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WITH ACHILLES ON THE LOSS OF PATROCLUS. Alto-rilievo in marble, by Thomas Banks, R.A. Presented to the National

Gallery in 1845 by the sculptor's daughter, Mrs. Forster. William MULREADY, R.A. Bust, in marble, by Henry Weekes,

R.A. Presented by an association of gentlemen in 1866. Bust OF THOMAS STOTHARD, R.A., marble, by Henry Weekes,

R.A. Presented by an association of gentlemen in 1868.
BUST OF Mr. Robert Vernon, by W. Behnes. Presented to the

National Gallery by Her Majesty the Queen, H.R.H. the Prince
Consort, and the noblemen and gentlemen whose names are

inscribed on the pedestal. Bust OF NAPOLEON I., bronze. Bequeathed by P. C. Crespigny,

Esq., in 1851. Bust or Mr. WYNN Ellis. Presented by his nephew, Mr. H.

Churchill, in 1878. Bust OF WILLIAM BEWICK the painter (1795-1866), by John

Gibson, R. A. Bequeathed by his widow, Mrs. Bewick, in 1871.

Also the following marbles, which formed part of the Vernon Collection : 1. HYLAS AND THE WATER NYMPHS. A group in marble, executed

in Rome, by John Gibson, R.A., b. 1791, d. 1866. 2. Bust OF THE MARQUIS OF WELLESLEY, Governor-General of

India, by John Bacon, R. A., b. 1740, d. 1799. 3. Bust of Sir Walter Scott, Bart., by Sir Francis Chantrey,

R.A., b. 1782, d. 1841. 4. BUST OF THE Right HONOURABLE GEORGE CANNING, after

Nollekens, by E. H. Baily, R.A., b. 1788, d. 1867. 5. Bust of Sir Isaac Newton, after Roubilliac, by E. H. Baily,

R.A. 6. Bust of Dr. SAMUEL JOHNSON, from a cast in the possession of

the sculptor, by E. H. Baily, R.A. 7. Bust of the DUKE OF WelliNGTON, after Nollekens, by E., H.

Baily, R.A.


The water-colour collection is in the basement, to which access is obtained by the staircase in the cast corner of the Entrance Hall. Admission is free, but visitors are required to enter their names and addresses in a book kept for that purpose, A few miscellaneous pictures, enumerated below, are also hung in the basement.



After Correggio. (See under IX. 15, p. 199). This, and the companion picture (7, p. 652), are probably copies by Annibale Carracci from Correggio's compositions in the church of S. Giovanni at Parma (Layard, ii. 631).


After Raphael. (See under VI. 1171, p. 108). A tracing from the original picture by Raphael at Dresden, by Jakob Schlesinger (1822). 148. THE TRIUMPH OF GALATEA.

Agostino Carracci (Eclectic: 1557–1602). Agostino Carracci was the elder brother of Annibale (XIII. 93, p. 308), and cousin of Ludovico (XIII. 28, p. 325). It was he who composed the sonnet in which the aims of the “ Eclectic School," founded by him and his two relatives, are set forth (see p. 325). He was a man of learning, and superintended the theoretical instruction of the school. His pictures are rare, but he was also distinguished as an engraver.

A cartoon for a fresco in the Farnese Palace at Rome. The frescoes themselves were the work of Annibale. The sea-nymph Galatea is borne on the ocean by Glaucus, preceded by Triton blowing his horn, and surrounded by Nereids and Cupids on Dolphins.


John Simpson (English : 1782-1847). Simpson was a portrait painter of repute, and during the latter years of the life of Sir T. Lawrence was that master's principal assistant.


Karl Anton Hickel (German: 1749–1798). This picture and one of “Sion House” belong to the National Portrait Gallery, and are only deposited temporarily at Trafalgar Square. This bird's-eye view of the House of Commons was painted by Hickel in London in 1793, and was presented by the Emperor of Austria, in 1885, to Lady Paget (the wife of the British Ambassador of Vienna) for the National Portrait Gallery.


