‘Bible Gallery,’ V. and A. Museum, 305
Praxiteles, _Head of Aphrodite_ ascribed to, (Leconfield), shown at
the Burlington Fine Arts Club Exhibition, 249
other statues by, compared with the foregoing, _ib._
Previtali, influence of, on Cariani, 78
Prevost, John, notes on his history, 331-2
paintings by and attributed to, shown at Bruges, 1902., _Last
Judgement_, the only authentic work by him, (Bruges Museum), 332
also an earlier version, (Viscount de Ruffo-Bonneval), and another,
(Weber), _ib._
paintings attributed to, by Hulin, and their location, 332 _and
note_
Print Room, British Museum, new acquisitions, 75, 200
Printers, early French, of _Gaston Phoebus_, 8
Proctor’s new fount of Greek Type, (the ‘Otter’ type), 358
Protection of Ancient Buildings, Clifford’s Inn and the, _editorial_,
3
Puzzle cups, jugs, etc , _see_ Early Staffordshire Ware
~Quaritch~, the _late_ Bernard, _cited_ on the value of early
editions of Shakespeare, 335
Quarrington, Mrs., actress, _Portrait of_, by Sir J. Reynolds,
(Normanton), 224
Queen Street, Cheapside, workhouse of the Lowestoft Porcelain Factory
in 1770., 277
~Raczynski~ Gallery, Berlin, painting by Lorenzo Monaco in,
_Adoration_, compared with that in the Parry collection, 131
Raphael, Bernard van Orley said to have been a pupil of, 205
Rattier, P., of Paris, Bas-relief bequeathed by, to the Louvre, _Bust
in Profile, wearing armour_, artist unknown, suggestive of Leonardo.
84
Ravensworth, Lord, father of Miss Anne Liddell, painted by Sir J.
