A Popular Handbook to the National Gallery, Volume I, Foreign Schools

The original – the study, sketch, or miniature, the result of three hours' hard work – has disappeared; but the picture which the master made from it after he came home is now before us. The portrait, it would seem, did not make the king less anxious for the match – which, however, was broken off, it will be remembered, after long negotiations, by the hostility of the emperor. The duchess, in spite of her tender years, seems – and the picture does not belie the supposition – to have had a character of her own. The story of her reply, "that she had but one head, but that if she had two, one should be at the service of his majesty," is, indeed, now discredited; but her actual answer, "You know I am the Emperor's poor servant and must follow his pleasure," was, in the light of subsequent events, equally to the point. The English envoy specially reported "her honest countenance and the few words she wisely spoke."

The beautiful portrait before us was retained by Henry VIII., and through the Lumley, Pembroke, and Arundel Collections it passed into that of the Dukes of Norfolk. "Whether as a pictorial record of an interesting chapter of our history, or as an example of the presentment of a fresh and winning young personality by the most masterful and at the same time most reserved and refined methods of the painter's craft, the picture counts among the very noblest of the art treasures still left in England. That it is so left is mainly due to the splendid generosity of a small group of private donors, the chief of whom elude our public thanks by choosing firmly to remain anonymous. At the eleventh hour, when the picture was on the very point of leaving our shores to enrich a private gallery in America, these benefactors came forward and enabled the Committee of the National Art-Collections' Fund to present the masterpiece to the nation." The price paid was £72,000. (Report of the National Art-Collections' Fund, 1909; Froude's History of England, ch. xv.) The picture had for many years been lent to the National Gallery by the Duke of Norfolk.260

2480. THE FISH MARKET

Philippe Rousseau (French: 1816-1887).

Born in Paris; first exhibited at the Salon in 1834, "A View in Normandy"; afterwards made his reputation, and attained great popularity as a painter of still-life.

2482. VIRGIN AND CHILD

Benvenuto da Siena (Sienese: 1436-1518).

This painter is better seen in the larger picture, No. 909.

2483. VIRGIN AND CHILD

Fiorenzo di Lorenzo (Umbrian: 1440-1521).

2484. VIRGIN AND CHILD

L'Ingegno (Umbrian: painted 1484-1511). See 1220.

The donor and his wife kneel in adoration before the Virgin and Child enthroned between St. Dominic and St. Catherine of Siena. The picture was formerly in Lord Dudley's collection.

2485. SALOME

Cesare da Sesto (Lombard: 1477-1523).

Leonardo da Vinci was "very successfully installed," says Vasari, "by Cesare da Sesto, who was also a Milanese." Cesare was born at Sesto Calende on the Lago Maggiore, and is supposed to have worked under Leonardo in Milan, 1507-1512. At Rome he was, according to Lomazzo, an intimate friend of Raphael.

The daughter of Herodias, with a face of haunting beauty, points to a vase, over which the executioner holds the head of John the Baptist. The table on which it rests has sphinxes for supports. This picture is a replica with variations of the one by Cesare in the Vienna Gallery, and is said to have come from the Barberini Palace in 1799.

2486. A CONCERT

Ercole Roberti de' Grandi (Ferrarese: 1450-1496). See 1127.

This picture was No. 14 at the Burlington Fine Arts Club, 1894, where it was ascribed to Lorenzo Costa. "In type, the woman resembles one of the daughters of Bentivoglio II., and it may be that this group of musicians contains family portraits of the reigning house of the Bentivogli at Bologna."

2487. BARTOLOMMEO BIANCHINI

Francia (Bolognese: 1450-1517). See 180.

This picture, an early work by Francia, is an admirable example of the artist as a portrait-painter. It is "a marvel of fine condition, and betrays the technique of the goldsmith seeking for the quality of enamel. Bianchini was a Bolognese senator, collector, poet, and friend of Francia." Upon a "Holy Family" in the Berlin Museum is inscribed —

Bartholomei sumptu Bianchini maxima matrum

Hic vivit manibus, Francia, picta tuis.

Our portrait, from the collection of the Princesse de Sagan, was No. 23 at the Burlington Fine Arts Club, 1894.

