PICTURES ON LOAN

B. Fungai(Sienese: about 1460-1516).See 1331.

This picture, not yet numbered, is lent by the Victoria and Albert (South Kensington) Museum. It is generally characteristic of Fungai, but the figure of the Infant Christ is not pleasing.

Lent by Mr. Pierpont Morgan.

Raphael(Urbino: 1483-1520).See 1171.

"In the same city (says Vasari)—[the city of Perugia, for which also the Ansidei Madonna was painted]—Raphael was commissioned to paint a picture of Our Lady by the nuns of Sant' Antonio of Padua; the Infant Christ is in the lap of the Virgin and is fully clothed, as it pleased those simple and pious ladies that he should be; on each side of Our Lady are figures of saints, San Pietro, namely, with San Paolo, Santa Cecilia, and Santa Catarina. To these two holy virgins the master has given the most lovely features and the most graceful attitudes; he has also adorned them with the most fanciful and varied head-dresses that could be imagined—a very unusual thing at that time. In a lunette above this picture he painted a figure of the Almighty Father, which is extremely fine, and on thepredella are three scenes from the history of Christ, in very small figures.... The whole work is without doubt very admirable; it is full of devout feeling, and is held in the utmost veneration by the nuns for whom it was painted. It is very highly commended by all painters likewise."

The small scenes which formed the predella have been dispersed;[263]for the rest, the picture thus described by Vasari is before us. Vasari dates the work 1505, but it is now commonly ascribed to the years 1507-8, after Raphael had experienced the influence of Fra Bartolommeo; it would thus be a little later than the Ansidei Madonna.

The history of the picture is long and eventful. In 1677 the nuns obtained permission to sell it, "to pay their debts and because the surface was in some parts flaking away." The central panel and the lunette (forming the picture as it now is) were bought by Antonio Bigazzini, a nobleman of Perugia, for a sum of about £500. Shortly afterwards, the picture passed into the hands of the great Colonna family at Rome, and it is often called "The Colonna Raphael." The fortunes of the picture now became part of those of modern Italian history. In the last century, the picture had been bought by Francis II., King of Naples. It was a great favourite of his, and was always kept in his bedroom in the Royal Palace. When the revolution of 1860 came, and the king was driven out of Naples, the Raphael accompanied him on his wanderings, and the king succeeded in conveying it in safety to the fortress of Gaeta. When Gaeta fell in 1861, and the king went into exile, he again took the picture with him, and it was safely transported to Spain. The king was accompanied in his flight by the financier and factotum, formerly Spanish Minister at Naples, upon whom he had conferred the title of Duke of Ripalda. To him the king in some way pledged the picture, and for a time it became known as the Ripalda Raphael. Its history next becomes connected with the secular jealousies of England and France. In 1867 Sir J. C. Robinson saw the picture at Madrid, and received a hint that it might possibly be for sale. Sir William Boxall, the Director of our Gallery, went to inspect the picture, which was then in fine condition; and Disraeli authorised the trustees to buy it. Negotiationswere commenced on the basis of £20,000; but the Duke of Ripalda was a friend of the Empress Eugénie, and the knowledge that England was in the market inspired a counter-bid of £40,000 from France. The outbreak of the Prussian War caused a hitch in the negotiations; and the picture, which had been sent to Paris, underwent rigorous "restoration." The Colonna Raphael, wrote Sir William Gregory (May 1870), "was, a few months ago, one of the most perfect and important pictures of that master. In an evil moment it had been submitted to the cleaner, and a piteous spectacle it now is in the eyes of gods and men. It is said that on the old frame being removed, the picture fell to the ground in three pieces. This is confirmed by the extraordinary winking appearance of the eye of one of the female saints, through which unfortunately one of the cracks runs, and which therefore had to be repainted by a modern hand." Ruskin, perhaps unaware of these repaintings or believing that they could be removed, strongly urged the acquisition of the picture for the nation (Works, xxii. 140, xxxiv. 512). But the authorities would not entertain the idea, and the picture, refused both by the Louvre and by the National Gallery, returned, unpurchased and unhonoured, into the hands of the Duke. In 1886 it was lent to the South Kensington Museum and there it remained for several years, until Mr. Martin Colnaghi bought it from the representatives of the late King of Naples. The Parisian repaintings were removed, and the picture was restored to much of its pristine beauty. Ultimately it passed into the possession of Mr. Pierpont Morgan (at the price, it is said, of £100,000), and by him it is for the present lent to the National Gallery.

Unknown(Spanish: end of 15th century).

Signed "Lo Fil de Mestre Rodrigo." Lent by the Victoria and Albert Museum.

FOOTNOTES:[263]In addition to the "three scenes" mentioned by Vasari there were two single figures, of St. Francis and St. Anthony of Padua respectively: these are in the Dulwich Gallery.

[263]In addition to the "three scenes" mentioned by Vasari there were two single figures, of St. Francis and St. Anthony of Padua respectively: these are in the Dulwich Gallery.

One collection is of fifty-nine copies in oil-colour, on a reduced scale, of pictures by Velazquez in the Prado Gallery, at Madrid, presented by Lord Savile. They were painted by Mr. Chidley Molony, an English gentleman who first went to Spain as an officer in the army of General Evans, and subsequently settled at Madrid, where he was a great favourite and well known, especially to the English Colony. The following are the subjects of these copies:—

