1518. German school; history painter, son and pupil of Hans Holbein
the elder, whom he probably assisted in his works, and with his
brother, Hans the younger, went to Basle before or in 1515, to which
year their first activity there can be traced, and where both were
engaged chiefly in designing title-pages. Ambrosius was admitted
into the guild “Zum Himmel” in 1517, and acquired the citizenship
in 1518, but all trace of him is lost in 1519. Works: Christ as
Mediator, Two Bust-portraits of Boys, Two Skulls in Grated Window,
Portrait of Jörg Schweiger (?), Basle Museum; Portrait of Young Lady,
Ambras Collection, Vienna; do. of Young Man (1518), Hermitage, St.
Petersburg.--Allgem. d. Biogr., xii. 724; Woltmann, Holbein u. s.
Zeit, i. 101, 110, 133, 202–212; ii. 31, 45, 48, 79, 92, 205; W. &
W., ii. 461; Repertorium f. K., i. 251; Zahn’s Jahrbücher, v. 197.
HOLBEIN, EDUARD, born in Berlin in 1807, died there, Feb. 19, 1875.
History and genre painter, pupil of Karl Begas, with whose works
his first picture in 1836 was ranked. He took his great namesake,
Hans Holbein the younger, for his model; became professor at Berlin
Academy, where his most famous pupil was Gustav Richter. Works: Aged
Pilgrim dying in Sight of Jerusalem (1836); Madonna (1838); Twelve
Patriarchs, Royal Chapel, Berlin.--Rosenberg, Berl. Malersch., 69.
[Illustration: Bust]
HOLBEIN (Holbain), HANS, the elder, born in Augsburg about 1460, died
there in 1524. German school; history painter, influenced by Martin
Schongauer, if not his pupil at Colmar, and the chief representative
of realistic tendency in the school of Suabia; in his later works
under the influence of Italian renaissance. Works: Four Altar-panels
(1493), Augsburg Cathedral; Madonna Enthroned, do. (1499), Germanic
Museum, Nuremberg; Death of the Virgin (1490), Basle Museum;
Basilica, S. M. Maggiore (1499), Coronation of the Virgin and Scenes
from Passion (1500), Transfiguration (1502), Basilica of St. Paul
(1504), four Altar-panels (1512), Augsburg Gallery; Seven Scenes from
Passion (1501), Städel Gallery, Frankfort; six others, Museum, ib.;
Last Supper, St. Leonard’s, ib.; twelve scenes from Passion (1502?),
Donaueschingen Gallery; sixteen panels with Episodes in Life of
Mary and Scenes from Passion (1502), Altar of St. Sebastian (1516,
masterpiece), Old Pinakothek, Munich; Visitation of the Virgin,
National Museum, ib.; Two Altarwings with Saints, Prague Gallery;
Christ bearing the Cross (1515), Carlsruhe Gallery; Entombment
(attributed to Sigismund H.), Portrait of Young Man (1515, attributed
to Hans the younger), Darmstadt Museum; two portraits (1512), Hampton
Court Gallery. His brother, Sigismund, who appears in the rate-books
of Augsburg, first in 1504, and who moved in 1519 to Berne, where
he died in 1540, probably worked conjointly with him on several
works.--Allgem. d. Biogr., xii. 713; Cundall, H. Holbein; Förster,
ii. 213; Kugler (Crowe), i. 140; Nagler, Mon., iii. 157; Woltmann,
Holbein und sein Zeit, i. 41–100; ii. 7, 61; W. & W., ii. 116, 456;
Graph. K., i. 110.
[Illustration: Bust]
[Illustration: Initials]
HOLBEIN, HANS, the younger, born in Augsburg in 1497, died in
London between Oct. 7 and Nov. 29, 1543. German school; history and
portrait painter, son and pupil of Hans Holbein the elder. After
completing his apprenticeship he went to Basle with his brother,
Ambrose, in 1515, served as journeyman under Herbster, Koch, or
Dig, matriculated in 1519, when he joined the painters’ guild. Two
years before, he decorated the house of Jacob von Hartenstein at
Lucerne with frescos no longer extant (copies in Lucerne Library).