2488. THE HOLY FAMILY

Luca Signorelli (Cortona: 1441-1523). See 1128.

2489. THE YOUNG FLORENTINE

Domenico Ghirlandajo (Florentine: 1449-1494). See 1230.

The portrait of the man in his red-coloured robe and black skull-cap is set against a landscape background. Many other examples of a like treatment will have been noticed by the visitor; as, for instance, in the fine portrait by Ridolfo Ghirlandajo (2491). And it is interesting to observe how long this convention survived, though with variations. The advantage of introducing an object of locally dark colour behind the head was perceived, and a background of curtain or other drapery was used; but a piece of it was drawn back, so as still to display landscape. See, e. g., Basaiti's portrait (2498). Or, again, a window was opened with the same purpose. See, e. g., Piombo's portrait of a Venetian lady as Salome (2493) and Cariani's of a Venetian magnate (2494). A corresponding development may be traced in Madonna pictures. Often the Virgin and Child are placed in an open landscape, as in the beautiful "Madonna of the Meadow" (599). When they are brought indoors a curtain is drawn back (2503), or a window opened —e. g. 2496, 2609, and (Flemish School) 2595.

2490. COSTANZA DE' MEDICI

Lorenzo di Credi (Florentine: 1459-1537). See 593.

The inscription records that the lady was the wife of Francis, Duke of Gaeta. This portrait was formerly ascribed to D. Ghirlandajo.

2491. GIROLAMO BENEVIENI

Ridolfo Ghirlandajo (Florentine: 1483-1561). See 1143.

This fine portrait is of "a very learned man," and an intimate friend of Lorenzo di Credi, who also, as Vasari relates, painted him. The background is studied from that in Leonardo's "Mona Lisa."

2492. VIRGIN AND CHILD WITH ANGELS ADORING

Jacopo del Sellaio (Florentine: 1442-1493).

This painter is mentioned by Vasari as among the pupils of Fra Filippo Lippi. He worked in the manner of Botticelli, and No. 916 in our gallery is now ascribed to him.

2493. SALOME

Sebastiano del Piombo (Venetian: 1485-1547). See 1.

2494. AN ITALIAN GENTLEMAN

Cariani (Bergamese: about 1480-1541). See 1203.

A vigorously-painted portrait of a personage of some importance or self-importance; perhaps, as the official catalogue suggests, "the principal citizen of some provincial town." His robe is of gold brocade, and he handles his gold chain. It may be a view of his town that is shown through the open window.

2495. "OUR LADY OF THE LAURELS."

Cariani (Bergamese: about 1480-1541). See 1203.

This fine picture, known as La Vierge aux Lauriers from its background of a laurel-bush (and roses), was formerly in the Leuchtenberg Collection at St. Petersburg, where it was ascribed to Giorgione.

2496. VIRGIN AND CHILD

Beltraffio (Lombard: 1467-1516). See 728.

2497. VIRGIN AND CHILD WITH ST. JOHN

School of Botticelli (Florentine: 1447-1510). See 1034.

2498. A YOUNG VENETIAN

Marco Basaiti (Venetian: painted 1500-1521). See 281.

Signed on the parapet. The young Venetians, it will be noticed, wore their hair long, and carried great weights of it at the sides of their faces: compare, e. g., No. 1121 (Catena), 2509 (Vivarini).

2499. VIRGIN AND CHILD

Marco Basaiti (Venetian: painted 1500-1521).

This picture, if No. 599 be indeed by the same hand, must be an early work; the face and figure, both of mother and of child, are ugly and ungainly. The picture is signed in the left corner.

2500. VIRGIN AND CHILD

Andrea Previtali (Bergamese: about 1480-1528). See 695.

2501. SALVATOR MUNDI

Previtali (Bergamese: about 1480-1528). See 695.

Inscribed on the parapet "Andreas Privitalus, p." and dated 1518.

2502. VIRGIN AND CHILD

Bastiano Mainardi (Tuscan: died 1513).

This painter was the pupil, favourite assistant, and brother-in-law of Domenico Ghirlandajo (see 1230). He was born at San Gimignano, in the churches of which place pictures by him are to be seen.

The beautiful painting of jewellery, and the fine patterns, should not escape notice.

