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A CATALOGUE

A CATALOGUEOF THE

ACCADEMIA DELLE BELLEARTI AT VENICE

With Biographical Notices of the Painteisand Reproductions of some of

their Works

Edited by E. M. KEARYCloth, 2s. 6d. net j paper, 2S. net

LoNDON : WILLIAM HEINEMANN

May he obta'ined of Charles Naya, Book-seller, Place St. Marc, Venice

A CATALOGUE OF

THE PAINTINGSIN THE

MUSEO DEL PRADOAT MADRID

EDll'ED BY

E. KERR-LAWSON

(y

LONDONWILLIAM HEINEMANN

MDCCCXCVI

A i-ighU rcso-z'cd

Vpper'Floor Basement Pri/vctpoLFlao.

A. Rotunda Entrance. I. Sala de la Reina R. Western Passage

:

B. Sala Espaola. Isabel. Basement.c. Stairway Leading to J. Sala Francesa. S. Sala atEndof West-

the Salas de Al- K. Western Passage : ern Passage : Prin-fonso XII. Principal Floor. cipal Floor.

D. Salas de AlfonsoXII. L. Southern Passage : T. Principal Stairway.E. Sala Italiana. Principal Floor. U. Restoration andF. Sala de Contempo- M. Eastern Passage

:

Salas ofthe North-rneos (;.e., Con- Principal Floor. East.temporary with N. Sala de Retratos. V. Sala de Goya : p-the Founding of 0. Escuelas Germni- per Floor.the Museum). cas : Western Salas. X. Secretara.

G. Central Saln : Au- F. Escuelas Germni- V. Direccin.tores Espaoles. cas : Eastern Salas. z. Department of Ori-

H. Central Saln : Au- Q.. Eastern Passage : ginal Draw ings.tores Italianos. Basement.

PREFATORY NOTE

HE greater part o the works exhibitcdin this National Gallery of Spain

belonged to the Crown and decoratedthe palaces of Madrid and other Royalseats before the year 1818. With

them King Ferdinand VII. formed the Rea/ Museo de

Pintura del Prado, addirig other pictures which he

acquired expressly for so important an institution

afterwards to be thrown open to the public. Theremaining part proceeds from the so-called Museo

Nacional founded in 1840, in what had been the

Convent de la Trinidad. This Convent served as a

museum for the pictures proceeding from the churches

of the provinces of Madrid, Toledo, Avila and Segovia,

in 1836.

Of the convents or churches to which the picturesof this latter contingent belonged, little is known withcertainty ; owing to the confused state in which theywere collected. Definite information can be given

only of those works acquired by the State after the

formation of the above-mentioned Museo Nacional de la

Trinidad.

In the present Catalogue the editor has aimed at

viii PREFATQRY NOTE

giving to the public all the salient points of interest

in the lives of the masters represented, and in the

history of their respective works. He has attemptedto supply a hand-book, which, without being heavy

with information, will yet have an interest, not only

for English-speaking visitors to the Prado ; but also for

those lovers of Art who may not have the good fortuneof seeing this precious gallery. A brief biographicalsketch is appended to the ame of each artist ; and a

note, explanatory of the composition, follows the title

of each work. These notices, though brief, will suffi-

ciently serve the visitor as a prelude to the study of

the pictures themselves ; or give to the reader, absent

from the gallery, a fair idea of the subjects treated.This Catalogue is based upon the two Spanish

editions, by Seor Don Pedro de Madrazo. Theeditor of the present edition has freely used these two

excellent books : in many cases having borrowed, bythe granted right ot translation, entire paragraphs from

them. The ames of the artists are arranged alpha-betically, and the pictures numbered in regular ascend-ing sequence. The occasional breaks in the regularnumeration merely indcate recent eliminations of

pictures, or change of attribution to artists,

In the plan of the Museum (page v) the ames ofthe various rooms have not been translated into English,

as they correspond to signs posted over the en trances

of the respective departments. To save confusinthese signs have been copied down as they appear

;

and being inserted in the margins of the pages opposite

PREFATORY NOTE

the titles of the works, enable the visitor to know atonce the location of any picture.

The editor gladly takes this opportunity of express-ing his grateful appreciation of the courteous kindness

and assistance rendered him by the accomplishedauthor Seor de Madrazo. His thanks are also due

to the officials of the Museo del Prado for many kind-nesses.

E. K.-L.

Glasgow,

June 25M, 1895.

CONTENTSPAGE

ITALIAN SCHOOLS . . . . ' . 3

SPANISH SCHOOLS "..

... .79GERMANIC SCHOOLS (gERMAN, FLEMISH,

AND DUTCH) . . . . .149

FRENCH SCHOOL . . ..

. 261

PICTURES OF DOUBTFUL SCHOOL . . 29O

PICTURES FROM THE NATIONAL MUSEUM

DE LA TRINIDAD . . . .295

TAPESTRY DESIGNS OF GOYA ..

. T^ZJ

TABLE OF SPANISH AND FOREIGN PAINTERS 333

ITALIAN SCHOOLS

i

ITALIAN SCHOOLS

ALBANI (Francesco), commonly called Albano. BologneseScHOOL : 1578-1660.

Albani was born at Bologna. His father, a silkmerchant, placed him, at the age of 13, to studydrawing under the direction of Denis Calvert. InCalvert's house he contracted a friendship withGuido Reni, with whom he went to the studio ofLudovico Carracci. Here his rapid progress attractedAnnibale, brother of his new master, who employedthe young Albani to assist him in his work in theFarnese Gallery. On returning to his native land,he executed work for the Cardinal of Savoy and forvarious cities. He died when 82 years of age, in thearms of his disciples, in whom he had inspired thegreatest reverence and love.The works of this artist are characterised by a fresh-ness of colour, a certain grandeur of drawing andelegance of composition. Among the principal orhis disciples were the brothers Mola, Cario Ciquani,and Andrea Sacchi.

1. The Toilet of Venus. The Mother of Love, gracefully salnreclining in chair of crimson velvet, calmly contem- central:plates herself in a mirror which a little cupid holds autoresbefore her, while three nymphs occupy themselves italianosabout her person. A winged infant ties the sandal ofthe goddess, and other three amuse themselves withvarious articles of the elegant toilet. The scene takesplace in a garden. Collection of Charles III,, Neiv Palaceof Madridy Studio of the Court Painter, D. Andrs de la Calleja.Can'uas : ^ft. 8J /. y ^ft. 6 in.

2. The Judgment of Paris. The young shepherd of

ALBANOALLORI

ALFONSOXII.

Mount Ida contemplates, with the apple of gold in hishand, the three nude figures which appear to him ingraceful poses. Among the trees, on the right, is agroup of two winged Lonjcs who seem to be awaitingthe decisin of Priam's son. Cotttpamon to and from thesame svircc as No. I. Can-vas : 3//. 8 "' y Sfi- ^h '"

ALBANO (School of).SALA 3. The Birth of the Virgin. Several women are occupiedITALIANA in washing and swathing the newly born Holy Child.

St. Joachim gives thanks to Heaven. Figures life-size.Carne to this Galleryfrom the Palace of San Ildefonso in 1 832. Canvas :8 /?. 6 in. by 5 ft. 6J in.

ALBANO (Copy of).STAIRWAY 4- The Birth of the Virgin. Cnovas: -^ft. \ in. by \ ft. 7f in.LEADINGTO THE ALLORI (Alessandro). Florentine : 1535-1607.

This nephew and pupil of Angelo di Cosimo(Bronzino) was a follower of the school of Michel-angelo in Rome. He executed a great many works,both in oil and fresco, at Florence, his native city.He had a thorough knowledge of anatomy, and ex-celled in portraiture. Died at Florence in 1607.

SALN 5. Portrait of the boy D. Garcia, son of Cosmo I., Grandcentral: Duke of Tuscany. Half-figure. Repetition of anotherAUTORES portrait by Bronzino which exists in Florence. JVood

:

ITALIANOS I ft- 7 "' h I /^- 4 "'

ALLORI (Style of Alessandro).PRINCIPAL 5a. Portrait of Ferdinand I., Grand Duke of Tuscany.STAIRWAY Representing a youth of some 19 years standing

in a room simply decorated with dark blue curtains,and a table covered with red velvet. On the table arehis casque and coronet. He is dressed in half armour,wearing a steel corslet and white Grecian breechesembroidered with gold. The left hand rests on hiship ; the right on his casque. Full-length ; life-size.Can'vas : 6 ft. 6 in. by 3 ft. 6 in,

ALLORI (Christofano). Florentine : 1 577-1621.Born at Florence, where for a time he studied underhis father Alessandro. But, disliking the school ofMichelangelo, he left his father to study with

ALLORIAMICONI 5

Gregario Pagani. He painted landscapes, but espe-cially excelled in portraiture. His pictures are rare.

6. Christina of Lorrain, Grand Duchess of Tuscany, In centralblack costume, with long black cloak and open sleeves, saln :ornamented with gold buttons and jewels. Catmas : j ft. autoresl| in. by ^ft. 7| /;/. ITALIANOS

7. Portrait of the Grand Duchess of Tuscany, Mary salaMagdalen of Austria. Dressed in the black costume italianaof a widow, with black lace about the bosom andshoulders, and white lace collar. She wears a head-dress of black tulle. Cativas: 2.ft. 6 in. by 2. ft. ^ in.

8. Portrait of the Grand Duke of Tuscany, Cosmo II.Representing a personage of some 20 years, andof youthful appearance, dressed in black. Bust oflife-size. Companion to No. 7. Can.'vas : 2 ft. 6 in. byift. i in.

ALLORI (ScHooL OF Christofano).g. Portrait of a Lady. Full-length portrait of a woman central

dressed in black and gold, seated in a crimson arm- saln :chairunder crimson curtains. Landscape seen through autoresthe open window. Can'vas:

"Jft. 3 in. by [ft. 7f in. ITALIANO

AMICONI OR AMIGONI (Giacomo). Indefinite School :I675-I752.

This artist, who was born at Venice, studied first in hisnative land, and afterwards perfected his training bytravelling in Flanders, England and Germany, whenhe again returned to the influence of the Italianmasters. With the reputation of having executedmany fine portraits in England, he carne to Spain toserve Philip V. He died at Madrid, having leftworks that were ampie evidence of his artistic truthand genius.

10. The Holy Face. With four infant angels who weep restora-Over the Passion of Christ. Collection of habella Farnese, TION : ANDPalace ofSan Ildefonso. Can'vas: ^ft.il in. by ^ft. I in. SALAS OF

12. St. Ferdinand at the Surrender of Seville. The Saint- jjqrjjj.King receives the keys of the city from the hands of

^^g-j.the Moorish King Sakkaf, who humbly presents themon a silver tray. Can-vas: 2 ft. 4. i, by i ft. 10 in. sala

^-^

-^ ITALIANA13. Portrait of an infant Infanta of the House of Philip V.

Half-figure; life-size. Candas : 2 ft. 5 in. by 2 ft. ^ in.

ANGLICOANGUISOLAANGLICO (Fra Giovanni da Fiesole), commonly called

II Beato. Ancient Tuscan School : 1387-1455.

Born near the village o Vecchio in Mugello. In1407 he became a member of the Order of Predi-cants of Fiesole. He left Fiesole in 1409, and forabout ten years painted at Foligno and Cortona. Hethen returned to Fiesole, where he remained foreighteen years. In 1436 he went to Florence, andworked in the Convent of St. Mark until 1445?producing there his greatest works. He next wentto Rome, in the service of Pope Eugenius IV., topaint in the Vatican. Here he painted a chapel forNicholas V. He was one of the greatest idealisticpainters of the ancient Tuscan school. He died atRome in 1455.

salas de 14. The Annunciation. In a luminous vestibule of MiddleALFONSO Age Latin architecture, whose ceiling is painted blueXII. and studded with gold stars. Our Lady receives the

message brought by Gabriel, a beautiful ngel withgolden wings and rose-coloured vestment,whoappearsto her with his hands crossed on his breast. Thenimb which encircle the heads of Mary and the ngelare of gold. The Holy Spirit, in the form of a dove,descends from the heavens in a ray of light. On theright is represented the earthly Paradise with Adam andEve being expelled by an ngel, for their sin. Below,in five octagonal compartments, are represented theprincipal scenes from the life our Our Lady. Thispreciouspanel ivas ceded by the Monastery de las Descal-zos Reales to this o^usetimin 1 86 1, by the inter'vention of Sr, D, Federico de o^adrazo, theMuseums late Director. Panel: 6ft. 3 in. by 6ft. 3 in.

