THE LESSON.

      1700. PORTRAIT OF A GENTLEMAN.

      1701. LANDSCAPE WITH WATERMILL.

      1776. THE ADORATION OF THE SHEPHERDS.

      1786. THE LAKE OF THUN.

      1810. PORTRAIT OF A BOY.

      1812. THE AGONY IN THE GARDEN.

      1842. HEADS OF ANGELS.

      1843. THE ADORATION OF THE MAGI.

      1845. THE LIGHT OF THE WORLD.

      1847. THE VIRGIN CROWNED BY ANGELS.

      1848. PORTRAIT OF A YOUNG MAN.

      1849. THE NATIVITY.

      1850. A SCENE ON THE ICE.

      1851. THE INTERIOR OF A STABLE.

      1860. PORTRAIT OF A LADY.

      1872. VIRGIN AND CHILD.

      1895. BARON WAHA DE LINTER OF NAMUR.

      1896. INTERIOR OF A CHURCH.

      1897. THE CORONATION OF THE VIRGIN.

      1903. LANDSCAPE, WITH DOGS AND GAME.

      1909. THE EXECUTION OF LADY JANE GREY.

      1914. A ROYAL CHÂTEAU IN HOLLAND.

      1915. A DUTCH CHURCH AND MARKET PLACE.

      1917. AN ITALIAN LANDSCAPE.

      1918. MARKET PLACE AT THE HAGUE.

      1925. PORTRAIT OF A MAN.

      1930. PORTRAIT OF A LADY AS ST. MARGARET.

      1937. PORTRAIT OF A LADY.

      1938. PORTRAIT OF HIS FATHER.

      1939. VIRGIN AND CHILD, WITH SAINTS.

      1944. PORTRAIT OF ARIOSTO.

      1951. PORTRAIT OF DR. PERAL.

      1952. MR. AND MRS. EDWIN EDWARDS.

      1953. THE VIRGIN AND CHILD.

      1969. A GREEK CAPTIVE.

      2057. VENUS WITH THE MIRROR.

      2058. SUNNY DAYS IN THE FOREST.

      2062. CHRIST TEACHING FROM ST. PETER'S SHIP.

      2069. THE MADONNA OF THE TOWER.

      2078. THE HARBOUR OF TROUVILLE.

      2081. LULLI AND HIS FELLOW MUSICIANS AT THE FRENCH COURT.

      2082. A FLORENTINE LADY; on the reverse, A SYMBOLIC ANGEL.

      2083. PORTRAIT OF DR. BATTISTA FIERA.

      2084. A YOUNG MAN IN BLACK.

      2085. BIANCA CAPELLO.

      2086. THE GATE WITH A ROUND TOWER.

      2087. A PASTORAL LANDSCAPE.

      2088. CHRIST TEACHING.

      2089. MADONNA AND CHILD.

      2090, 2091. ANGELS.

      2092, 2093. ST. JOSEPH AND ST. JEROME.

      2094. IL CAVALIERE.

      2095. A MAN IN BLACK.

      2096. THE MAN WITH A BEARD.

      2097. THE LADY WITH THE CARNATIONS.

      2098. S. MARIA DELLA SALUTE, VENICE.

      2099. THE DUCAL PALACE, VENICE

      2100. THE MARRIAGE OF THE EMPEROR FREDERICK I.

      2101. ESTHER AT THE THRONE OF AHASUERUS.

      2102, 2103. TOWN AND RIVER SCENES.

      2104. A MAN WITH A WIDE COLLAR.

      2105. A MAN WITH A POINTED BEARD.

      2106. PORTRAIT OF THE ARTIST.

      2107. HAGAR IN THE DESERT.

      2118. MADONNA AND CHILD.

      2127. PORTRAIT OF THE MARCHESE GIOVANNI BATTISTA CATTANEO.

      2129. UNE PARADE.

      2130. THE WATER LANE.

      2133, 2134. ROSES AND APPLES.