1. The Adoration of the Magi.2. The Crucifixion.3. The Coronation of the Virgin.4. St. Anthony visiting St. Pablo.5. A Group of Rustics drinking (the picture known as "LosBorrachos").6. The Forge of Vulcan.7. The Surrender of Breda (the picture known as "Las Lanzas").8. The Tapestry Fabric of St. Isabel at Madrid (the picture knownas "Las Hilanderas").9. Velazquez in his painting room, with various members of theRoyal Family and their Attendants (the picture known as"Las Meninas").10. "Mercury and Argus."11. Equestrian Portrait of King Philip III.12. Equestrian Portrait of Queen Margarita de Austria (wife ofPhilip III.).13. Equestrian Portrait of King Philip IV.14. Equestrian Portrait of Queen Isabel de Borbon (first wife ofPhilip IV.).15. Equestrian Portrait of Prince Baltasar Carlos, as a child.16. Equestrian Portrait of the Duke of Olivares.17. Portrait of Philip IV. as a young man, in court dress.18. Portrait of the Infanta of Spain, Doña Maria, Queen of Hungary(sister of Philip IV.).19. Portrait of the Infante, Don Carlos, second son of Philip III., incourt dress.20. Portrait of King Philip IV. in hunting dress.21. Portrait of the Infante, Don Fernando de Austria (brother ofPhilip IV.), in hunting dress.22. Portrait of Prince Baltasar Carlos, at the age of six, in hunting dress.23. Portrait of King Philip IV., at the age of fifty (?), clad in halfarmour.24. Portrait of Doña Mariana de Austria (second wife of Philip IV.).25. King Philip IV. kneeling at prayer.26. Queen Mariana de Austria, second wife of Philip IV., kneeling atprayer.27. Portrait of Prince Baltasar Carlos, son of Philip IV., at the age offourteen, in court dress.28. Portrait of the Infanta, Maria Teresa de Austria, daughter ofPhilip IV. and afterwards Queen of France.29. Portrait (bust length) of the Cordovan poet, Don Louis de Góngoray Argote.30. Portrait of Doña Juana Pacheco, wife of the author (bust length;in profile).31. Portrait of a Girl (daughter of Velazquez?).32. Portrait of a Girl (another daughter of Velazquez?).33. Portrait of a middle-aged Lady (half length).34. Portrait of Don Antonio Alonso Pimentel, ninth Count of Benavente,Groom of the Bedchamber to King Philip IV.35. Portrait of the Sculptor, Martinez Montanes (half length).36. Portrait of Pablillos de Valladolid, a Jester of King Philip IV.37. Portrait of Pernia, a Jester of King Philip IV. (commonly knownas the Portrait of "Barbarroja").38. Portrait of a Jester of King Philip IV., nicknamed Don Juan deAustria.39. Portrait of a Dwarf of King Philip IV., called "El Primo."40. Portrait of a Dwarf of King Philip IV. (Sebastian de Morra?)41. Portrait of Don Antonio, an English (?) Dwarf of King Philip IV.(with a mastiff).42. The Boy of Vallecas.43. The Idiot of Coria.44. Æsop.45. Menippus.46. The God Mars.47. Portrait of a Man (bust length).48. Portrait of a Man (bust length).49. Portrait of Alonso Martinez de Espinar, Groom of the Bedchamberto Prince Baltasar Carlos (bust length).50. View in the Garden of the Villa Medici, Rome.51. View in the Garden of the Villa Medici, Rome.52. View of the "Calle de la Reina" in Aranjuez, with a RoyalCavalcade on the road.53. Study of an old Man's head, in profile.54. Study of an old Man's head (a smaller copy).55. Portrait of Philip IV., in court dress.56. Portrait of Prince Baltasar Carlos, as a child, in court dress.57. A Group of Figures, presumably painted by Velazquez, in the foregroundof a "View of Zaragoza", by Juan Bautista Martinez delMazo.58. Another group of Figures in the same picture.59. Portrait of Doña Mariana de Austria, second wife of Philip IV.,dressed in mourning (now attributed to Juan B. M. del Mazo).

A second collection (also presented by Lord Savile) consists of forty copies, painted in oil-colour, on a reduced scale by Herr Paul Roemer, from pictures by Rembrandt in the Imperial Gallery of the Hermitage, St. Petersburg. The subjects are as follows:—

Enclosed in one Frame—

1. The Denial of St. Peter.2. Portrait of Rembrandt's Mother; half length; seated, holding a book on her knees.3. Portrait of Rembrandt's Mother; half length; seated.4. Portrait of a young Warrior in armour.5. Portrait of an aged Jew; half length; seated.6. Portrait of a Man; half length; standing.7. Portrait of a Woman; half length; seated.8. Portrait of the Rabbi Manasseh ben Israel; seated.9. A young female Servant, with a broom.10. "Le Benedicite." (A Peasant family saying grace.)

Enclosed in one Frame—

11. Abraham at Table with the Angels.12. Jacob's elder Sons showing him Joseph's garment.13. Potiphar's Wife accusing Joseph.14. The Parable of the Labourers in the Vineyard.15. The Incredulity of St. Thomas.16. Portrait of Rembrandt's Mother; half length; seated.17. Portrait of a young Jewess, crowned with flowers.18. Portrait of a Turk; half length.19. Portrait of a Man.20. Portrait of a young Man, with long fair hair.21. Portrait of a young Man, dressed in black.22. Portrait of an old Man.

Enclosed in one Frame—

23. The Sacrifice of Abraham.24. The Holy Family.25. The Return of the Prodigal Son.26. Danaë.27. Portrait of an old Officer.28. A Young Girl at her Toilet.29. Portrait of a Man.30. Portrait of a Woman.31. A Landscape; with figures representing the journey to Emmaus.32. View on the Rhine.33. The Toilet of a young Jewish Girl.

Enclosed in one Frame—

34. The Disgrace of Haman.35. The Descent from the Cross.36. Portrait of Lieven Willemszon van Copenol, the Calligrapher.37. The Mother of Rembrandt; half length; seated.38. Portrait of an aged Jew.39. Portrait of an old Man.40. A Nun teaching a Child to read.