ANGUISOLA OR ANGOSCIOLLA (Lucia). LombardSchool. Born early in the sixteenth century; died1565.

This famous accomplished woman was born in Cre-mona. She was a pupil of her sister Sophonisba.She was both painter and musician, and belonged toa family of exceptional culture. She is said to havebeen in Spain, and to have painted a portrait ofQueen Isabel, wife of Philip II., which she sent toPope Pius IV.

BARBALUNGABAROCCI

15. Portrait of Piermaria, a celebrated doctor of Cremona. salaThree-quarters length; life-size. Canvas : 2, fi- i4 "^- h italiana

BARBALUNGA (Antonio Ricci, called). NeapolitanScHooL : 1 600-1 649.

An admirer of Domenichino. In Rome he paintedworks for San Silvestre de Montecavalio, for whichhe received much praise. In his native Messina heexecuted many works which were in great demand.He had many disciples, and died poor, though re-puted one of the greatest artists of Sicily.

16. Saint Agatha dying in her Prison. Life-size figure, centralScene, -interior of prison cell. Canvas : 3 ft. 4I in. by saln :4/. \\ in. AUTORES

ITALIANOS

BAROCCI (Federico Fiori, or). Romn School : 1528-1612.

Barocci, or Baroccio, was born at Urbino. Afterstudying drawing under his father, Ambrogio Barocci,he entered the studio of Bautista Franco, who at thattime was in the service of the Duke Guidubaldo II.Barocci left Urbino shortly after Franco, and incompany with his nele, Bartolomeo Genga, wentto Pesaro. Here he made copies of Titian in theducal gallery. At 20 years of age he went to Rome,where he spent his time in the study of Raphael andCorreggio. Having returned to Urbino, he paintedseveral pictures on religious subjects which gainedmuch praise. At Rome he was employed in theVatican by Pope Pius IV. His style seems to havebeen the result of his patient study of Raphael andCorreggio. He died of apoplexy at Urbino in 161 2,and was buried in the church of San Francesco.

17. The Nativityof Jess. Interior of Stable. The Virgin sala dewith outstretched arms gazes upon the Holy Child, la reinawhich Hes in the manger. St. Joseph opens the door isabelto the shepherds, who bring offerings to the Saviour ofthe WOrld. Can'uas : i\ft. 4^ in. by T^ft. 5 in.

BAROCCIOBASSANO

SALAITALIANA

SALNCENTRAL

:

AUTORESITALIANOS

STAIRWAYLEADINGTO THESALAS DEALFONSOXII.

CENTRALSALN :AUTORESITALIANOS

CENTRALSALN :AUTORESITALIANOS

BAROCCIO (School of).19. The Virgin and Child enthroned. Can-vas: 4. ft. f /. y

2ft. II 7/7.

BASSANO (Jacopo da Ponte di). Venetian School :1510-1592.

Called after his native place, Bassano. His father,Francesco da Ponte, was his first instructor in lettersand the arts. He afterwards studied under Bonifazioat Venice. He spent a short time in Venice makingcopies of Titian and Bonifazio ; and at the death ofhis father he returned to Bassano, where he remainedfor the rest of his life. His works are characterisedby excellence of colour and chiaroscuro. He maybe called the father of genre painting in Italy. Inhis historie works he introduced familiar scenes ofhis time. The Nativity at San Guiseppe and the^aptism of Santa Lucilla are his best eForts.

22. God's Reproach to Adam. (Gnesis iii.) Bequeathed toPhilip IV. by Prince Filiberto of Sa'uoy. Cativas : 6ft2\ iv. by (^ft.4 in.

23. The Entering of the Animis inte the Ark. TMs pietureivas purchased by Titian and ivas sent to Spainfor Emperor Carlos V.Collection of Thilip IV. Real Alczar Palacio de Madrid. Candas :6ft. 8| in. by ^ft. yi in.

24. Noah after the Flood. While the Patriarch offers athanksgiving sacrifice to the Eternal, his family attendto the erection of dwellings . Tkispicture ivas in the od Alczarivhen thejire of 1']t^\ occurred. Can-vas: 2, ft. 75 in. by 2)fi- 8 in.

26. The Angels announcing to the Shepherds the Birth ofJess. Collection of Philip III. in Valladolid. Cnovas: \ft. l in.h sfi- H '

27. The Adoration of the Shepherds. All the figures areilluminated by the light from the Holy Infant. Collectionof Carlos 11.^ od Alczar de Madrid. Panel : ift. II i in. by i ft.71 in.

28. The Adoration of the Shepherds. Collection of Carlos II.,od Alczar de Madrid, Canuas : ^ft. 2 in. by 'i^ft. 4f in.

30. Jess Driving the Money Changers from the Temple.Presented to Philip IV. by the Duke ofMedina, and sent to the Escorial.Canvas : j\ft. lo\ in. by 6 ft. 3J in.

31. The Money Changers Driven from the Temple. Collection

V

BASSANO

of Carlos II., od Alczar. Swvedfrom the fire of \^t\. Catmas : sALA4ft. IOZ. by y ft. 6f in. ITALIANA

32. The Avaricious Rich Man and Poor Lazarus. Presentedto Philip IV., by the Duke of Medina. Cnovas : i\ ft. 10^ in. by 6 ft.7 in.

33. Spring. A beautiful Landscape, with huntsmen anddogs. Canvas: 2.ft. 2J in. by ift. C)\ in.

35. Winter. A few farmers warm themselves at a fireunder a covering made of canes and rushes. Fromcollection of Carlos III. , Palacio Nuevo de Madrid. Cawuas : 2 ft,6f in. by '^ft. 1 in.

36. Portrait of Bassano. Life-sized bust, in black bonnet,and dark surtout lined with marten skins. From the RealPalacio de Madrid, on the formation of the Museum. Canvas : 2ft.I in. by ift. 7 in.

BASSANO (Francesco da Ponte di). Venetian School :1550-1592.

Was the eldest son of Jacopo da Ponte, who was hismaster, and whose style he imitated. He went toVenice and there competed with Tintoretto, Palma,and Paul Veronese in his works for the Ducal Palaceand Council Chamber. His constant application un-hinged bis mind, and in July 1592 he threw himselffrom a balcony with a fatal result.

39. The Adoration of the Kings. From collection ofSlueen Isabel salaFarnese, Palacio de Ildefonso. Can-T/as: 2.ft. g^ in. by ift. 3f in. ITALIANA

40. The Lord's Supper. The table is spread in a dining-hall of stout Romn architecture. On the floor a dogand cat6//. iii

41. Jess Christ in the Pretorio. Candas: ^ft. i in. by 4 ft. eastern34 in. PASSAGE :

42. Rustic Labours. Women are occupied in milkingand basementmaking butter; in the distance, huntsmen. Companion to salnNos. 43 and 44. From collection of Queen Isabel Farnese^ Palace of CENTRAL :San Ildefonso. Canvas : ^ft. loj in. by ^ft. 6f in. AUTORES

43. The Harvest and Sheep-shearing Time. Companion to italianosNos. 42 and 44, andfrom the same source. Canvas : ^ft. lof in. bySft.6lin. CENTRAL

44. The Vintage. Companion to Nos. 42 and 43, and from the same SALN :source. Canvas: ^ft. lOg "z- by '^ft. 6^ in. AU.TORES

ITALIANOS

BASSANO

SALAITALIANA

CENTRALSALN

:

AUTORESITALIANOS

SALAITALIANA

BASSANO (Leandro da Ponte di). Venetian : 1558-1623.

Was third son of Jacopo Bassano, and studied underhis father. He painted historical pictures and por-traits, and greatly excelled in the latter. Hisprincipal works he painted in the chamber of theCouncil of the Ten at Venice. He did portraits ofmany notable persons of his time, including princesand cardinals. At his death in 1623 he was buriedwith all pomp in the church of San Salvador.

45. The Prodigal Son. The father receives his penitentson at the door of his house, while servants are pre-paring for the banquet. Presented to Philip IV. by the Duke ofMedina. Cnovas: 4 y?. 9^ in. by 6ft. 6 in.

46. The Flight inte Egypt. The Holy Family, accompaniedby angels, are passingthrough a wood duringthe night.Collection of lucen Isabel Farnese^ Palace of San Ildefonso. Cnovas

:

2f.glin. by 2f. 3| in.

47. Jess Crowned with Thorns. The Saviour is seatedin a sort of tribunal with a cae in his hands, receivinginsults from a number of Jews. Believed to hwve beenacquired by Philip V. Sanjedfrom thefre o/" 17 34- Cnovas : I ft. 9 in.by \ ft.'] in.

48. Jess Christ Presented to the People. Figures ofnatural size. From the Escorial. Candas : 2>fi'2> '^- h 3f^' 3 ^'"

49. A Mystical Subject. The Father, and Son, with theHoly Spirit in the form of a dove, receives Mary intethe Heavens. Many figures. On each side of thepicture four medallions serve as a border. Collection ofPhilip IV.

,Royal Castle and Palace ofMadrid. Can'vas : ^ft. 8| in.

by ^ft. 64 in.

50. View of Venice from Santa Maria della Salute. Tothe left the spacious quay of the Palace and thePiazzetta, crowded with people of all ages and con-ditions. The sea to the right and in the backgroundis covered with gndolas. The king and his attendantsare entering the Bucentauro; while the senators of hisretinue, the rest of the senate, and the other magis-trates march in a long line to the galleys awaitingthem. From collection of Philip III. in the Royal Residence ofValladoUd, and Philip IV. in the Royal Castle and Palace of Madrid.Candas: 6ft. 6 in. by igf. 4 in.

BASSANTEBELLINI 1

1

53. Portrait of a Man. Half-length; life-size. Col/ection of q-e^-^^th^i^Car/os II.

,Royal Alc%ar of Madrid^ attributed to Titian. Caiuas : sALN :

3/. 2 n. by 2ft. 7 in. AUTORES

55. Rustic Labours. Can-vas: ift. II in. by ^ft. Io| in. ITALIANOSSTAIRWAY

BASSANTE (Bartolommeo), or Passante. Neapolitan \^q^^^^ScHOOL : Seventeenth eentury. salas deNothing definite is known of this painter. It is alfonsogenerally agreed, however, that he flourished in theseventeenth eentury, and was a pupil of Ribera.

57. The Adoration of the Shepherds. Signed "BAS-salaSANTE." CoUection of Isabel Farnese, Palace of San Ildefonso. ITALIANACafi'vas : 3 y?. 2^ in, by ^f. ^ in.

BATTONI (II Cavaliere Pompeo). Romn School : 1708-1787.

Was the pupil of Gio. Domenico Brugieri and orGio. Domenico Lombardi. He began to studyseriously when he went to Rome. He paintedportraits of Joseph II., the Grand Duke of Tuscany,and many other distinguished persons o his time.His best work was done for the Church of Our Ladyof the Angels.

58. Portrait of the celebrated Antiquarian, Sir William principalHamilton. Almost full-length; life-size. Canvas : stairway4/. 5I /. y 3/?. 3 /.

59. Portrait of an English Gentleman of about 20 years principalofage. Full-length; life-size. Can-vas .- 7 f. i in. by ft. stairwayI in.

BELLINI (G10VANN1). Venetian School: 1426-15 16.Born at Venice. Together with his brother Gentilehe studied under his father at Padua. Here he met,and was greatly influenced by, the famous Mantegna.He assisted his father in his works at Padua, andhaving returned to his native city he executed manypictures in distemper which gained for him a greatreputation. His greatest works, done in the CouncilChamber in the Ducal Palace at Venice, weredestroyed by fire in 1597. At 62 years of age he

BELLOTTIBRONZINO

was master to Titian and Giorgione, and after hisdeath somc of his works were finished by Titian.