His frescos in the City Hall at Basle were painted in 1521–22, and
The Passion, in the Basle Museum, about the same time. It is possible
that Holbein made a short visit to Northern Italy before 1523, when
he painted the fine portrait of Erasmus at Longford Castle, which the
great humanist sent to Sir Thomas More in 1525 as a specimen of the
painter’s ability and as a recommendation to his patronage. Probably
in September, 1526, Holbein visited Antwerp to see Quinten Massys,
and spent some time there, after which he went to England, where
Sir Thomas More lodged him in his own house near London. There he
painted the Chancellor and his family (original lost, sketch in Basle
Museum), and many fine portraits. From August, 1528, Holbein lived
at Basle until 1532, when he returned to England, where, despite
the earnest invitations of the magistrates of Basle, he remained,
with the exception of a visit in 1538, during the rest of his life.
At what time Holbein became painter to Henry VIII. is not known
(1536?), but probably not until after the death of Anne Boleyn, whose
successor, Lady Jane Seymour, he represented in the family picture
of the two Henrys, which was burned at Whitehall in 1698. (Copy at
Hampton Court.) In March, 1538, when Holbein is first mentioned as
the recipient of a quarterly salary from the king, he was sent to
Brussels, and then revisited Basle. In August, 1539, Henry again
sent him to Flanders to paint Anne of Cleves (Louvre). The wonderful
series of 89 portraits in red chalk and India ink by Holbein in the
royal collection at Windsor are in themselves sufficient to stamp
him as one of the greatest of all masters in portraiture. As a
designer he shines most brightly in the wood cuts of the Dance of
Death, executed by Hans Lützelburger, and published at Lyons in 1538
and 1547. Works: Head of the Virgin (1514), do. of a Saint, Christ
on Mount of Olives, Taking of Christ, Pilate washing his Hands,
Last Supper, Flagellation, Writing Lesson, A School, Portrait of
Burgomaster Jacob Meyer and Wife (1516), Basle Museum; Portrait of
H. Herbster (1516), Baring Collection, London; Hartenstein House
Frescos (1519), Lucerne; Frescos, Town Hall, Basle (1521–30); Designs
for glass windows, Adam and Eve (1517), _Last_ Supper, 8 Scenes
from Passion, Dead Christ (1521), Christ crowned with Thorns, Mater
Dolorosa, Fragments (7) of Frescos in Town Hall, Basle Museum; Birth
of Christ and Adoration of Magi, Cathedral, Freiburg in Breisgau; SS.
George and Ursula, Altar wings (1522), Carlsruhe Gallery; Madonna
and Saints (1522), Solothurn Gallery; _Madonna_ of Burgomaster Meyer
(1526), Princess Charles of Hesse, Darmstadt; do., copy with changes,
Dresden Gallery; Male Portrait (1515?), Darmstadt Museum; Portrait of
B. Amerbach (1519), Basle Museum; do. of Domherr Angerer (1519), and
three others, Ferdinandeum, Innsbruck; Portraits of Erasmus, Longford
Castle, England (1523), Louvre and (2) Basle Museums, Parma Gallery;
Portraits of Man and Wife (1525), Vienna Museum; _Lais_ Corinthiaca
(1526), do. as Venus with Cupid, Holbein’s Wife with two Children,
Male Portraits (4), Basle Museum; Archbishop Warham (1527), Lambeth
House; duplicate, Louvre; Male Portrait, do. (1527), Thomas Godsalve