A third collection (presented by Dr. E. J. Longton, of Southport) consists of forty-five small water-colour copies, by W. West, from pictures by old masters, principally in the Prado Gallery at Madrid. The following are the subjects:—

After Murillo—

1. The Adoration of the Shepherds. Prado, Madrid.2. St. Elizabeth of Hungary tending the Sick. Academy of St. Fernando, Madrid.3. The Dream of the Roman Senator and his Wife.Ibid.4. The Roman Senator and his Wife telling their Dream to Pope Liberius.Ibid.5. St. Thomas of Villanueva giving alms. Museum, Seville.6. Christ on the Cross, supported by St. Francis.Ibid.7. SS. Justa and Rufina.Ibid.8. St. Anthony with the Infant Saviour. Museum, Seville.9. St. Felix restoring the Infant Christ to the Virgin.Ibid.10. La Vergen de la Servilleta.Ibid.11. Moses striking the Rock in Horeb. La Caridad, Seville.12. St. John the Baptist as a Child, with the Lamb.Ibid.13. The Charity of St. Juan de Dios.Ibid.

After Zurbaran (?)

14. A Legendary Subject.

After Velazquez—

15. Los Borrachos (The Tipplers). Prado, Madrid.16. Portrait of Philip IV. (with a Dog).Ibid.17. Prince Balthazar as a Boy on his Pony.Ibid.18. Portrait of the Infanta Doña Margarita.Ibid.19. Portrait of a Male Dwarf, with a Dog.Ibid.20. Las Meninas (The Maids of Honour); Velazquez in his Studio painting the Infanta Margarita Maria.Ibid.21. Equestrian Portrait of Philip IV.Ibid.22. Portrait of the Earl of Nottingham.Ibid.

After Titian—

23. Portrait of Philip II. as a Young Man.Ibid.24. Equestrian Portrait of Charles.Ibid.25. The Bacchanal.Ibid.26. Portrait of Charles V., with a Dog.Ibid.27. Portrait of an Officer.

After Rubens—

28. The Three Graces.Ibid.29. The Garden of Love.Ibid.

After Van Dyck—

30. The Betrayal of Christ.Ibid.31. Portrait of Henry, Count de Berg.Ibid.32. Portrait of a Cavalier.Ibid.

After Ribera—

33. Jacob receiving Isaac's Blessing.Ibid.34. Jacob's Dream.Ibid.

After Jordaens—

35. Family Group in a Garden.Ibid.

After Raphael—

36. The Holy Family (La Perla). Prado, Madrid.37. The Holy Family (La Rosa).Ibid.38. The Holy Family (Del Lagarto).Ibid.39. Christ bearing the Cross (Lo Spasimo).Ibid.

After Correggio—

40. Noli me tangere.Ibid.

After Claude—

41. Landscape, with St. Mary Magdalen kneeling.Ibid.

After Giorgione—

42. The Virgin and Child, with St. Bridget.Ibid.

After Rembrandt—

43. Queen Artemisia.Ibid.

After Sir A. More—

44. Queen Mary of England.Ibid.

After Parmigiano—

45. Portrait of a Lady with three Children (probably Riccarda Malaspina, Wife of Lorenzo Cibo).Ibid.

The Arundel Society was formed in 1849 in order to meet "a revived interest in art by suitable instruction." In the case of early Italian art, "the materials for such instruction were abundant, but scattered, little accessible, and, in some instances, passing away." The Society set itself to secure engravings and other records of works of art which came within the description just given. A large collection of water-copies from the Old Masters was thus accumulated, and the Collection was in 1897 deposited in the National Gallery on loan. Two years later, the Society was wound up, and the collection was given to the nation. It is of great interest and value to all students of mediæval art. Many of the Arundel copies are familiar from reproductions in chromo-lithography. "The latter," as a well-known critic has remarked, "although they undoubtedly did good service in their time by calling attention to the less known and less easily available masterpieces of the earlier Italian art, wereoften enough lamentable caricatures of the things which they professed to represent. The drawings themselves are, however, in many cases, of an exquisite accuracy, of which the reproductions give little or no idea. Of course, when the attempt is made to copy in this medium the great achievements of Giovanni Bellini, Giorgione, Titian, Palma Vecchio, Paolo Veronese,—or even of such earlier colourists as the Van Eycks and Memlinc,—failure, more or less complete, must inevitably be the result. It would be difficult, on the other hand, to overestimate the value of such copies as those of the famous frescoes of Mantegna in the Church of the Eremitani at Padua, those of Benozzo Gozzoli at San Gimignano and Montefalco, of Piero della Francesca at Arezzo, or of the great galaxy of Quattrocento painters—Perugino, Pinturicchio, Botticelli, Ghirlandajo, Signorelli, Cosimo Rosselli, and Piero di Cosimo—who worked in the Sixtine Chapel before Michelangelo came to dwarf and efface them with his stupendous ceiling, and, thirty years later on, with his 'Last Judgment.' For the purposes of study and comparison these copies, lent by the Arundel Society, fulfil much the same role as does a good museum of casts from antique masterpieces. They do not enable the student of art to form a complete idea of the originals, any more than the copies of the Pheidian and Praxitelean sculptures do; but they enlarge his view of the scope and significance of Italian and Netherlandish art in their greatest phases, and happily they fill up gaps which must occur even in the most various and representative collection, such as is the National Gallery."[264]

It is hoped that the following catalogue may serve to bring before the notice of visitors the importance of a collectionwhich deserves much greater attention than it has hitherto received. The artists represented are arranged alphabetically, with references to such of them as are also represented by original work in the National Gallery. After the title of each work, information is given as to the nature of the original from which the copy is made, and the place where the original is. The numerals after each picture refer to the numbers at present on the frames.