SALA DE 6o. The Virgin with the Infant Jess, between two Saints.LA REINA Half-length figures. Signed. Belonged to K'wg Philip V.,ISABEL and decorated the Royal Palace of San Ildefonso. Panel: 2 ft. 6 /.

BELLOTTI (PiETRo). Venetian School : 1625-1700.He excelled in portraiture. Painted for the Duke ofMantua and other princes. Died at the age of 75years.

CENTRAL 61. Portrait of an od Woman. Life-size bust. Collection ojSALN : Isa>el Farnese, Palace of San Ildefonso. Canvas : I ft. 7^ in. byAUTORES I /'' 42 "'ITALIANOS

BENEFIALI (Marcus). Romn School: 1684-1764.Born at Rome.

SALA 62. A Young Girl Reading. Half-length; life-size. Attri-ITALIANA buted to Benefali. Can'vas : I ft. ll\ in. by 2.ft.

BUONARROTICAMPI

painting portraits of the Medici family. He was thefriend of Vasari, and an cnthusiastic admirer ofMichelangelo. He died at Florence aged 69 years.

67. Portrait of a Young Violinist. Half-length; life-size. sala deCollection of Isabel Farnese, Palace de Sa7i Ildefonso. Fmtel : 2 ft. LA REINA6 uu by ift. II in. ISABEL

68. Portrait of an Unknown Child clothed in a black velvet salasack-coat. Half-length; life-size. It s belk'ved that thhirkiAK^Kpktiire passedfor the portrait of Pr'ince Carlos^ son of Philip 11.^ in theod Alczar of Madrid. Panel: 2 ft. 7^ in. by 2ft. 2h in.

BUONARROTI (Michelangelo). Florentine : Creatorof the School of Michelangelo. 1474-1564.

Son of Lodovico Buonarroti, governor of the castleof Caprese and Chinsi. He was apprenticed forthree years to Domenico Ghirlandaio. His remark-able talent soon became manifest, and Lorenzo diMedici employed him to do some sculpture. On hisfirst visit to Rome he executed his famous group ofthe Virgin with the Dead Christnow in the Churchof St. Peter. His most important paintings weredone in the Sixtine Chapel, where his celebratedLast Judgment is to be seen. He was at onceSculptor, painter, architect, musician and poet. Diedat Rome, 1564.

69. The Flagellation of Christ. Jess in the centre, tied to centralthe column, with his hands behind. An ill-looking saln

;

fellow, to the right of the spectator, is about to smite autoresthe Saviour's face. Another to the left, seen in profile, italianosholds the uplifted lash over the delicate nakedshoulders. Collection of Isabel Farnese, Palace of San Ildefonso.The originality of this picttire is a siibject of co7ttro'versy among expertcritics. . Panel: 3//. 2^iu. by 2ft. T)\in.

BUONARROTI (School of).70. Jess Christ Dead. Panel : i ft. 4I in. by i ft. salas de

ALFONSOCAMPI (Antonio). Lombard School : Sixteenth century. ^^i*

This distinguished painter, architect and litrateur,was born at Cremona in 1522. His father haddestined him to be a silversmith, but the impression

CANGIASI

made on the youth by two of Raphael's cartoons,copied by his relation, Giulio Campi, caused him toleave his first occupation and devote himself topainting. After remaining for some time with Giulio,he went to Mantua and placed himself undcr Hippo-lite Costa. There he became intimate with GiulioRomano and his disciples. He applied himselfdiligently to the study of Romano, Correggio andTitian ; and made such rapid progress that in a veryshort time he had taken his place among the greatestmasters. He executed works of importance for thecities of Mantua, Parma, Modena, Reggio and Miln. His style is brilliant and vigorous. Among hisliterary works may be mentioned his Pareri sopra lapintura, an excellent book of art. He was in Madrid,and painted for Philip II.

SA.LA 72. St. Jerome in Meditation. Full-length ; life-size.ITALIANA Paintedfor King Philip II., and placed in the vicarial chapter of the

Royal Monastery of the Escorial. Cnovas: ^ ft. II in. by^ft- 11^ in.

CANGIASI or CAMBIASO (Luga). Genoese School;

1521-1585.

Cangiasi's only master was Giovanni Cambiasi, hisfather. But he studied the works of the greatmasters which embellished the public buildings ofGenoa. He received a commission to paint a noble'shouse at the age of 15, and from that time his repu-tation grew rapidly. The enormous amount of workwhich he did in Genoa gave him such practice thathe painted without making cartoons, and often withboth hands at once." Notwithstanding much mannerism, he occasionallypicases by a clever and sound conception of nature "

(Kgler). He came to Madrid in 1583, andPhilip II. received him as his painter in Novemberof that year. He died at the Royal Seat of SanLorenzo in 1 585.

SALA 73. Holy Family. Figures a little less than life-size.ITALIANA Canvas: \.ft. 3 in. by zft. 4 in.

STAIRWAY 74. A Sleeping Cupid. Cnovas: 2ft. 2| in. by 2ft. 4 in.

CANTARINIcarp i 5

AUTORESITALIANOS

75. Lucretia. A nude figure, lying on a couch Lucretia leadingplunges a dagger into her bosom. More than half- to salaslength ; life-size. Colection of Charles 11.) Real Alc-z-ar of DK ALFO'Madrid. Cajrvas : /^ft. by T^fi- II i"- SO XII.

CENTRALCANTARINI (Simone), called II Pesarese. Bolognese saln

ScHOOL : 1612-1648.

75^7. Holy Family. Can-vas : 2ft. 4 in. by i ft. 11 in.

CARAVAGGIO (School of).76. The Prodigal Son, Ca7i=vas : ift. 7^ in. by ^ft. 9 in.77. David, Conqueror of Goliath. Colection of Charles II., Real

Alc%ary Palacio de Madrid. Canvas : T^ft. 6\ in, by 2 ft. \\\ in.

CARAVAGGIO (Imitation of). sala78. The Entombment of Jess. Figures life-size. Collection^'^^^^^'^^

of Philip V,, Palace of San Ildefonso. Canvas: -X ft. 10 in. by EASTERNft.^in. passage:

basement

CARDUCCI (Bartolommeo). Florentine School : 15601608.

Born at Florence, and studied first under BartolommeoAmmanati. He next went to Rome and becamepupil to Frederico Guccaro. In company with hismaster he came to Spain, and painted in the RoyalMonastery of the Escorial. He died in 1608.

79. The Descent fromthe Cross. By means of two ladders, centralJoseph, Nicodemus and St. John lower the sacred s^lon :corpse. The Magdalen gazes on the torn feet of the autoresSaviour, while the Virgin, on her knees, appears to italianossuffer intense grief. Figures life-size. Can-vas : Sft. 3J in.by 10^ in.

80. St. Sebastian. Two coarse fellows are tying him to atree. Figures entire; life-size, Colection of Isabel Famese,Palace ofSan Ildefonso. Cnovas : 6ft.'^ in. by 2 ft. 8J in.

8i. The Last Supper. In a dining-hall of Greco-Romanarchitecture. Figures life-size. Colection of Philip IVReal Alc%ar y Palacio, Oratorio of the Itieen. Canvas : Sft. 3 in.by yft. II /;;.

CARP (Girolamo de'). Ferrarese School : 1488 or 1501-1656.

16

CARRACCI

Was an enthusiastic student of Correggio and Raphael,and formed his style from thcsc two. In Rome hegained a great reputation. He did work for the Kingof Francc and other princcs. He excelled in por-traiture. One of his best portraits is that of theArchbishop Salimbeni, in Florcnce. He was alsoarchitect and miisician.

SALA 82. Portrait of a Young Man. Colhction of Isabel Farnese, PahueITALIANA of San Ildefonso. Panel : 2 fi' 3 "' h '^fi' ^ ^"*

CARRACCI (LoDovico). Eclectic Bolognese School :1555-1619.

Born at Bologna, 1555. Studied first in the schoolof Prospero Fontana. Then he went to Florence,to the school of Passignano ; and at Parma he studiedParmigiano and Correggio. He was the founder ofthe Eclectic School of Bologna. Some of his bestworks are in the gallery of the Academy at Bologna.

DIRECCIN 83. Jess Crowned with Thorns. Bust-size. Colhction ofPhilip V.^ Palace of San Ildefonso. Cannjas : ift. 7^ in, by 2ft.2 in.

CARRACCI (Agostino). Eclectic Bolognese School :1557-1602.

He was first placed with a jeweller, but throughthe advice of Lodovico he^became pupil to ProsperoFontana. He also studied under Domenico Tibaldiand Cornelius Cost. After spending some time inParma and Venice, he returned to Bologna to becomea teacher in the Carracci school. He assisted hisbrother Annibale in frescoes in the Farnese Palaceat Rome. The Commufion of St. Jerome., in theAcademy at Bologna, is his best work. He did muchengraving, and his prints are numerous. He died atParma in March ojf 1602.

SALA 84. St. Francis of Assisi. In the upper part of the pictureITALIANA Jess s sccH n His glory, surrounded by Angels, pre-

senting the Saint to the Virgin. Cannjas : 6 ft. 6 in. by4/. 9 in.

CARRACCI 17

CARRACCI (Annibale). Eclectic Bolognese School :1 560-1609.

Brother of Agostino and cousin of Lodovico. Hisonly master was Lodovico. In his earlier works heimitated Correggio ; but having visited Rome andstudied the works of Raphael and Michelangelo,he developed a powerful style of his own. Hepainted, in the Farnese Palace at Rome, extensivefrescoes, in which he was assisted by Agostino. Healso did many works in Bologna. Died in Rome, 1609.

85. A Satyr, offering to Venus a cup of wine, is being re- salastrained by a Cupid. Sketch. Colhction ofThilip V., Palace italianaof San Ildefonso. Canuas : S in. by 12 in.

87. The Virgin and the Child Jess with St. John. Sketchof circular form. Coilection of Philip V., Palace of San Ildefotiso.Panel: diameter II in.

88. The Fainting Magdalen supported by two Angels.Her left hand resting on a skull. An open bookbefore her. Coilection of Philip V., Palace of San Ildefonso.Panel : ift. 2.\ in. y Il in.

8g. The Prostration of the Saviour. Jess comforted inhis anguish by three Angels. Coilection of Philip V.^ Palaceof San Ildefonso. Can-vas : I ft. 6J in. by I ft. li^ in.

90. The Assumption. Amazedto findthe sepulchre empty, sala dethe Apostles raise their eyes to the heavens and see la reinaMary restored upon a throne of clouds attended by isabelangels. From the Royal Monastery of the Escorial. Canijas :^ ft. 2^ in. by ift. \\ in.

91. Landscape with Waterfall and Houses. Coilection ofsM.PLPhilip V., Palace of San Ildefonso. Cavas : II J in. by 10 in. ITALIANA

92. Mountainous Landscape. In the centre a huge rock restora-with trees. To the left a cascade ; to the right, in the tion andbackground, a river with boats, and with people on its salas ofbanks. Coilection of Philip V., Palace of San Ildefonso. Cnovas: THE3^. 10 in. by e^ft. 5^ in. NORTH-r , ^ ^ , . , ^ . EAST

93. Landscape. Canvas: ift. ']\in. by ^ft. 10 in.

CARRACCI (Copy of Annibale).94. St. John in the Wilderness, Coilection of Philip V.^ Palace sala

of San Ildefonso. Canvas: \ ft. 2.\ in. by \ ft. ITALIANA

i8 CARRACCICASTIGLIONI

CENTRALSALN :AUTORESITALIANOS

SALAITALIANA

CARRACCI (School of the).95. The Virgin and Child with St. John. Panel : i ft. 4 in.

by ift.

97. St. Theresa receiving the Communion from the handsof St. Petar. Figures life-size. Cativas: $ft. 2 /;/. by ^ft.II in.

CASTIGLIONI (GiovANNi Benedetto). Genoese Natu-RALisTic School : 1616-1670.

This painter and engraver was born at Genoa. Hestudied first under Giovanni Paggi, and then underGiovanni Andrea Ferrari. He also took lessons fromVan Dyck. He painted much in Rome, Venice,Naples, Parma, and Mantua, and in the last-namedcity he died in 1670.