and his Son John (1528), Dresden Gallery; Sir H. Guilford, Windsor
Castle; Nicholas Kratzer, and Sir Henry Wyatt, Louvre; Sir Bryan
Tuke, Grosvenor House, London; do., Old Pinakothek, Munich; Hans of
Antwerp, Goldsmith (1532), Windsor Castle; George Gisze (1532), two
others (1533, 1541), Berlin Museum; Artist’s Family, Portrait of a
Lady, Male Portraits (3), Cassel Gallery; The Ambassadors (1533),
Lord Radnor, Longford Castle; Derick Born (1530), Old Pinakothek,
Munich; do. (1533), Windsor; Deryck Tybis (1533), Vienna Museum;
Robert Cheseman (1533), Hague Museum; Melanchthon, Edward, Prince
of Wales (1538), Hanover Gallery; Henry VIII., miniature, Althorp
House; Ambrose of the Steelyard (1533), Brunswick Museum; English
Lady and Gentleman (1534), Ambras Collection, Vienna; Lady Vaux
(1539), Prague; replica, Hampton Court; Southwell (1538), Uffizi;
The Goldsmith Hubert Morrett (1538), Dresden Gallery; Anne of Cleves
(1539), Louvre; Duke of Norfolk (1539), Windsor; Male Portraits
(1541), Vienna Museum; do. (1542), and Female Portrait, Hague Museum;
Portrait of Holbein (1542), Uffizi, Florence; do. of Hieronymus
Sulczer (1542), Butts, Pole Carew Collection; Lady Jane Seymour,
John Chambers, Female Portrait, Vienna Museum; Family of Count
Valkeniers at Prayers, Portrait of a Professor, Historical Society,
New York; Male Portraits, Gotha, Königsberg, Madrid, and Weimar
Museums, Kunsthalle, Hamburg.--Allgem. d. Biogr., xii. 715; Cundall,
Hans Holbein (London, 1879); Dohme, 1^1, xiv. 47; Förster, Denkmale,
i. 11; v. 13; vii. 17; do., Gesch., ii. 224; Grimm, Holbein’s
Geburtsjahr (Berlin, 1867); Kugler (Crowe), i. 198; Mantz, H. Holbein
(Paris, 1879); Nagler, Mon., iii.; Schaefer, iii. 779; Woltmann,
Holbein und seine Zeit (Leipsic, 1874–76); W. & W., ii. 462; Wornum,
Life and Works (London, 1867); Christl. Kunstbl. (1870), 97; (1871),
177; Cornhill Mag., March, 1860; Edinburgh Review, April, 1867; Gaz.
des B. Arts (1860), ix. 60, 270; (1869), i. 15, 366, 425; (1870),
iv. 481, 516; (1879), xix. 86; xx. 13; (1880), xxi. 323; xxii.
525; Kunst-Chronik, vii. 206, 271; Zahn’s Jahrbücher (1870), 147;
Zeitschr. f. b. K., i. 198; ii. 63; iii. 12; vi. 349; vii. 28, 55;
ix. 201; x. 315; xiv. 254; xvi. 99.
HOLFELD, DOMINIQUE HIPPOLYTE, born in Paris, Nov. 22, 1804, died
there, Jan. 13, 1872. History painter, pupil of Abel de Pujol and of
Hersent. His pictures, though graceful, are uninteresting. Medals:
3d class, 1841; 2d class, 1842. Works: Infant Jesus adored by
Angels (1841); Rembrandt as a Child (1842); Parable of the Mustard
Seed, Religious and Moral Education (1844); Virgin with Sleeping
Infant (1846); Family Prayer (1852); Bread of Heaven (1855); Christ
appearing to Disciples at Emmaus (1859); Happy Mother, First
Principles of Education (1861); Choristers (1863); In the Name of the
Father (1868).--Bellier de la Chavignerie, i. 773; Larousse.
HOLIDAY, HENRY, born in England; contemporary. Genre painter and
sculptor. Works: Quiet Family Meal, Yellow Tulips, Breeze in St.
George’s Channel (1881); _Dante_ and Beatrice (1883). Mr. Holiday’s
pictures have been chiefly exhibited at the Grosvenor Gallery. To
the Royal Academy he contributed in 1881 a recumbent statue entitled
Sleep; a bas-relief--Nymph and Cupid--in 1882; and in 1884, Jacob’s
Ladder.