Albertinelli(see under 645).The Visitation (11): picture, Uffizi, Florence.Andrea del Castagno(see under 1138).The Last Supper (120): fresco, Convent S. Apollonia, Florence.Angelico, Fra(see under 663).Christ and Magdalen (51): fresco, Convent of S. Marco, Florence.Christ at Emmaus (76): " " " "The Transfiguration (49): " " " "The Crucifixion (91): " " " "The Entombment (50): " " " "The Marys at the Sepulchre (53): " " "Madonna and Child, etc. (65): " " "The Presentation (54): " " " "The Annunciation: " " " "Coronation of the Virgin: " " " "Christ as a Pilgrim (70): " " " "Ordination of St. Stephen (55): fresco, Vatican, Rome.Adoration of the Magi (166): " " "Lives of SS. Stephen and Lawrence (128, 131, 134, 193, 194, etc.): frescoes, Chapel of St. Lawrence, Vatican.["The remote little chapel containing Fra Angelico's masterpieces." Without seeing it, no one can have any conception of "the strength and freedom of the artist." "These frescoes are the highest expression of that which the friar for many years had been striving after. They are an anthology of his artistic virtues" (Fra Angelico, by Langton Douglas: see pp. 141-158 for a full discussion of them).]Avanzo, Jacopo d'(Veronese: painted 1377).St. Lucy and her Judges (36): fresco, S. Antonio, Padua.Martyrdom of St. George (183): fresco, S. Giorgio, Padua.Bartolommeo, Fra(seeunder 1694).Christ at Emmaus (72): fresco, S. Marco, Florence.Vision of St. Dominic (45): " " "Virgin and Child (24): " " ""Noli me tangere": " " "

Albertinelli(see under 645).

The Visitation (11): picture, Uffizi, Florence.

Andrea del Castagno(see under 1138).

The Last Supper (120): fresco, Convent S. Apollonia, Florence.

Angelico, Fra(see under 663).

Christ and Magdalen (51): fresco, Convent of S. Marco, Florence.Christ at Emmaus (76): " " " "The Transfiguration (49): " " " "The Crucifixion (91): " " " "The Entombment (50): " " " "The Marys at the Sepulchre (53): " " "Madonna and Child, etc. (65): " " "The Presentation (54): " " " "The Annunciation: " " " "Coronation of the Virgin: " " " "Christ as a Pilgrim (70): " " " "Ordination of St. Stephen (55): fresco, Vatican, Rome.Adoration of the Magi (166): " " "Lives of SS. Stephen and Lawrence (128, 131, 134, 193, 194, etc.): frescoes, Chapel of St. Lawrence, Vatican.

["The remote little chapel containing Fra Angelico's masterpieces." Without seeing it, no one can have any conception of "the strength and freedom of the artist." "These frescoes are the highest expression of that which the friar for many years had been striving after. They are an anthology of his artistic virtues" (Fra Angelico, by Langton Douglas: see pp. 141-158 for a full discussion of them).]

Avanzo, Jacopo d'(Veronese: painted 1377).

St. Lucy and her Judges (36): fresco, S. Antonio, Padua.Martyrdom of St. George (183): fresco, S. Giorgio, Padua.

Bartolommeo, Fra(seeunder 1694).

Christ at Emmaus (72): fresco, S. Marco, Florence.Vision of St. Dominic (45): " " "Virgin and Child (24): " " ""Noli me tangere": " " "

Bellini, Giovanni(see under 189).

Virgin and Child (62): picture, Frari, Venice.

["The art of Bellini is centrally represented by two pictures at Venice: one the Madonna in the sacristy of the Frari with two saints beside her, and ten angels at her feet; the second, the "Madonna with four Saints" over the second altar of San Zaccaria. In the first of these the figures are under life size, and it represents the most perfect kind of picture for rooms; in which, since it is intended to be seen close to the spectator, every right kind of finish possible to the hand may be wisely lavished; yet which is not a miniature, nor in any wise petty or ignoble, etc." (Ruskin:Relation between Michael Angelo and Tintoret, p. 14).]

Boccaccio Boccaccino(see under 806).

Christ among the Doctors (57): fresco, Cathedral, Cremona.

Botticelli(see under 1034).

Spring (86): picture, Belle Arti, Florence.

[The most probable explanation of the allegory is this:—The picture represents a masque or joust of Spring given by Giuliano de' Medici in honour of his mistress, "La Simonetta Vespucei," who is here represented as Spring, Giuliano himself figuring as Mercury. In the centre is Venus with Cupid above her head, pointing an arrow at Giuliano. Shortly after the joust, Giuliano was murdered, and La Simonetta died. The death-like figure to the extreme left, breathing upon Spring, represents the premonition of these coming disasters. Simonetta was a favourite model of Botticelli's, the same slender and long-throated lady appearing in many of his works, though sometimes spiritualised almost past recognition (cf.Ariadne Florentina, Appendix iv.; and a sonnet by D. G. Rossetti describing this picture).]

Destruction of Korah, Dathan, and Abiram (180): fresco, Sistine Chapel.Moses at the Well (185): fresco, Sistine Chapel.The Temptation (110): " " "Venus rising from the Sea (87): picture, Uffizi, Florence.

[For an interesting description and interpretation of this picture, see Pater'sStudies in the History of the Renaissance: "The light is cold—mere Sunless dawn; but a later painter would have cloyed you with sunshine; and you can see the better for that quietness in the morning air each long promontory as it slopes down to the water's edge. Men go forth to their labours until the evening; but she is awake before them, and you might think that the sorrow in her face was at the thought of the whole long day of love yet to come. An emblematical figure of the wind blows hard across the grey water, moving forward the dainty-tipped shell on which she sails, the sea 'showing his teeth' as it moves in their lines of foam, and sucking in one by one the falling roses.... What is unmistakable is the sadness with which Botticelli has conceived the Goddess of Pleasure as the depositary of a great power over the lives of men."]

Giovanna Tornabuoni and the Graces.Lorenzo Tornabuoni and the Liberal Arts.

[Copies from the frescoes formerly in the Villa Lemmi, near Florence, now in the Louvre: for a description of them, see Ruskin'sArt of England, § 69.]

Buffalmacco(Florentine: 1262-1351).

Raising of Lazarus (216): fresco, Assisi.

Carpaccio(see under 750).