      2135. THE MARSH OF ARLEUX-DU-NORD.

      2136. ENGRAVED PORTRAIT OF LULLY, THE MUSICIAN. See 2081.

      2143. LADY STANDING BY A SPINET.

      2144. LA MARCHESA CATTANEO.

      2162. PORTRAIT OF THE ARTIST.

      2163. THE MAGDALEN.

      2204. INTERIOR OF A CHURCH.

      2205. INTERIOR OF A CHURCH.

      2206. VESPERS.

      2207. AFTER VESPERS.

      2209. ULRICUS SIROSENIUS, DUKE OF EAST FRIESLAND.

      2211. JACQUELINE DE BOURGOGNE.

      2216. LA MAIN CHAUDE.

      2217. ELISA BONAPARTE, GRAND DUCHESS OF TUSCANY.

      2218. MADAME MALIBRAN.

      2251. PORTRAIT OF BONA OF SAVOY.

      2256. RIVER SCENE.

      2257. ILEX TREES, VILLEFRANCHE.

      2258. A WOODLAND SCENE.

      2281. THE VIRGIN AND CHILD.

      2282. THE BOHEMIANS.

      2283. DAWN.

      2285. A FAMILY GROUP.

      2288. PORTRAIT OF DR. FORLENZE.

      2289. ATTILA: AN ALLEGORY.

      2290. PARC DE SANSAC, INDRE-ET-LOIRE.

      2291. PORTRAIT OF CARDINAL DE RETZ.

      2292. PORTRAIT OF A LADY.

      2293. HOLY FAMILY.

      2294. PORTRAIT OF GALILEO.

      2295. PORTRAIT OF A MILITARY COMMANDER.

      2423. LITHOGRAPHS OF HORSES.

      2439. A RIVER SCENE.

      2475. CHRISTINA, DUCHESS OF MILAN.

      2480. THE FISH MARKET.

      2482. VIRGIN AND CHILD.

      2483. VIRGIN AND CHILD.

      2484. VIRGIN AND CHILD.

      2485. SALOME.

      2486. A CONCERT.

      2487. BARTOLOMMEO BIANCHINI.

      2488. THE HOLY FAMILY.

      2489. THE YOUNG FLORENTINE.

      2490. COSTANZA DE' MEDICI.

      2491. GIROLAMO BENEVIENI.

      2492. VIRGIN AND CHILD WITH ANGELS ADORING.

      2493. SALOME.

      2494. AN ITALIAN GENTLEMAN.

      2495. OUR LADY OF THE LAURELS.

      2496. VIRGIN AND CHILD.

      2497. VIRGIN AND CHILD WITH ST. JOHN.

      2498. A YOUNG VENETIAN.

      2499. VIRGIN AND CHILD.

      2500. VIRGIN AND CHILD.

      2501. SALVATOR MUNDI.

      2502. VIRGIN AND CHILD.

      2503. HOLY FAMILY.

      2504. VIRGIN AND CHILD.

      2505. DAVID AND JONATHAN.

      2506. VIRGIN AND CHILD.

      2507. PORTRAIT OF A LADY.

      2508. VIRGIN AND CHILD WITH ANGELS.

      2509. PORTRAIT OF A YOUTH.

      2510. A PORTRAIT.

      2511. A MUSICIAN.

      2512. THE MAGDALEN.

      2513. VIRGIN AND CHILD WITH SAINTS.

      2514-2516. VIEWS IN VENICE.

      2517-2523. VARIOUS VIEWS.

      2524. THE TOWER OF MESTRE.

      2525. VENICE: PIAZZA DI SAN MARCO.

      2526. PEASANT AND CHILD.

      2527. CHARLES MORDAUNT, EARL OF MONMOUTH.

      2528. THE MAN WITH THE GLOVE.

      2529. THE LADY WITH THE FAN.

      2530. PORTRAIT OF A LADY.

      2531. CHURCH OF ST. BAVON, HAARLEM.

      2532. A WOMAN DRIVING SHEEP.

      2533. A SANDY LANE.

      2534. RIVER SCENE, WITH HORSEMAN.

      2535. JUDITH.

      2536. MOONLIGHT.

      2537. LANDSCAPE: WITH A CART IN THE FOREGROUND.

      2538. DIANA BATHING.

      2539. A MAN WITH A CAP.

      2540. THE HURDY-GURDY.

      2541. THE COBBLER.

      2542. COURTSHIP.

      2543. A MAN WITH A JUG.

      2544. THE CART.

      2545. RIVER SCENE.

      2546. LADY AND CHILD IN A LANDSCAPE.

      2547. CATTLE WITH HERDSMEN.

      2548. BOY HOLDING A GREY HORSE.

      2549. THE TAILOR'S SHOP.

      2550. THE AFTERNOON NAP.

      2551. A WOMAN SCOURING PANS.

      2552. REFUSING THE GLASS.

      2553. A LADY AT HER TOILET.

      2554. SADDLING A HORSE.

      2555. WOMAN ASLEEP.

      2556. THE PEDLAR.

      2557. MERRY MAKERS.

      2558. GRACE BEFORE MEAT.

      2559. THE OYSTER FEAST.

      2560. THE SKITTLE PLAYERS.

      2561. VIEW NEAR HAARLEM.

      2562. COUNTRY SCENE, WITH RUINED CASTLE.

      2563. THE ENTRANCE TO THE FOREST.

      2564. A COTTAGE ON A ROCKY HILL.

      2565. COTTAGE AND HAYSTACK.

      2566. SKIRTS OF A FOREST.

      2567. A STORMY SEA-PIECE.

      2568. A LADY AT THE VIRGINALS.

      2569. THREE BOORS DRINKING.

      2570, 2571. WOODY LANDSCAPES.