[Illustration: Bust]
HOLL, FRANK, born in London, July 4, 1845. Genre and portrait
painter, son and pupil of F. Holl, engraver, and student of Royal
Academy, where in 1863 he won the gold medal for the best historical
painting, The Sacrifice of Abraham. In 1869, for his picture entitled
The Lord Gave and the Lord hath Taken Away, he was awarded the two
years travelling studentship, and went to Italy. His No Tidings from
the Sea (1871) was painted for the Queen. Elected an A.R.A. in 1878,
and R.A. in 1883. Works: Village Funeral (1872); Seat in a Railway
Station (1873); Deserted (1874); Her First-Born (1876); Gone, Going
Home (1877); Newgate--Committed for Trial (1878); Gifts of Fairies,
Daughter of the House, Absconded (1879); Home Again (1881); Did you
ever kill Anybody, Father? (1884); and many portraits.--Meynell, 167;
Art Journal (1876), 9; Meyer, Conv. Lex., xviii. 498.
HOLLAND, JAMES, born at Burslem, England, in 1800, died in London
in 1870. Landscape and flower painter; went to London in 1819, and
devoted himself to flower painting, but after a visit to Paris in
1831 took up landscape painting. He made many sketching tours on
the Continent, and exhibited at the Royal Academy, the Society of
Painters in Water Colours, and the Society of British Artists, of the
last two of which he was a member. Works: Nymwegen, Near Blackheath,
and several in water colours, South Kensington Museum; Port of Genoa,
Liverpool Gallery; Interior of Milan Cathedral, Tomb of the Scaligers
at Verona, St. Mary’s Chapel at Warwick, Views in Venice (6), Gresham
College; Greenwich Hospital, Bridgewater Gallery.
HOLLAND, Sir NATHANIEL DANCE, Bart, born in London in 1734, died
at Carnborough House, near Winchester, Oct. 15, 1811. Real name
Nathaniel Dance, son of George Dance, architect; took name of Holland
on his marriage with a wealthy widow in 1790, was an M. P. for many
years, and created a baronet in 1800. Pupil in art of Frank Hayman;
spent eight or nine years in Italy, and on his return won success as
a painter of portraits and of historical subjects. In 1768 he was one
of the foundation members of the Royal Academy. Works: Portraits of
Earl Camden, Lord Clive, Arthur Murphy, Lord North, National Portrait
Gallery, London.--Redgrave; F. de Conches, 311.
HOLLINS, JOHN, born in Birmingham, June 1, 1798, died in London,
March 7, 1855. Subject and portrait painter; went in 1822 to London,
where, with the exception of two years spent in Italy (1825–27),
he was a constant exhibitor. Elected an A.R.A. in 1842. Work: Lord
Tenterden, National Portrait Gallery, London.--Cat. Nat. Port. Gal.
HOLM, PER DANIEL, born at Malingsbo, Dalecarlia, Sept. 11, 1835.
Landscape painter, pupil of Nils Anderson and of Stockholm Academy,
where in 1862 he received a medal; visited the north of Scandinavia
in 1864, and later, Düsseldorf, Munich, Carlsruhe, where he studied
under Gude, and Paris. Works: View of Qvickjock in Lapland; Saggatsen
in Lapland; From the Mountains of Westmanland (1869), Stockholm
Museum.--Müller, 264.
HOLMBERG, AUGUST, born in Munich, Aug. 1, 1851. Genre painter, pupil
of the Munich Academy under Wilhelm Diez, visited subsequently
Berlin, Dresden, and Vienna, in 1875 Italy, and in 1878 Paris. His
genre pieces are well composed and coloured. Works: Huntsman’s Still
Life; Windmill in a Storm; Difference of Opinion (1873); Choir in a
Church at Florence, Tobacco College of Frederick William I. (1879);
The Recovered Monogram (1880).--Müller, 264; Zeitschr. f. b. K.,
xviii. 403.