St. George baptizing the Princess (79): picture, S. Giorgio degli Schiavoni, Venice.St. Jerome in his study (89): " " "The Calling of St. Matthew (77): " " "St. George and the Dragon (190): " " "

[See for full descriptions of these pictures Ruskin's "St. Mark's Rest,"Shrine of the Slaves.]

St. Vitale and Saints (259); picture, Church S. Vitale, Venice.

[Signed, and dated 1514. An admirable example of the master.]

Cimabue(see under 565).

Frescoes in the upper church of Assisi (137-155).

["In these works there is an evident struggle in the mind of the artist to give to traditional form the expression of a living intention; but all that belongs to a closer imitation of nature in her individual peculiarities—all that belongs to the conception of characteristic or graceful action,—is still wanting. The form of the countenance is alike throughout; the expression, as conveyed by mien, always constrained. Yet, notwithstanding all these defects, these works must be regarded as having been mainly instrumental in opening a new path to the free exercise of art."—Kugler.]

Domenico di Bartolo(Sienese: died 1449).

Copies from two of the frescoes in the Hospital of S. Maria della Scala, at Siena (Nos. 1 and 6 of the series, "The Rearing, Education, and Marriage of Foundlings," and "Pope Celestine's approval of the building of the Hospital").

Dürer, Albert(see under 1938).

St. John and St. Peter (99): picture, Pinakothek, Munich.St. Mark and St. Paul (103): " " "Adoration of the Trinity (101): picture, Belvedere, Vienna.

Eyck, Van, The Brothers (see under 186).

Adoration of the Lamb (107): altar-piece, Cathedral, Ghent.

[This famous picture has been put together, in the copy, from the originals, which are now distributed among Ghent (three central panels), Brussels (the Adam and Eve), and Berlin (the remaining panels).]

Foligno, Niccolo da(see under 1107).

Virgin and Child (40): altar-piece, Gualdo Tadino, Umbria.

Forli, Melozzo da(see under 755).

Pope Sixtus VI. (38): fresco, Vatican Gallery, Rome.Angels (68, 76, 206, 217): fresco, sacristy, St. Peter's, Rome.

Francesca, Piero della(see under 665).

The Resurrection (32): fresco, Palazzo Communale, Borgo San Sepolcro.

Battle for the Recovery of the True Cross (178): fresco, S. Francesco, Arezzo.

St. Helena finding the True Cross: fresco, S. Francesco, Arezzo.

Dream of Constantine (161): fresco, S. Francesco, Arezzo.

["The movement and life in the compositions, the variety in the expressions of the numerous figures, their energy of action, and the grand treatment of the draperies, are all equally remarkable."—Kugler.]

Francia(see under 180).

Marriage of St. Cecilia: fresco, St. Cecilia, Bologna.Burial of St. Cecilia: " " "

Gaddi, Agnolo(Florentine: died 1396).

Nativity of the Virgin (207): fresco, cathedral of Prato.Betrothal (179): " " "

Gaddi, Taddeo(see under 215).

Adoration of the Magi (113): fresco, lower church, Assisi.

Ghirlandajo(see under 1230).

Calling of the Apostles (115): fresco, Sistine Chapel, Rome.The Last Supper (88): fresco, Ognissanti, Florence.St. John the Baptist (90): fresco, S. Maria Novella, Florence.Zacharias Naming his Son (92): " " "Birth of the Baptist (111): " " "Angel appearing to Zacharias (132): " " "Baptism of Christ (159): " " "Expulsion of Joachim (171): " " "Birth of the Virgin (172): " " "Marriage of the Virgin (175): " " "The Salutation (195): " " "Massacre of the Innocents (196): " " "Presentation in the Temple (226): " " "

[For a criticism of Ghirlandajo's frescoes in this church, see Ruskin'sMornings in Florence, pp. 25, 26.]

The Emperor Augustus and the Sibyl (84): fresco, S. Trinita, Florence.Death of St. Francis of Assisi: fresco, S. Trinita, Florence.Death of S. Fina (47): fresco, Cappella S. Fina, S. Gimignano.Burial of S. Fina (158): " " "

Giorgione(see under 269).

Virgin and Child (9): altar-piece Castelfranco.

[This according to Ruskin, is one of the "two most perfect pictures in existence; alone in the world, as an imaginative representation of Christianity, with a monk and a soldier on either side, the soldier bearing the white cross of everlasting peace on the purple ground of former darkness."—Oxford Lecture, reported in Cook'sStudiesinRuskin, p. 251. For a further description of the picture, seeStones of Venice, Travellers' edition, ii. pp. 177-179.]

Giotto(see under 568).

The Life of St. Francis (2, 95, 199-205, 215-220): frescoes, upper church of S. Francesco, Assisi.

The Virtues: frescoes, lower church of S. Francesco, Assisi.

[Here, in "the cradle of Florentine art," the young Giotto worked out his apprenticeship as a painter. For Ruskin's estimate of Giotto's work at Assisi, seeFors Clavigerafor 1877.]

Vices and Virtues (82 A, etc.): frescoes, Arena Chapel, Padua.Pietà: " " "

Gozzoli(see under 283).

Scenes from the Life of St. Francis (208, 222, 242, 267): frescoes, church S. Francesco, Montefalco.

Virgin and Child (97): altar-piece, church of S. Francesco, Montefalco.

Scenes from the Life of St. Agostino (46, 224, 243, 244): frescoes, church S. Agostino, S. Gimignano.

The Journey of the Three Kings to Bethlehem (37, 39, 41, 123, 248): frescoes, Riccardi Palace, Florence.

["The chapel in the Palazzo Medici, now Riccardi, is made the scene of the journey, represented in a sumptuous procession of knights, squires, and pages, with dogs and hunting leopards. He has also introduced portraits of various members of the Medici family and of some of the principal citizens of Florence."—Kugler'sItalian Schools, i. 164.]

Marriage of Isaac and Rebecca: fresco, Campo Santo, Pisa.

Guido da Siena.

Virgin and Child (241): picture, S. Domenico, Siena.