      2572. THE LITTLE FARM.

      2573. SEA-SCAPE: WINDY DAY.

      2574. CALM: SHIPPING.

      2575. A MUSICAL PARTY.

      2576. A FAMILY GROUP.

      2577. A STIFF BREEZE.

      2578. A WINDMILL BY A RIVER.

      2579. SCENE ON THE ICE.

      2580. RIVER SCENE.

      2681. A. VAN LEEUWENHOEK, F.R.S.

      2582. FRUIT AND FLOWERS.

      2583. CATTLE IN A STORMY LANDSCAPE.

      2584. A LADY HOLDING A MIRROR.

      2585. ST. MARY MAGDALEN.

      2586. COAST SCENE.

      2587. A CALM.

      2588. A DUTCH GALLIOT.

      2589. THE YOUNG ASTROLOGER.

      2590. A WOMAN AT A WINDOW.

      2591. THE FORGE.

      2592. FRUIT PIECE.

      2593. PORTRAIT OF A MAN.

      2594. THE DUKE OF CLEVES.

      2595. VIRGIN AND CHILD.

      2596. ST. JEROME.

      2597. THREE VENETIAN GENTLEMEN AND A CHILD.

      2598. DIANA AND ENDYMION.

      2599. A VISIT TO THE DOCTOR.

      2600. CARD PLAYERS.

      2601. AN OLD WOMAN READING.

      2602. A MAN WITH A RING.

      2603. VIRGIN AND CHILD.

      2604. PORTRAIT OF A YOUNG MAN.

      2605. DR. FUCHSIUS.

      2606. THE MADONNA ENTHRONED.

      2607. A MAN WITH A MEDALLION.

      2608. VIRGIN AND CHILD WITH ANGELS.

      2609. VIRGIN AND CHILD IN AN APARTMENT.

      2610. ANTOINE DE BOURBON.

      2611. A MAN IN BLACK.

      2612. LOUIS XI., KING OF FRANCE, 1423-1483.

      2613. PHILIP AND MARGARET OF BURGUNDY.

      2614. A LADY AS MARY MAGDALEN.

      2615. MARY, QUEEN OF FRANCE.

      2616. PORTRAIT OF A LADY.

      2617. THE DUCHESS D'ANGOULÊME.

      2618. VIRGIN AND CHILD WITH ANGELS.

      2619. LANDSCAPE.

      2620. THE HAPPY MOTHER.

      2621. WILLOWS.

      2622. THE BANKS OF A RIVER.

      2623. ALDERS.

      2624. THE GARDEN WALL.

      2625. THE BENT TREE.

      2626. THE WOOD GATHERER.

      2627. EVENING ON THE LAKE.

      2628. NOON.

      2629. A FLOOD.

      2630. COWS STANDING IN A MARSH.

      2631. THE FISHERMAN'S HUT.

      2632. THE STORM.

      2633. COMMON WITH STORMY SUNSET.

      2634. RIVER SCENE.

      2635. SUNSET AT AUVERGNE.

      2636. THE WHISPER.

      2669. ST. CLEMENT AND DONOR.

      2670. LADY HOLDING A ROSARY.

      2671. A PIETÀ.

      2672. A VENETIAN GENTLEMAN.

      2673. NARCISSUS.

      2709. MOTHER AND CHILD.

      2710. THE DRAWBRIDGE.

      2711. WATERING HORSES.

      2712. THE INTERIOR OF HAARLEM CHURCH.

      2713. THE PHILOSOPHER.

      2714. GRANDFATHER'S BIRTHDAY.

      2715. FISH MARKET, DIEPPE.

      2723, 2724. LANDSCAPES.