B. Sprangher (Flemish : 1546–1628). Bartholomew Sprangher, born in Antwerp and trained in Italy, was the head of the colony of Flemish artists who settled at the Court of the Emperor Rudolph II. at Prague. He had previously been painter to the Pope Pius V., by whom he was employed to execute many large and important works. “We have some difficulty, now, in understanding the reputation which this artist undoubtedly enjoyed in his own time. In his works generally the mannerism of design and the eccentricity of the attitudes are enhanced by the bad taste of the colouring and total absence of colour" (Wauters: The Flemish School, p. 193).


Marcus Gheerardt (Flemish : 1561-1635). Mark Gheerardt, the younger, was the son of another painter of the same name (called Garrard in England), whom he succeeded as painter to Queen Elizabeth. The Gheerardts came from Bruges, but settled in England, where most of their works are to be seen.

This picture was purchased for the National Portrait Gallery (to which institution it belongs) at the Hamilton sale in 1882 for £2520—the largest sum hitherto paid by that Gallery for any single picture. The picture then bore the name of the Spanish painter, Pantoja de la Cruz; but this inscription was shown to be a forgery by Mr. Scharf, the Director, who assigned the work to its true author, Gheerardt. It represents the conference held in London in 1604, for the Ratification of the Treaty for Peace and Commerce between England and Spain. On the right are the English Commissioners; on the left the six Commissioners for the King of Spain and the Archdukes of Austria.


After Correggio. (See under IX. 15, P. 199). See under the companion picture, 37, above, p. 651.



A catalogue of these drawings and sketches, “cast into progressive groups, with explanatory notes,” has been written by Mr. Ruskin, and may be bought of the attendant in these rooms, or obtained from Mr. George Allen, Orpington (price is.)



In these rooms there are a series of twenty-three drawings by De Wint and ten by Cattermole, bequeathed to the National Gallery by the late Mr. John Henderson ; seven crayon studies by Gainsborough, presented by Mr. Thomas Birch Wolfe; two drawings by Blake, presented by Mr. Geo. Thos. Saul; two Academy studies from life by Mulready, presented by the Society of Arts; a chalk drawing by A. Raffaelle Mengs, bequeathed by Miss H. Kearsley; and seventeen studies in crayon or monochrome by Rubens and Van Dyck, purchased with the Peel Collection.

Also the following drawing, included in the Vernon Collection :456. COUNCIL OF WAR AT COURTRAI.

Louis Haghe (English : 1806–1885). This artist was born at Tournai, but in 1823 settled in England, where he proceeded, in conjunction with Day, the lithographer, to produce many illustrated works. He was for several years President of the Institute of Painters in Water-colours.

The Council is sitting in the Town Hall at Courtrai (West Flanders); notice the rich carvings of the chimney-piece.

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Under this head are included a few pictures which are still retained in the National Gallery, but which are not at present (June 1, 1888) hung in rooms open to the public. 78. THE HOLY FAMILY.

Sir J. Reynolds, P.R.A. (1723-1792)

See under XVI. 111, p. 399. This picture had fallen into such a bad state of preservation that it has not latterly been exhibited to the public, but it is very widely known from engravings, etc. The picture is full of “the grace of Reynolds" and of his mastery of the painter's art. “As showing gigantic power of hand, joined with utmost accuracy and rapidity, the folds of drapery under the breast of the Virgin are, perhaps, as marvellous a piece of work as could be found in any picture, of whatever time or master.” But the picture is very instructive also, as showing Reynolds's limitations (see under XVI. III, P. 405). Compare this group with any similar one by the old Italian masters, and it will be felt at once that “beautiful as it is, this Holy Family has neither dignity nor sacredness other than those which attach to every group of gentle mother and ruddy babe.” Reynolds indeed could not paint a Madonna, “for surely this dearest pet of an English girl, with the little curl of lovely hair under her ear, is not one."1 Mr. Ruskin notes, further, how, “owing to the

1 Charles Lamb is more severe than Mr. Ruskin. “Here," he says for a Madonna Sir Joshua has substituted a sleepy, insensible, un

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