SALA 99. Jacob's Journey. (Gnesis xxxi.) Rachel with theITALIANA infant Joseph in her arms travels on horseback, followed

by Jacob. Calvas: 2,ft. 2J in. by [ft.

ICO. A Concert. An od Man plays on the Harpsichord whileanother beats time, and a child, a woman, and a youngman sing. Another youth plays the clarinet. Othermusical instruments. Cnovas:

-^ft. 6^ in. by 4/. ij in.

loi. Diogenes seeking Man. He discovers by the light ofa lantern a scene of confusin : animis, dead andalive, a satyr, broken earthenware, fragments of sculp-ture and other objects ; and in the midst a man of anature vicious as the animis. Colkaion of Philip V., Palaceof San Ildefonso. Can-vas : ^ft- 1 2 ^^- h ^f^' 1 1 ^^-

102. Still Life. A Sheep's Head in a large pan, with greens,cheese and sausage. Cnovas : i ft. 4 in. by i jt. io| in.Embarkation of Troops. Soldiers conducting piecesof artillery, drawn by oxen, to a sandy shore, where isseen the main body of the army. Candas : 1 ft. lo^ w.by 2ft. 5J in.

Elephants, mounted by Indians, in a circle. Theymarch round a pyramid cise to which is an altar inthe form of a tripod, in which a fire burns. Collection ojCarlos II., Retiro. Attributed to Liicchesino.

Romn Gladiators. Collection of Carlos II., Retiro. Attributedto Lucchcsino, Canvas : 6 ft. by ^ft. II in.

CENTRALSALN :AUTORESITALIANOS

SALAITALIANA

CENTRALSALN :AUTORESITALIANOSEND OFPRINCIPALPASSAGE :WESTSIDESALAITALIANA

END OFPRINCIPALPASSAGE :WEST

103.

104.

105.

CATENACESSI 19106. Romn Soldiers in the Circus. Candas: 2 ft. ii| in. by central

5 y/. 1 1 tn. SALN :107. Jess Driving the Money Changers from the Temple, autores

Cann.'as : ^ft. 3 in. by ^ft. ,\ in. ITALIANOS

CATENA (ViNCENzo). Venetian School : Date o birthunknown. Died about 1532.Supposed to have been a pupil of Giovanni Bellini.His most celebrated works, of his earlier style, are inthe Academy of Venice. His later style is seen inThe Adoration of the Kings, in the Manfrini Gallery -,and The Virgin with two Saints, at Berlin.

108. Jess giving the Keys to St. Peten Half-length figures, sala deFrom the Monastery of the Escorial. Authenticity doubtful. Panel: LA REINA2/?. 9^ in. by ^ft. f\ in. ISABEL

CAVEDONE (GiACOMo). Bolognese School : 1 577-1660.Studied drawing with the Carraccis, Passarotti, andBaldi. He went to Rome and Venice with GuidoReni. In Venice he studied Titian's works. He wasone of the Eclectic School who nearly approachedthe great naturallists of the seventeenth century.

109. The Adoration of the Shepherds. Figures life-size. centralCnovas :

'J ft, 9J in. by ^ f. loj in, SALN :AUTORES

CERGUOZZI (MicHELANGELo). Romn School : 1602- italianos1660.

His first master is unknown, but it is generally agreedthat it was a Flemish artist who first instructed him.He was a naturalistic painter. The distinguishedFrench painter, Jacques Courtois, was his pupil.

lio. The Shepherd's Hut. A man in a flesh-coloured salabonnet stands in his doorway. Various animis, italianaCollection of Philip V., Palace of San Ildefonso. Canz'as : l ft. y-J in,by I ft, 4 in.

CESSI or CESIO (Carlo). Romn School : 1626-1686.Pupil of Pietro da Cortona. His frescoes were muchthought of in his day. The churches in Rome possessmany of his works.

III. Time Destroying Beauty. Figures larger than life- restora-

CHIMENTICONGA

TION ANDSALAS OFNORTH-EAST

SALAITALIANA

SALAITALIANA

RESTORA-TION ANDSALAS OFNORTH-EAST

size. Collection of Carlos II., od Alczar of Madrid.8//. 4-^ w by T ft. 5 /.

Canvas

SALAITALIANA

CHIMENTI (Jacopo da Empoli, known as). FlorentineScHOOL : 1 5 54-1 640.

Commenced his career as a copyist. He studieddrawing under Tommaso da S. Faidiano. He wasmuch patronised by the Medici family. He didmany altar-pieces in Florence. His colour is strongand his composition stately.

iiiT. The Agony in the Garden. An ngel presents Jesswith the chaHce. The three Apostles^are seen furtherback, sleeping. Panel : ^ft. loj in. by ift. 8 in.

CIGNAROLI (GiovAN Bettino). School undetermined.Born in Verona 1706 ; died in 1770. Painted his-torical subjects.

112. Mystical Subject, The Virgin enthroned, with Saints.Figures life-size. Collection of Carlos III., Palace of San Ilde-fonso. Canvas : 10 ft. 2 in. by ^ ft. 6J in.

CIGOLI (LuDOvico Cardi, called II). Florentine School :1559-1613.Studied with Santi di Tito and Alessandro Allori.He distinguished himself by his fertility of genius,and by his beautiful warm colour. Among his dis-ciples were Gregorio Pegani, Domenico de Passig-nano, and Antonio Biliverti.

113. The Penitent Magdalen. Figures life-size. Canvas : (> ft.25 in. by ifr. II in.

CONCA (Sebastiano). Neapolitan School : i68o-i764(or1774)-His master was Francesco Solimena. He was anaturalistic painter, and in Rome he superintendedan academy for the study of the natural. PopeClemente XI. employed him to paint in the Churchof St. Clemente.

114. Alexander the Great in the Temple of Jerusalem.Sketch. Can'vas : i ft. 8| in. by 2ft. 3 in.

CORRADOCORREGGIO 2

1

115. The Idolatry of Solomon. Carmtu : ift. ghi. hy 2 ft. 3I7V

CORRADO (GiAouiNTo). Neapolitan School. Born in thelatter part of the seventeenth century ; died 1765.

He studied with Solimcna and Conca, and afterwardsin the Academy of St. Luke at Rome. He carne toSpain in 1753 as Court Painter to Ferdinand VI.,and painted in the new Palace of Madrid. He wasan excellent colourist.

118. AUegory. The Birth of the Sun. Sketch for a ceiling westernin a hall of the Madrid Palace. Can-vas:

22 CORREGGIOCORTONA

SALA DELA REINAISABEL

SALAITALIANA

SALA DELA REINAISABEL

CENTRALSALN :AUTORESITALIANOS

SALAITALIANA

SALAITALIANA

STAIRCASELEADINGTO THESALAS DEALFONSOXII.

the Louvre, the National Gallery, London, and atBerlin.

132. Noli me Tangere. Mary Magdalen and the Saviour.(St. John XX.) Presented hy the Duke of Medina de Icu Torres toPh'ilip IV.

,ivho beqiteathed it to the Monastery ofthe Escorial. Panel

:

^ft. 2h in. hy Zfi- A'"-

133. The Descent from the Cross. Originality doubtful.Collection of Philip V., Palace of San Ildefonso. Can-vas : \ ft. 3 /;/.hy I ft. ^\ in.

134. Decapitation of St. Placidus, and Martyrdom of otherSaintS. Originality doubtful, From :he same source asNo. 133. Panel : ift. 3 in. hy I ft. 6| in.

135. The Virgin, the Infant Jess, and St. John. Collection ofIsabel Farnese, Palace of San Ildefonso. Panel : l ft. 65 in. hy i ft.2 in.

CORREGGIO (Od Copy of).136. Christ's Agony in the Garden. The effect of light in

this picture is odd. The figure of Jess is lighteddirectly from Heaven, that of the ngel by the lightreflected from the Saviour. The original of this picturewas presented to the first Duke of Wellington by Fer-dinand VII. There is a similar copy in the NationalGallery, London, Panel : I f. 4^ in. square.

136^7. Christ's Prayer in the Garden. Other od copy of theoriginal mentioned in above note. Panel: i ft. 5^ ;/;. hyl/r. 5^.

136/'.The Halt in the Flight to Egypt. The original existsin Parma. From the Monastery of the Escorial. Cann.-as : 6 f.I0 //;. hy 4/^ 6\ in.

137. The Virgin of the Basket. The Holy Family. Theoriginal picture 'was presented by Charles IV. to the Prince ofthe Peace.It ivas taken to England in 1813, and bought for the National Galleiyin 1825. Can--vas : I ft. ij in. by i ft. 4^ in.

138. Ganymedes carried off by Jpiter. Jpiter in the formof an eagle descends and carries the youth up in histalons. Collection of Philip IV. Rcyal Alczar and Palace ofMadrid. The originalpicture is in Vienna. Caifvas : 5 fi. Si in. by2fi.^in.

139. The Legend of Leda. The original is in Berlin. Col-lection of Philip IV., Royal Alczar and Palace of Madrid. Cnovas :Sft. 4iin. byeft'.zlin.

CORTONA (PiETRO Berrettini da).1669.

Romn School : 1596-

CRESPIDOMENICHINO 23

Born at Cortona. His masters were, at Florence,Andrea Commodi, and at Rome, Baccio Carpi.He introduced a new and pernicious style in Romeafter the disappearance of the Carraccis, Baroccio,and his disciples. He was an architect and author aswell as painter. He died in Rome.

140. The Birth of the Son of God. Collectmi of Charles lII.^Neiv centralPalace, Madrid. On Marhle : I //. 7| in. by I ft. 3J in. SALN :

142. Festivity in Honour of Lucina and the God Pan. italianosFigures life-size. Collection of Charles III,^ New Palace,Madrid. Canicas : 7 ft. 8 in. by li ft. ll^ in. EASTERN

' -^ ^ J J 4 PASSAGE :

CRESPI (Benedetto). Lombard School.Born at Como, and flourished in the seventeenth cen-tury. Little is known of his life. His style isvigorous, and not wanting in elegance.

144. Romn Charity. An od man, condemned to die of salastarvation in a prison, is visited by his daughter, who, italianainspired by pity, feeds him with the milk of her breasts.Figures life-size. Can'vas: 6ft. 5| in. bv fft. 8 in.

CRESPI (Daniello). Lombard School : 1590-1630.Son and pupil of Giovan Battista Crespi da Cerano.He excelled in the grouping of figures, in accuracy ofexpression and attitudes, and in vigorous colour.

145. The Dead Christ supported by the Virgin. Life-size. centralCollection of Charles III , Neiu Palace, Madrid. Cnovas : 5 ft. SALON :8| in. by 4ft. 8 in. AUTORES

ITALIANOSCRESPI (Style of).

146. The Flagellation of Our Lord. Figures half-length; salalife-size. F'om the Escorial. Panel : 4ft, 2 in. by '^ft. -^ in. ITALIANA

DOMENICHINO (Domenico Zampieri, called). EclecticBoLOGNESE School : 1581-1641.

Born at Bologna. First studied under Denis Calvart,and afterwards in the school of the Carraccis. Anni-bale Carracci employed him in the decoration of theFarnese Palace at Rome. With his friend Albanihe painted in the Castle of Bassano, and returning toRome, began the frescoes in S. Luigi de' Francesi.

24 DOMENICHINODUGHET

CENTRALSALN :AUTORESITALIANOSSALAITALIANA

CENTRALSALN

:

AUTORESITALIANOS

The Co7}i7nunion of St. Jerme in the Vadean, IheMartyrdoffi of St. Sehastia?!, in St. Maria dcgli Angel,and T)iana and her Nymphs, in the Borghese Gallery,are among his most celebrated works.

147. St. Jerome writing in the Desert, interrupted by theappearance of two angels. Figures life-size. Canijas

:

Sft. Ilf in. by ,ft. 2-1 w.

148. The Sacrifice of Abraham. The Patriarch, in the actof sacrificing his son, is checked by an ngel who holdsback his uplifted arm. Canicas: ^ft. g^ in. by o^ft. 6| in.