      2725. CHRIST BLESSING.

      2727. LE PONT DE LA TOURNELLE, PARIS.

      2731. LANDSCAPE.

      2732. THE SHIPWRECKED MARINER.

      2757. TARTARUS: A SATIRICAL DESIGN.

      2758. A SQUALL FROM THE WEST.

      2759. STORMY LANDSCAPE.

      2764. A FAMILY GROUP.

      2767. THE SEA.

      2790. THE ADORATION OF THE MAGI.

      2856. A CAVALIER AND A LADY.

      2862. ST. JOHN GUALBERTO.

      2863. VIRGIN AND CHILD, WITH ANGELS.

      FOOTNOTES:

      PICTURES ON LOAN

      THE HOLY FAMILY.

      THE MADONNA DI SANTI ANTONIO.

      THE ADORATION OF THE MAGI.

      FOOTNOTES:

      COPIES FROM THE OLD MASTERS

      I.—VELAZQUEZ

      II.—REMBRANDT

      SCULPTURES AND MARBLES

      FOOTNOTES:

      APPENDIX I

      APPENDIX II

      HANDBOOK TO THE NATIONAL GALLERY

      WORKS OF JOHN RUSKIN

      Volume I.—FOREIGN SCHOOLS

      COMPILED BY E. T. COOK

      WITH PREFACE BY JOHN RUSKIN, LL.D., D.C.L.

      A picture which is worth buying is also worth seeing. Every noble picture is a manuscript book, of which only one copy exists, or ever can exist. A National Gallery is a great library, of which the books must be read upon their shelves (Ruskin: Arrows of the Chace, i. 71).

      There, the long dim galleries threading,

      May the artist's eye behold

      Breathing from the deathless canvass

      Records of the years of old:

      Pallas there, and Jove, and Juno,

      Take once more their walks abroad,

      Under Titian's fiery woodlands

      And the saffron skies of Claude:

      There the Amazons of Rubens

      Lift the failing arm to strike,

      And the pale light falls in masses

      On the horsemen of Vandyke;

      And in Berghem's pools reflected

      Hang the cattle's graceful shapes,

      And Murillo's soft boy-faces

      Laugh amid the Seville grapes;

      And all purest, loveliest fancies

      That in poet's soul may dwell,

      Started into shape and substance

      At the touch of Raphael.

      Lo! her wan arms folded meekly,

      And the glory of her hair,

      Falling as a robe around her,

      Kneels the Magdalen in prayer;

      And the white-robed Virgin-mother

      Smiles, as centuries back she smiled,

      Half in gladness, half in wonder,

      On the calm face of her Child:—

      And that mighty Judgment-vision

      Tells how men essayed to climb

      Up the ladder of the ages,

      Past the frontier-walls of Time;

      Heard the trumpet-echoes rolling

      Thro' the phantom-peopled sky,

      And the still Voice bid this mortal

      Put on immortality.

      Calverley.

      PREFACE BY JOHN RUSKIN

      So far as I know, there has never yet been compiled, for the illustration of any collection of paintings whatever, a series of notes at once so copious, carefully chosen, and usefully arranged, as this which has been prepared, by the industry and good sense of Mr. Edward T. Cook, to be our companion through the magnificent rooms of our own National Gallery; without question now the most important collection of paintings in Europe for the purposes of the general student. Of course the Florentine School must always be studied in Florence, the Dutch in Holland, and the Roman in Rome; but to obtain a clear knowledge of their relations to each other, and compare with the best advantage the characters in which they severally excel, the thoughtful scholars of any foreign country ought now to become pilgrims to the Dome—(such as it is)—of Trafalgar Square.

      We have indeed—be it to our humiliation remembered—small reason to congratulate ourselves on the enlargement of the collection now belonging to the public, by the sale of the former possessions of our nobles. But since the parks and castles which were once the pride, beauty, and political strength of England are doomed by the progress of democracy to be cut up into lots on building leases, and have their libraries and pictures sold at Sotheby's and Christie's, we may at least be thankful that the funds placed by the Government at the disposal of the Trustees for the National Gallery have permitted them to save so much from the wreck of English mansions and Italian monasteries, and enrich the recreations of our metropolis with graceful interludes by Perugino and Raphael.

      It will be at once felt by the readers of the following catalogue that it tells them, about every picture and its painter, just the things they wished to know. They may rest satisfied also that it tells them these things on the best historical authorities, and that they have in its concise pages an account of the rise and decline of the arts of the Old Masters, and record of their personal characters and worldly state and fortunes, leaving nothing of authentic tradition, and essential interest, untold.