Reynolds, 223
Rawlinson, Mr., British engravings and mezzotints owned by, shown at
the V. and A. Museum Exhibition, 199
Recent Acquisitions at the Louvre, Koursi cover, Arabic, G. Migeon,
344
Pictures, _Landscapes_, (2), by S. Ruysdael, _Portrait of Dame
Danger_, by L. Tocqué, Paul Vitry, 343
Three Italian Albarelli, J. J. Marquet de Vasselot, 338
Regnauldin, Thomas, employed by Le Brun, 235
Reid Gift, The, to the V. and A. Museum, II., 74
Reinach, S., _cited_ on the sculpture of the _Head of a Mourning
Woman_, (Ponsonby), 249
Rembrandt, (van Rijn), etching by, The Three Trees, compared with
_Le Commencement d’Orage_, 63
paintings by and attributed to, Guildhall, 1903., _Commencement
d’Orage_, (Lady Wantage), 51
now attributed to P. de Koninck, 60 _et seq._
_Head of a Man_, probably by Solomon de Koninck, 52
_Painter’s Son Titus_, 55
_Portrait of the Artist_, unauthentic, its previous owners, 52
_Ruth and Naomi_, possibly by K. Fabritius, 52
shown at the Hague, 1903., _Portrait of a Lady_, (Hage), 360
_Landscape with Tobias and the Angel_, (N.G.), 63
Wallace collection, _His Son Titus_, compared with similar portrait,
Guildhall, 1903., 51
Rendall, M. J., 155
‘Restoration’ too often synonymous with destruction, 3
Resurrection and creation, the Lotus as emblem of, 350
Reynolds, Fanny, sister of Sir Joshua, _Portrait of Miss Meux_ by
him, formerly supposed to represent, (Normanton), 224
Reynolds, Sir Joshua, Pictures by, in the Collection of the Earl of
Normanton, M. Roldit, 206
methods of, in portrait painting, 217
_Nativity_, original design for central space, New College window,
and its fate, 212
paintings by, in the Normanton collection, their sources, prices,
and other comments upon them, 211 _et seq._
_Boy Reading_, said to be a portrait of himself, his own
satisfaction with the picture, 223
_Faith_, _Hope_, and _Charity_, _Temperance_, _Prudence_,
_Justice_, and _Fortitude_, the original designs for New College
window, Oxford, executed on glass by Jarvis, 211
_Girl embracing Kitten_, known as _Felina_, 217
Portraits: child, _The Little Gardener_, 218
_Elizabeth Beauclerk_, afterwards Countess of Pembroke, _as Una
with the Lion_, 217
_George, third Duke of Marlborough_, 218, 223
replica of (Pembroke), _ib._
_Himself as President of the Royal Academy_, 217
_Lady Betty Hamilton_, afterwards Countess of Derby, 218
_Lady Charlotte Johnstone_, daughter of first Earl of Halifax,
223
_Study of A Little Girl_, octagonal, 224
_Miss Anne Liddell_, 223
(on panel), _Miss Falconer_, afterwards Hon. Mrs. Stanhope, as
_Contemplation_, earlier owners of, 217
_Miss Meux_, 223
earlier erroneous identification of, 224
_Miss Murray of Kirkcudbright_ as a child, 258
the _Misses Horneck_, 223
_Mrs. Quarrington_, actress, as _St. Agnes_, 224
_Mrs. Russell_, daughter of F. Vassall, 223
paintings ascribed to, same collection, _The Little Archer_, 224
Portraits: _Admiral Barrington_. 224
_Lady Hamilton as a Bacchante_, engraved by Bartolozzi, 224
(probably by his pupils) at Normanton, _Mrs. Inchbald_, 224
copies of paintings by, in Normanton collection, _Portrait of
Mrs. Gwyn in Persian dress_, original owned by W. W. Astor,
224
_Portrait of Mrs. Siddons as the Tragic Muse_, from that at
Grosvenor House, painted by the Duchess of Buckingham, 224
Rheims, birthplace of Jean Gobelin, 235
Richa, Giuseppe, _cited_ on Baldovinetti’s portrait of himself in his
frescoes. 174
_cited_ on the condition of Baldovinetti’s frescoes, 1755., 173
_cited_ on the Gianfigliazzi family, of Florence, 28
Richard I. (Cœur de Lion), marriage projected between his sister and
Saladin’s brother, Melik Adel, 135
Richard II., licence granted by, for the founding of Winchester
College, 149
Richter on the absence of the Svastika in Phoenicia, and its westward
transmission, 47
Rimini, interior decoration of the temple of, by A. di Duccio, 89
Rinder, Frank, The Geographical Distribution of the First Folio
Shakespeare, 335
Rishi Atri and his son, Soma, 354
Rishis of Kashmir, use of Soma by, 354
Rives, Dr. George, Rose-water dish presented by, to Winchester
College, 161
Rogers’ ‘Poems,’ Turner’s illustrations to, (N. G.), 300
Rogers, William, first British engraver of importance, plates by,
shown at V. and A. Museum Exhibition; Portraits: _Alphonso, King of
Castile_, _Godfrey Adelmar_, _Queen Elizabeth_ (H.M. the King), and
_Sir T. Docwra_, 194
Roldit, M., The Collection of Pictures of the Earl of Normanton, at
Somerley, Hampshire; I. Pictures by Sir Joshua Reynolds, 206
‘Romance of Alexander,’ by Nizāmī, 143
=Rome=, _see_ Academy of St. Luke, Corsini Gallery, _and_ Vatican
Library
alleged visit to, of Bernard van Orley, 205
chief source of Albarelli or druggists’ jars and similar wares,
338-43
visit of C. Le Brun to, 230
Rose Lotus, the, Indian origin of, Chinese use of, etc. 350
Rose-water Dishes, _see_ Silver Plate
Rosselli, Cosimo, and other painters, estimate by, of the cost
Baldovinetti’s paintings in the Cappella Maggiore of S. Trinità,
Florence, 169
Stefano, _cited_ on the Altarpiece by A. Baldovinetti, and its
inscription, 170
and Richa, _cited_ on the Pinzochere of S. Paolo, Florence, 24
Rossetti, D. G., illustration by, to Allingham’s ‘Music Master,’ _The
Maids of Elfen Mere_, 299
influence of Menzel on, 306
other illustrations by, to Moxon’s edition of Tennyson, 299
Rotterdam, centre of the trade between Holland and China, 277
Rouen Museum, painting by G. David in, _B. V. M. with Child, Virgin
Saints, and Angels_, 36, 39
Archaeological discoveries during excavations at, 374
_Roy Modus_, parts of _Gaston Phoebus_ borrowed from, 15
Rubens, Peter Paul, influence of Titian on, 285
Rupert, Prince, (of Bavaria), Mezzotint by, _The Great Executioner_,
after Spagnoletto, (H.M. the King), shown at the V. and A. Museum
Exhibition, 199
Russell, Mrs. (_née_ Vassall), Portrait of, by Sir J. Reynolds,
(Normanton), 223
Russia, lack of legislative protection for ancient buildings in, 3
Rutland, Duke of, painting by Sir J. Reynolds once owned by,
_Nativity_, original design for centre of New College window,
Oxford, burnt in 1816., 212
Ruysdael, Jacob, characteristics of his best work, 56, 59
paintings by, Guildhall, 1903., _Forest Scene, Sea-piece_, and _View
on the Brill_, 59
_View of Haarlem_, (Mauritshuis, Hague), 59
_View over an extensive flat wooded Country_, (N. G.), 59
Solomon, paintings by, landscapes, (2), (Louvre), 343
traces of his influence in painting by Jacob Maris, 178
Rylands Library, first folio Shakespeare in, price paid for, by
Steevens, 1756., 336
_Saccostemma viminale_, said by some to be the Soma of the Vedas,
etc., 353-4
S. Andrew’s Chapel, Gloucester Cathedral, paintings in, by T. G.
Parry, 117
S. Aubert, Bishop of Cambrai, patron of Brussels Bakers, 192
S. Catherine of Siena, a friend of Andrea Vanni, 309
her portrait by him, 309, 321
S. Cosmas and S. Damian, patrons of Barber Surgeons, 191
S. Croce, Florence, painted window in the Pazzi chapel of, designed
by A. Baldovinetti, 31
painting in, Fresco by T. Gaddi, copied as a miniature by Pol de
Limbourg, 90
S. Denis, Abbey of, Tomb of Henri II. and Catherine de’ Medici at,
executed by G. Pilon, 95
S. Francesco, church of, Siena, fire at, 1655., 315
painting by Vanni, _Madonna degli Infermi_, in, usually ascribed to
P. Lorenzotti, _ib._
other work by Vanni in, usually ascribed to other hands, _ib._
S. Francis. traditional residence of, at the Spedale di S. Paolo,
Florence, 23
S. George, church of, at Ruballa, first home of the _Altarpiece_ in
five parts by B. Daddi, (Parry), 126
S. George, the Dragon and Cleodolinde, on the Ypres chest, 357
S. Giovanni, Florence, baptistery of, Baldovinetti employed to
restore, 23
his emoluments, 170
S. Lorenzo, Florence, tomb of Baldovinetti in, 22, 24
district of, Florence, hired dwelling of Baldovinetti in, 23
S. Luke. (_see_ Academy of), Gild of, 326, 332
S. Maria a Quinto, Florence, land in, owned by Baldovinetti, 23
S. Maria Novella, marble frontal of the High Altar of S. Trinità found
in, 32
Piazza of, remains of the Spedale di S. Paolo on, 23
work of D. Ghirlandajo in, 174
S. Maria Nuova, Florence, Archivio di, ‘Ricordi’ of Baldovinetti once
in, 24
S. Martino a Sesto, Florence, land in, owned by Baldovinetti, 23
S. Michael (Archangel), patron of the Brussels gild of Butchers, 191
and of Drapers, 190
S. Miniato a Monte, Florence, mosaic façade of, restored by
Baldovinetti, 169
S. John Gualbert’s Crucfix removed from, to S. Trinità, 32
S. Trinità, Florence, Altarpiece for, painted by A. Baldovinetti,
_Trinity, with two Saints_, now in the Florentine Academy, 32
decoration of, by Baldovinetti, notes of accounts kept by him, 27
work of D. Ghirlandajo in, 174
Saint-Vallier family, arms of, as shown in MS. 616 of _Gaston
Phoebus_, 11, 12
Saladin, heterodoxy of, evidences of, 135
Salting, G., present owner of painting attributed to Giorgione now
ascribed to Cariani, _ex_ Leuchtenberg collection, _Madonna and
Child_, 78
Salviati, Bernardine, Canon of Bruges Cathedral, Triptych painted
for, by G. David, (N. G.), 36
Samarcand, edifice of Chinese porcelain set up at, by a Timurid
Sultan, 144
MS. from, containing astronomical treatise of ‘Abd ur-Rahmān el
Sufi, strong Chino-Japanese style of, _ib._
Timurid mosques of, ogival doorways of, 139, 143
Samian bowls found during excavations at Rouen, 374
Sandys, drawings by, for illustrations, never engraved, _Spirit of the
Storm_, and another, vicissitudes of, 300
his method of preparing illustrations, and large version of his
drawing, _Amor Mundi_, (Battersea), 300
Sargon, Palace of, Persepolitan building recalling, 139
Sarzana, capture of, by Florence, 28
Sassanides, Kings of Persia, history of, 44, 47
influence of, on Mussulman architects, art and methods of their
period, 139, 140
Savoy, Beatrice, Duchess of, sister of the Empress Isabella, at
Bologna, possibilities of the visit as to the portrait of the
latter, 282
Sayce, Professor A. H., _cited_ on the cedar and the palm as the Tree
of Life, 353
_cited_ on Hittite origin of the Svastika, 47
Scandinavia, Art and Artists of, (_see_ Denmark _and_ Iceland),
Svastika said to represent Thor of, 43
Schefer, C., Arab illuminated MS. owned by, the ‘Makāmāt of Harīrī,’
136
Scheibler, Dr., attribution by, to G. David of the _Adoration of the
Magi_ previously ascribed to J. van Eyck, 39
Schliemann, Dr., letter to, from Major-General Gordon on Svastika as
Chinese symbol, 47
=Sculpture=, _see_ Bas-reliefs
Bust of _St. John Baptist_ _ex_ Gigli Campana collection (S. K.), is
it the work of Leonardo da Vinci? 84
Greek, Burlington Fine Arts Club Exhibition:--
Busts:_ Hipponax and Menander_, 250
Heads: _Aphrodite_, ascribed to Praxiteles, (Leconfield), 249
_Girl from Chios_, 249 _and note_
letter on, by J. Marshall, 376
_Mourning Woman_, (Ponsonby), ascribed to Lysippos, 249
of Statue by Polykleitos, (Vincent), 244
of a Youth, (Vincent), 241
by Pilon, G., Groups: _Les Trois Grâces_. (Louvre), 95
_Les Trois Parques_, (Hôtel de Cluny), _ib._
Statue, Marble, _La Charité_, (Lowengard), 95
_Tomb of François I._ (with other sculptors), and _Tomb of Henri
II._ and _Catherine de’ Medici_, 95
by Verrochio, _David_, Statue, resemblance of its mouth to that of
the _P. Scipioni_ Bas-relief, 84
Seals of the Brussels Gilds, R. Petrucci, 190
Sefevæan Kings of Persia, MSS. of their period, 135, 144
mosaics adorning Mosques of, 139
Segher, Hercules, etcher, influence of, on Rembrandt, 63
Séguier, Chancellor, patron of Charles Le Brun, 229, 230
Settignano, Desiderio da, carver of the Gianfigliazzi arms, on their
Florentine palace, 28
Seuter and Townley, engravers, 52
Seventeenth and Eighteenth Century British Engravers, and their work,
V. and A. Museum Exhibition, 194
Sforza, Francesco, first Duke of Milan, his daughter and her husband,
338
Shah Abbas, Persian art during period of, large survival of MSS. of,
144
Shah-Alem II., and his library, 143
Shah-Jehan, Emperor of Hindustan, and his love for literature, 143
Shah-Rokh, son of Timur Bey, art in Persia during his reign, 143
Shakespeare, the First Folio, The Geographical Distribution of, F.
Rinder, 335
Sheepshanks Collection of proofs of the Landseer school of engraving,
(N. Art Library), shown at the V. and A. Museum Exhibition, 199
Sheridan, Mrs., model of Sir J. Reynolds for painting of _Charity_ and
the Virgin in the _Nativity_, (Normanton), 212
Short, Frank, fine work of, in mezzotint, shown at the V. and A.
Museum Exhibition, 199
and Miss C. M. Pott, catalogue and exhibition of Engraving and
Etching processes, arranged by, V. and A. Museum Exhibition, 199
Siddons, Mrs., portrait of, as _Tragic Muse_, by Sir J. Reynolds,
(Westminster), copy, by the Duchess of Buckingham, (Normanton),
replica by Reynolds, (Dulwich), 224
Siena, Communal Library of, extracts from the ‘Ricordi’ of
Baldovinetti found in, 24
paintings by A. Vanni still extant in, _see_ Vanni, _passim_
=Silver:=--
Chalice, Mediaeval, from Iceland, in the V. and A. Museum, H. P.
Mitchell, 70
from Sorö, Denmark, H. P. Mitchell, 357
The Plate of Winchester College, P. Macquoid, 149
Cup with cover, gilt, presented by a Marquis of Winchester, 156
Ecclesiastical; Two Chalices and an Alms Dish, etc., 162
‘Election Cup’ presented by Warden More, 150, 155
Hanap, or Tall Standing Cup, 162
Rose-water Dish and Ewer, parcel-gilt, presented by Radolphus
Henslowe 155
parallels owned by Lord Newton of Lyme, 156
Rose-water Dish, presented by Dr. George Rives, 161
Standing Cup and cover, presented by Hugh Barker, 16,
Standing Salt, bequeathed by Michael Bold, 161-2
Standing Salt, gilt, 156
Steeple Cup and cover, gilt, 162
Sweetmeat Dish of tazza form, 156
Tankard and cover, presented by John Bolney, rare shape of, 161
Tankard with lid, parcel-gilt, Commonwealth period, 162
Simon, J., of Berlin, paintings by Gerard David owned by, parts of a
Triptych, 39
Simone, _see_ Martini, Simone
Sisamnes, the unjust judge, in painting by Gerard David, _Judgement
of Cambyses_, 36
Siva, Svastika the supposed emblem of, 43
Six Collection, Amsterdam, paintings by Jan Vermeer in, 55
Sixtus IV., Pope, Bongianni Gianfigliazzi one of the Florentine
orators sent to, on his election, 28
Sky and Sky God, Svastika the supposed emblem of, 43
Slip ornament, Staffordshire pottery, 68, 69
‘Slip’ in pottery making, a definition of, 66
Smith, _Portrait of the Artist_, ascribed (erroneously) to Rembrandt,
52
Smith, C., The Exhibition of Greek Art at the Burlington Fine Arts
Club, 236
‘Solace of Song,’ remarkable illustrations to, by Harvey, engraved by
W. T. Green and others, 299, 306
Solario, The Authorship of a _Madonna_ by, _letter_, B. Berenson, 114
Solon, L., The Lowestoft Porcelain Factory, and the Chinese Porcelain
made for the European Market in the Eighteenth Century, 271
Soma, son of Rishi Atri, legend of, and connexion of with a Buddha,
354
Soma tree (date palm or hom,) as the Tree of Life, 350, 353
other theories concerning identity of, 353
juice of, how prepared, its uses, and allusions to it in the
Rigveda, 354
Somerley, Hampshire, The Collection of Pictures of the Earl of
Normanton at, M. Roldit; I. Pictures by Sir Joshua Reynolds, 206
Soorgh, Hendrik, possibly the painter of the picture attributed to
Adriaen Brouwer, Guildhall, 1903., _Interior with Figures_, 56
Sophia, daughter of Casimir III. King of Poland, her daughter’s
portrait by Dürer, 289
sister of Casimir, Margrave of Culmbach, 290
Sorö Chalice, The, (from Denmark), H. P. Mitchell, 357
Soung-Young, (a Doctor of reason), _cited_ on the Tao-sse of China, 47
Spain, paintings by Adrian Isenbrant sent to, 326
Spedale di S. Paolo, Florence, ‘ricordo’ in, relating to Baldovinetti,
22
locale, ornaments, and original use of, 23
the Pinzochere of, 24
Spedale di S. Maria Nuova, that of S. Paolo united with, 22
Spiral Scroll, The, and the Svastika, 48
Städel Institute, Frankfort, painting by Botticelli in, resemblance
of details in, to those in painting by G. David, (Bruges Museum), 36
Staffordshire Pottery Ware, Early, illustrated by pieces in the
British Museum, R. L. Hobson, 64
Stanhope, Hon. Mrs., _see_ Falconer, Miss
State, the, of a sculptured _Head of a Girl_ from Chios, recently
shown at the Burlington Fine Arts Club, Rodin _cited_ on, _letter_,
J. Marshall, 376
Statue, Marble, by Pilon, _La Charité_, 90
Steen, Jan, painting by, Guildhall, 1903., _Portrait of Himself_,
(Northbrook), 56
Steevens, George, price paid by, for first folio Shakespeare, Martin
Folkes copy, 1756., (Rylands Library), 336
Stothard, T., illustrations by, to the ‘Voyage of Columbus,’ 299
sepia drawing by. for an illustration, 305
Strange, E. F., British Engraving (Exhibition of), at the V. and A.