[Stated on an inscription to have been painted in 1221. Relying on the date, the Sienese have disputed the claims of the Florentines to have been the regenerators of Italian art. But it has been proved that the numerals have been tampered with, the true date being 1281.]

Holbein(see under 1314).

The Meier Madonna (102): picture, Palace Princess Charles, Darmstadt.

[This is from the original, of which there is a celebrated copy at Dresden. "The received tradition respecting the Holbein Madonna is beautiful, and I believe the interpretation to be true. A father and a mother have prayed to her for the life of their sick child. She appears to them, her own Christ in her arms. She puts down her Christ beside them—takes their child into her arms instead. It lies down upon her bosom, and stretches its hand to its father and mother, saying farewell."—Ruskin'sOn the Old Road, i. pp. 234, 235.]

Libri, Girolamo dai(see under 748).

Virgin and Child (44): picture, S. Giorgio, Verona.

Leonardo da Vinci(see under 1093).

Virgin and Child: fresco, St. Onofrio, Rome.

Lippi, Fra Filippo(see under 666).

Virgin and Child (34): picture, Uffizi, Florence.Virgin and Child (100): picture, Belle Arti, Florence.

[This is one of the four pictures selected by Mr. Ruskin for his series of "Lesson Photographs."—SeeFors Clavigera, 1875, pp. 307-310; 1876, p. 187.]

Burial of St. Stephen (238): fresco, cathedral of Prato.Heads from frescoes (157, 170): " " "

Lippi, Filippino(see under 293).

Virgin and Child (66): fresco, cathedral, Prato.

Vision of S. Bernard (1): altar-piece, Badia, Florence.

Glorification of St. Thomas Aquinas, two heads from: fresco (157); Cappella, Carafa, S. Maria sopra Minerva, Rome.

[For a description of this remarkable fresco, "barbarously restored and repainted in 1874," see Kugler'sItalian Schools of Painting, i. 160.]

St. Peter delivered from prison: fresco, Brancacci chapel, Carmine, Florence.

St. Peter and St. Paul before Nero, and Martyrdom of St. Peter: fresco, Brancacci chapel, Carmine, Florence.

St. Peter visited by St. Paul: fresco, Brancacci chapel, Carmine, Florence.

[See also Masaccio and Masolino; the Arundel Society's ascriptions are here followed, but the ascription of these frescoes to one or other of the three artists, Filippino Lippi, Masaccio, and Masolino is doubtful.]

Lorenzetti, Pietro(see under 1113).

The Deposition (29): fresco, lower church, Assisi.Good Government: frescoes, Palazzo Pubblico, Siena.

Lorenzo, Fiorenzo di(see under 1103).

Events in the Life of St. Bernardino (30, 229, 230): pictures, Pinacoteca, Perugia.

Luini(see under 18).

Ippolita Sforza in prayer, with attendant saints (74): fresco, S. Maurizio, Milan.Donor and Saints (266): fresco, S. Maurizio, Milan.St. Catherine (268): fresco, Santuario della Madonna, Saronno.St. Apollonia (260): " " "Head of an Attendant (125): " " "Head of the Virgin (117): " " "Marriage of the Virgin: " " "Adoration of the Magi: " " "Christ among the Doctors: " " "Presentation: " " "

Madonna and Child (160): fresco, S. Maria degli Angioli, Lugano.

[In a side chapel to the right of the entrance. "One of the loveliest little pictures in Italy. It is dated 1530, and is probably the last work which the golden hand of Luini bequeathed to the world."—Lund'sComo and Italian Lake-land, p. 432.]

Mantegna(see under 274).

The Histories of SS. James and Christopher (38, 42, 227, 230, 236, 239); frescoes, Eremitani Chapel, Padua.

[The most important works of Mantegna's youth. "His early frescoes in the Eremitani look as though they had been painted from statues or clay models, carefully selected for the grandeur of their forms, the nobility of their attitudes, and the complicated beauty of their drapery."—Symonds:Renaissance, iii. 197.]

Masaccio(Florentine: 1401-1428).

St. Peter and St. John giving alms: fresco, Brancacci Chapel, Carmine, Florence.

St. Peter and St. John healing the sick: fresco, Brancacci Chapel, Carmine, Florence.

St. Peter preaching: fresco, Brancacci Chapel, Carmine, Florence.

The Expulsion from Paradise: " " "

The Tribute Money: " " "

St. Peter and St. Paul raising the King's son: fresco, Brancacci Chapel, Carmine, Florence.

Homage of St. Peter: fresco, Brancacci Chapel, Carmine, Florence.

[For Masaccio, as the first "naturalist" in landscape, see Ruskin's notices of the frescoes inModern Painters, vols. i. and iii.]

Masolino(Florentine: 1383-1447).

The History of the Baptist (119, 127, 169, 211): frescoes, Castiglione d' Olona (near Varese).

The Prophet Isaiah (167): fresco, Castiglione d' Olona (near Varese).

The Temptation: fresco, Castiglione d' Olona (near Varese).

St. Peter and St. John raising Petronilla: fresco, Brancacci Chapel, Carmine, Florence.

[Tommaso di Cristoforo Fini, known as Masolino da Panicale, from the place of his birth, is supposed to have been the teacher of Masaccio. He was for some time in the service of Cardinal Branda Castiglione. These frescoes, on one of which he inscribed his name, were executed 1426-1437. They "indicate a careful study of nature, though the type of composition is still that of the 14th century."]

Meister Wilhelm(see under 687).

Virgin and Child (104): picture, collection Archbp. of Cologne.

Memlinc(see under 686).

Panels from Triptych (105): Hospital St. John, Bruges.Crucifixion (106): triptych, Lübeck Cathedral.

Memmi, Simone(Sienese: born 1283).

Annunciation (78): picture, Louvre, Paris.

Death-bed of St. Martin (277): fresco, church S. Francesco, Assisi.

Investiture of St. Martin: fresco, church S. Francesco, Assisi.