      As a collection of critical remarks by esteemed judges, and of clearly formed opinions by earnest lovers of art, the little book possesses a metaphysical interest quite as great as its historical one. Of course the first persons to be consulted on the merit of a picture are those for whom the artist painted it: with those in after generations who have sympathy with them; one does not ask a Roundhead or a Republican his opinion of the Vandyke at Wilton, nor a Presbyterian minister his impressions of the Sistine Chapel:—but from any one honestly taking pleasure in any sort of painting, it is always worth while to hear the grounds of his admiration, if he can himself analyse them. For those who take no pleasure in painting, or who are offended by its inevitable faults, any form of criticism is insolent. Opinion is only valuable when it

      gilds with various rays

      These painted clouds that beautify our days.

      When I last lingered in the Gallery before my old favourites, I thought them more wonderful than ever before; but as I draw towards the close of life, I feel that the real world is more wonderful yet: that Painting has not yet fulfilled half her mission,—she has told us only of the heroism of men and the happiness of angels: she may perhaps record in future the beauty of a world whose mortal inhabitants are happy, and which angels may be glad to visit.

      J. Ruskin.

      April 1888.

      GENERAL INTRODUCTION

      WITH SOME

      ACCOUNT OF THE NATIONAL GALLERY

      Division into Volumes.—In arrangement and, to some degree, in contents the Handbook in its present form differs from the earlier editions. Important changes have been made during the last few years in the constitution and scope of the National Gallery itself. The Gallery now consists of two branches controlled by a single Board of Trustees: (1) the National Gallery in Trafalgar Square; and (2) the Tate Gallery or, as it is officially called, the National Gallery of British Art on the Thames Embankment at Millbank.[1] At the former Gallery are hung all the pictures belonging to Foreign Schools. Pictures of the British Schools are hung partly in Trafalgar Square and partly at Millbank, and from time to time pictures are moved from one Gallery to the other. It has therefore been decided to divide the Handbook into volumes according to subject rather than according to position. Volume I. deals with the Foreign Schools (National Gallery); Volume II., with the British Schools (National Gallery and Tate Gallery). By this division the convenience of the books for purposes of reference or use in the Galleries will not be disturbed by future changes in the allocation of British pictures between Trafalgar Square and Millbank respectively.

      How to use the Handbook.—The one fixed point in the arrangement of the National Gallery is the numbering of the pictures. The numbers affixed to the frames, and referred to in the Official Reports and Catalogues, are never changed. This is an excellent rule, the observance of which, in the case of some foreign galleries, would have saved no little inconvenience to students and visitors. In the present, as in the preceding editions of the Handbook, advantage has been taken of this fixed system of numbering; and in the pages devoted to the Biographical and Descriptive Catalogue the pictures are enumerated in their numerical order. The introductory remarks on the chief Schools of Painting represented in the Gallery are brought together at the beginning of the book. The visitor who desires to make an historical study of the Collection may, if he will, glance first at the general introduction given to the pictures in each School; and then, as he makes his survey of the rooms devoted to the several Schools, note the numbers on the frames, and refer to the Numerical Catalogue following the series of introductions. On the other hand, the visitor who does not care to use the Handbook in this way has only to skip the preliminary chapters, and to pass at once, as he finds himself before this picture or that, to the Numerical Catalogue. For the convenience, again, of visitors or students desiring to find the works of some particular painter, the full and detailed Index of Painters, first introduced in the Third Edition, has here been retained. References to all the pictures by each painter, and to the page where some account of his life and work is given, will be found in this Index. Finally, a concise Numerical Index is given, wherein the reader may find at once the particulars of acquisition, the provenance, and other circumstances regarding every picture (by a foreign artist) in the possession of the National Gallery, wherever deposited.

      History of the National Gallery.—For the purposes of the general student, the National Gallery is now, said Mr. Ruskin in 1888, without question the most important collection of paintings in Europe. Forty years before he said of the same Gallery that it was an European jest. The growth of the Gallery from jest to glory[2] may be traced in the final index to this book, where the pictures are enumerated in the order of their acquisition. Many incidents connected with the acquisition of particular pictures will also be found chronicled in the Catalogue[3]; but it may here be interesting to summarise the history of the institution. The National Gallery of England dates from the year 1824, when the Angerstein Collection of thirty-eight pictures was purchased. They were exhibited for some years in Mr. Angerstein's house in Pall Mall; for it was not till 1832 that the building in which the collection is now deposited was begun. This building, which was designed expressly for the purpose by William Wilkins, R.A., was opened to the public in 1838.[4] At that time, however, the Gallery comprised only six rooms, the remaining space in the building being devoted to the Royal Academy of Arts—whose inscription may still be seen above a disused doorway to the right of the main entrance. In 1860 the first enlargement was made—consisting of one new room. In 1869 the Royal Academy removed to Burlington House, and five more rooms were gained for the National Gallery. In 1876 the so-called New Wing was added, erected from a design by E. M. Barry, R.A. In that year the whole collection was for the first time housed under a single roof. The English School had, since its increase in 1847 by the Vernon gift, been exhibited first at Marlborough House (up to 1859), and afterwards at South Kensington. In 1884 a further addition of five rooms was commenced under the superintendence of Sir John Taylor, of Her Majesty's Office of Works; these rooms (numbered I., II., III., V., VI. on the plan), with a new staircase and other improvements, were opened to the public in 1887; and the Gallery then consisted of twenty-two rooms, besides ample accommodation for the offices of the Director and the convenience of the students.[5] A further extension of the Gallery, on the site of St. George's Barracks, was completed in 1911; this consisted of six new rooms.[6] At the same time the older portions of the building were reconstructed, in order to make it fire-proof. The rearrangement of the Gallery is described below (p. xxv).