2503. HOLY FAMILY

Antonio da Solario (Venetian: 15th-16th century).

This beautiful picture is signed on a cartellino "Antonius da Solario V"(enetus).

2504. VIRGIN AND CHILD

Cesare da Sesto (Milanese: 1477-1523). See 2485.

2505. DAVID AND JONATHAN

Cima da Conegliano (Venetian: 1460-1518). See 300.

This little picture, of David (carrying the head of Goliath) walking with Jonathan, was formerly in the Modici collection at Naples.

2506. VIRGIN AND CHILD

Cima (Venetian: 1460-1518).

Formerly in the Patrizi collection at Rome.

2507. PORTRAIT OF A LADY

Bartolommeo Veneziano (painted 1505-1530). See 287.

From the Castellani collection.

2508. VIRGIN AND CHILD WITH ANGELS

Unknown (Florentine School: 15th century).

Two charming angels, of whom one is garlanded with roses, hold the child before the Virgin. The scene is laid within the walls of the mystical garden ("a garden inclosed is my sister, my spouse"), behind which rise "Noah's ark" trees.

2509. PORTRAIT OF A YOUTH

Alvise Vivarini (Venetian: painted 1461-1503). See 1872.

"The portrait of a boy of fifteen or sixteen, a little defiant or shy, yet frank in look, with a blond zazzera (head of hair) cropped short over the eyebrows, wearing a coat of pale turquoise blue. Formerly in the Duchatel collection at Paris, where it was seen by Messrs. Crowe and Cavalcaselle." By them ascribed to Andrea da Solario (see 734); formerly, to Antonello (see 673); now, on the authority of Mr. Berenson, to Alvise: see Berenson's Lorenzo Lotto, pp. 110-1.

2510. A PORTRAIT

Unknown (Umbrian School: 15th century).

Possibly a portrait of the young Raphael.

2511. A MUSICIAN

Giulio Campi (Cremona: 1502-1572).

A master at the School of Cremona, who worked in the great church there with Boccaccino (see 806). There are also works by him at Mantua, where he is said to have studied under Giulio Romano.

2512. THE MAGDALEN

Correggio (Parmese: 1494-1534). See 10.

"The art of Correggio with its deep sense of beauty and its tender sensibility was peculiarly fitted," says Signor Ricci, "to give life and grace to the figure of the Magdalen. He introduced it in many of his large compositions, and made it the subject of several separate studies, but not one of the latter has survived." If this be an authentic work, the statement requires correction; but the head of the Magdalen is not convincingly Correggiesque.

2513. VIRGIN AND CHILD WITH SAINTS

Tiepolo (Venetian: 1692-1769). See 1192.

2514-2516. VIEWS IN VENICE

Canaletto (Venetian: 1697-1768). See 127.

No. 2514 shows the Grand Canal, with the church of the Scalzi; No. 2515, the square of St. Mark's, seen through an archway; No. 2516, the Colonnade of the Procuratie Nuove. The white spots with which the figures are picked out are not a happy instance of Canaletto's workmanship.

2517-2523. VARIOUS VIEWS

Guardi (Venetian: 1712-1793). See 210.

No. 2517, "Buildings and Figures"; 2518, "Gothic Archway and Figures"; 2519, "Venetian Courtyard"; 2520, "Quay-side with Warehouses"; 2521, "Ruins"; 2522, "Treasure-Seekers"; 2523, "View through an Archway."

2524. THE TOWER OF MESTRE

Guardi (Venetian: 1712-1793). See 210.

It was at Mestre that travellers in old days took gondola for Venice, and the tower was a familiar landmark. Ruskin mentions it in his description of the approach to Venice (Stones, vol. i. last chapter).

2525. VENICE: PIAZZA DI SAN MARCO

Guardi (Venetian: 1712-1793).

A good example of the deep, rich colour which Guardi gives to his Venetian subjects: see under 210.

2526. PEASANT AND CHILD

Unknown (Spanish: 17th century).

This unfinished picture (once in the collection of the Earl of Clare) has been ascribed to Pedro Nuñez de Villavicencio (1630-1700). He was a Knight of the Order of St. John of Jerusalem, a distinguished amateur-painter and a favourite pupil of Murillo, who died in his arms.