HOLSTEYN, CORNELIS, born at Haarlem about 1620. Dutch school; history
painter, son and pupil of Pieter (glass painter and engraver, born
in Schleswig about 1580, died in Haarlem in 1662); flourished in
Amsterdam about 1651, and was dean of the guild at Delft in 1661–62.
Works: Triumph of Bacchus; Lycurgus making his Nephew his Heir,
Orphan Asylum, Amsterdam; Pyramus and Thisbe, Parable of the Vineyard
(1647), Haarlem Museum; Bath-room, Cassel Gallery; Angel commanding
St. Philip to baptize Queen Candace’s Chamberlain, Schleissheim
Gallery.--Immerzeel, ii. 46; Kramm, iii. 714; Van der Willigen, 179.
HOLY CONVERSATION. See _Santa_ Conversazione.
HOLY FAMILY, Mariotto _Albertinelli_, Palazzo Pitti, Florence; wood,
round, 2 ft. 9 in. diameter. The Virgin kneeling in adoration;
Jesus lying on ground, receiving a cross from a kneeling angel; in
background, to right, St. Joseph leading the ass from a stable;
above, three angels singing from a scroll. Painted about 1503–6.
Engraved by S. Martelli.--Gal. du Pal. Pitti, i. Pl. 1.; C. & C.,
Italy, iii. 486; Meyer, Künst. Lex., 219.
[Illustration: Holy Family, Federigo Baroccio, National Gallery,
London.]
By Federigo _Baroccio_, National Gallery, London; canvas, H. 3 ft.
9 in. × 3 ft. The Virgin, seated in an apartment, with Jesus in her
lap, clasps with her right arm St. John, who holds up a bird in his
hand to protect it from a cat, watching it from left-hand corner;
behind, at right, St. Joseph. Sometimes called Madonna del Gatto (of
the Cat). Painted for Count Antonio Brancaleoni; belonged to Cesarei
family of Perugia, and later (1805) to Buchanan and to Rev. W. H.
Carr, who bequeathed it in 1831 to the National Gallery. Several old
copies. Engraved by C. Cort (1577); A. Cardon; J. F. Leybold.
By Fra _Bartolommeo_, Palazzo Corsini, Rome; wood, H. 4 ft. 6 in.
× 2 ft. 2 in.; signed, dated 1516. The Virgin, seated in a flowery
meadow, holds Jesus, who struggles to cast his arms round the little
Baptist’s neck; St. Joseph looks on, smiling. A likeness between the
Virgin and Raphael’s portrait of Maddalena Doni in the Pitti warrants
the assumption that this is the picture which Vasari says was painted
for Agnolo Doni. Copy in Musée Fabre, Montpellier.--Vasari, ed. Mil.,
iv. 183; C. & C., Italy, iii. 468.
[Illustration: Holy Family, Fra Bartolommeo, Panshanger House,
England.]
By Fra _Bartolommeo_, Panshanger House, England; wood, H. 3 ft. 5
in. × 4 ft. 3 in. The Virgin seated, holding Jesus, who is taking
the reed cross from the infant St. John standing at right; at left,
St. Joseph seated, smiling; background, a beautiful landscape with
a bright horizon and a palm tree. Painted about 1509, probably for
Filippo Salviati. “The colouring,” says Waagen, who considers this
the finest picture of the artist, “is of extraordinary warmth and
depth.”--C. & C., Italy, iv. 449; Waagen, Treasures, iii. 10.
By Fra _Bartolommeo_, Palazzo Pitti, Florence; wood, H. 3 ft. 2 in.
× 3 ft. The Virgin, seated, holds Jesus, who embraces the infant
Baptist kneeling; behind, SS. Elizabeth and Joseph; background, a
green curtain. An inverted replica, with changes, of the Holy Family
of the Palazzo Corsini. Engraved by G. Rossi.--Gal. du Pal. Pitti,
i. Pl. 29; C. & C., Italy, iii. 470.