      Growth of the Collection.—This growth in the Galleries has, however, barely sufficed to keep pace with the growth of the pictures. In 1838 the total number of national pictures was still only 150. In 1875 the number was 926. In 1911 the number of pictures, etc. (exclusive of the Turner water-colours) vested in the Trustees of the Gallery was nearly 2870. This result has been due to the combination of private generosity and State aid which is characteristic of our country. The Vernon gift of English pictures in 1847 added over 150 at a stroke. Ten years later Turner's bequest added (besides some 19,000 drawings in various stages of completion) 100 pictures. In 1876 the Wynn Ellis gift of foreign pictures added nearly another hundred. In 1910 the bequest of Mr. George Salting added 192 pictures (160 foreign and 32 British). Particulars of other gifts and bequests may be gathered from the Appendix. Parliamentary grants have of late years been supplemented by private subscriptions and bequests. In 1890 Messrs. N. M. Rothschild and Sons, Sir Edward Guinness, Bart. (now Lord Iveagh), and Mr. Charles Cotes, each contributed £10,000 towards the purchase of three important pictures (1314-5-6); whilst in 1904, Mr. Astor, Mr. Beit, Lord Burton, Lord Iveagh, Mr. Pierpont Morgan, and Lady Wantage subscribed £21,000 to supplement a Government grant for the purchase of Titian's Portrait of Ariosto (1944). In 1903 a National Art-Collections Fund was established for organising private benefactions to the Galleries and Museums of the United Kingdom; it was through this agency that the famous Venus by Velazquez (2057), in 1906, and the still more famous Christina, Duchess of Milan, by Holbein (2475), in 1909, were added to the National Gallery. The same Fund contributed also to the purchase in 1911, of the Castle Howard Mabuse (2790). Mr. Francis Clarke bequeathed £23,104, and Mr. T. D. Lewis £10,000, the interest upon which sums was to be expended in pictures. Mr. R. C. Wheeler left a sum of £2655, the interest on which was to purchase English pictures. Mr. J. L. Walker left £10,000, not to form a fund, but to be spent on a picture or pictures. In 1903 a large bequest was made to the Gallery by Colonel Temple West. The will was disputed; but by the settlement ultimately effected (1907, 1908) a sum of £99,909 was received, of which the interest is available for the purchase of pictures. In 1906 Mr. C. E. G. Mackerell made a bequest, and this will also was disputed. By the settlement (1908) a sum of £2859 was received, and a further sum will be forthcoming at the expiration of certain life-interests, of which sums, again, the interest will be available for the purchase of pictures. Appendix II. shows the pictures acquired from these several funds. This growth of the Gallery by private gift and public expenditure concurrently accords with the manner of its birth. One of the factors which decided Lord Liverpool in favour of the purchase of Mr. Angerstein's Collection was the generous offer of a private citizen—Sir George Beaumont.