2527. CHARLES MORDAUNT, EARL OF MONMOUTH

Juan Giacchinetti Gonzalez (Spanish: 1630-1696).

A portrait-painter, who was a great admirer of Titian and a diligent copyist of his works. He was the son of a Burgundian jeweller settled at Madrid, and he was born in that city. He removed to Italy, where he was called, from his skill in portraiture, Il Borgognone dalle teste (the Burgundian of the heads). He practised his art in Brescia and Bergamo, and died in the latter city.

2528. THE MAN WITH THE GLOVE

Frans Hals (Dutch: 1580-1666). See 1021.

An excellent example of the "irresistible verve" which Hals brings to his portraits, especially to those of men: see under 1021. To what is there said, it may be interesting to add the opinion of Sir Joshua Reynolds. "In the work of Frank Hals, the portrait-painter may observe the composition of a face, the features well put together, as the painters express it; from whence proceeds that strong-marked character of individual nature, which is so remarkable in his portraits, and is not found in an equal degree in any other painter. If he had joined to this most difficult part of the art, a patience in finishing what he had so correctly planned, he might justly have claimed the place which Vandyck, all things considered, so justly holds as the first of portrait-painters" (Sixth Discourse).

2529. THE LADY WITH THE FAN

Frans Hals (Dutch: 1580-1666). See 1021.

2530. PORTRAIT OF A LADY

Cornelis Janssens (Dutch: 1594-1664). See 1320.

Sir Joshua Reynolds has some interesting remarks on the technique of Janssens. "There is a kind of finishing," he says, "which may safely be condemned, as it seems to counteract its own purpose; that is, when the artist, to avoid that hardness which proceeds from the outline cutting against the ground, softens and blends the colours to excess: this is what the ignorant call high finishing, but which tends to destroy the brilliancy of colour, and the true effect of representation; which consists very much in preserving the same proportion of sharpness and bluntness that is found in natural objects. This extreme softening, instead of producing the effect of softness, gives the appearance of ivory, or some other hard substance, highly polished. The portraits of Cornelius Janssen appear to have this defect, and consequently want that suppleness which is the characteristic of flesh; whereas, in the works of Vandyck, we find that true mixture of softness and hardness perfectly observed" (Eleventh Discourse).

2531. CHURCH OF ST. BAVON, HAARLEM

Pieter Saenredam (Dutch: 1597-1665). See 1896.

In No. 1451 (by Berck-Heyde) we see the interior of the same church; in the present picture, no public service is going on. In each case a dog is a church-goer; here in front of the pew on the left, where a man kneels down in prayer, a dog kneels up.

2532. A WOMAN DRIVING SHEEP

2533. A SANDY LANE

Jan Wynants (Dutch: about 1615-1679). See 883.

2534. RIVER SCENE, WITH HORSEMAN

Aart van der Neer (Dutch: 1603-1677). See 152.

2535. JUDITH

Eglon Hendrik van der Neer (Dutch: 1635-1703).

Eglon was the pupil of his father, the landscape-painter, Aart van der Neer; but the son's taste took the direction rather of interiors and portraits. He also painted some Biblical subjects.

A costume piece: note the richly embroidered white satin dress of Judith.

2536. MOONLIGHT

2537. LANDSCAPE: WITH A CART IN THE FOREGROUND

Aart van der Neer (Dutch: 1603-1677). See 152.

2538. DIANA BATHING

Rembrandt (Dutch: 1606-1669). See 43.

A characteristically "Rembrandtesque" effect, the light concentrated on the principal figure.

2539. A MAN WITH A CAP

Rembrandt (Dutch: 1606-1669). See 43.

This fine portrait-study was formerly in the collection of the Duke of Sutherland.

2540. THE HURDY-GURDY

Adrian van Ostade (Dutch: 1610-1685). See 846.

Peasants listening to a man playing the hurdy-gurdy. Signed in the left foreground "A. V. Ostade, 1653." Formerly in the collection of Lord Dudley (at whose sale in 1892 it fetched £1470).

2541. THE COBBLER

2542. COURTSHIP

2543. A MAN WITH A JUG

Adrian van Ostade (Dutch: 1610-1685). See 846.