149. Landscape with River and Bathers. Canvas : i ft. 6| in. yI ft. 9I in.

DOMENICHINO (Style of).150. The Tears of St. Peter. Colkction of Philip V.^ Palace of San

Ildefonso. On copper : 1 1 in. by 8 in.

ROOM ATEND OFWESTERNPASSAGE

.

PRINCIPALFLOORCENTRALSALN :AUTORESITALIANOSDIRECCINCENTRALSALN :AUTORESITALIANOSSALAITALIANA

DUGHET (Gaspard), also called Gaspard Poussin. RomnScHooL : 1613-1675.Brother-in-law to Nicols Poussin and received in-struction from that celebrated painter. He waseminently a landscape painter, and executed infresco, tempera, and oil. He worked with suchfacility that he sometimes commenced and finisheda large landscape on the same day. He died inRome in May 1675.

151. Landscape, with Tempest effect. Colkction of P/HpF.,Palace ofSan Ildefonso. Canvas : I ft.

'Jin. by 2 ft. I in.

152. Landscape, with Hurricane effect ; Trees and Cascades.Collection of Philip V.^ Palace of San Ildefonso. Canvas : 2ft, 4^ in.

h ?>fi' 2i "^.

153. Landscape, mountainous, with River and Cascades, andthe Magdalen adoring the Cross. Collection of Philip V.,Palace of San Ildefonso. Canvas ; 2ft. 54 in. by ^ ft. 2\ in.

154. Landscape. Collection of Philip F., Palace of San Ildefonso.Canvas : 2 ft. 41 in, by -^ft. l\ in.

155. Mountainous Landscape.2ft. 4^in. bv^f. 2i in.

Companion to No, 1 54. Canvas

FALCONEGENTILESCHI 25

FALCONE (Angelo or Aniello). Neapolitan School :1600-1655.

Born at Naples. Was a pupil of Ribera. He paintedbattle scenes in the naturalistic style. He wasmaster to Salvator Rosa.

156. Battle. Collect'ion of Philip V.^ Palace of San Ildefonso. Canvas : SAl^A4ft. 3I ifl. by 6/. Ilf in. ITALIANA

157. Combat between Turks and Christians. There is some room atdoubt as to tvhether this atid the previous picture are the ivork of the END OFsame artist. Canvas : 2 ft. 10^ in. by ^ft. 2 in. WESTERN

PASSAGE :FIORINT (Attributed to Giovan Battista). Bolognese principal

School : flourished in the latter part of the sixteenth floor

century.

159. Charity. A woman, with a child feeding at her breast,offers an apple to other two children. Figures life-size. Can-xias : \.ft. loj /. by ^ft. lo in.

FRACANZANO (Cesare). Neapolitan School : date ofbirth unknown ; died 1657. Was a naturalist., andpainted historical subjects and landscapes.

160. Two Wrestlers. Life-size. Signed. Cannjas:^ ft. by

4/f. 2 /;/.

FRINI (Francesco). Florentine School.Born at Florence about 1600, and died between 1646and 1649. Supposed to have been the pupil ofPassignano and Rosselli. He imitated Guido ReniAlbani.

161. Lot and his Daughters. (Gnesis xix.) Collection 0/ salaCharles III., Neiv Palace, Madrid. Cnovas: ^ft. by 2,fi. loj in. ITALIANA

GAGLIARDI (Filippo). Romn School. Known only bythe signature on the following picture.

162. Interior of the Church of St. Peter at Rome. Ca7was : sala6ft. 10 in.by ^ft. I /;/. ITALIANA

GENTILESCHI (Orazio). Eclectic Florentine School :1562-1646.

Learned drawing from his brother, Aurelio Lorni.

26 GENTTLESCHIGIORDANO

SALAITALIANA

SALAS DEALFONSOXII.

He painted in Rome, Genoa, France and England,and died in England at 84 ycars of age.

164. Mystical Subject. The Holy Family with Angels.Cau'vas :. Sfl. 3| in. by ^ fi. 6| ;>;.

165. Moses Rescued from the Nile. Figures life-size.Coi/ection of Pliilip IV., Pardo. Candas : y ft. IO /';;. y 9 />. l^ w.

GENTILESCHI (Artemion). Eclectic Florentine School:1 590-1642.

Daughter of Orazio Gentileschi. She took lessonsfrom Guido Reni. She excelled in the painting ofportraits. Died in London in 1642.

166. Portrait of a Woman. Half-length. Collection of IsabelFarmse, Pa/ace of San Ildefonso. Can-vas : \ ft. 1\\ in. by I ft. 6 in.

167. The Birth of St. John the Baptist. (Luke i.) Figureslife-size. Collection of Charles III., Neiv Palace, Madrid.Can'uas : ^ ft. Ilf in. by S ft. 4^ in.

GERINO DA PISTOJA. Umbrian School. Flourishedin the late fifteenth and early sixteenth centuries.

168. The Virgin and St. Joseph adoring the Infant Jess.Collection of Isabel Farnese, Palace of San Ildefonso. Panel: 2ft. ^in.by I ft. 6f in.

GESSI (Francesco). Bolognese School : 1588-1649.Studied under Denis Calvart and Cremonini.imitated Guido Reni.

He

i6g. Cupid with a dart pierces a Dove. Collection of Charles II.,

Royal Alc%ar and Palace of Madrid. Canvas : 3 ft. 3J in. by2ft. 7 in.

GIORDANO (Luca). Decadent Neapolitan School :1632-1705.

Born at Naples. For nine years he studied underthe direction of Ribera (El Spagnoletto), and then wentto Rome. He visited Florence, Bologna, Parma andVenice, copying the works of the great masters,principally those of Paul Veronese. He was invitedby Charles II. to come to Madrid, and he acceptedthe invitation. In Spain he executed an extra-

GIORDANO

ordinary number of works. He died at Naples atthe age of 73 years.

170. Abraham Hearing the Promises of the Lord. (Gnesisxvii.) Cintas: 2 ft. if in. by ^ f. lO in.

171. Abraham Adoring the Three Angels. (Gnesis xviii.)Can'vas : 2 ft, I iti. by ^ft. 5J in.

172. Lot made Drunk by bis Daughters. (Gnesis xix.) salaCanvas: \ ft. IlJ in. by

28 GIORDANO

CENTRALSALN :AUTORESITALIANOSSALAITALIANA

STAIRWAYLEADINGTO THESALAS DEALFONSOXII.

SALAITALIANA

WESTERNPASSAGE :BASEMENTROOM ATEND OFWESTERNPASSAGE :PRINCIPALFLOORCENTRALSALN :AUTORESITALIANOSSALAITALIANA

EASTERNPASSAGE :BASEMENTROTUNDA

SALAESPAOLA

SALAITALIANA

192. The Holy Family. Imitation of Raphael. Panel: 2 ft.hy I ft. 65 in.

193. The Virgin and Child, with St. John. Can-vas : 2//. 6^ in.

194. The Kiss of Judas. Imitation of the Flemish style.Collection of Isabel Farnese, San Ildefonso. On copper : i ft. 4I in.by 2ft. 11 in.

195. Pilate washinghis Hands. Companion to No. 194. On copper :Ift. 4^in.by 2ft. 1 1 in.

196. St. Petar Repenting his Sin. Candas: 2 ft. 2^ in. by 2 f.

197. Jess Bearing the Cross. Bust; life-size. Can-vas: 2ft.6 in. by 2ft. 3f in.

199. The Arrival of the Holy Spirit in Tongues of Pire.(ActS of the Apostles ii.) Collection of Charles III., NewPalace, Madrid. Canvas : I ft. II in. by 2 ft. 7 in.

200. The Assumption. Collection of Charles III., Neiv Palace,Madrid. Can'vas : I ft. II in. by 2 ft. 7 in.

201. St. Jerome, in Prayer, contemplating in ecstasy theFinal Judgment. Cnovas: \ft. Ilf in. by 2ft. 7J in.

202. St. Anthony with the Infant Jess. Figures life-size.Canvas : 3 y?. Ii in. by 3 ft.

203. St. Rosalie in Contemplation. Collection of Charles III.,Palace of San Ildefonso. Canvas: 2ft. 7J in. by 2ft. l in.

204. St. Agatha. Life-size bust. Collection of Charles III., NeivPalace, Madrid.

205. St. Francis Adoring Jess. Has a crucifix in his righthand. Athisleft are various emblems. Collection ofIsabelFarnese, Palace of San Ildefonso. Cnovas : '^ft. I f in. by 2 ft. 3f in.

206. Mystical Subject. A saint saved from a shipwreckthrough the mediation of the Virgin. Collection ofCharles III.

,Neiv Palace, Madrid. Canvas : 2 ft. by 2 ft. 6 in.

207. Capturing a Fortress. Figures life-size. Can-vas : 7 ft,7| in. by II ft. if in.

208. Battle of St. Quentin. Sketch for one of the frescoes of theprincipal stairivay of the Royal Monastery of the Escorial. Can-vas :ift.S^in.bySA S'-

209. The Taking of St. Quentin. ^Iso a sketch for the same frescoCajtvas : I ft. 8^ z. by ^ ft. 5! in.

GIORGIONE 29

211. AUegory of Peace. Probably the work of Rubens.Figures life - siz e . Colkcon of Charles III, , Ne-v Palace, Madrid. CENTRALCatfuas : 10 />. Ili in. by IT. rt. Kij in. SALN :

^ "* J- O^ J- AUTORES213. Allegory. Figures life-size. Acquired by PhUip F. Canvas : italianos

6/^ 3 in. by 2ft. 6 in. STAIRWAY216. The Flower Goddess. Colkction of Charles III., Palacio del

^^ ^^^Retiro. Can-vas: ft. 6 in. by ift. 5 in. SALAS DE

2i8. The Death of the Centaur Neso. Can-uas: ift. 8^ in. by Alfonso2.ft. 6| in.

"^

xn.

EASTERN219. Perseus, Conqueror of Medusa, presenting himself at passage :

the Banquet of the Gorgons. Canvas:^ft. 3 in. by 2ft. basement

ttI jti^^2 'n. SECRE-

221. Andrmeda Chained to the Rock. Imitation of the "^^^^aVenetian School. Canvas : 2 ft. 6 in. by -2 ft. I in. SALA

ITALIANA226. Aeneas Fleeing from Troy : he carries his father western

Anchises on his shoulders and is followed by his passage :wife and his son Ascanius. (Virgil, Aeneid, Bk. ii.) basementCollection of Charles III., Neiv Palace of Madrid. Canvas: ^ ft.I in. by ^ft. I in.

231. Portrait of Charles II. on Horseback. Collection of Charles salaIIL, Buen Retiro. Canvas : 2 ft. 7^ in. by \ ft. Ilf in. ITALIANA

232. Portrait of Mary Anne of Newbourg, second wife ofCharles II., on horseback. Companion to No. 231, andfromthe same source. Canvas: "ft. 6J in. by \ ft. Iif in.

233. Portrait of a Cardinal. Imitation of Rembrandt's style.Life-sized bust. Canvas: 2 ft. ^\in. by2ft.

GJORGIONE (GioRGio Barba relli, commonly called).Venetian School: 1477 1511.

Was born near Castelfranco about 1477. He studiedunder Giovanni Bellini at the same time as Titan.His colour was on a par with Titian, and he sharedwith that great master the supremacy in the art ofmaking the canvas live and breathe. Pictures thatcan be with certainty assigned to Giorgione are veryrare. He died at the age of 33 years.

236. Mystical Subject. The Infant Jess, in the lap of the sala deVirgin, receives from St. Bridget an offering of flowers. la reinaFigures half-length. TMs precious panel is considered, by many ISABEL

30 GIULIO ROMANOGRECOlearned critics, the ivork of Tifian. It ivas given by Philip IV, to theMonastery ofthe Escorial,from ivhence it carne to this gallery. Panel

:

2.ft. gh in. by fft. 2% in,

GIULIO ROMANO (Giulio Pippi, commonly called).Romn School : 1499 1546.This most distinguished of Raphael's pupils was bornat Rome. He was employed by Raphael in theVatican, and on the death of his master helped tocomplete several of his unfinished frescoes. In 1524he went to Mantua to enter the service of DukeFederigo Gonzaga, and in Mantua he had a greatnumber of pupils. He painted both in fresco and inoil, and was a celebrated engineer and architect.