St. Martin renouncing the Emperor's service (124): fresco, church S. Francesco, Assisi.

[The real name of this Sienese painter was Simone Martini. He is celebrated by Petrarch: "I have known two painters," he writes, "talented both and excellent, Giotto of Florence and Simone of Siena."]

Michael Angelo(see under 790).

Delphic Sibyl (20): fresco, Sistine Chapel, Rome.Persic Sibyl (262): " " "Ezekiel (17): " " "Jeremiah (16): " " "

[For Ruskin's criticism of these frescoes, see (among other places)Ariadne Florentina, ch. iv.]

Montagna(see under 802).

St. John Baptist and St. Benedict (6): picture, SS. Nazzaro e Celso, Verona.SS. Nazzaro e Celso (8): picture, SS. Nazzaro e Celso, Verona.St. Blaise led to execution: " " "

Morando(see under 735).

The Deposition (80): picture, Municipal Museum, Verona.

Pacchiarotto(see under 1849).

St. Catherine and St. Agnes (10): fresco, oratory of S. Catherine, Siena.

Palma Vecchio(see under 636).

Virgin and Child (212): picture, church S. Stefano, Vicenza.

[S. Lucia stands on the left; on the right, St. George in armour with his banner—a grand figure recalling the S. Liberale in Giorgione's picture at Castelfranco. One of Palma's finest works.]

Perugino(see under 288).

Christ's charge to Peter (56): fresco, Sistine Chapel, Rome.Baptism of Christ (181): " " "Moses and the Angel (197): " " "

[Attributed by Morelli to Pinturicchio: seeGerman Galleries, p. 264.]

Adoration of the Magi (96): fresco, S. Maria de' Bianchi, Città della Pieve.

Crucifixion (5): fresco, S. Maria Maddalena de Pazzi, Florence.

Marriage of the Virgin (73): fresco, Convent of S. Girolamo, Spello.

Martyrdom of St. Sebastian (28): fresco, chapel of convent at Panicale.

Nativity and Adoration (7): fresco S. Francesco del Monte, Perugia.

The Transfiguration (4): fresco, Sala del Cambio, Perugia.

Peruzzi(see under 218).

Augustus and the Sibyl (250): fresco, church of Fonte Giusta, Siena.

[Peruzzi imparted to this picture, says Lanzi, "such a divine enthusiasm that Raffaelle himself never surpassed him in his treatment of this subject."]

Pinturicchio(see under 693).

Glorification of St. Bernardino (186): fresco, church of Aracoeli, Rome.

Burial of St. Bernardino (130): fresco, church of Aracoeli, Rome.

["Somewhat slight and hard in execution, but full of expression and individual life."—Kugler.]

Betrothal of Frederick III. (75): fresco, Piccolomini Library, Siena.

Piccolomini receiving a Cardinal's hat (71): fresco, Piccolomini Library, Siena.

A drawing of the interior of the Piccolomini Library, showing Pinturicchio's frescoes (43).

The Nativity (82): fresco, S. Maria del Popolo, Rome.

St. Catherine of Alexandria (59): fresco, Appartamenti Borgia, Vatican.

Virgin in Glory (3): altar-piece at Monte Oliveto.

Annunciation: fresco, Cathedral, Spello.

Nativity: " ""

Christ among the doctors: ""

Pordenone(see 272).

Adoration of the Magi (176): fresco, castle of Coll' Alto, near Conegliano.

Flight into Egypt (225): fresco, castle of Coll' Alto, near Conegliano.

Raphael(see under 1171).

Philosophy (22): fresco, in one of the Stanze, Vatican.Poetry (25): " " "Poets on Mt. Parnassus (21): " "St. Peter delivered from Prison (19): "Theology (23): " " "Justice (26): " " "Expulsion of Heliodorus (213): " "Mass of Bolsena (121): " "

[These frescoes, in one of the chambers of the Vatican, are those by which, according to Ruskin, Raphael "wrote upon its walls theMene,Tekel,Upharsinof the Arts of Christianity." SeeEdinburgh Lectures on Architecture and Painting, pp. 213, 214.]

The Four Sibyls (63): fresco, S. Maria della Pace, Rome.

Roman Wall Painting.

The Nursing of Bacchus (13): Farnesina Gardens, Rome.

Romanino(see under 297).

Visit of Christian II., King of Denmark, in 1475 to Bartolomeo Colleoni (58, 182, 188, 228, 234, 240): frescoes, Castle of Malpaga, near Bergamo.

["There is perhaps no edifice of the kind which gives so complete an idea of the residence of a great Italian nobleman in the middle ages." The frescoes are fully described in Mr. Oscar Browning'sLife of Bartolomeo Colleoni, published by the Arundel Society in 1891. "These pictures are extremely interesting as showing the manners and customs of the time; and we cannot but feel that an age which could have crowded into so short a space so many scenes replete with life and colour, with dignity and magnificence, must be worthy of our study. Romanino, the reputed author of the frescoes, was born ten years after the events which they portray. He must, therefore, have worked from the family records of what occurred, although in his own age the life of chivalry was not altogether dead. It is more probable, however, that they were executed by one of his pupils."]

Rosselli, Cosimo(Florentine: 1439-1507).

Worship of the Golden Calf (135): fresco, Sistine Chapel, Rome.The Last Supper (184): " " "Passage of the Red Sea (192): " " "Sermon on the Mount (198): " " "

[The latter is the most successful. The landscape and perhaps other parts are by his pupil, Piero di Cosimo. To Rosselli was formerly attributed No. 227 in our Gallery.]

Santi, Giovanni(see under 751).

Nativity and Resurrection (4): fresco, St. Domenico, Cagli.

Sarto, Andrea del(see under 690).

The Last Supper (122): fresco, S. Salvi, Florence.

[A celebrated work in a convent, now a lunatic asylum, near Florence: commissioned in 1519, finished in 1527. Described and highly praised by Vasari (iii. 224), who says that the beauty of the fresco saved the convent from destruction during the siege of Florence in 1529-30.]

