A Popular Handbook to the National Gallery, Volume I, Foreign Schools

1199 (Florentine School), now assigned to Pier Francesco Fiorentino; a Tuscan painter of the 15th century.

1376 (Velazquez), now "ascribed to Velazquez."

1412 (Filippino Lippi), now described as "School of Botticelli."

1419 (Flemish School), now assigned to Early French School. The picture formed part of a diptych; the companion picture was in the Dudley Collection (No. 29 in the sale catalogue of 1892, where an illustration of it was given). In this the choir of St. Denis is shown. There are two portraits by the same hand at Chantilly.

1433 (Flemish School), now assigned to Roger van der Weyden; for whom, see 664.

1434 (Velazquez), now "ascribed to Velazquez," and it is added that the picture has been attributed to Luca Giordano (Neapolitan: 1632-1705).

1440 (Giovanni Bellini), now assigned to Gentile Bellini; for whom, see 1213.

1468 (Spinello Aretino), now assigned to Jacopo di Cione, the younger brother of Andrea Cione (called Orcagna); he was still living in 1394.

1652 This picture has hitherto been assigned to the British School (and therefore included in vol. ii. of the Handbook), and called a portrait of Katharine Parr. It is now discovered to belong to the Dutch School and to be a "portrait of Madame van der Goes."

1699 (Jan Vermeer), now "attributed to Vermeer."

1842 (Tuscan School), now "attributed to Stefano di Giovanni," known as Sassetta (Sienese: 1392-1450).

1870 "Angels with Keys," by Sebastiano Conca (Neapolitan: 1679-1764). Lent by the Victoria and Albert Museum.

1903 (Jan Fyt), now assigned to Pieter Boel (Flemish: 1622-1674), of Antwerp, who became official painter to Louis XIV.

It will be observed that critical fashions are unstable, and that in several cases Sir Edward Poynter's changes have been reversed. The recent alterations were made just as this edition of the Handbook was going to press. The ascriptions in the body of my Catalogue remain, therefore, in conformity with the Official Catalogue of 1906 which embodied Sir Edward Poynter's views. The lists of painters and pictures at the end (Appendix I. and II.) have, on the other hand, been revised in accordance with Sir Charles Holroyd's alterations.

Additional Notes.– In the notes upon the pictures, a large number of additional remarks have been introduced since this Handbook first appeared. These, it is hoped, may serve here and there to deepen the visitor's impression, to suggest fresh points of view, to open up incidental sources of interest. Attention may be called, by way of example, under this head, to several notes upon the designs depicted on the dresses, draperies, and backgrounds of the Italian pictures. These designs, sometimes invented by the artists themselves and sometimes copied from actual stuffs, form a series of examples which illustrate the "art fabrics" of the best period of Italian decorative art, and which might well give hints for the decoration of textile fabrics to-day.[11 - With this object in view, several of them have been published with descriptive letterpress by Mr. Sydney Vacher.] Another incidental source of interest in a collection of pictures such as ours, is the historical development of art as it may be traced in the several representations of the same subject by different painters, in successive periods, and in different schools. Such comparisons are instructive to those interested alike in the evolution of art and in the history of religious ideas. In the art of mediæval Christendom we find an unwritten theology, a popular figurative teaching of the sublime story of Christianity blended with the traditions of many generations. On the walls of the National Gallery we may see a series of typical scenes from the Annunciation to the Passion, from the childhood of Christ to His Death, Resurrection, and Ascension, together with ideal forms of apostles and saints. These pictures, contemplated in sequence and compared with one another, afford, as a writer in the Dublin Review (October 1888) has pointed out, a large and interesting field for thought. Very interesting it is also to trace the different types which prevail in the different schools. Thus at Florence, the Madonna is a tender, shrinking, delicate maiden. At Venice, she is a calm, serene, and pure-spirited mother. The Florentine "handmaiden of the Lord" often wears a mystic, and almost always an intellectual air. The Venetian type, seen at its central perfection in Bellini, has a neck firm as a column; the child is nude and plays with a flower or fruit; grandeur of mien and a noble type of motherhood are the ideals the Venetian painters set before themselves. The Lombard Madonna is less spiritual and severe than the Florentine. A refined worldly beauty replaces here the poetic idealism of the Tuscan artists. With the Umbrian painters the model of the Madonna is usually a softly-rounded and very girlish maiden. A certain mystic pensiveness informs her features. Her feet tread this earth, but her soul is absorbed in the contemplation of the infinite.[12 - These contrasts were worked out and illustrated by Mr. Grant Allen in his papers on "The Evolution of Italian Art" in the Pall Mall Magazine for 1895.] A study of the successive characteristics of Raphael's Madonnas, passing from the vaguely divine to the frankly human, would form material for a volume in itself.[13 - See Raphael's Madonnas, by Karl Károly, 1894.] In another department of the painter's art, the comparative method of study is no less suggestive. It is one of the most curious points of interest in any large collection of pictures to notice the different impressions that the same elements of natural scenery make upon different painters. As figure painting came to be perfected, some adequate suggestion of landscape background was required. Giotto and Orcagna first attempted to give resemblance to nature in this respect. Subsequent painters carried the attempt to greater success, but it was long before landscape for its own sake obtained attention. When it did, the preferences of individual painters, now freed from conventionalism, found abundant scope, as we may see by pausing in succession before the flowery meadows of the "primitives," the "fiery woodlands of Titian," the savage crags of Salvator Rosa, the "saffron skies of Claude."[14 - Ruskin's Modern Painters is of course the great book on this subject. The evolution of "Landscape in Art" has been historically treated by Mr. Josiah Gilbert in a work thus entitled, which contains numerous illustrations from the National Gallery.] These are some of the incidental points of interest upon which additional notes have been supplied in recent editions. Many others will be discovered by the patient reader of the following pages.