Museum, 194
Sir Robert, engraver, work by, in V. and A. Museum Exhibition, 194
Strassburg Museum, paintings attributed to Memlinc owned by, shown at
Bruges, 1903., ascription controverted, 35
Strong, Mrs., Exhibition of Greek Art organized by, 236-55
comment on the exhibits by, _ib._
Strozzi, Filippo, portrait of, in Baldovinetti’s frescoes, 170
portrait by Titian with landscape background, (Berlin Gallery), 285
Suavastika supposed symbol of the Autumnal Sun, 44
Sufis of Sultan Husein Mirza, MSS. of the Life of, repetitive
decorations of, 135
Sultan Husein Mirza, the Sufis of, MSS. of the Life of, repetitive
decorations of, 135
Sultan Mirza Ulugh Beg, _see_ Ulugh Beg
Sun, Autumnal, the Suavastika supposed emblem of, 44
Sun God, Sun and Sun Chariot, the Svastika supposed emblem of, 43
Sun-worship, association of the Lotus with, Goodyear cited on, 350
Sung period of Chinese art, rarity of relics of, 205
Sunnà of Mohammed, laws of, as to art, 132, 135
Susanna of Bavaria, wife of Casimir, Margrave of Culmbach, patroness
of Dürer, in a lost picture by him, 290
possibly the Lady of Portrait by him owned by Mr. Heseltine, _ib._
other (medal) portraits of and of her second husband, _ib._
=Svastika, The=, 43
absence of, from Phoenicia, 47
absence of, alleged, in Babylonia and Assyria, 47
as an auspicious sign, and always ornamental, 43
on breach of gun taken at Taku Fort, 47
in the Bronze Age, 47
as the emblem of Agni, 43
fecundity, 43
the female, 43
Hindu gods, 43
Jupiter Tonans and Jupiter Pluvius, 43
Thor of the Scandinavians, 43
evolution of, from the Lotus, according to Goodyear, 354
in footprints of Buddha on Indian mountains, 43
Hittite origin or, Sayce on, 47
introduction of, into Cyprus, Carthage and North Africa, Richter’s
views as to, 47
in relation to the Lotus, 43, 48
in relation to the Nature gods. 43
oldest known Aryan symbol. 43
origin and symbolism of, theories concerning, 43
on Persian coins of Arsacide and Sassanide dynasties, 44
Phallic meaning attributed to, 43
probably a development of the Chinese characters C. h. e, 44
in Thibet. 44
traceable in household appointments, house-irons, etc., 48
universality of, the basis of all decorative design, 43
use and name of, among North American Indians, 43-4
Wilson on, 43
his discovery of, on Assyrian coins and those of Alexander the
Great, 47
Sydney, N.S.W., first folio Shakespeare at, and its donor, 336
Sykes, Colonel, on Tao-sse of China, 47
~Taku~ Fort, the Svastika, obviously Chinese, found on breech of gun
taken at, 47
Tamerlane, _see_ Timur Bey
T’ang dynasty of Chinese rulers, rarity of art relics of, 205
Tangye, Sir R., donor of first folio Shakespeare to Sydney, N.S.W.,
336
Tankards, etc., _see_ Silver Plate
Tao-sse sect of China, (_see_ also Tirthakar), 47
Tapestry, designs for, by C. Le Brun, _Chasses de Méléagre_, _History
of Constantinople_, _Jupiter allaité par le chèvre Amalthée_, _Mars
et Venus_, _Les Muses_, 230
high warp, manufactory of, established by Fouquet at Maincy, 230
Tara, wife of Brihaspati, mother of a Buddha, by Soma, 354
Tattooing, the Swastika used in, in Thibet, 44
Tau Cross, ivory, found at Alcester, (B.M.,) 200
Teapot, hard porcelain, Chinese in decoration, marked ‘Allen,
Lowestoft,’ (V. and A. M.), 277
Temperament in native Dutch art, 51
Terborch, G., paintings by, Guildhall, 1903., _Portrait of a Lady_
and _Portrait of a Young Woman_, 56
Terra-cottas, _see_ Ceramics
Tewkesbury Abbey, frescoes on roof of, by T G. Parry, 117
Textile Arts, _see_ Lace, Oriental Carpets, Tapestry, Weaving, _etc._
Thibet, connection of the Svastika with, 44
Tirthakar sect in, derivation of name, 44
Thiem, A., owner of painting attributed to Memlinc, _B. V. M. and
Child_, (Bruges, 1902.), 35
Thomas, Mr., on the Svastika and the Jain Tirthankara, 44
Thomond, Marchioness of, niece of Sir J. Reynolds, sale of her
pictures, 1821., the foundation of the Normanton collection, 211
Thor of Scandinavia, the Svastika supposed emblem of, 43
Thunder-gods, the Svastika probably emblem of, 43
_Times, The_, view of, as to correct attribution of _Le Commencement
d’Orage_, Guildhall, 1903., (Lady Wantage), 60
Timur Bey, (Tamerlane), 132
as art patron and author, 143
and his successors, art in Persia during reigns of, 143
Timurid art in Persia, 143
of Khorassan, Chinese influence on, 143
Mosques of Samarcand, ogival doorways of, and art associations of,
139
Tirthakar sect of Thibet synonymous with Tao-sse of China, 44
Tirthankara, the Jain, the Svastika one of their devices, Max Müller
and Thomas on, 44, _see note_
Titian, (Tiziano Vecellio), _Portrait of the Empress Isabella_ by, G.
Gronau, 281
his commission from Charles V. at Busseto, Aretino _cited_ on, 281
his inferior model, 281-5
his success, _ib._
visit of, to, Augsburg, confusion caused by his references to his
work there, 281
his adoption of landscape backgrounds, 285
his influence on subsequent portrait painters, _ib._
portrait by, of _Giacomo Doria_, owned by J. Wernher, letter on,
from G. de Pellegrini, 267
Tizio, _cited_ on the _Altarpiece_ by Vanni in S Stefano, Siena, 310
and on his work for the friars minor of S. Francesco, 315
Tleson, Kylix signed by, shown at the Burlington Fine Arts Club
Exhibition, 255
Tocqué, Jean-Louis, paintings by at the Louvre, chiefly official
portraits, 344
_Portrait of Dame Danger_, recently acquired, 343-4
Tod, Colonel, on the date of introduction of Buddhism into Thibet, 47
Toft ware, a name for slipware, its origin, 69
Tomb of Francis I. of France, designed by Delorme, work of Pilon and
other sculptors on, 95
Henri II. of France and Catherine de’ Medici, executed by G. Pilon,
95
Tommé, Lucca di, painter, 310
Tone in Dutch painters ancient and modern, 51
Toscanelli, Paolo da Pozzo, astrologer, portrait of, in
Baldovinetti’s frescoes, 169
Tournay Museum, painting by John van Eecke owned by, _Vision of S.
Bernard_, (Bruges, 1902.), 332
Treadwin, Mrs., _the late_, Honiton lace revival by, 95
Tree of Life identified with the Lotus by Goodyear, 350
types and distribution of, 353
and Lotus, in Oriental Carpets, 349
Trees and Plants identified with the Tree of Life, 350, 353
Trepperel, _Gaston Phoebus_ hand-printed by, 8
Turenne, Marshal, campaign of, in the Netherlands, 12
Turkestan, Timurid MSS. in, better executed than similar MSS. in
Persia, 144
Turkey, lack of legislative protection for ancient buildings in, 3
Turkish skill in miniature painting, 132
Turner, Charles, Mezzotint by, shown at the V. and A. Museum
Exhibition, _The Water Mill_, after Callcott, 199
Turner, J. M. W., as an illustrator, 306
illustrations by, to Rogers’ ‘Poems,’ (N. G.), 300
struggles of, with his steel-engravings, 294
and Barrett, resemblances of their work as illustrators, 306
and Goodall, illustrations by, to ‘Datur Hora Quieti,’ 300
Tuscany, Pietro Leopoldo, Grand Duke of, union of the Spedale of S.
Maria Nuova and S. Paolo effected by, 22
Two Alleged Giorgiones, H. Cook, 78
Italian Bas-reliefs in the Louvre, A. Michel, 84
Pictures in the possession of Messrs. Dowdeswell, _Adoration of the
Magi_ and _Dormition of the B. V. M._, probably French ~XIV.~
cent., 89
Type, Greek, A New Fount of, (Proctor’s ‘Otter’), 358
Types of the Tree of Life, 353
Typography, _see_ Greek Type
Tyrol, Archduke Ferdinand, Duke of, Codex MS. 616 of _Gaston Phoebus_
presented to, by Bishop Bernard of Trent, 12
Landsknechte of Charles V. of Germany recruited from, 12
~Uffizi Gallery~, painting by unknown artist, Florentine School, early
~XV.~ cent. in, Triptych, _Madonna and Child, with Angels and
Saints_, 131
painting by unknown artist, School of Cimabue, in Altarpiece of _St.
Cecilia_, 118
Ulugh Beg, grandson of Timur Bey, astronomical tables drawn up by, 143
astronomical MS. copied for, at Samarcand, strongly marked Chinese
influence in, 144
United States of America, general provision of legislative protection
for ancient buildings in, 3
Upper Ossory, Earl of, his second wife, Miss Anne Liddell, painted by
Sir J. Reynolds, (Normanton), 223
Urbino, Duchess of, _Portrait of_, by Titian, believed to be the first
in which he employed landscape background, 285
Guidobaldo, Duke of, meeting of, with Charles V. at Peschiera, 281
~Van Aelst~, Willem, painting by, Guildhall, 1903., _Still-life
Subject_, 56
van Craesbeeck, Joost, possibly the painter of the picture attributed
to Adriaen Brouwer, Guildhall, 1903., _Interior with Figures_, 56
Van de Capelle, Jan, beauties and characteristics of his work, 60
paintings by, Guildhall, 1903., _Off Scheveningen_ and _Sea Piece_,
both masterpieces, 60
painting by, _River Scene_, (N.G.), beauties of, 60
Van der Heyden, Jan, painting by, Guildhall, 1903., _Landscape_,
(very highly finished), 59
Van der Neer, Aart, painting attributed to, Guildhall, 1903.,
_Moonlight River Scene_, doubtful authenticity of, 59
Van de Velde, Adriaen, painting by, Guildhall, 1903., _Landscape with
Cattle_, small and excellent, 59
George and his son John, portraits of, on Diptych, by Isenbrant, 326
Willem, paintings of, surpassed by some of van de Capelle’s shown at
Guildhall, 1903., 60
van Dyck, Sir A., (or Vandyke), influence of, traceable in painting by
Sir J. Reynolds, 223
influence of Titian on, 285
van Eecke or van Eeckele, John, paintings by, shown at Bruges, 1902.,
formerly ascribed to John van Eyck, _Mater Dolorosa_, (Bruges
Cathedral), locale of copies of the same, 332
Vision of S. Bernard, (Tournay Museum), 332
van Eyck, John, paintings formerly attributed to, one now ascribed to
Gerard David, _Adoration of the Magi_, (Brussels Museum), Bruges,
1902., 39
another, now ascribed to van Eecke or van Eeckele, Bruges, 1902.,
_Mater Dolorosa_, (Bruges Cathedral), locale of copies of the
same, 332
van Goyen, Jan, favourite subjects in paintings of, 343
part of painting attributed to Frans Hals, possibly by, _Van Goyen
and his Wife_, Guildhall, 1903., 52
traces of his influence in paintings by Jacob Maris, 178
van Halewyn, Joan, and her husband, portraits of, on triptych, by
Isenbrant, 331
van Huerne, M., paintings by Isenbrant and others, presented by, to
Bruges Cathedral, 331
van Huysum, Jan, paintings by, Guildhall, 1903., _Still-life
Subjects_, 56
Vanni, Andrea, F. Mason Perkins, 309
of Siena, painter, diplomat, and devotee, friend of S. Catherine of
Siena, date of his birth, share in revolution of 1368, etc., 309
characteristics of his style, 89, 309, 322
date of his death, 325
paintings by; _Annunciation_, (Count F. Chigi, Siena), 316;
_Annunciation_, after Simone Martini, (S. Pietro Ovile, Siena),
various attributions of, 321
_Crucifixion_, (fragmentary), formerly in the church of the
Alborino, (Istituto delle Belle Arte, Siena), 309, 321
_Deposition from the Cross_, (Berenson), 321
Frescoes, in bad condition, (S. Giovenale, Orvieto), 321, _note_
_Seated Virgin and Child_, (S. Francesco, Siena), usually
attributed to A. Lorenzotti, 315
_Madonna_, (church on Monte Nero, near Leghorn), 321, _note_
_Madonna degli Infermi_, (S. Francesco, Siena), attributed to
Pietro Lorenzotti, 310-15
_Panels, Madonna and Child_, (S. Giovanni della Staffa, Siena),
316
_Virgin and Child_, full-length, (S. Spirito, Siena), 316
_Virgin and Child_, half-length, (Chapel of SS. Chiodi, Siena),
usually attributed to Barna, 315-6
_Virgin and Child_, (priest’s house, next S. Pietro Ovile), 325
Polyptych, _Altarpiece_, (S. Stefano, Siena), 309
Portrait of St. Catherine of Siena, (S. Domenico, Siena), 309,
321
Triptych, _St. Michael between St. Anthony the Abbot and the
Baptist_, (Siena Gallery), usually ascribed to Lippo Memmi,
325
_Virgin and Child_, (Berenson), 316
presumptions as to his later and earlier artistic life, 325
one of his pupils referred to, _ib._
van Orley, Bernard, Notes on the Life of, W. H. J. Weale, 205
Valentine, reputed father of Bernard, 205
van Os, Jan, paintings by, Guildhall, 1903., _Still-life Subjects_, 56
van Pynbroek, Margaret, alleged mother of Bernard van Orley, 205
van Rijn, Rembrandt, _see_ Rembrandt
van Ruysdael, _see_ Ruysdael
Vasari _cited_ on Baldovinetti, 22, 24
his methods of fresco painting, 169
his frescoes in the Cappella Maggiore of S. Trinita, Florence, and
their subjects, 170
on their early decay, 173
_cited_ on the metal heads made by Verrochio, 84
_cited_ on the preparation of frescoes, 167
‘Life of Stefano Fiorentino and Ugolino Sanese,’ by, 126
and others, error of, as to Bernardo Daddi, 125
Vassall, F., portrait of his daughter, Mrs. Russell, by Sir J.