2544. THE CART

Isaac van Ostade (Dutch: 1621-1649). See 847.

2545. RIVER SCENE

2546. LADY AND CHILD IN A LANDSCAPE

Cuyp (Dutch: 1620-1691). See 53.

2547. CATTLE WITH HERDSMEN

Cuyp (Dutch: 1620-1691). See 53.

Shown at the Manchester Art Treasures Exhibition in 1857.

2548. BOY HOLDING A GREY HORSE

Cuyp (Dutch: 1620-1691). See 53.

2549. THE TAILOR'S SHOP

2550. THE AFTERNOON NAP

Quiryn Brekelenham (Dutch: 1625-1668). See 1329.

2551. A WOMAN SCOURING PANS

Pieter van den Bosch (Dutch: 1613-1660).

A painter of Amsterdam. The year of his death is not known; 1660 is the date of the last mention of him in extant documents. A deed of 1645 records that the painter bound himself, at a yearly fee of 1200 gulden, to work exclusively for a certain picture-dealer, from 7 a.m. till dusk, daily, Sundays and Festivals alone excepted.

2552. REFUSING THE GLASS

Pieter de Hooch (Dutch: 1630-about 1677). See 794.

Formerly in the collections of Pierre de Grand Pré (Paris) and the Earl of Shaftesbury.

2553. A LADY AT HER TOILET

Jacob Ochtervelt (Dutch: died before 1710). See 2143.

2554. SADDLING A HORSE

Wouwerman (Dutch: 1619-1668). See 878.

2555. WOMAN ASLEEP

2556. THE PEDLAR

2557. MERRY MAKERS

Jan Steen (Dutch: 1626-1679). See 856.

2558. GRACE BEFORE MEAT

Jan Steen (Dutch: 1626-1679). See 856.

Steen, though he loved scenes of rollicking conviviality and was fond of sly humour, by no means confined himself to such moods. His brush traced every episode of family life, and this little piece is as pretty as one of the "Graces for Children" in Herrick's Noble Numbers: —

What God gives, and what we take,'Tis a gift for Christ his sake;Be the meal of Beans and Pease,God be thanked for those and these.

This picture was formerly in the Leuchtenberg Collection at St. Petersburg.

2559. THE OYSTER FEAST

2560. THE SKITTLE PLAYERS

Jan Steen (Dutch: 1626-1679). See 856.

2561. VIEW NEAR HAARLEM

Ruysdael (Dutch: 1628-1682). See 627.

A beautiful example of the master, who has signed it in full in the centre of the foreground. It will be noticed that the point of view is much the same, and that the effect of sunlight in the middle distance is the same, as in the large picture, No. 990. One may ask the question which Fromentin puts of a like instance: "The two landscapes are, the one on a large scale, the other on a small, a repetition of the same subject. Is the little canvas the study which served as text for the large? Did Ruysdael design, or did he paint from nature? Was he inspired, or did he copy directly? That is his secret. In any case the two works are charming."

2562. COUNTRY SCENE, WITH RUINED CASTLE

Ruysdael (Dutch: 1628-1682). See 627.

This is one of the best known of Ruysdael's small pictures, much prized for its luminous quality: its pedigree has been traced through famous collections for over 100 years. In the Bredel sale (1875) it fetched £2310; in the Dudley sale (1892), £1470. It is No. 786 in vol. iv. (1912) of Smith's Catalogue Raisonné.

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

Ruysdael (Dutch: 1628-1682). See 627.

2568. A LADY AT THE VIRGINALS

Jan Vermeer (Dutch: 1632-1675). See 1383.

No. 15 at the Burlington Fine Arts Club, 1900, where it was thus described: "A lady seated on the right facing to left; she wears a yellow skirt with blue overdress, the sleeves trimmed with lace, and turns her face to the spectator as she plays. Her clavichord stands upon a marble table and is open, showing a landscape painted inside the cover; a viol da gamba and bow are in the left-hand bottom corner, and a blue and yellow curtain above; a picture with three figures hangs on the wall behind. Signed to the right of the lady's head, J V Meer."

2569. THREE BOORS DRINKING