SALA DELA REINAISABEL

237- The Holy Family. Collection of Philip V., Palace of San Ilde-fonso. Panel : I ft. 6| in. by r ft. 2^ in.

SALA DELA REINAISABEL

SALAESPAOLA

CENTRALSALN :AUTORESESPA-OLES

GRECO (DoMENico Theopocupuli or Theopocopulo, called"El Griego" or). Venetian School : 1548- 162 5.Was born in Greece, and left his native country tostudy under Titian at Venice. In 1577 he wasestablished in Toledo, where he commenced to paintone of his best works, T6e Stripping of Christ, in thesacristry of the Cathedral. His early works were inthe style of Titian, but his later productions partakeof the fantastic and supernatural. He died at JJ yearsof age.

Portrait of a Man. Life-size bust. Can-vas : i ft. 6 in. byift.^lin.

Jess Christ, Dead, in the Arms of the Eternal.Figures life-size. PurcJiased by Ferdina7id VII. in 1 832.Canvas : ^ ft. ^ in. by 5 ft. 9f in.

Portrait of a Doctor. Half-length; life-size. CollectionofCharles II., Royal Alczar and Palace ofMadrid. Canvas : 3 ft.by 2ft. 6f in.

Portrait of D. Rodrigo Vzquez, President of Castile.Life-size bust. Candas: 2 ft. by I ft. ^^ in.

Portrait of a Man. Life-size bust. Can-vas: 2ft. 7 tn.by 2 ft. if in.

Portrait of a Man. Life-size bust. Catwas: 2ft. i in. bI fi. 7| in.

238.

239-

240.

241,

242.

243.

GUERCINO 31

244. Portrait of a Man. Life-sized bust. Candas: 2 ft. i w. salahy \ ft. 1 in. ESPAOLA

245. Portrait of a Man. Life-sized bust. Cativas: 2ft. 3I in.by2ft.

246. Portrait of a Man. Life-sized bust. Cnovas: 2 ft. \%in centralby I ft. 9^ in. SALN :

247. St. Paul. His left hand rests on a book. Life-sized autoresbust. T/s picture ivas in the od Alczar and Palace ofMadrid ^SPA-in 1734. Can'vas: 2 ft. ^l in. by ift. 9! /;;.

NOLESSALA

GUERCINO (GiovANNi Francesco or Giafrancesco Bar- espaolaBiERi, called II). Eclectic Bolognese School : 1591-1666.

Guercino was born at Cento, near Bologna, inFebruary 1591. He was a follower of the style ofthe Carracci school. His earlier works are betterthan those of his later period, for he sacrificed hisown powerful style to an insipid and fastidiousmannerism. He died at Bologna in 1666.

248. St. Peter in Prison being Liberated by an ngel, sala deHalf-length figures ; life-size. Colkction of Charles III. ^ Neiu la reinaPalace ofMadrid. Canvas : ^ ft. ^ in. by \ft. 5 in. ISABEL

249. Susannah and the Elders. Figures life-sie. From the salaEscorial. Canuas : 5 ft. 8 in, by 6 fi. 8| in. ITALIANA

250. St. Augustin meditating upon the Trinity, with a bookin his hand. At his side an ngel in the form of achild appears to demnstrate to him the absurdity ofwishing to embrace with his intelligence this inscrut-able mystery. Figures life-size. Colkction of Isabel Famese,Palace of San Ildefonso. Can'vas : 6 ft. by 5 ft. 4f in.

251. The Magdalen in the Desert. In contemplation, centralgazing at a crucifix. Half-length ; life-size. Colkction of ski^o^ :Isabel Farnese Palace of San Ildefonso. Caivas : '^ ft. II in. by 2)fi' AUTORES3 in. ITALIANOS

252. Painting. Represented in a young woman with paletteand brushes in her hand, and seated before a canvas,turning her head to observe an od man who has acompass and a mirror upon the table. Half-lengthfigures; life-size. Colkction of Charles II., Royal Alc-zar andPalace ofMadrid. Savedfrom thefre ofi'jT^^. Canvas^ Zfi- 7 ^'^by ^ft. 10 in.

253. Disinterested Love. Cupid emptying a purse. Colkc- salation ofC/iarks II, Royal Alczar and Palace of Madrid. Canvas: ITALIANA'ft.2lin.by 2 ft. Si in.

32 GUERCINOGUIDO

CENTRALSALN :AUTORESITALIANOS

WESTERNPASSAGE :BASEMENT

254. Diana. Life-size bust. Colkct'wn of Isabel Famese, Pa/ace ofSan Ildefonso, Canvas : i ft. 8^ ' by I ft. 54 '^^'

GUERCINO (Copy of ).255. The Marriage of St. Catherine.

Can-vas: ^Jt. 2\ in. by 2.ft, 4 in.Figures life-size.

ROOM ATEND OFWESTERNPASSAGE :PRINCIPALFLOOR

SALAITALIANA

CENTRALSALN :AUTORESITALIANOS

CENTRALSALN ':ANTORESITALIANOSSALA DELA REINAISABEL

GUERCINO (School of).256. St. John the Baptist with the cross of reeds, and in

both hands the ribbon with Agnus Dei, Half-length

;

life-size. Cati'uas : 2. ft. \\ in. by l ft. 7f in.

GUIDO (Guido Reni, commonly called). Eclectic BologneseSchool: i 575-1642.

Born at Calvenzuno, near Bologna, and studied firstunder Denis Calvart, and afterwards in the school ofthe Carraccis. He first painted in the vigorousmanner of Caravaggio, but this soon gave place to astyle more simple and natural. And again, in hislater works, his style was changed for an insipididealism of form, with silvery grey and greenishtones. He died in Bologna, and was buried in theChurch of San Domenico.

257. Lucretia. Life-sized bust. Collection ofIsabel Famese, Palaceof San Ildefonso. Candas: 2 ft. 3 in. by \ ft. 10 in.

258. Cleopatra. Half-length; life-size. Can-vas: ift.'jin.blfi.\\ in.

259. The Virgin seated with the Infant Jess. From the Moti-astery of the Escorial, to ivhich it ivas sent by Philip IV. Canvas

:

6 f. loj in. by fft. 5I in.

260. St. Sebastian. Tied to the trunk of a tree and trans-fixed by an arrow, he turns his eyes heavenwards.Almost full-length; life-size. Moon effect. Colkction oj-Isabel Famese^ Palace ofSan Ildefonso. Cnovas : 5 ft. 65- in. by ^ft,3 "'

261. The Apostle James. Half-length; life-size. Collection ojIsabel Famese, Palace of San Ildefonso. Cnovas: ^ft, t\in,by -zft,lOf in.,

262. The Assumption. CoUection of Charles II., Royal Palace ojMadrid. Panel : 2 ft. 6 in. by l ft. 7f /;;.

GUIDO 33

263. The Martyrdom of St. ApoUonia. Compamon to No. 264. salaCollectmi cf Philip IV. ^ Royal yjlczar and Palacc of Madrid. ITALIANAOn copper : 1 1 in. by 7f in.

264. St. ApoUonia after the Martyrdom, in Prayer. Companionto No. 263, aiui from the same sonrce. Oti copper ; 1 1 i/i. by 7 /'//.

265. St. Mary Magdalen. Bust with hands; life-size. Cd- centrallection of Isabel Farnese, Palace ofSan Ildefonso. Canzuis : 2 ft. 5:|- in. SALN :by 2 fi. AUTORES

ITALIANOS266. St. Jerome in the Desert, Reading. Life-sized bust. c^i^p^

Cafi'vas: 2 fi. l^ in. by I fi. g^in. ITALIANA

267. Portrait of a Young Woman. Life-sized bust. Cc//

3+ GUIDOLANFRANCHI

GUIDO (School of).SALA 276. The Grave of Jess visited by two Apostles, to whomITALIANA an ngel announcesthe Resurrection. Oncopper: \ft.(i\'m.

h I ./> 33. '"277. A Holy Martyr. Half-length female figure; life-size.

Cairoai : T^fr. 2 in. by zft. ^\ n.

RESTORA-TION ANDSALASOF THENORTH-EAST

JOLT DE DIPI (Antonio). School undetermined.Born at Modena, and flourished in the seventeenthcentury. He executed works for the theatres inGermany, England and France, and was painter toCharles III., then King of Naples.

279.?. The Embarkation of Charles III., in Naples, when hecarne to secure the Crown of Spain. Signed. Companionto the foUoiving. Can'vas : 4 ft. 3 /;/. >y 6 ft. 8 in.

279/^. The same Scene viewed from the Sea. Signed. Com-panion to No. 279?. Can'vas : 4 ft. 3 in. by 6 ft.2> in.

LANFRANCHI or LANFRANCO (II Cavaliere GiovanniDI Stefano), Decadent Lombard School : Born atParma in 1581 or 1582, and died in 1647.

He studied irst under Agostino, and then underAnnibale Carracci. In Rome he was well patronisedby Pope Paul V. He died at Rome. Art, in thehands of this painter, degenerated into a mere me-chanism through his desire to produce eifects bypurely superficial means ; by violent contrasts oflight and shade and groupings, suggested more by theprecepts of the school than by the nature of thesubject.

280. The Obsequies of Julius Caesar. In the middle of thepicture is raised a funeral pile of cedar trunks, sur-rounded by vases containing balsams and perfumes.Upon this is placed the corpse of Julius Caesar. Atfoot gladiators are combating, while the priests setfire to the heap in the presence of a great multitude.Figures life-size. Collection oj Charles II., Retiro. Can-vas :10 ft. 10J in. by \

LANFRANCOLUINI 3 5284. Presagas. A Romn Emperor, accompanied by his

attendants, consults the entrails of the sacrificedvictims. Colkction of Philip III. ^ Pardo. Can--v(U : ^ft. lo^ /.hy II Ji. g !i.

LANFRANCO (School of).286. Triumphal Entrance of Constantine into Rome. Domimci stairway

attribtited this picture to Domenico Gargimli, fiipil of Aniello Falcone. leadingCatrvas : ^ft. by II ft. 6J in, TO THE

SALAS DE

LEONE (Andrea di). Neapolitan School: i 596-1675. AlfonsoBorn at Naples, and studied with Belsario Corenzioand Salvator Rosa. He imitated the style of AnielloFalcone, master of Salvator Rosa. Died at Naples,nearly 80 years of age.

287. Landscape, with Jacob and the Angels. (Gnesis salaxxxii.) Savedf-om the fire of the od Alczar ofMadrid in 1 734. ITALIANACativas : 3 f. 2 /. by Of ft. f in.

LOTTO (Lorenzo). Venetian School : Born at Thevisoabout 1480, and died about the middle of the six-teenth century.

It is believed that he first studied with GiovanniBellini ; but the influence of Giorgione and Palmathe eider are clearly seen in his works. His colour iseminently Venetian. As a portrait-painter he hadfew equals in his day.

288. A Marriage. Figures half-length. Colkction of Philip IV., sala deRoyal Alczar and Palace of Madrid. Attributed to Palma in the la REINAInventmy of 1666. Sa'vedfromthefreofi'j'^/^. Can-T/as : 2f. ^^ in, ISABELby 2f. 8f in.

LUINI or DI LUVINO (Bernardino). Lombard School :Born at Luino, on the shore of the Lago Maggiore, inLombardy, about 1460, and was still living in 1530.Little is known of his biography. He is spposed tohave been a pupil of the Milanese painter StefanoScotto, and he may have received lessons fromLeonardo da Vinci. His works are characterised bytenderness and purity. His figures are sweet andgracious. But the construction of his compositions

36 MALOMBRAMANFREDI

is not good.frcscocs.

He showed to best advantage \n his

SALA DELA REINAISABEL

SALAITALIANA

2Sg. The Infant Jess and St. John, kissing. Copy, o-ditcon ofthe tico infants of the fieture No, 290. Panel ^ IIf14-^ in.

h

SALA DELA REINAISABEL

290. The Holy Family. The Infant Jess and St. John,seated on the grass, are embracing and kissing. TheVirgin contemplates them from the right; and St.Joseph, leaning on his staff, watches them with happycountenance. Sent by Philip JV. to the Royal Monastery of theEscorial^ from %vhenee it carne to the Mtisetim. Panel:

2) fi- ?> ^"' ^y2 ft. 84 in.