By Sebastien _Bourdon_, Louvre; canvas, H. 1 ft. × 10 in. The Virgin,
seated, her left arm on a broken column, holds on her knees Jesus,
to whom the infant, St. John, kneeling, offers a dove; above, an
angel with a crown of flowers. Engraved by Avril père in Musée
français.--Larousse, viii. 78.
By _Correggio_. See _Madonna_ della Cesta.
By _Domenichino_, Louvre; canvas, H. 1 ft. 2 in. × 1 ft. 7 in. The
Virgin, seated on the ground near a spring, at right, catches the
water in a shell, while Jesus, whom she holds in her arms, takes
fruit from the infant St. John; behind them Joseph unloads the ass.
Called also Madonna of the Shell (Vierge à la Coquille). Collection
of Louis XVI. Engraved by Müller.--Musée royal, i.; Filhol, ii. Pl.
82; Landon, Vies, Pl. 104.
By _Garofalo_, Vatican, Rome. The Virgin, with Jesus standing in her
lap, is seated in front of ruins; at right, St. Joseph, standing;
at left, St. Catherine, kneeling, with palm-branch in hand; in
background, a city. Engraved by Gius. Morghen.--Vaticano descritto,
vi. Pl. 80.
By _Giulio_ Romano, Louvre; wood, H. 4 ft. 10 in. × 3 ft. 6 in. The
Virgin, seated under a tree in a garden, with Jesus on one knee; he
has one foot in his cradle, and turns to his mother as if to ask the
meaning of the words Ecce Agnus Dei, which are on a scroll held by
the infant St. John beside him; behind, at right, St. Joseph leans in
meditation on the fragment of an ancient altar. Painted for Cardinal
Gonzaga.--Filhol, x. Pl. 662; Ch. Blanc, École romaine.
By Ludwig _Knaus_, Miss Catherine L. Wolfe, New York; canvas, H.
4 ft. 6 in. × 3 ft. The Virgin, sitting, withdraws the veil from
Jesus lying on her knees, while a little angel clasps his hands in
adoration beside her; above, cherubs descending from clouds lighted
by the moon, and in background, St. Joseph, leading the ass, gazing
upward at them. Painted in 1876. Photogravure in Art Treasures of
America, i. 120.
By Bernardino _Luini_, Louvre; wood, H. 1 ft. 8 in. × 1 ft. 6 in. The
Virgin, half-length, sustains Jesus, who, standing on a pedestal, has
his arm around her neck; behind her, to right, is St. Joseph, leaning
on a staff. Carefully modelled and delicately coloured.--Villot, Cat.
Louvre.
[Illustration: Holy Family, Michelangelo, Tribune of the Uffizi,
Florence.]
By _Michelangelo_, Tribune of the Uffizi, Florence; round, painted in
tempera. The Virgin, kneeling, raises Jesus over her right shoulder
and presents him to St. Joseph behind her. In background, various
nude figures, upright, recumbent, and seated. Painted in 1502–4 for
Agnolo Doni. The only easel picture by Michelangelo the authenticity
of which has never been doubted.--Vasari, ed. Mil., vii. 158;
Lasinio, i. Pl. 43; Larousse, viii. 77.
By _Murillo_, Hermitage, St. Petersburg; canvas, H. 9 in. × 7 in.
St. Joseph standing with Jesus in his arms; the Child stretches his
arms toward the Virgin, who, seated on left near a basket, extends
her arms to receive him; in background, arches and carpenter’s tools;
in foreground, a basket of tools. Duc de Tallard sale (1776), to M.
de Thiers, 802 livres. Engraved by J. B. Tilliard.--Curtis, 172;
Hermitage Cat.
[Illustration: Holy Family, Murillo, Louvre.]