Notices of Painters.– Lastly, the biographical and critical notices of the painters have been revised and expanded since the first appearance of the book. Many have been re-written throughout, nearly all have been re-cast, and a good many references to pictures in other galleries and countries have been introduced. The important accession to the National Gallery of the Arundel Society's unique collection of copies from the old masters affords an opportunity even to the untraveled visitor to become acquainted, in some sort, with the most famous wall-paintings of Italy. Mr. Ruskin, by whose death the National Gallery lost one of its best and oldest friends, once expressed a hope to me that the notices of the painters given in this Handbook would be found useful by some readers not only as a companion in Trafalgar Square, but also for other galleries, at home and abroad. Nobody can know better than the compiler how far Mr. Ruskin's kindness led him in the direction of over-indulgence.

I can only hope that the later editions have been made – largely owing to the suggestions of critics and private correspondents – a little more deserving of the kind reception which, now for a period of nearly twenty-five years, has been given by the public to my Handbook.

    E. T. C.

May 1912.

GUIDE TO THE GALLERY

AND

INTRODUCTIONS TO THE SCHOOLS OF PAINTING

The pictures in the National Gallery are hung methodically, so far as the wall-space and other circumstances will admit, in order to illustrate the different schools of painting, and to facilitate their historical study. Introductions to the several Foreign Schools of Painting, thus arranged, will be found in the following pages together with references to many of the chief painters in each school who are represented in the Gallery. Introductory remarks on the British School and British Painters will be found in Volume II.

At the present time (May 1912) the arrangement of the Gallery is in a transitional state, as some of the Rooms are still in process of reconstruction or rearrangement. When this work is finished, the arrangement of the whole Gallery will, it is expected, be as shown below: —

Archaic Greek Portraits: North Vestibule.

Italian Schools: —

Early Tuscan: North Vestibule.

Florentine and Sienese: Rooms I., II., V.

Florentine (later): Room III.

Milanese: Room IV.

Umbrian: Room VI.

Venetian: Room VII.

Venetian (later): Room IX.

Paduan: Room VIII.

Venice, etc.: the Dome.

Brescian and Bergamese: Room XV.

Bolognese: Room XXV.

Late Italian: Room XXIII.

Schools of the Netherlands and Germany: —

Early Netherlands: Room XI.

Later Flemish (Rubens, etc.): Room X.

Dutch (landscape: Ruysdael, etc.): Room XII.

Dutch (Rembrandt): Room XIII.

Dutch: Room XIV.

German: Room XXIV.

Spanish School: Room XVI.

French School: Rooms XVII., XVIII.

British Schools: —

Hogarth, etc.: Room XXII.

Reynolds, Gainsborough, etc.: Room XXI.