Reynolds, (Normanton), 223
Vaux, Château de, works of C. Le Brun at, 230
Vecellio, Tiziano, _see_ Titian
Vedas, the, story of Agni the fire God, and the origin of the Svastika
in, 44
note concerning these books, 353
Velasquez, as a painter of dogs, 218
one of the few painters whose brushwork equals that of Frans Hals,
52
Veneziano, Domenico, use of oil by, in his frescoes, 169
Ventura, Bernardino di, pencil-maker, of Florence, 167
Veramin, _see_ Ardabil and Veramin
Verard, Antoine, _Gaston Phoebus_ hand-printed by, 8
Verino, Ugolino, reference to the Gianfigliazzi family in a poem by,
28
Vermeer, Jan, of Delft, a rare master, painting by, Guildhall,
1903., _The Cook Asleep_, 55
other and finer works by elsewhere, _ib._
Verrochio, possibly the artist of the _P. Scipioni_ Bas-relief, views
of Bode and others _cited_, 84
statue by, _David_, resemblance between its mouth and that of the
above, 84
Versailles, works at, directed by C. Le Brun, 235
Verspronck, J., paintings by, Guildhall, 1903., _Portrait of a Dutch
Lady_, (Mrs. Stephenson Clarke), resemblance of his technique to
that of Hals, 55
painting probably by, _Portrait of a Lady_, (at Antwerp), _ib._
Via dell’ Ariento, Florence, Baldovinetti’s hired house in, 23
Vianizzi, Giovanni di Ser Antonio, writer of the records of the
Pinzochere of S. Paolo, Florence, 27
=Victoria and Albert Museum:=--
drawings on the wood for illustration to Dalziel’s ‘Arabian Nights,’
etc., in, 305
Exhibition of British Engraving at, E. F. Strange, 194
frescoes in, by Sir F. Leighton, 117
New Acquisitions at:--
Mediaeval Silver Chalice from Iceland, H. P. Mitchell, 70
The Reid Gift, (MSS.), 74
Vienna Museum, paintings by Boels in, ascribed to Memlinc, 35
Modern Gallery, Pictures in the new, 375
Vierge, Daniel, and his style, 306
Vigne, Gace de la, _see_ Buigne
Vincent, Sir E., _Head of a statue_ by Polykleitos owned by, shown at
the Burlington Fine Arts Club Exhibition, 244
Vinci, Leonardo da, _see_ Leonardo da Vinci
Ser Piero di Leonardo da, notary of Florence, engrosser of the
‘ricordo’ concerning Baldovinetti, 22, 23
Visconti, Bianca-Maria, second wife of Alfonzo II. of Aragon, 338
Vishnu, the Svastika probably an emblem of, 43
Vitry, Paul, Pictures recently acquired by the Louvre, _Landscapes_,
(2), by S. Ruysdael; _Portrait of Dame Danger_, by L. Tocqué, 343
Volpaia, Lorenzo dalla, astrologer, portrait of, in Baldovinetti’s
frescoes, 170
von Kaufmann, R , painting by A. Isenbrant owned by, _A Donor and his
Family, with Protecting Saints_, (Bruges, 1902.), 331
von Knebel, Hofrath Christian Friedrich, of Ansbach, lost votive
picture by Dürer once owned by, with portraits of the Margrave of
Culmbach and his Wife, 290
Vouet, Simon, early master of Charles Le Brun, 229
~Waagen, Dr.~, 60
_cited_ as to the _Annunciation_ attributed to Memlinc, (Prince
Radziwill), (Bruges, 1902.), 35
Walde, Muller-, _see_ Muller-Walde
Wantage, Lady, painting formerly attributed to Rembrandt, owned by,
_Le Commencement d’Orage_, Guildhall, 1903., 60
panels by Gerard David owned by, 39
Waring _cited_ on alleged absence of the Svastika in Babylonia and
Assyria, 44
Water-gods, Greek, and Hindu, Svastika the supposed emblem of, 43
Water-colour Paintings, _see_ Drawings
Watts, G. W., drawings on wood by, for illustrations to Dalziel’s
‘Bible Gallery,’ (V. and A. M.), 305
Wauters, A., _cited_ on Bernard van Orley, 205
Weale, W. H. J., The Early Painters of the Netherlands as illustrated
by the Bruges Exhibition of 1902., 35, 326
Note on the Life of Bernard van Orley, 205
Weaving, evolution of the art of, 349
Weber, E., painting by J. Prevost owned by, _Last Judgement_, (Bruges,
1902.), 332
Werth, researches of, on Codex MS. 616 of _Gaston Phoebus_, 8, 12
Wertheimer, A., painting attributed to Giorgione, but to be ascribed
to Cariani, acquired by, _ex_ Leuchtenberg collection, _Adoration of
the Shepherds_, 78
Westall, W., wash-and-pen drawing by, for illustration, 305
Westminister, Duke of, owner of painting by Sir J. Reynolds, _Mrs.
Siddons as the Tragic Muse_, 224
paintings attributed to Memlinc owned by, probably by L. Boels, 35
Wielant, Philip, and his wife, portrait of, on Triptych by Isenbrant,
331
Willett, Henry, armorial plate in Indo-European style, marked
‘Canton, 1791.,’ owned by, 277
William I., German Emperor, Berlin copy of first folio Shakespeare
bought by, 1858., 336
William III., deterioration of the acanthus design on plate in the
reign of, 161
William of Wykeham, founder of Winchester College, his arms and
outlay. 149
Wilson, Professor, _cited_ on the Svastika as primarily an ornament,
43
on the Svastika on Assyrian coins and those of Alexander the Great,
47
Sir Matthew, former owner of painting by Rembrandt, _Portrait eta
Lady_, (Hage), 360
Winchester Cathedral, marriage of Queen Mary to Philip of Spain in,
150
City, importance of, as one time capital of England, 149
College, The Plate of; P. Macquoid. 149
its founder, 149
visitors to, and their gifts of plate, 149-50;
inventory of plate of, _temp._ Henry VIII., 150
sequestration of the plate, _temp._ Edward VI., _ib._
subsequent gifts of new plate to, 155
description of principal existing pieces, 155 _et seq._
Marquis of. _circ._ 1682., Silver-gilt cup with cover presented by,
to Winchester College, 156
Windows, _see_ Glass, Painted Windows, _etc._
Woertz Museum, painting attributed to Memlinc owned by, (Bruges,
1903.), condition of, 35
Wolvesey Castle, visit to, of Henry VIII., 149
Woodburn, Samuel, marks affixed by, to Lawrence drawings, 286
Wood-carving, Burgundian Chest, (Bruges, 1902.), (Hospices civiles,
Aalst), 358
Oaken Chest of Ypres, 357
Woodcuts, newly acquired by the Print Room of the British Museum, 75
Woollett, William, and his school of engravers, work by, shown at the
V. and A. Museum Exhibition, 194
plate by, and by his pupils, _Roman Edifices in Ruins_, after
Claude, 194-9
Works of Art belonging to Dealers, The Publication of, _editorial_, 5
Wrotham, Kent, slipware of, ~XVII.~ and ~XVIII.~ cent., 68
Wykeham, _see_ William of Wykeham
~Xerxes~, the Apadana of, and its art, 139
Ximenes, Cardinal, type cut by order of, the Alcalà fount, 358
~Yarkand~ Rugs, the pomegranate as the Tree of Life on, 353
Yez-de-jird the Third, last of the Sassanian kings overthrown by the
Mahomedans, 47
Ypres, The Oaken Chest of, 357
~Zendavesta~, _note_ concerning, 354
Zeus, the Svastika supposed to be an emblem of, 43
Zmigrodski on the derivation of the Suavastika, 44
❧ INDEX OF ARTISTS AND WORKS OF ART ❧
~Albarelli~, Italian, _see_ Ceramics
Altarpiece, by A. Baldovinetti, painted for the Cappella Maggiore, S.
Trinità, now in the Florentine Academy, _Trinity, with Saints_, 29
Aquatint, coloured, by Stadler, _The Hôtel de Ville, Louvain_, after
S. Prout; (V. and A. M.), 203
Armorial Bearings, (Shields), of the Doria family, (in text), 268
~Bagg~, engraving by, after E. Isabey,_ Ship During Storm_,
illustration to Curmer’s ‘Paul et Virginie,’ 307 (3)
Baldovinetti, Alesso, painted glass window, designed by, in S. Croce,
Florence, with figures of God the Father and St. Andrew, 25
paintings by, Altarpiece, _Trinity, with Saints_, formerly in S.
Trinità, now in the Florentine Academy, 29
_Patriarchs_, _Abraham_, _Noah_, _Moses_ and _David_ on the Vault
of the Cappella Maggiore of S. Trinità, Florence, 171
Barret, G., drawing by, for an illustration, _Landscape_, 301 (3)
Bartolozzi, F., drawing by, for an illustration, _Cupid with a Tragic
Mask_, 298 (3)
=Bas-reliefs:=--
by Agostino di Duccio, _Virgin and Child, with Saints and Cherubs_,
in the Louvre, 88
Greek, Burlington Fine Arts Exhibition, _Fragment of the Frieze of
the Parthenon_, (T. D. Botterell), 236
School of Leonardo da Vinci, _Bust and profile in helmet and armour,
inscribed ‘P. Scipioni,’_ in the Louvre, 88
Book-illustrations of the Later Nineteenth Century, five plates, 295,
298, 301, 304, 307
Bosboom, Jan, painting by, _The Archives at Veere_, (J. C. J.
Drucker), Dutch Exhibition, Guildhall, 179
Boule, André Charles, Furniture by, Marquetry Bureau, and Bookcase,
234
=Bronzes:=--
Greek, Burlington Fine Arts Exhibition, _Amphora Handle_, (Wyndham
Cook), _Mask of Sea Deity_, (Salting), _Mirror-cover_, (Taylor),
247
_Plaque_, (Wallis), 245
Statuettes, _Aphrodite_, _Nude_, (Loeser), _Aphrodite with Torch_,
_Seilenos Crouching_, (Taylor),_ Sick Man_, (Wyndham Cook), 245
Bruges Museum, painting by Gerard David in, _The Judgement of
Cambyses_, 2
Brussels, Seals of the Gilds of Bakers, Barbers, and Butchers of, (in
text), 190, 191
Burgundian Wooden Chest, ~XV.~ cent., richly carved, (Hospices
civiles, Aalst), 361
Burlington Fine Arts Club, Exhibition held by, _see_ Greek Art
Busi, Giovanni, _see_ Cariani
~Cariani~, (Giovanni Busi), paintings by, _Madonna and Child_, (G.