291. The Daughter of Herodias, presenting the tray for thereception of the head of the Precursor. Figures half-length and less than life-size. Collection of Charles JI., RoyalAlc-zar of Madrid. Panel : 2 ft. by 2 ft. 6J in.

MALOMBRA (PiETRo). Venetian School : 1556-1618.He excelled principally in the treatment of subjectsfrom the modern history of his country ; and inportraiture.

CENTRAL 292. The Hall ofthe College of Venice. Can-vas: Sfi-^hhSALN : 6 ft. il\ in.AUTORESITALIANOS MANETTI (RuTiLio). Decadent Florentine School :

1571-1637.

Born at Siena. Was a pupil of Francesco Vanni, buthe imitated Caravaggio.

293. The Miracle of St. Margaret. From the Escorial. Candas

:

4ft. 7 in. by ^ft. 5 in.SALAITALIANA

MANFREDI1617.

(Bartolommeo). Romn School : 1580-

CENTRALSALN :AUTORESITALIANOS

294.

Studied first with Christofana Ronculli, and thenperfected himself in copying and studying the worksof Caravaggio. His drawing is faulty, but his colourvigorous.

An armed Soldier carries on a tray the Head ofSt. John the Baptist. Half-length; life-size. Cati'vas:4f. 3iin. by ifi. I in.

MANTEGNA-MARIO DE' FIORI 37

MANTEGNA (Andrea). Venetian School : 1431-1506.Born either in Padua or Vincenza. Was adopted byFrancesco Squarcione. This artist imbued the youthwith a love for ancient classic art by bringing beforehim od paintings, vases, fragments of sculpture, &c.,which he had collected in his travels. At 25 yearsof age the ungrateful Mantegna abandoned his masterand adopted father to become a member of the farailyof Jacopo Bellini, whose daughter he married. Hedied in Mantua. His works reveal his zealous studyof the antique. His style is somewhat severe, buthis drawing is correct and his execution remarkablyvigorous. He was painter, engraver, Sculptor, poetand architect.

295. The Death of the Virgin. Collection of Charles IIL, Palace ofsAi.A deSan Ildefonso. Panel : i ft. ^ in. by i ft. 4^ in. LA REINA

ISABELMARATTI (Carlo, also called II Cavaliere Maratta).

Romn School: 1625 1713.He went to Rome while very young, and ihere re-ceived the distinguished patronage of six successivePopes of his time. His works are characterised moreby the absence of prominent defects than by excellentqualities. He died in Rome.

297. Hagar with Ishmaelin the Wilderness. Canvas : ift.io^in. saj^kby I ft. 6| in. ITALIANA

MARATTI (Style of).298. Flora. Figure more than half-length ; life-size. Can-uas

:

4ft.^in.by ^ft.2in.

MARIO DE' FTORI (Mario Nuzzi, called). RomnSchool : Born, according to some, at Parma, and toothers at Rome, in 1603 ; died 1673.

Pupil of his nele, Tommaso Salini, and, like hismaster, he excelled in painting flowers.

299. Flowers. Can-vas: 2. ft. Q in. by ^ft. h in.PRINCIPAL

^^ y :? y j^ - STAIRWAY300. Flowers. Canvas: 2.ft. 6f in. by ^ ft. 3J in.

301. Flowers. Candas: 2 ft. Q in. by 5 fi. li in.SALA

o J ^ J DJ 2 ITALIANA

MASSIMO STANZIONIMORAZZONE

PRINCIPALSTAIRWAYSALAITALIANAPRINCIPALSTAIRWAY

SALAITALIANA

STAIRWAYLEADINGTO THESALAS DEALFONSOXII.

CENTRALSALN :AUTORESITALIANOS

302. Flowers. Canvas: ^ft. y^ in. by 2ft. Zh '"-

^02a. Flowers. Cati'uas : lft.()Jn.by^ft.

303. Flowers. Can-uas : 2ft.^^in.by$ft.

MASSIMO STANZIONI (II Cavaliere). NeapolitanScHooL : 1585-1656.

Born at Naples. First a pupil of Lanfranci, andafterwards went to Rome to study and copyAnnibaleCarracci. He became an admirer of Guido Reni,whom he tried to imitate.

306. The Vision of Zacharias. (St. Luke i.) Figures life-size. Collection of Charles II., Retiro. Canvas: 6 ft. l| in. by10 ft. Il| in.

307. St. John the Baptist, Preaching in the Desert. Life-size. Collection of Charles 11.^ Retiro. Cnovas: 6 ft. 1 in. by10 y?. lOj in.

308. The Beheading of St. John the Baptist; figures life-size. From the same source as the pre'uious tivo. Canvas: 6 ft.by 8ft. 4^in.

309. St. Jerome, Writing. Half-length; larger than life-size. Collection ofIsabel Farnese^Palace ofSan Ildefonso. Canvas:,fi. 24 in. by i^fi.

310. Sacrifice to Bacchus. Collection of Philip IV.^ Royal Alc-zarofMadrid. Canvas:

^J ft. 8| in. by 11 ft. 7j in.

MASSIMO (Style of).311. Abraham Repudiating Hagar. Half-length; figures

life-size. Canvas: ift. II in. by ^ft. lO in.

MIGLIARA (GiovANNi). Genoese School : Died about1834. '^^^ date of his birth is unknown, but he wasprobably born in Miln. He painted landscapes andperspectives.

312. Perspective Interior of the Cloister of St. Paul, nearPavia. Purchased for this Galleiy by Ferdinand VII. in 1829.Canvas : 2 fi. 5i z- by \ ft. \\ in.

MORAZZONE (Pier Francesco Mazzucchelli, called IICavaliere). Lombard School: 1571-1626.When a boy he went to Rome to study the works of

MORONIPADOVANINO 39

Gaudenzio. He received many commissions fromthe Pontifical Court. He next began to studyRaphael and Michelangelo. Afterwards he wentto Venice under the influence of Titian and Tinto-retto, andreturned to his native town with astyle fullof grandeur and vigour. He died at 55 years of age.

313. The Death of Lucretia. Half-length figure; life-size. easternCatiTjas : 4 Ji. by 3 ft. 3^ in. PASSAGE :

BASEMENT

MORONI or MORONE (Giovan Battista). VenetianScHOOL : Born about 1525 ; died 1578.

He studied first with Alessandro Bonvicino andpainted portraits chiefly. These lack the grace andmajesty of Titian, but are full of truth, life andindividuality. His best portraits are in Venice.

314. Portrait of a Venetian Captain. More than half- centrallength; life-size. Collection of Charles II., Royal Alc%ar /salON :Madrid. Cani'as : '^ft, lO^ in. by 2.ft. \\\ in. AUTORES

ITALIANOS

NANI (J acopo). Neapolitan School : Flourished in theeighteenth century. He painted landscapes, fruits,and flowers.

315. Dead Game. A Har and two Partridges'. Canijas: 2.ft. sala2 in. by I ft. 6 in. ITALIANA

316. Dead Game. A Partridge and a Goose suspended from salaa branch. Other birds on the ground. Canvas : 2 ft. italiana4 in. by I Ji. 6f in.

317. Dead Game. A Har and various Birds at the foot ofa tree, beside a hat. Camjas: 2ft.^ in. by i ft. 6| in.

318. Barnyard attacked by a Fox. Can-uas : ^ft. 2J in. by -^^ft.

PADOVANINO (Alessandro Varotari, called II). Vene-tian School : 1 590-1650.

Born at Padua. At an early age he went to Venice,and studied the works of Titian and Paul Veronese.He excelled in painting children. He was also agood landscape painter. He is distinguished morefor beauty of colour than correctness of form.

40 PEGANOPALMA

CENTRAL 319. Orpheus. FuU-length figure. Collect'wn ofCharles II., RoyalSALN : Castle ofMadrid. Can-vas: ^ft. 4-^- in. by T,ft. 6 /.AUTORESiTALL\Nos PEGANO (Michele). Neapolitan School : Born at Naples,

date unknown, and died about 1730. He paintedlandscapes. *'His colour is fresh and pleasing."

SALA 320. Landscape. Mountains, with Ruins. Effect of risingITALIANA SUn. Collectiot of Isabel Farnese, Palace of Sa? Ildefonso. Cannjas :

ft. 6 rn. hy zft. 9J m.

321. Landscape. Woodland, with river, andpeople in aboat.Sunset effect. From same source as No. 320. Canvas : I ft.6 ?//. by 2 ft. 8f in.

PALMA (Jacopo), called Palma il Vecchio, to distinguishhim from bis nephew, Jacopo Palma II Giovane.Venetian School : Born about 1480, and died about1548.

He may have been a pupil of Giovanni Bellini. Itis certain that he was condisciple and rival of Titianand Giorgione, and friend of Lorenzo Lotto. Hedeveloped their styies. In his earlier works his headspartake of a certain severity of expression. Thefigures of his transition style are restful and charm-ing, and his ultmate style places him on a level withTitian for the softness and ease of his pencil and thesplendour of his tints. The following picture is agood example of this ultmate style.

CENTRAL 322. The Adoration of the Shepherds. Panel : 3 f. io| in. bySALN : 5 y^- 54 "^autoresITALIANOS PALMA, Giovane (Jacopo Palma). Naturalistic Vene-

tian School : 1 544-1628.

Was a pupil of his father Antonio, and formed hisstyle in contemplatng the works of the Venetianmasters. As protege of the Duke of Urbino he wentto Rome, where he remained for ten years. Hiscanvases reveal many ndcatons of genuine talent,combined with arbitrary and mechanical methods.

323. The Marriage of St. Catherine of Alexandria. Half-length figures; life-size. Collection of Isabel Fmese, Palaceof San Ildefonso. Canvas: 2> fi 9h '" h ^fi- ^'^ "'

PANINIPARMIGIANO 41

324. David, Conqueror of Goliath. (i Kings xviii.) Figureslife-size. From the Escorial, Canvas : 6 ft. 8| in. by lO ft. lO^ hi.

325. The Conversin of Sal. (Acts of the Apostlesix, 1-7.)Figures life-size. Compan'wn to No. 324, a7td from the samesource. Can-vas : 6ft. 8f ;';;. y lO ft. lO iru

PANINI (Gio. Paolo). Romn School : 1691-1764 or1768.

Born at Piacenza, and in that town studied architec-ture and perspectiv^e. In Rome he took Icssons inpainting from Andrea Lucatelle and Benedetto Luti.He cultivated landscape and perspective, and paintedbeautiful decorations for several theatres. He pos-sessed a fertile imagination, and was pleasing andvariegated in his compositions ; but he lacked truth room atand vigour of colour. end of

, , .WESTERN

326. Ruins of Architecture and Sculpture, with various passage-figures. Ganzas : I ft. 6| f. y 2 f. I in. PRINCIPAL

327. Landscape with Ruins. Collection of Isabel Famese, Palace of'^'^'^^'^San Ildefonso. Can'uas ; 1 ft. 6 in. by I ft. 2^ in. CENTRAL

SALN328. Landscape with Ruins of a Corinthian Temple. Canvas : autores

2ft. i in. by ift. 6f in. ITALIANOS

329. Landscape with Ruins. Compaton to No. 328. Canvas

:

2 f.\ in. by I ft. 6| in.330. Jess arguing with the Doctors. The scene takes

place under the transept of a spacious Greco-Romantemple whose arches are supported by great lonicpillars of jasper. Collection of Philip V., Palace ofSan Ildefonso.Canvas : 1 ft. l^ in. by i ft. 9I in.

331. Jess Driving the Traders from the Temple. Companionto and from the same source as No. 330. Canvas: 1 ft. I in. byIft.g^.in.

PARMIGIANO or PARMIGIANINO (Francesco Maz-zuoLA or Mazzola, commonly called II). LombardSchool: 1503-1540.Born at Parma. After the death of his father hewas brought up by his two neles, Michele and Pie troLlario, who were both painters. He became animitator of Correggio's style. After acquiring some

SALAITALIANA

42 PARRASIOPOMERANCIO

SALA DELA REINAISABEL

SALAITALIANA

SALA DELA REINAISABELCENTRALSALN

:

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332.