      Value of the Pictures.—Sir George's gift, as we shall see from a little story attaching to one of his pictures (61), was not of that which cost him nothing in the giving. The generosity of private donors, which that little story places in so pleasing and even pathetic a light, has been accompanied by public expenditure at once liberal and prudent. The total cost of the collection so far has been about £900,000[7]; at present prices there is little doubt that the pictures so acquired could be sold for several times that sum. It will be seen in the following pages that there have been some bad bargains; but these mostly belong to the period when responsibility was divided, in an undefined way, between the Trustees and the Keeper. The present organisation of the Gallery dates from 1855, when, as the result of several Commissions and Committees, a Treasury Minute was drawn up—appointing a Director to preside over the Gallery, and placing an annual grant of money at his disposal.[8] The curious reader may trace the use of this discretion made by successive Directors in the table of prices given in the final index—a table which would afford material for an instructive history of recent fashions in art. The annual grant has from time to time been supplemented by special grants, of which the most notable were those for the Peel Collection, the Blenheim pictures, the Longford Castle pictures, two new Rembrandts (1674-5), Titian's Ariosto (1944), Holbein's Duchess of Milan (2475), and Mabuse's Adoration of the Magi (2790) respectively. The Peel Collection consisted of seventy-seven pictures. The vote was proposed in the House of Commons on March 20, 1871, and in supporting it the late Sir W. H. Gregory (one of the Trustees of the Gallery) alluded to the additional interest connected with the collection, for it was the labour of love of one of our greatest English Statesmen, and it was gratifying to see that the taste of the amateur was on a par with the sagacity of the minister, for throughout this large collection there could hardly be named more than two or three pictures which were not of the very highest order of merit. The price paid for this collection, £70,000, was exceedingly moderate.[9] The princely price given for the two Blenheim pictures is more open to exception; but if the price was unprecedented, so also was the sale of so superb a Raphael in the present day unprecedented.

      Features of the Collection.—The result of the expenditure with which successive Parliaments have thus supplemented private gifts has been to raise the National Gallery to a position second to that of no single collection in the world. The number of pictures now on view in Trafalgar Square, exclusive of the water-colours, is about 1600.[10] This number is very much smaller than that of the galleries at Dresden, Madrid, and Paris—the three largest in the world. On the other hand no foreign gallery has been so carefully acquired, or so wisely weeded, as ours. An Act was passed in 1856 authorising the sale of unsuitable works, whilst another passed in 1883 sanctioned the thinning of the Gallery in favour of Provincial collections. There are still many serious gaps. In the Italian School we have no work by Masaccio—the first of the naturalisers in landscape; only one doubtful example of Palma Vecchio, the greatest of the Bergamese painters; no first-rate portrait by Tintoret. The French School is little represented—an omission which is, however, splendidly supplied in the Wallace Collection at Hertford House, now the property of the nation. In the National Gallery itself there is no picture by the incomparable Watteau, the prince of Court painters. The specimens of the Spanish School are few in number, though Velazquez is now finely represented; whilst amongst the old masters of our own British School there are many gaps for some future Vernon or Tate to fill up. But on the other hand we can set against these deficiencies many painters who, and even schools which, can nowhere—in one place—be so well studied as in Trafalgar Square. The works of Crivelli—one of the quaintest and most charming of the earlier Venetians—which hang together in one room; the works of the Brescian School, including those of its splendid portrait painters—Moroni and Il Moretto; the series of Raphaels, showing each of his successive styles; and in the English School the unrivalled and incomparable collection of Turners,—are amongst the particular glories of the National Collection. Historically the collection is remarkably instructive. This is a point which successive Directors have, on the recommendation of Royal Commissions, kept steadily in view; and which has been very clearly shown since the successive re-arrangements of the Gallery after the extension in 1887.

      Scope of the Handbook.—It is in order to help visitors to take full advantage of the opportunities thus afforded for historical study that I have furnished some general introductions to the various Schools of Painting represented in the National Gallery. With regard to the notes in the Numerical Catalogue, my object has been to interest the daily increasing numbers of the general public who visit the National Gallery. The full inventories and other details, which are necessary for the identification of pictures, and which are most admirably given in the (unabridged) Official Catalogue—would obviously be out of place in a book designed for popular use. Nor, secondly, would any elaborate technical criticism have been in keeping—even had it been in my power to offer it—with a guide intended for unprofessional readers. C. R. Leslie, the father of the present Academician, tells how he spoke one day to Stothard of his touching picture of a sailor taking leave of his wife or sweetheart. 'I am glad you like it, sir,' said Stothard; 'it was painted with japanner's gold size.' I have been mainly concerned with the sentiment of the pictures, and have for the most part left the japanner's gold size alone.