Salting), 79
_The Sempstress Madonna_, (Corsini Gallery, Rome), 81
Carpets, _see_ Textiles
=Ceramics= (_see_ Terra-cottas):--
Early Staffordshire Ware, (slip-ware, etc.), Dish, Tygs, Cups,
Cradle, Jug, Lantern, etc., illustrated in text, ~XV.~ figs., 64-9
Greek, Burlington Fine Arts Exhibition, _Krater_, (Harrow School),
253
_Kylix_ signed Tleson, and _Plate_ signed Epiktetos, (Marquess of
Northampton), 253
Lowestoft China, Teapot, (Harding), and Small Plate, (Franks), 273
Teapot, hard porcelain, made and decorated in China, but marked
‘Allen, Lowestoft’; (V. and A. M.), 276
Three Italian Albarelli, ~XIV.~ cent., (Louvre), 339
=Chalices:=--
Early Scandinavian, (~XIII.~ cent.), Silver, from Iceland, with
details of inscription and decoration, V. and A. Museum, 71
The Sorö, Silver, from Denmark, 356
Winchester College, 165
=Chests:=--
Burgundian, ~XV.~ cent., richly carved, (Hospices civiles, Aalst),
361
Polychrome Wooden Chest (The Ypres Chest), 361
Cimabue, School of, paintings by, artist unknown, _Nativity_, and
_Adoration_, (Parry), 118
Cnoop, Cornelia, wife of Gerard David, painting by, Triptych, _B. V.
M. and Child, SS. Catherine and Barbara_, (P. and D. Colnaghi), 37
Corsini Gallery, Rome, painting by Cariani, _The Sempstress Madonna_,
in, 81
Courbould, drawing by, for an illustration, _Duel Scene_, 298 (4)
~Daddi~, Bernardo, painting by, _Altarpiece in Five Parts_, (Parry),
121
Dalziels, engraving by, after D. G. Rossetti, _The Maids of Elfen
Mere_, illustration to Allingham’s ‘Music Master,’ 304 (1)
Daubigny, Charles-François, painting by, _On the Seine_, (Balli), 365
David, Gerard, (_see_ Cnoop, Cornelia, his wife, and her painting),
paintings by, _B. V. M. and Child, with Angels_, _Virgin Saints, the
painter and his wife_, (Rouen Museum), 34
_The Judgement of Cambyses_, (Bruges Museum), 2
De Koninck, Philips, painting variously attributed to, and to
Rembrandt, shown at Guildhall, 1903., _Le Commencement d’Orage_,
(Lady Wantage), 61
Denmark, The Sorö Chalice from, 356
Doria family, armorial bearings of the, (in text), 268
=Drawings:=--
by artist unknown, for an illustration, _River Scene_, 301 (2)
by Barret, G., for an illustration, Landscape, 305 (3)
by Bartolozzi, G., for an illustration, _Cupid with is Tragic Mask_,
298 (3)
by Corbould, for an illustration, _Duel Scene_, 298 (4)
by Dürer, A., _Portrait of a Lady_, (B. M.), 287
_Portrait of a Lady with a Lap-dog_, (Heseltine), 291
by Gigoux, J., _Man’s Head_, illustration to ‘Gil Blas,’ 295 (1)
by Harvey, _Butterfly and Ant_, illustration to ‘Northcote’s
Fables,’ 298 (2)
by Isabey, E.,_ Ship during Storm_, illustration to Curmer’s ‘Paul
et Virginie,’ 307 (3)
by Meissonier, J. L. E., _Shoeing a Horse_, illustration to ‘Les
Contes Rémois,’ 307 (1)
by Menzel, A., _The Round Table_, illustration to ‘Geschichte
Friedrichs des Grossen,’ 295 (2)
by Palmer, S., illustration to ‘Sacred Allegories,’ 304 (2)
by Rossetti, D. G., for an illustration to Allingham’s ‘Music
Master,’ _The Maids of Elfen Mere_, 304 (1)
by Stothard, T., for an illustration, _Cupid’s Shooting-lesson_,
301 (1)
by Westall, W., for an illustration, _Barefooted Woman under Tree,
Man and Dog to left_, 293 (1)
Duccio, Agostino di, Bas-relief by, _Virgin and Child with Saints and
Cherubs_, (Louvre), 88
Dürer, Albrecht, drawings by, _Portrait of a Lady_, (B. M.), 287
_Portrait of a Lady with a Lap-dog_, (Heseltine), 291
Dutch Exhibition at the Guildhall, 1903., Painters whose work
was shown at, _see_ Bosboom, De Koninck, Israels,
Maris, J., and M., Mauve, Molenaer, Rembrandt,
Steen, Van de Capelle, Vermeer, Verspronck
~Early~ Painters of the Netherlands whose work was shown at Bruges,
1902., _see_ Cnoop, David, Isenbrant, Memlinc, van Eecke
=Engravings=, see also Mezzotints:--
artist unknown, after J. Gigoux, _Man’s Head_, illustration to ‘Gil
Blas,’ 295 (1)
by Bagg, after E. Isabey, _Ship during Storm_, illustration to
Curmer’s ‘Paul et Virginie,’ 307 (3)
by Green, W. T., after S. Palmer, illustration to ‘Sacred
Allegories,’ 304 (2)
by Jackson, after Harvey, _Butterfly and Ant_, illustration to
‘Northcote’s Fables,’ 298 (2)
by Knutchmar, E., after A. Menzel, _The Round Table_, illustration
to ‘Geschichte Friedrichs des Grossen,’ 295 (2)
by Lagornal, after Meissonier, _Shoeing a Horse_, illustration to
‘Les Contes Rémois,’ 307 (1)
by Williams, Mary Ann, _Jacque_, illustration to Curmer’s ‘Paul et
Virginie,’ 307 (2)
Line, British, _Portrait of Queen Elizabeth_, by W. Rogers, (H.M.
the King), 195
_Roman Edifice in Ruins_, after Claude, by T. Hearne and W.
Woollett, working proof, (V. and A. M.), 197
~Flemish~ School, paintings of. by unknown artists, _Portrait of the
Empress Isabella_, from which Titian painted his portrait, 283
_Portrait of Roger de Jonghe_, _Austin Friar_, (Sœurs Noires,
Bruges), 333
Florentine Academy; Altarpiece by A. Baldovinetti in, _Trinity with
Saints_, 29
School, paintings by artist unknown; _Madonna and Child with
Angels_, (Parry), 129
Triptych by same hand, (Uffizi), _ib._
=France, Art and Artists of:=--
Statue, Marble, by G. Pilon, ~XVI.~ cent., _La Charité_, (E.
Lowengard), (two aspects of), 94
French painters illustrated, _see_ Daubigny, Isabey, Lhermitte,
Meissonier, Tocqué
paintings, (probable), artists unknown, ~XIV.~ cent., _Adoration of
the Magi_, and _Dormition of the B. V. M._, (Messrs. Dowdeswell).
91
French Book-illustrations of the Later Nineteenth Century, 295 (1),
300 (1 and 3)
Furniture, Marquetry Bureau, and Bookcase by A. C. Boule, 234
Tapestry, Gobelin,_ Psyche’s Bath_, and section of border of the
same, (Louvre), 231
High Warp, _Louis XIV. visiting the Gobelins_, after C. Le Brun,
228
Furniture, French, by A. C. Boule, Marquetry Bureau, and Bookcase, 234
~Gaddi~, Agnolo, painting by, _Coronation of Our Lady_, (Parry), 123
Taddeo, painting by, _Part of an Altarpiece_ in S. Croce, Florence,
123
‘Gaston Phoebus’ MS., Facsimiles from, 9, 13, 17, 19
Gigoux, J., drawing by, _Man’s Head_, illustration to ‘Gil Blas,’
295 (1)
Gilds in Brussels, Seals of those of the Bakers, Barbers, and
Butchers, 191, 192
Glass, _see_ Painted Glass
Greek Art, _see under_ Bas-reliefs, Bronzes, Ceramics, Metal Work,
Sculpture, Terra-cottas
Green, W. T., engraving by, after S. Palmer, illustration to ‘Sacred
Allegories,’ 304 (2)
~Harvey~, drawing by, _Butterfly and Ant_, illustration to
‘Northcote’s Fables.’ 298 (2)
Hearne, T., and W. Woollett, line engraving by, _Roman Edifice in
Ruins_, working proof, (V. and A. M.), 197
~Iceland~, Scandinavian Silver Chalice, early ~XIII.~ cent., from,
with details of inscription and decoration (V. and A. M.), 71
Illuminated MS., ‘Gaston Phoebus,’ Facsimiles from, 9. 13, 17, 19
=Illustrations= (_see also_ Book-illustrations) =in the Text=:--
Early Staffordshire Pottery-ware, (slipware, etc.). Dish, Tygs,
Cups, Cradle, Jug, Lantern, etc., ~XV.~ figs., 64-9
Heraldic Shields of the Doria Family, 268
Lotus flower, natural forms of, 349, 350, 353
Seals of the Gild of Bakers, Barbers, and Butchers, Brussels, 191,
192
Svastika, various forms of, 43, 44, 47, 48
Isabey, E., drawing by, _Ship during storm_, illustration to Curmer’s
‘Paul et Virginie.’ 307 (3)
Isenbrant, Adrian, paintings by, shown at Bruges, 1902., _St. Luke_,
(Colnaghi), 327
_Virgin and Child, with two Angels_, (Lotman), _ib._
_Vision of St. Ildephonsus_, (Northbrook), 330
Israels, Josef, paintings by,_ A Jewish Wedding_, (J. C. F. Drucker),
179
_The New Flower_, (J. S. Forbes), Dutch Exhibition, Guildhall,
1903., 181
Italian Painters, _see_ Baldovinetti, Cariani, Florentine School,
Leonardo da Vinci, Titian, Vanni, Venetian School, _etc._
Italy, Maiolica of, Three Albarelli, ~XIV.~ cent. (Louvre), 339
~Jackson~, engraving by, after Harvey, _Butterfly and Ant_,
illustration to ‘Northcote’s Fables,’ 298 (2)
~Knutchmar~, E., engraving by, after A. Menzel, _The Round Table,_
illustration to ‘Geschichte Friedrichs des Grossen,’ 295. (2)
Koursi, Arabic, Lid of, ~XIV.~ cent., copper encrusted with gold and
silver (Louvre), 347
~Lace~, Brussels, Honiton, Rose-point, Drawn-thread-work, Venetian,
Irish crochet, Imitation Alençon, 99
Russian, Venetian, Alençon, Modern Irish Needle-point, 97
Turkish Drawn-thread-work, Reticella, Venetian-made Alençon, Alençon
bordering, (Mrs. Alfred Morrison), 101
Lagornal, engraving by, after Meissonier, _Shoeing a Horse_,
illustration to ‘Les Contes Rémois,’ 307 (1)
Le Brun, C., Tapestry after, (High Warp), _Louis XIV. visiting the
Gobelins_, 228
Lhermitte, Leon, painting by, _Le Pêcheur_, (Balli), 365
Leonardo da Vinci, school of, Bas-relief, by artist unknown,
_Bust and profile in helmet and armour, inscribed ‘P. Scipioni’_
(Louvre), 88
Leuchtenberg Collection, St. Petersburg, painting of the Venetian
School from, _Adoration of the Shepherds_, artist unknown, 85
Lotus plant, the, natural forms of, _in text_, 349, 350, 353
Louvre, The, Bas-reliefs in, by Agostino di Duccio, _Virgin and Child
with Saint and Cherubs_, 88
by unknown artist, school of Leonardo da Vinci, _Bust and profile in
helmet and armour, inscribed ‘P. Scipioni,’_ 88
Lowestoft China, _see_ Ceramics
~Maiolica~, _see_ Albarelli _under_ Ceramics
Manuscripts, _see_ Illuminated MS.