Charity (94): fresco, cloisters of Campagnia dello Scalzo, Florence.

[This fresco is the subject of an interesting dissertation by Max Müller, published by the Fine Art Society, 1887.]

St. John Baptist preaching (93): fresco, cloisters of Campagnia dello Scalzo, Florence.

Birth of the Virgin (51): fresco, Annunziata, Florence.

Procession of the Magi (33): fresco, Annunziata, Florence.St. Filippo Benizzi (52): " " "Madonna del Saco: " " "

Signorelli(see under 1128).

Scenes from Life of Moses (60): fresco, Sistine Chapel, Rome.

St. Benedict receiving the true King Totila (144): fresco, Monte Oliveto.

St. Benedict receiving the false King Totila (257): fresco, Monte Oliveto.

[For a description of these frescoes at Monte Oliveto, see Maud Cruttwell'sLuca Signorelli, p. 58.]

The Crowning of the Elect (165): fresco, cathedral, Orvieto.Portraits of Dante and Virgil (from the same): " "

[For a description of these see Bevir'sVisitor's Guide to Orvieto, p. 43, etc.]

Sodoma(see under 1144).

Presentation of SS. Placidas and Maurus to St. Benedict (233): fresco, Monte Oliveto.St. Benedict Preaching (98): fresco, Monte Oliveto.Christ (12): fresco, convent of S. Anna, near Siena.Christ bound to the Column (61): picture, Academy, Siena.Swoon of St. Catherine (69): fresco, S. Domenico, Siena.Vision of St. Catherine (64): " " "Presentation of the Virgin (263): fresco, S. Bernardino, Siena.

Tiepolo(see under 1192).

Anthony and Cleopatra (162, 168): frescoes, Palazzo Labia, Venice.

[The best of Tiepolo's works. "His frescoes in the Palazzo Labia, representing the embarkation of Anthony and Cleopatra on the Cydnus, and their famous banquet at Canopus, are worthy to be classed with the finest decorative work of Paolo Veronese."—J. A. Symonds:Century Guild Hobby Horse, April 1889.]

Timoteo della Vite(Ferrarese: 1469-1523).

The Magdalen (265): picture, Pinacoteca, Bologna.

[By the first master of Raphael. The picture is mentioned by Vasari (iii. 114): "She is standing upright, her vestment is a short mantle, but the figure is covered principally with the long hair, which falls to her feet; and this is so beautiful and natural that, while observing it, one cannot but fancy that the light silky tresses are stirred by the wind. The countenance, also, has the most divine beauty of expression, and clearly exhibits the love which this Saint bore to her Lord."]

Titian(see under 4).

Miracles of St. Anthony of Padua (14, 133): frescoes, Scuola del Santo, Padua.

Tura, Cosimo(see under 772).Triumph of Venus (112): fresco, Schifanoia Palace, Ferrara.Triumph of Minerva (129): " " "Unknown Painter.Richard II. before the Madonna (27): picture, Wilton House.Vasco, Fernandez("Gran Vasco") (Portuguese: born 1552).St. Peter enthroned as Pope (48): picture, sacristy of the cathedral, Vizen, Portugal.Veronese, Paolo(see under 26).Allegorical Subjects, "Justice," "Temperance," etc. (15, 18, 155, 156): frescoes, Villa Giacomelli, Masèr.[This villa, built by Palladio for Daniele Barbara in 1580, is reached from Cornuda, a station on the line between Treviso and Belluno. It contains some of Veronese's most beautiful wall-paintings.]Viterbo, Lorenzo di(painted 1648).Betrothal of the Virgin (67): fresco, S. Maria della Verita, Viterbo.Presentation: fresco, S. Maria della Verita, Viterbo.There is also a copy, presented by Mrs. Bywater, of Domenico Veneziano's "Madonna and Child" (No. 1215).

Tura, Cosimo(see under 772).

Triumph of Venus (112): fresco, Schifanoia Palace, Ferrara.Triumph of Minerva (129): " " "

Unknown Painter.

Richard II. before the Madonna (27): picture, Wilton House.

Vasco, Fernandez("Gran Vasco") (Portuguese: born 1552).

St. Peter enthroned as Pope (48): picture, sacristy of the cathedral, Vizen, Portugal.

Veronese, Paolo(see under 26).

Allegorical Subjects, "Justice," "Temperance," etc. (15, 18, 155, 156): frescoes, Villa Giacomelli, Masèr.

[This villa, built by Palladio for Daniele Barbara in 1580, is reached from Cornuda, a station on the line between Treviso and Belluno. It contains some of Veronese's most beautiful wall-paintings.]

Viterbo, Lorenzo di(painted 1648).

Betrothal of the Virgin (67): fresco, S. Maria della Verita, Viterbo.Presentation: fresco, S. Maria della Verita, Viterbo.

There is also a copy, presented by Mrs. Bywater, of Domenico Veneziano's "Madonna and Child" (No. 1215).

Many of the sculptures belonging to the National Gallery have been removed to the Hall of Sculpture at the Tate Gallery or to the National Portrait Gallery. Among those that remain in Trafalgar Square are:—

"The Dying Alexander" (in the Vestibule).—A Renaissance copy in Egyptian porphyry of the bust, in the Uffizi at Florence, known as "The Dying Alexander." The bust is now generally recognised as the work of a Pergamene sculptor, and is supposed to represent a youthful giant. The influence of the "Alexander type" is in any case noticeable in this fine work; a type embodying "the traces of human passion, the imperfection of human longing, the divine despair, which attach to the highest mortal natures because they are high and because they are mortal."—Presented by Mr. Henry Yates Thompson.

Bust of Mantegna.—A plaster cast from the bust of Mantegna in the Mantegna Chapel at Mantua: see the description quoted under 274.—Presented by Mr. Henry Vaughan.

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