      Mr. Ruskin's Notes.—It had often occurred to me, as a student of Mr. Ruskin's writings, that a collection of his scattered notes upon painters and pictures now in the National Gallery would be of great value. I applied to Mr. Ruskin in the matter, and he readily permitted me to make what use I liked of any, or all, of his writings. The generosity of this permission, which was supplemented by constant encouragement and counsel, makes me the more anxious to explain clearly the limits of his responsibility for the book. He did not attempt to revise, or correct, either my gleanings from his own books, or the notes added by myself from other sources. Beyond his general permission to me to reprint his past writings, Mr. Ruskin had, therefore, no responsibility for this compilation whatever. I should more particularly state that the pages upon the Turner Gallery in the Second Volume were not even glanced at by him. The criticisms from his books there collected represent, therefore, solely his attitude to Turner at the time they were severally written. But, subject to this deduction, the passages from Ruskin arranged throughout the following pages will, I hope, enable the Handbook to serve a second purpose. Any student who goes through the Gallery under Ruskin's guidance—even at second-hand—can hardly fail to obtain some insight into the system of art-teaching embodied in his works. The full exposition of that system must still be studied in the original text-books, but here the reader may find a series of examples and illustrations which will perhaps make the study more vivid and actual.

      Attribution of Pictures.—In the matter of attributions, the rule, in the successive editions of this Handbook, has been to follow the authority of the Official Labels and Catalogues. Criticism has been very busy of late years with the traditional attribution of pictures in our Gallery, and successive Directors introduce their several, and sometimes contradictory, opinions on such points. Thus more than One Old Master hitherto supposed to be represented in the Gallery has been banished, and others, whose fame had not previously been bruited abroad, have been credited with familiar masterpieces. Thus—to notice some of the changes made by Sir Edward Poynter (Catalogue of 1906)—among the Venetians, Bastiani and Catena have come into favour. To Bastiani was given the picture of The Doge Giovanni Mocenigo (750) which for forty years has been exhibited as a work by Carpaccio; that charming painter now disappears from the National Gallery. To Catena is attributed the St. Jerome (694), which for several decades had been cited as peculiarly characteristic of Bellini. To Catena also is given the Warrior in Adoration (234). In this case Catena's gain is Giorgione's loss. But elsewhere Giorgione has received compensation for disturbance. To him has been given the Adoration of the Magi (1160), which some critics attributed to Catena. The beautiful Ecce Homo (1310), which was sold as a Carlo Dolci and bought by Sir Frederick Burton as a Bellini, was ascribed by Sir Edward Poynter to Cima. One of the minor Venetians—Basaiti, who enjoyed a high reputation at the National Gallery—was deprived of the pretty Madonna of the Meadow (599), which went to swell the opulent record of Bellini. Among the Florentines, a newcomer is Zenobio Macchiavelli, to whom is attributed an altar-piece (586) formerly catalogued under the name of Fra Filippo Lippi. Cosimo Rosselli, hitherto credited with a large St. Jerome in the Desert (227), now disappears; it was labelled Tuscan School, and was any one's picture. The attribution of pictures belonging to the group of the two Lippis and Botticelli is still very uncertain. A note on these critical diversities will be found under No. 293. Among alterations in other schools we may note the substitution of Zurbaran for Velazquez as the painter of The Nativity, No. 232; the attribution to Patinir, the Fleming, of a landscape formerly labelled Venetian School (1298); and the discovery of Jacob van Oost as the painter of a charming Portrait of a Boy (1137), which, but for an impossibility in the dates, might well continue to pass as Isaac van Ostade's.

      Such were the principal changes made in the ascriptions of the pictures during Sir Edward Poynter's directorate. His successor, Sir Charles Holroyd, has recently made many others, as shown in the following list:

      97 (P. Veronese), now described as after Veronese.

      215, 216 (School of T. Gaddi), now assigned to Lorenzo Monaco (see 1897).

      227 (Florentine School), now assigned to Francesco Botticini (a Tuscan painter of the 15th century).

      276 (School of Giotto), now assigned to Spinello Aretino; for whom, see 581.

      296 (Florentine School), now assigned to Verrocchio; see below, p. 262.

      568 (School of Giotto), now assigned to Angelo di Taddeo Gaddi, a pupil of Giotto's chief disciple, Taddeo Gaddi (for whom, see p. 211).

      579 (School of Taddeo Gaddi), now assigned to Niccolo di Pietro Gerini, a painter of Florence who was inscribed in the guild in 1368 and died in 1415. Our picture is dated 1387.

      579A (School of Taddeo Gaddi), now assigned to Gaddi's pupil, Giovanni da Milano.

      581 (Spinello Aretino), now assigned to Orcagna; for whom, see 569.

      585 (Umbrian School), now assigned to "School of Pollajuolo"; for whom, see 292.

      591 (Benozzo Gozzoli), now described as School of Benozzo.

      592 (Filippino Lippi), now assigned to Botticelli; see below, p. 294 n.

      599 (Giovanni Bellini), now re-assigned to Basaiti; see below, p. 299.

      636 (Titian or Palma). After a period of

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