Maris, Jacob, paintings by, _The Canal Bridge_, (Agnew), 183
_A Windmill_, _Moonlight_, (J. C. J. Drucker), Dutch Exhibition,
Guildhall, 185
Maris, Matthew, paintings by, _The Butterflies_, (W. Burrell), 187
_A Fantasy_, (Mme. E. J. van Wisselingh), Dutch Exhibition,
Guildhall, 181
Martini, Simone, paintings by, _Annunciation_, (Uffizi), 323
Mauve, Anton, painting by, _Watering Horses_, (J. C. J. Drucker),
Dutch Exhibition, Guildhall, 183
Meissonier, drawing by, _Shoeing a Horse_, illustration to ‘Les
Contes Rémois,’ 307 (1)
Memlinc, Hans, paintings attributed to, _Portraits of Thomas
Portunari and his Wife_, (probably by Van der Goes), (L.
Goldschmidt), 41
Menzel, A., drawing by, for illustration to ‘Geschichte Friedrichs
des Grossen,’ _The Round Table_, 295 (2)
=Metal Work=, _see_ Copper and Silver:--
Arabic, Lid of a Koursi, copper encrusted with gold and silver,
~XIV.~ cent., (Louvre), 347
Greek, Burlington Fine Arts Exhibition, _Mirror-cover_, Repoussé (J.
E. Taylor), 247
Mezzotints, by Prince Rupert, after Spagnoletto, _The Great
Executioner_, (H.M. King Edward), 270
by C. Turner, _The Water Mill_, after Sir A. W. Callcott, (V. and A.
M.), 201
=Miniatures:=--
from the Arab MS., Makamat of Hariri; (C. Schefer), 133
from MS. of the Astronomical Treatise of Abd-er-Rahman El-Sufi,
(Nat. Lib. of France), 133
from a Persian MS., of 1527., Hunting Scene, (Nat. Lib. of France),
145
(two) from a Persian MS., of 1566., ‘The Book of Kings,’ (Baron E.
de Rothschild), 137, 141
Molenaer, Jan Miense, painting by, _A Group of Three_, (E. Speyer),
Dutch Exhibition, Guildhall, 176
Monaco, Lorenzo, paintings by, _Adoration of the Magi_, 127
_The Visitation_, (Parry), _ib._
Museums and Galleries, _see_ Bruges Museum, Corsini Gallery, Rome,
Florentine Academy, Leuchtenberg Collection National Gallery, Nat.
Lib. of France, Rouen Museum, V. and A. Museum, _etc._
Mussulman Miniatures, Arabic and Persian (various owners), 133, 137,
141, 145
~National~ Gallery, painting, Venetian School, artist unknown, in,
_Adoration of the Shepherds_, 85
New College, Oxford, paintings by Sir J. Reynolds as designs for the
Window at, _Cardinal Virtues_, _Temperance and Prudence_, 213
_Fortitude and Justice_, 216
_Theological Virtues_, _Faith_, _Hope_, and _Charity_, 210
Normanton Collection, paintings by Sir J. Reynolds in, _The Cardinal
Virtues_, _Temperance and Prudence_, 213
_Fortitude and Justice_, all designs for the window at New College,
Oxford, 216
_The Three Theological Virtues_ for the same, 210
_The Little Gardener_, 219
Portraits: _George, third Duke of Marlborough_, 222
_Lady Betty Hamilton_, 116
_Miss Murray of Kirkcudbright_, 207
The Misses Horneck, _225_
_Study of a Little Girl_, _ib._
~Oxford~, see New College
~Painted~ Glass Window, with figures of God the Father and St.
Andrew, from cartoons of A. Baldovinetti, S. Croce, Florence, 25
=Paintings:=--
attributed to Memlinc, Hans, _Portraits of Thomas Portunari and his
Wife_, (probably by Van der Goes), (Goldschmidt), 41
attributed to Rembrandt and to De Koninck, Le Commencement d’Orage.
(Lady Wantage), shown at Guildhall, 1903., 61
by Baldovinetti, A., Altarpiece, _Trinity_, formerly in S. Trinità,
now in the Florentine Academy, 29
on the Vault of the Cappella Maggiore of S. Trinità, Florence,
_Abraham_, _Noah_, _Moses_, and _David_, 166
by Bosboom, Jan, _The Archives at Veere_, (J. C. J. Drucker), Dutch
Exhibition, Guildhall, 179
by Cariani (Giovanni Busi), _Madonna and Child_, (Salting), 79
_The Sempstress Madonna_, (Corsini Gallery, Rome), 81
by Cnoop, Cornelia, wife of Gerard David, Triptych, _B. V. M. and
Child, SS. Catherine and Barbara_, (Colnaghi), 37
by Daddi, Bernardo, _Altarpiece in Five Parts_, (Parry), 121
by Daubigny. C.-F., _On the Seine_, (Balli), 365
by David, Gerard, _B. V. M. and Child, with Angels, Virgin Saints,
the painter and his wife_, (Rouen Museum), 34
_The Judgement of Cambyses_, (Bruges Museum), 2
Flemish school, artists unknown, _Portrait of the Empress Isabella_
from which Titian painted the portrait now in the Prado Museum,
Madrid, (in private collection, Florence), 283
shown at Bruges, 1902., _Portrait of Roger de Jonghe_, _Austin
Friar_, (Sœurs Noires, Bruges), 333
Florentine School, artist unknown, _Madonna and Child with Angels_,
(Parry), 129
_Triptych_ by the same artist (Uffizi), _ib._
probably French, ~XIV.~ cent., artists unknown, _Adoration of the
Magi_, and _Dormition of the B. V. M._, (Dowdeswell), 91
by Gaddi, Agnolo, _Coronation of Our Lady_, (Parry), 123
by Gaddi, Taddeo, _Part of an Altarpiece_ in S. Croce, Florence, 123
by Isenbrant, Adrian, shown at Bruges, 1902., _St. Luke_,
(Colnaghi), 327
_Virgin and Child with two Angels_, (Lotman),_ ib._
_Vision of St. Ildephonsus_, (Northbrook). 330
by Israels, Josef, shown at the Dutch Exhibition, Guildhall, _A
Jewish Wedding_, (J. C. J. Drucker) 179
_The New Flower_, (J. S. Forbes), 181
by Lhermitte, Leon, _Le Pêcheur_, (Balli), 365
by Maris, Jacob, shown at Dutch Exhibition, Guildhall, _The Canal
Bridge_, (Agnew), 183
_A Windmill_, _Moonlight_, (Drucker), 185
by Maris, Matthew, shown at Dutch Exhibition, Guildhall, _The
Butterflies_, (W. Burrell), 187
_A Fantasy_, (Mme. E. J. van Wisselingh), 181
by Martini, Simone, _Annunciation_, (Uffizi), 323
by Mauve, Anton, _Watering Horses_, (J. C. J. Drucker), Dutch
Exhibition, Guildhall, 183
by Molenaer, Jan Miense, _A Group of Three_, (E. Speyer), Dutch
Exhibition, Guildhall, 176
by Monaco, Lorenzo, _Adoration of the Magi_, 127
_The Visitation_ (Parry), 127
by Rembrandt, _Portrait of a Lady_, (Hage), 363
School of Cimabue, artist unknown, _Nativity and Adoration_,
(Parry), 118
by Reynolds, Sir Joshua, (Normanton), _The Cardinal Virtues_,
_Temperance_ and _Prudence_, _Fortitude_ and _Justice_, _The Three
Theological Virtues_, _Faith_, _Hope_, and _Charity_, all for the
Window at New College, Oxford, 210, 213, 216
_The Little Gardener_, 219
Portraits: _George, third Duke of Marlborough_, 222
_Lady Betty Hamilton_, 116
_Miss Murray of Kirkcudbright_, 207
_The Misses Horneck_, 225
_Study of a Little Girl_, _ib._
by Ruysdael, Solomon, _Landscapes_, (2), (Louvre), 342
by Steen, Jan, _Portrait of Himself_, (Northbrook), shown at
Guildhall, 1903., 53
by Titian, (Tiziano Vecellio), _Portrait of the Empress Isabella_,
(Prado Museum, Madrid), 280
by Tocqué, Louis, _Portrait of Dame Danger_, (Louvre), 345
by Van de Capelle, J., _Off Scheveningen_, (Crews), shown at
Guildhall, 1903., 57
by Van Eecke, John, shown at Bruges, 1902., _Episodes in the Life
of St. Bernard_, (Tournai Museum), 333
by Vanni, Andrea, Altarpiece, Polyptych, _Madonna and Saints_, S.
Stefano, Siena, 311
_Annunciation_, (Chigi collection, Siena), 323
_Annunciation_, in S. Pietro Ovile, Siena, 314
details of the foregoing, 320
_Madonna and Child_, (Berenson), 317
_Virgin and Child_, from the Altarpiece in S. Francesco, Siena,
314
Venetian School, artists unknown, _Adoration of the Shepherds_, one
in the National Gallery, one from the Leuchtenberg collection, 85
by Vermeer, Jan, of Delft, _The Cook Asleep_, (Kann), shown at
Guildhall, 1903., 50
by Verspronck, Jan, Portrait of the Wife of Thomas Wijck, (Mrs.
Stephenson Clarke), shown at Guildhall, 1903., 53
Palmer, Samuel, drawing by, illustration to ‘Sacred Allegories,’
304 (2)
Parry Collection, paintings in, by Bernardo Daddi, _Altarpiece in Five
Parts_, 121
Florentine School, artist unknown, _Madonna and Child with Angels_,
129
_Triptych_ by the same artist (Uffizi), _ib._
by Agnolo Gaddi, _Coronation of Our Lady_, 123
by Lorenzo Monaco, _Adoration of the Magi_, 127
_The Visitation_, 127
School of Cimabue, artist unknown, _Nativity and Adoration_, 118
Pilon, Germain, French Sculptor, (~XVI.~ cent ), Marble Statue by _La
Charité_, (Löwengard), (two aspects of), 94
Plate belonging to Winchester College:--
Ecclesiastical, 165
Election Cup, 148
Gilt Cup with Cover, 154
Parcel Gilt Rose-water Dish and Ewer with top of Cover of Ewer, 151
Rose-water Dish and Ewer, and Small Gilt Standing Cup and Cover, 157
Steeple Cup and Hanap, 163
Sweetmeat Dish and Gilt Standing Salt, 154
Two Tankards and Standing Salt, 160
Polychrome Wooden Chest, (The Ypres Chest), 361
Pottery, _see_ Ceramics
Prince Rupert, _see_ Rupert, Prince
~Rembrandt~, (Van Rijn), painting by, _Portrait of a Lady_, (Hage),
363
variously ascribed to, and to De Koninck, shown at Guildhall, 1903.,
_Le Commencement d’Orage_, (Lady Wantage), 61
Reynolds, Sir J., paintings by, Normanton collection: _The Cardinal
Virtues_, _Temperance_ and _Prudence_, 213
_Fortitude_ and _Justice_, all designs for the Window at New
College, Oxford, 216
_The Three Theological Virtues_, _Faith_, _Hope_, and _Charity_, for
the same, 210
_The Little Gardener_, 219
Portraits: _George, third Duke of Marlborough_, 222
_Lady Betty Hamilton_, 116
_Miss Murray of Kirkcudbright,_ 207
_The Misses Horneck_, 225
_Study of a Little Girl_, _ib._
Rogers, W., engraver, line engraving by, _Portrait of Queen
Elizabeth_, (H.M. the King), V. and A. Museum Exhibition, 195
Rose-water Dish and Ewer, Parcel Gilt, with top of cover of Ewer,
(Winchester College), 155
and Small Gilt Standing Cup and Cover, (Winchester College), 157
Rossetti, D. G., drawing by, _The Maids of Elfen Mere_, to illustrate
Allingham’s ‘Music Master,’ 304 (1)
Rouen Museum, painting by Gerard David in, _B. V. M. and Child, with
Angels, Virgin Saints, the painter and his wife_, 34
Rupert, Prince, Mezzotint by, _The Great Executioner_, after
Spagnoletto, (H.M. King Edward), 270
Russia, _see_ Russian Lace _under_ Lace, _and_ Leuchtenberg Collection
Ruysdael, Solomon, paintings by, _Landscapes_, (2), (Louvre), 342
~Scandinavia~, Art of, _see_ Denmark _and_ Iceland
=Sculpture=, _see_ Bas-reliefs, Bronzes, Statues and Terra-cottas:--
Greek, Burlington Fine Art Exhibition, _Bust of Aphrodite_, probably
by Praxiteles, (Leconfield), 239
_Head of a Mourning Woman_, (Ponsonby), 241
_Head of a Youth_, (Vincent), 241
Seals of the Gilds of Bakers, Barbers and Butchers, Brussels, (in
text), 191, 192
Silver and Silver Plate, _see_ Plate
Chalices, Scandinavian, early ~XIII.~ cent., from Iceland, with
details of inscription and decoration, (V. and A. M.), 71
The Sorö, from Denmark, 356
Sorö, Chalice, The, from Denmark, 356
Stadler, J. C., Coloured Aquatint by, _The Hôtel de Ville, Louvain_,
after Prout; V. and A. Museum Exhibition, 203
Standing Salt (Winchester College), 154, 160
Statue, Marble, by G. Pilon, ~XVI.~ cent., _La Charité_, (Lowengard),
(two aspects), 94
Steen, Jan, painting by, _Portrait of Himself_, (Northbrook), shown
at Guildhall, 1903., 53
Stothard, T., drawing by, for an illustration, _Cupid’s Shooting
Lesson_, 301 (1)
Svastika, The, occurring in an Oriental Carpet owned by H. Hartley, 45
Various forms of, to illustrations in text, 43, 44, 47, 48
Sweetmeat Dish (Winchester College), 154
~Tankards~, silver, (Winchester College), 160
=Tapestry:=--
Gobelin, _Psyche’s Bath_, and section of border of the same,
(Louvre), 231
High Warp, _Louis XIV. visiting the Royal Furniture Manufactory at
the Gobelins_, after C. Le Brun, 228
Terra-cottas, Greek, Burlington Fine Art Exhibition, Doll, (Mrs.