By _Murillo_, Louvre; canvas, H. 7 ft. 11 in. × 6 ft. 3 in. The
Virgin, seated on a hillock, holds Jesus standing in her lap;
he receives a reed cross from St. John, who stands beside them,
supported by St. Elizabeth, kneeling; above, the Father and the
Dove, surrounded by cherubs; in foreground, a lamb. Sometimes called
Vierge de Seville. Painted about 1670; in Collection of Louis
XVI.; valued, inventory of 1816, 60,000 fr. Engraved by Boilly,
Allais; lithographed by Weber, A. Demoine, A. Bry, A. Maurin, and
others.--Ch. Blanc, École espagnole; Curtis, 180.
By _Murillo_, Metropolitan Museum, New York; canvas, 6 ft. 8 in. × 5
ft. 1 in. The Virgin, seated, on right, extends her hands to receive
the Child, whom St. Joseph, standing, holds towards her; at left of
Virgin, a white dog lying on floor beside a basket of linen; at left,
a curtain. Bought about 1835 by Joshua Coit from Convent of Buena
Muerte, Peru; sold in 1843 to Henry Brevoort, New York, for $1,200;
presented to Museum in 1874 by John Jacob Astor Bristed.--Curtis, 174.
By _Murillo_, formerly at Leigh Court, Somerset; canvas, H. 3 ft.
6 in. × 3 ft. 2 in. The Virgin sitting, with Jesus asleep on her
lap; on right, St. Joseph standing under a tree; both look at the
Child. Calonne sale (1795), £535 10s.; Henry Hope sale (1816), £320
5s.; Leigh Court sale (1884), to Messrs. Agnew, London, for £3,150.
Engraved by J. Heath.--Curtis, 174; British Gallery of Engraving
(London, 1807); Waagen, Treasures, iii. 184.
By _Murillo_, National Gallery, London; canvas, H. 9 ft. 6 in. × 6
ft. 10 in. Infant Jesus, standing on a ruined column in centre, gives
one hand to Virgin, seated on his right, the other to St. Joseph, who
kneels on his left, holding lilies; above, the Father and the Dove,
with three cherubs on each side. Formerly belonged to Marqués del
Pedroso; taken to England about 1810; bought for National Gallery, in
1837, from T. B. H. Owen, with Brazen Serpent of Rubens, for £7,356.
Engraved by Bridoux; C. McRae, the Father omitted.--Palomino, iii.
422; C. Bermudez, iv. 278; Buchanan, Memoirs, ii. 202; Edin. Review
(No. 173), 208; Curtis, 170.
By _Murillo_, Duke of Rutland, Belvoir Castle, Leicestershire;
canvas, figures life-size. The Virgin, seated, holding Jesus, who
is embraced by infant St. John standing before them; behind, St.
Joseph standing; on right, a lamb; background, landscape. Carried to
England about 1729 by Colonel William Stanhope (Lord Harrington), on
returning from his embassy to Spain. Considered by Waagen “one of the
finest by the master in all England.”--Waagen, Treasures, iii. 402;
Curtis, 178.
By _Parmigianino_, Louvre; wood, H. 1 ft. 4 in. × 1 ft. 1 in. The
Virgin, seated in a rocky landscape, with Jesus on her knees; the
latter embraces the infant St. John, who is standing on a cradle;
behind, to right, SS. Joseph and Elizabeth. Collection of Louis XIV.
Engraved by Blomaert.--Villot, Cat. Louvre; Filhol, ii. Pl. 121;
Landon, Musée, i. Pl. 43.
By Sebastian del _Piombo_, Baring Collection, London; wood, H. 3
ft. 2 in. × 3 ft. 6 in. A donor kneels before the Virgin, who rests
one hand on his shoulder, while with the other she holds on her lap
Jesus, who points to John Baptist with his cross, to the left; to
the right, St. Joseph asleep. Painted about 1512. Formerly in the
Stratton Collection.--C. & C., N. Italy, ii. 324; Waagen, Treasures,
ii. 172.
[Illustration: Holy Family (La petite Sainte Famille), Raphael,
Louvre.]