333.

334.

335-

fame in his native country he went to Reme, andwas there during the sack of that city by the troopsof Charles V. in 1527. He died at Casal Maggiore,in Cremona. He was at his best in portraiture. Asa colourist his tones are strong and warm. He didsome engraving.

Portrait of an unknown man : probably Lorenzo Cibo,cousin of Clement VII. and Captain of the Guard.Figures more than half-length ; life-size. Compano> to^^- 3?)Z- Collection of Philip IV., RoyaI Alc-zar and Palace ofMadrid. Panel : ^ft. 3f in. by '^fi. 2 in.

Portrait of a Lady with three Children : probablyRiccardo Malaspina, wife of Lorenzo Cibo. Figureslife-size. Companion to and fom the same source as No. 332.Panel : ^ft. 2 in. by ^f. l| 'Cupid making his Bow. Represented whittling a lathof wood, and trampling under his feet some books.At his feet are two other Amorini. Figures life-size.Repetition of a picture in the Belvedere Gallery inVienna, which was anciently attributed to Correggio.Collection of Philip IV., Royal Alczar of Madrid. Attributed toCorreggio in the In'ventory of 1666. Sa'ved from the fre o/" 1734-Cati'uas : ^ft. gf in. by 2 ft. I in.

St. Barbara. Bust with hands.y>. 3i

Panel: I ft. 6f in. by

336. The Holy Family. The Virgin with the Infant Jess, St.Joseph, and Angels. Figures life-size. Vasari spoke 'ueryhighly ofthis picture. Panel:

"^fi. 7 in. by 2ft. lof in.

PARRASIO (MiCHiEL). Venetian School. Flourished inthe sixteenth century. Was intimate with Titianand Paul Veronese.

337. Jess Christ, Dead, adored by St. Pius V. From theMonastery of the Escorial. On copper : 1 ft. 4^ in. by II f ///.

POMERANCIO (CRisTOFANoRoNGALLi,calledlL Cavaliere)or Dalle Pomerancie. Romn and FlorentineScHOOLS : 1552-1626.

Born at Volterra. In Rome his first master wasNiccolo Circignano. He followed the style ofFederico Baroccio. He travelled in Germany, Flan-ders, Holland, England and France, and returned toRome laden with honours, and there died in 1626.

PONTORMOPORDENONE 43338. The Virgin weeping over the Dead Christ. At her central

side Joseph of Arimathea and two Maras. Collect'wn of sm-q-:Isabel Farnese^ Palace of San Ildefonso. Panel : 9 m. by 6^ /;/. AUTORES

ITALIANOS339. The Assumption of the Virgin. Collecon of Isabel Farnese, g^LAS DE

Palace of San Ildefonso. On copper : I ft. 9^ in. by \ ft. ^\ in. ALFONSO

PONTORMO (Jacopo Carucci da). Florentine School :1493-1558.

Born at Pontormo, and studied successively withLeonardo da Vinci, Mariotto Albertinelli, Pietro diCosimo and Andrea del Sarto. He took such afancy for the works of Albert Drer that he endedby slavishly copying the style of that master. Hisportraits are better than his composition pictures.

340. The Holy Family. The Virgin, kneeling, caresses her direccindivine Son ; St. John and St. Joseph represented.Figures life-size. Collectlon of ^ueen Isabel Farnese^ Palace ofSan Ildefonso. Panel : fft. 2f ht. by T,ft. 3 in.

PORDENONE (Giov. Antonio Regillo, or Licmio da).Venetian School : 1484 1540.

Born at Pordenone. Attracted by the fame ofGiorgione he went to Venice, and in a short timemade a ame for himself. He worked with greatfacility, and his pictures were seen in Genoa, Mantua,Cremona, Venice, &c. &c. His fame attractedBuonarroti to Venice. He died at Ferrara in 1540.The principal merit of this painter consists in themarvellous softness and delicacy with which hepainted flesh. In this he was not excelled even byTitian. His portraits are very fine.

341. Mystic Subject. The Virgin, with the Infant Jess sala deupon her knee, is seated upon a socle in which some la reinaflowers are seen. St. Anthony of Padua is on her isabelright and St. Roque on her left. Sgr. M.orelH, of Bergamo,belk'ves this pieture to be the luork of Giorgione. There are others^ luho,ivith excellent arguments.^ luould claim Titianfor its author. From theRoyal Monastery of the Escorial^ luhere it ivas sent by Philip It^.Can-vas : 3//. by \f. 3! in. CENTRAL

342. Portrait of a Lady. Half-length; life-size, Sa^'edfromSh.i^o^:the fire of l'JIf. Can^'as : ^ft. 2 in. by ift. 3^ in. AUTORES

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PRETI (Mattia, commonly called II Cavaliere Calabrese).Neapolitan Naturalistic School : 1613 1699.Supposed to have been a pupil of Lanfranco, and tohave studied the works of Guercino. He almostalways painted canvases of great dimensions. Naplesand Rome were the principal centres of his field ofwork. He died at Malta in 1699.

343. The Water from the Rock. (Exodus xvii. 1-6.)Figures life-size. The picture represents the momentafter Meses has struck the rock. Can-uas : c^ft. 8^ in. by6ft. 9I in,

344. St. John the Baptist leaving his Parents. Figureslife-size. CoUection of Charles II., Retiro. Canvas :

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PULZONE (Scipion), also called Scipion Gaetano. RomnScHOOL : Born at Gaeta aboiit 1550, and died aboutthe year 1588.

His master was Jacopino del Cont. He excelled inpainting portraits. Famous among these is theportrait of the Cardinal Ferdinand Medici. He alsomade portraits of Gregory XI l. and other Romnprinces. He died at 38 years of age.

349. Portrait of a Man. Bust. Panel : ift. 3I /. y l ft. 11 /;;. SALA DELA REINAISABEL

RECCO (Giuseppe), called II Cavaliere Recco. NeapolitanScHOOL : 1634-1695.Recco was born at Naples, and followed the natural-istic school o Paolo Porpora. He painted deadanimis and studies of still-life.

350. Dead Fish. Lobsters, sardines, &c. Cancuas : 2fi. 3^ w. stairwayby /^ft. I in. LEADING

351. Dead Fish, with balances, a pot, &c. Can-vas: 2ft. 3 m, "^^ ^^^by ,ft. 6J In. SALAS DE

353. Shell-Fish. Various kinds. Cnovas : 2//. 5f ///. by -^ft. ^^in. XII,SALA

RECCO (Style of). italiana354. Dead Fish and other Victuals. A basket, a jar, and a

branch of coral. Canvas .- 2 ft. 4J in. by \ft. i in.

355. Flowers and Birds. Canz-as : i ft. 6| in. by i ft. 3I in. centralSALN

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ROSA (Salvatore). Neapolitan Naturalistic School : autores161 5-1673.

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Salvatore was born in the neighbourhood of Naples.His nele, Paolo Greco, was his first master ; but hestudied after with Francanzano, and also with Riberaand Aniello Falcone. He painted wild and ruggedlandscapes, scenes of solitude, stormy skies, &c. ; andthese he treated with a grandly rude handling. Sal-vatore was also a poet of no mean order. He diedat Rome. . ^f^^JEND OF

356. Seascape. View of the Bay and City of Salerno. The westernauthenticity of this picture seems to us doubtful. passage :Canvas : Sft.6 in. by 8 ft. 5J in. PRINCIPAL

FLOOR

+6 SACCHISANZIO

SACCHI (Andrea).1661.

EcLECTic Romn School : 1598-

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Born at Romc. Was pupil of F. Albani. Hegained a grcat reputation in his time. His drawingwas correct and his colour good ; but he produced fcwworks.

358. Portrait of Francesco Albani. Life-sized bust. Un-finished. Collectiott of Philip V.^Palace of San Ildefonso, Canvas :2ft. 5f in. by I ft. II in.

359. Portrait of Sacchi. Life-sized bust. From same source asNo. 358. Can-uas : 2 ft. t in.by 1 fi. ']\ in.

360. St. Paul, first Apostle, and St. Anthony Abad. Figuresmore than half-length ; life-size. Candas sqnare : \ft. 7 in.

SALVIATI (Francesco de' Rossi, more commonly calledII). Florentine School: 1510 1563.Born at Florence. Was protege of Cardinal Salviati,by whose ame he is commonly known. He studiedunder Giulamio Bugiardini, and afterwards withAndrea del Sarto. He belonged to the group ofmannerists who imitated Buonarroti. He was anintmate friend of Vasari.

361. The Holy Family. The Virgin, with the Infant Jess,and St. Joseph. Figures more than half-length; life-size. Panel :

^ ft. 3I in. by ^ft. 6| in.

SANNI (D. Domingo Mara). Indeterminate School :Flourished in the eighteenth century, and was CourtPainter to Charles III.

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362. The Village Quack. Cnovas: ^ft. 5 in. by ^ft. I in.363. A Meeting of Beggars. Canvas : -^ft. 5 in. by ^ft. i in.

SANZIO (Raffaello Santior), commonly called Raphael.Romn School : 1483-1520.Born at Urbino, April 6, 1483. Nothing is knownpositively of his early education, but it is generallysupposed that in 1495, one year after the death ofhis father, he was placed by his nele, Ciarla, underthe direction of Pietro Vannucci (Perugino), atPerugia. His master having gone to Florence in

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1500, the youth went to Citt di Castello, where heexecuted many works. He next went to Urbino,.where he painted his St. Mickael a?id St. George,among other notable works. He made a prolongedstay in Florence, and there it was principally that hemoulded himself. Under Pope Julius II. Raphaelcommenced to work on a large scale, his first largeproductions being the disputa del Sacramento and theSchool of Atheris in the Vatican. In most of hisundertakings he had assistants ; among vvhom wereGiulio Romano, Ferino del Vaga, and other dis-tinguished artists. In 1 5 14 he was appointed architectof St. Peter's, and this new responsibility, added tohis already enormous labours, seems to have overtaxedhis constitution ; his health gave way ; he contracteda fatal fever ; and died in 1520.

364. Holy Family. Very minute and highly finished. sala deSigned on the drapery of the Virgin : " RAPH. UR- la reinaBINAS, MDVII." Proceeds from the Royal Momstery of the ISABELEscorial. In 1696 this picture existed in the Falco?iieri family in Rome.Panel : Il| in.by 8 in.

365. The Virgin of the Fish. The Virgin, gracious andmajestic, is seated on the throne with the Child Jessin her arms. St. Jerome, with a book, kneels on theplatform. The Divine Infant is turning eagerly to-wards Tobit, who is being led by the ngel Raphael tothe throne, and who carries in his hand the fish whichgives the ame to the picture. Probably the idea ofthe picture is to represent the admission of the Bookof Tobit as a canonical book. Proceeds from the Escorial.Transferredfrom ivood to cnovas: 6ft. lO^ in. by ^ ft. ij in.

366. Christ Bearing the Cross ; known as El Pasimo de Sicilia, centralThe Saviour is sinking to earth under the heavy saln:burden, and turning to the weeping woman foUowing autoreshim. " But Jess, turning unto them, said, Daughters italianosof Jerusalem, weep not for me, but weep for yourselvesand for your children." (St. Luke xxiii.) Proceedsfrom thePalace of Madrid. Remouedfrom -tooc to cnovas ^ 9 fi' 11^ if^. by

367. Portrait of a Cardinal. Probably that of Cardinal Julio sala dede Medici. Life-size bust. Panel: 2 ft. 6\ in. by i ft. la reinaII i W. ISABEL

368 The Visitation. (St. Luke i.) Representing the meet- centraling of the Virgin and St. Elizabeth. The Almighty saln :

48 SANZIO

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seen in the heavens, between two angels, blesses thetwo holy women. Signed " RAPHAEL VRBINASF." Purchased by Philip IV. in 1655 /w the Royal Monastery ofthe Escorial^ taken by the French during the Peninsular fVar, resoredto Spain, 181 5> ^iid to t