Mitchell), 251
_Female Caryatid Figure_, _Woman Leaning on Pedestal_, _The Young
Dionysos_, (Taylor), 251
_Woman with Fan_, (Knowles), 251
=Textiles,= (_see_ Lace, _and_ Tapestry), Carpets, Tabriz, centre
medallion illustrating the Tree of Life and Lotus Flower, (Gillow),
350
Titian, (Tiziano Vecellio), painting by, _Portrait of the Empress
Isabella_, (Prado Museum, Madrid), 280
Tocqué, Louis, painting by, _Portrait of Dame Danger_, (Louvre), 345
Turner, C., Mezzotint by, after Calcott, _The Water Mill_, (V. and A.
M.), 201
Type, Mr. Robert Proctor’s new Greek ‘Otter’ type, _facsimile_, 359
~Van de Capelle~, Jan, painting by, _Off Scheveningen_, (Crews),
shown at Guildhall, 1903., 57
Van Eecke, John, painting by, shewn at Bruges, 1902., _Episodes in
the Life of St. Bernard_, (Tournai Museum), 333
Vanni, Andrea, paintings by, Altarpiece, Polyptych, _Madonna and
Saints_, S. Stefano, Siena, 311
_Annunciation_, (Chigi collection, Siena), 323
_Annunciation_, in S. Pietro Ovile, Siena, 314
details of the foregoing, 320;
_Madonna and Child_, (Berenson), 317
_Virgin and Child_, from the Altarpiece in S. Francesco, Siena, 314
Venetian School, paintings of, artists unknown, _Adoration of the
Shepherds_, one in the National Gallery, one from the Leuchtenberg
collection, 85
Vermeer, Jan, of Delft, painting by, _The Cook Asleep_, (Kann), shown
at Guildhall, 1903., 50
Verspronck, Jan, painting by, _Portrait of the Wife of Thomas Wijck_,
(Mrs. Stephenson Clarke), shown at Guildhall, 1903., 53
=Victoria and Albert Museum:=--
Exhibition of British Engraving at:--
coloured Aquatint in, by Stadler, after Prout, _The Hôtel de
Ville, Louvain_, 203
engravings (line) in, by T. Hearne and W. Woollett, _Roman Edifice
in Ruins_, working proof, 197
by W. Rogers, _Portrait of Queen Elizabeth_, (H. M. the King),
195
mezzotint in, by C. Turner after Callcott, _The Water Mill_, 201
Scandinavian Silver Chalice, early ~XIII.~ cent., from Iceland, in,
(with details of inscription and decoration), 71
~Westall, W.~, drawing by, for an illustration, _Barefooted Woman
under Tree, Man and Dog to left_, 298 (1)
Williams, Mary Ann, engraving by, _Jacque_, illustration to Curmer’s
‘Paul et Virginie,’ 307 (2)
Winchester College, Plate of, 148, 151, 154, 157, 160, 163, 165
=Wood-carvings:=--
Burgundian Chest, ~XV.~ cent. (Hospices civiles, Aalst), 361
Polychrome Chest, (The Ypres Chest), 361
Woollett, W., engraver, _see_ Hearne, T.
FOOTNOTES:
[1] ‘Reports from Her Majesty’s representatives abroad as to the
statutory provisions existing in foreign countries for the preservation
of historical buildings.’-- Miscellaneous, No. 2 (1897).
[2] Messrs. Ballantyne, Hanson and Co.
[3] Appendix, Doc. I.
[4] Vasari, ed. Sansoni, Vol. II, p. 597, note 3.
[5] Vasari, ed. 1568, Vol. I, p. 381.
[6] Appendix, Doc. II.
[7] Appendix, Doc. IV.
[8] Vasari, ed. Sansoni, Vol. II, p. 601.
[9] Appendix, Doc. V.
[10] Appendix, Doc. VI.
[11] G. Richa, _Chiese Fior._ Vol. III, p. 122.
[12] l. c., p. 124.
[13] l. c., p. 125.
[14] Cod. Magliabechiano; XXVI, 23; fol. Sio _recto_ to 811 _recto_.
[15] Appendix, Doc. VIII.
[16] Appendix, Doc. III.
[17] Vasari, ed. Sansoni, Vol. II, p. 595, note.
[18] Appendix, Doc. VIII.
[19] A. Cocchi, _Le Chiese di Firenze_, Firenze, 1903, Vol. I, p. 180.
[20] Appendix, Doc. IX.
[21] l. c., Lib. III, ed. 1790, p. 122.
[22] Firenze: _Biblioteca Nazionale_, Codice II, I, 129; _Storia della
Nobilita di Firenze: Scritta da Piero di Gio. Monaldi_. [_c._ 1626.]
[23] Vasari, ed. 1568, Vol. I, p. 417.
[24] I have searched in vain for it, in the protocols of that notary,
preserved in the Archivio di Stato at Florence.
[25] G. Richa, _Chiese Fior._ Vol. III, p.
[26] Appendix, Doc. VII
[27] C. Cennini, _Il Libro del Arte_, Firenze, 1859, cap. clxxi, p. 122.
[28] Appendix, Doc. IX.
[29] _Ricordi di Alesso Baldovinetti_, Lucca, 1868, pp. 14 and 16.
[30] Appendix, Doc. VII.
[31] Appendix, Doc. IX.
[32] ‘Tirthankara.’ from Tirt’ ha (Sanskrit--any Hindu shrine or holy
place to which Hindus make pilgrimages). ‘Tirthankara’ is the generic
title of the twenty-four deceased saints held sacred by the Jains. They
are deified mortals.
[33] ‘Labarum’ was the name given before the time of Constantine, and
apparently as far back as that of Hadrian, in the Roman army to the
standard of the cavalry. Gradually this became the standard of the
whole army, and in its later developments the banner became surmounted
by the Eagle of Victory, but always with the cross beneath. Constantine
replaced the eagle by the sacred monogram (the Greek letter P traversed
by X); he further embroidered the Christian emblems on the purple of
the banner in gold and jewels, and beneath these he placed medallions
representing in portraiture himself and his children.
[34] Compare the inscription on a paten from Haraldsborg, Denmark, in
the Copenhagen Museum:--HINC PANEM VITE MVNDATI SVMITE QVIQ[ue]. (J. J.
A. Worsaae, ‘Nordiske Oldsager i det Kongelige Museum i Kjöbenhavn,’
1859, p. 144.)
[35] F. Bock, ‘Les Trésors Sacrés de Cologne,’ 1862, pl. 28. H. Otte,
‘Handbuch der Kirchlichen Kunst-Archäologie.’ 5th ed. 1883, I. p. 223.
[36] It is distinctive of chalices of the twelfth century and earlier
that the bowl either is separated from the knop by only a narrow
interval or springs directly from it. Compare the examples of the
eighth to twelfth century figured in Otte’s Handbuch, and the French
examples of the Church of St. Gauzelin and of St. Rémy. (Exposition
rétrospective, Paris, 1900. Catalogue illustré, pp. 65, 73.) It may
be remarked that only one of these examples exhibits the slightly
turned-out lip which characterizes English chalices of early date.
(See Hope and Fallow, ‘English Medieval Chalices and Patens,’
_Archaeological Journal_, xliii, 142.)
[37] Burlington Fine Arts Club. Exhibition of Silversmiths’ Work, 1901.
Illustrated Catalogue, Pl. II.
[38] C. Nyrop, ‘Meddelelser om Dansk Guldsmedekunst,’ 1885, fig. 3, p.
6. Gams, Series Episcoporum, p. 330.
[39] J. J. A. Worsaae, ‘Nordiske Oldsager,’ p. 134. J. O. Westwood,
Catalogue of Fictile Ivories in the South Kensington Museum, p. 152.
[40] A. Bertram. ‘Das eherne Taufbecken im Dome zu Hildesheim.’ In
_Zeitschrift fur Christliche Kunst_, xiii, 129.
[41] See the casts of the doors of the churches of Sauland and
Hallingdal in the South Kensington Museum.
[42] F. York Powell on Icelandic literature.
[43] See ‘Zorzon da Castelfranco. La sua origine, la sua morte e
tomba.’ By Dr. Georg Gronau. Venice, 1894.
[44] Cf. Jacobsen. Rep. fur Kunstwiss. xxiv, 5, p. 368.
[45] P. 134: ‘No responsibility is accepted by the author for the
attributions of pictures on this list,’ etc.
[46] Described and reproduced in Havard’s ‘Merveilles de l’Art
Hollandais, exposées à Amsterdam en 1872.’
[47] _Inter alia_, those in the R. Kann, M. Kann, and Schloss
collections (Paris); the Teixeira de Mattos collection (Holland), etc.,
etc.
[48] Rosini ‘Storia,’ III, p. 28. In 1828 it was owned by an Abate
L. Celotti of Venice. Messrs. Crowe and Cavalcaselle suspect that it
may be the panel described in 1742 in the catalogue of the collection
of the Prince du Carignan as ‘Vierge et un petit S. Jean par André
Solario, dans le gout de Léonard de Vincy’ (sold for 240 livres). See
also Mündler, ‘Essai d’une Analyse Critique,’ etc., Paris, Firmin
Didot, 1850.
[49] Published as Solario’s in my ‘Lorenzo Lotto,’ p. 95, note.
