FOOTNOTES:[264]Among works of illustration produced of late years, "the publications of the Arundel Society," says Ruskin, "hold the first rank in purpose and principle, having been from the beginning conducted by a council of gentlemen in the purest endeavour for public utility, and absolutely without taint of self-interest, or encumbrance of operation by personal or national jealousy. Failing often, as could not but be the case when their task was one of supreme difficulty, and before unattempted, they have yet on the whole been successful in producing the most instructive and historically valuable series of engravings that have ever been put within reach of the public.... I learned more from the Arundel copy than in the chapel itself; for the daily companionship with the engraving taught me subtleties in the composition which had escaped me in the multitudinous interest of visits to the actual fresco" (Stones of Venice, Travellers' edition, ii, 176; andAriadne Florentina, Appendix, p. 246).
[264]Among works of illustration produced of late years, "the publications of the Arundel Society," says Ruskin, "hold the first rank in purpose and principle, having been from the beginning conducted by a council of gentlemen in the purest endeavour for public utility, and absolutely without taint of self-interest, or encumbrance of operation by personal or national jealousy. Failing often, as could not but be the case when their task was one of supreme difficulty, and before unattempted, they have yet on the whole been successful in producing the most instructive and historically valuable series of engravings that have ever been put within reach of the public.... I learned more from the Arundel copy than in the chapel itself; for the daily companionship with the engraving taught me subtleties in the composition which had escaped me in the multitudinous interest of visits to the actual fresco" (Stones of Venice, Travellers' edition, ii, 176; andAriadne Florentina, Appendix, p. 246).
[264]Among works of illustration produced of late years, "the publications of the Arundel Society," says Ruskin, "hold the first rank in purpose and principle, having been from the beginning conducted by a council of gentlemen in the purest endeavour for public utility, and absolutely without taint of self-interest, or encumbrance of operation by personal or national jealousy. Failing often, as could not but be the case when their task was one of supreme difficulty, and before unattempted, they have yet on the whole been successful in producing the most instructive and historically valuable series of engravings that have ever been put within reach of the public.... I learned more from the Arundel copy than in the chapel itself; for the daily companionship with the engraving taught me subtleties in the composition which had escaped me in the multitudinous interest of visits to the actual fresco" (Stones of Venice, Travellers' edition, ii, 176; andAriadne Florentina, Appendix, p. 246).
INDEX LIST OF PAINTERS
With the Subjects of their Pictures.
In the following list all the painters (of Foreign Schools) represented in the National Gallery are enumerated. Painters only represented by pictures belonging to, but now removed from, the Gallery are not included. The painters are given in alphabetical order, and are cited by the names by which they are most commonly known. But where such names differ from the proper patronymics, the latter are also given, with references to the former. Similar double references are given in other cases where doubt is likely to arise.
In the case of names with the prefix "de" or "van," the painter should be looked for under the initial letter of his surname:e.g."Van Dyck" under "Dyck," "Van de Cappelle" under "Cappelle."
Pictures byunknownartists will be found under the schools to which they severally belong: "Dutch," "Florentine," etc.
In the case of painters represented by several pictures, the first reference after each name is to the page in the Handbook where some general account of the painter will be found. The references after each picture are to the official number on its frame, under which number the description of the picture will be found in the preceding catalogue.