[50] Mr. Horne hopes before long to publish these works in ~The
Burlington Magazine~.
[51] Appendix, Doc. VIII,
[52] Appendix, Doc. VII.
[53] l. c., ed. 1568, Vol. I, p. 47.
[54] C. Cennini, ‘Il Libro dell’ Arte,’ Firenze, 1859, cap. 141, p. 94.
[55] The painter from whom Baldovinetti purchased this ‘biadetto’
was ‘Lorenzo dipiero randeglj dipintore in borgho s^o apostolo’;
so named in an entry of the year 1472 in the ‘Libro Rosso’ of the
Compagnia di San Luca, fol. 90 tergo. This Lorenzo was, no doubt, the
‘Lorenzo dipiero dip[a]pa, dipintore,’ of the popolo of ‘Santa Maria
di Verzaia drento alle mura,’ who in 1498 returned his ‘Portata della
Decima,’ in Gonfalone Drago, Quartiere di Santo Spirito. He was then
living in a house which he had bought in 1483, situated in the Via
San Gallo; and he still rented ‘vna botegha aduso didipintore, posta
in firenze in borgho sant^o appostolo enelpopolo di sant^o stefano a
ponte.’--Firenze: Archivio di Stato; l. c. Campione 2^{do}, N^o verde
28, fol. 909.
[56] Cennini, ed. 1859, cap. 61, p. 37.
[57] This would appear to have been a very unusual method. The
Giottesque painters commonly employed a ‘bed’ of a reddish colour.
[58] Cennini, ed. 1859, cap. 60, p. 36.
[59] Cennini, ed. 2859, cap. 52, p. 33. C. J. Herringham: ‘The Book of
the Art of Cennino Cennini,’ London, 1899, p. 256.
[60] In an early manuscript cited by Mrs. Herringham, in her edition
of Cennini, ‘azzurro della Magnia’ is said to have cost from 1 to 3
ducats the pound, whereas ultramarine cost 5 ducats the ounce. Cennini,
English ed., 1899, p. 257.
[61] Cennini, ed. 1859, cap. 50, p. 32.
[62] Cennini, English ed., 1899, p. 255.
[63] ‘Cennini,’ ed. 1859, p. 66.
[64] Vasari, ed. 1568, Vol. I, p. 380. The passage in the original runs
thus: ‘Le quali Alesso abozzò à fresco, e poi fini a secco, temperando
i colori con rosso d’ uouo mescolato con vernice liquida fatta à fuoco.’
[65] Vasari, ed. Sansoni, Vol. II, pp. 673 and 685.
[66] Appendix, Doc. IX.
[67] Vasari, ed. Sansoni, Vol. II, p. 599, note.
[68] G. Richa, ‘Chiese Fior.’, Vol. V, p. xxxv.
[69] Appendix, Doc. VI.
[70] Appendix, Doc. XI.
[71] Appendix, Doc. XII.
[72] Appendix, Doc. XIII. Compare, also, Doc. XIV.
[73] Vasari, ed. 1568, Vol. I. p. 380.
[74] l. c., p. 189.
[75] Vasari, ed. 1568, Vol. I, p. 380.
[76] G. Richa, ‘Chiese Fior.,’ Vol. III, p. 178.
[77] Vasari, ed. Sansoni, Vol. II, p. 592, note.
[78] G. Richa, ‘Chiese Fior.,’ Firenze, 1754, Vol. III, p. 177.
[79] F. Baldinucci, ‘Notizie de’ Professori del Disegno, da Cimabue in
Qua,’ Firenze, 1767, Vol. III, p. 187, note.
[80] G. Frizzoni, ‘La Galleria Morelli in Bergamo,’ Bergamo, 1891, pp.
15-16.
[81] Translated by A. Teixeira de Mattos.
[82] The freedom of the gild was not granted to any one under the age
of 30.
[83] Translated by A. Teixeira de Mattos.
[84] While, in accordance with the principles adopted from the first
in this magazine, we give Mr. Cecil Smith perfect liberty to express
his opinion on this piece--the opinion of one of the most accomplished
experts--it is right to say that the opposite view of the matter will
be stated in an early number of this magazine by another expert writer,
Mr. John Marshall.--~Ed.~
[85] It would appear that neither Dr. Ricci, who ascribes this
altar-piece to Pintoricchio, nor Dr. Steinmann, who gives it, correctly
as we think, to Antonio da Viterbo, has noticed a Crucifixion and
Saints clearly by the same painter and in the same phase, in the chapel
of St. Anthony in the lower church of Assisi.
[86] A chapter extracted from Mr. Solon’s forthcoming book. ‘A Brief
History of Old English Porcelain,’ by kind permission of Messrs.
Bemrose & Sons, Limited, London and Derby.
[87] Translated from the original German by P. H. Oakley Williams.
[88] Cf. Aretino, ‘Letter’ (Paris, 1609), Vol. III, p. 36 verso.
[89] l. c., p. 76 verso.
[90] Crowe and Cavalcaselle, ‘Titian,’ Vol. II, Doc. LXVII.
[91] This letter, which is little known, is to be found in Charavay,
‘Inventaire des Autographes de B. Fillon’ (Paris, 1879), Vol. II, p.
300.
[92] Cf. Crowe and Cavalcaselle, Vol. I, Doc. XVII.
[93] Cf. Campori, ‘Raccolta di Cataloghi,’ p. 275. A plate of de Iode,
mentioned by Crowe and Cavalcaselle, has also, it appears, been done
from this picture.
[94] Not 1522, as has often been stated.
[95] Reproduced in Julius Meyer’s ‘Die Burggrafen von Nürnberg im
Hohenzollern-Mausoleum zu Heilsbronn in Wort and Bild,’ Ansbach, 1897,
p. 92.
[96] ‘Erinnerungen an die Hohenzollernherrschaft in Franken,’ Ansbach,
1890, p. 118.
[97] Behr’s ‘Genealogie der in Europa regierenden Fürstenhäuser,’ Tafel
cxxviii.
[98] Plate 3, previously reproduced in Helbing’s ‘Monatsberichte über
Kunst,’ Munich, 1903 pp. 68, 74.
[99] The collections of drawings recently secured by Birmingham and
Adelaide were both made by artists.
[100] Only the other day I had the pleasure of seeing South Kensington
purchase, for twenty-six guineas, two drawings by Millais, studies for
or after his Dream of Fair Women in Moxon’s Tennyson. But with the
exception of the bidding by South Kensington and myself, there was
no competition for the drawings, though every dealer in London was
struggling at the sale--the Gambart--for cheap and rubbishy, though
popular, French and Spanish water-colours that brought far higher
prices owing to some fad of the moment.
[101] See the previous note as to South Kensington. The edition was
issued by Messrs. Freemantle.
[102] I have to thank MM. Lévy et ses Fils, of Paris, for their
courteous permission to reproduce the photograph of this picture,
specially taken by them for a forthcoming publication on Sienese
painting.
[103] I find that this work has been attributed in the last edition of
the ‘Cicerone,’ with somewhat unusual insight, to its right author.
[104] I must here add two other works, also quite evidently by Vanni,
to which my attention has been drawn by Mr. Berenson, to whom I owe
much for having first called my attention, some years ago, to the
possibilities of Andrea as an artist. The first of these is the sacred
picture of the Madonna in the great pilgrimage church on Monte Nero,
near Leghorn. The second, a damaged, almost ruined fresco in the church
of S. Giovenale at Orvieto, has been published with a notice by Don
Guido Cagnola, in the _Rassegna d’ Arte_ for February-March, 1903.
[105] The composition of this picture is remarkably fine, so fine
indeed that I doubt its being Isenbrant’s, and yet the picture does not
look like a copy.
[106] Quelques Peintres Brugeois de la première moitié du XVI^e
siècle--I. Jan Prevost. Gand, 1902, 38 pp. and 4 phototypes. This
master was a Walloon, born at Mons. It is not only more correct to
write his family name as he himself and his forbears wrote it, but it
is important to do so as the forms De la Pasture, Gossart, Prevost
etc., remind the reader that the Walloons had a considerable share
in the development of the Netherlandish school, far greater than the
Flemings.
[107] ‘Ausstellung von Kunstwerken des Mittelalters und der Renaissance
aus Berliner Privatbesitz,’ Berlin, 1899, 4to, pp. 170-173.
[108] Wallis: ‘Italian Ceramic Art -- the Maiolica Pavement Tiles of
the Fifteenth Century,’ London, 1902, 12mo, figs. 10-24.
[109] Owing to a mistake of the photographer, the figure of this jar is
reversed.
[110] They are found again, slightly more elaborated, upon an albarello
of the same series in the British museum. Another one belongs to an
amateur in Berlin.
[111] According to Litta; Moreri gives different dates.
[112] They bear the stamp of a convent in that town.
[113] Pliny, Herodotus, and Strabo include as within the bounds of
Assyria those countries over which its sway had at times ascendency;
the whole of Babylonia, all Mesopotamia, a portion of Mount Zagroo,
modern Kurdistan, all Syria as far as Cilicia, Judea, and Phoenicia,
and during the seventh century ~B.C.~, Lydia, Cyprus, and Egypt on the
west, and part of Media on the east, with Babylonia and part of Arabia
on the south.
[114] Of the Vedas, the four religious books of the Hindus, three were
composed about 1700 _B.C._ and the fourth much later. None of them were
collected and written until between 1000 and 800 _B.C._
[115] Zendavesta:--‘Zend’ is old Persian or Achæmenian, meaning
commentary or explanation, and was the ‘Zend’ which accompanied the
‘Avesta,’ = the law or the word. The original text of the Avesta
was not written by a Persian, as it was not couched in a language
used in Persia, nor indeed were any existing Persian customs or
practices sanctioned by its tenets. It was written in Media and in the
language of Media by the priests of Ragha and Atropatine. It has been
practically decided that the greater part of it was written before the
third century ~B.C~, while no part of it was written after the fourth
century ~A.D.~
[116] Reproduced from a photograph provided by the kindness of Dr. A.
W. Mollerup, director of the national museum, Copenhagen.
[117] C. Nyrop. Meddelelser om Dansk Guldsmedekunst, 1885, fig. 3, p. 6.
[118] It is, however, described by Nyrop (_op. cit._ p. 7) as ‘hammered
out thin.’ Compare the description of the characteristics of mortuary
or coffin chalices given by Hope and Fallow, ‘English Medieval Chalices
and Patens,’ in _Archaeological Journal_, xliii, p. 140.
[119] Translated by A. Teixeira de Mattos.
[120] Translated by A. Teixeira de Mattos.
[121] Translated by P. H. Oakley Williams.
[122] Firenze, Archivio di Stato, Diplomatico, Santa Trinita, 1371, 1^o
novembre: cited by Arnaldo Cocchi, ‘Le Chiese di Firenze,’ Firenze,
1903, Vol. I, p. 180.
[123] Lacuna in original.
[124] An error for San Benedetto. This chapel, the patronage of which
now belongs to the Marchesi Lotteringhi della Stufa, is the first
chapel of the right aisle, on entering the church.
[125] Lacuna in original.
[126] ed. Firenze, 1767, Vol. III, pp. 186-7, notes.
[127] These numbers refer to the annotations which follow this document.
[128] These interpolations are in the hand of Giovanni di Niccolò di
Messer Giovanni Baldovinetti, as appears from his signature, to one of
the notes in this volume, on a slip inserted between fol. 10, and fol.
11.
[129] Lacuna in original.
[130] These numbers refer to the corresponding numbers prefixed to the
foregoing paragraphs.
[131] Vasari, ed. 1550, Vol. I, p. 410.
[132] ed. 1790, Lib. III, p. 96.
[133] Lacuna in original.