YALE UNIVERSITY HBRARY

3 9002 05366 8357

Cbomas B. Olalker
nn Collection
Minneapolis Itlinn.

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Descriptive Catalogue
OF THE
THOMAS B. WALKER
Art Collection

803 HENNEPIN AVENUE
MINNEAPOLIS. MINN.

1913

ARTISTS REPRESENTED

BEECHEY, Sir Wm., 1.
BERCHEM, Nicholas, 2, 3.
BENSON, Ambrosius, 4.
BRETON, Jules Adolph, 5, 6.
BREYORT, James Renwick, 7.
BERRY, P. V., 8.
BIERSTADT, Alhert, 9.
BODECKER, Johannes F., 10.
BLOEMEN, Pieter Von, 11.
BOL, Ferdinand, 12, 13, 14.
BONHEUR, August F., 15.
BONHEUR (Marie) Rosa, 16, 17, 18.
BONONI, Carlo, 19.
BRONZENO, Allori Alesandro, 20.
BOULANGER, GustaTe R. C, 21, 22.
BOUGEREAU (WUliam) Adolph, 23.
BOUTS (Dierick), 24.
BRUEGHEL, Ambrose, 25.
BRUEGHEL, Pieter the Elder, 26.
CARPENTIER, Adrien, 27.
CEDERSTROM, Thure Von Baron, 28.
CRAIG, Thos. R., A. N. A., 29.
CAZIN, Jean Charles, 30, 31, 32, 33, 34, 35, 36,
37, 38, 39, 40.
CIPRIANI, Gio Battlsta, 41.
CANO, Alonso, 42.
CONSTABLE, John, 43, 44, 45, 46, 47, 48, 49, 50.
COLE, Thos., 51, 52.
COLEMAN, Samuel, 53.
CROCHEPIERRE, Andre Antoine, 54, 55.
COROT, Jean Bantiste Camille, 56, 57, 58, 59, 60,
61, 62, 63, 64, 65, 66, 67, 68, 69, 70.
CORREGGIO, Antonio Allegri, 71.
COTES, Francis, 72.
CUYP, Albert, 73, 74.
CLOUET, Francis, called Janet, 75.
CHURCH, Frederick Edwin, 76.
DAVID, Jacques Louis, 77, 78.
DAUBIGNAY, Charles Francois, 79, 80, 83, 82,
83, 84.
DEVE. E.. 85.
DEMONT-BRETON, Mme. Virginia Elodle, 86.
DESMOULINS, Auguste, 87.
DE BRUSH, George F., 88.
DEL SARTO, Andrea, 89.
DIAZ, Narclsse Vlrgile, 90, 91, 92, 93, 94, 95,
96, 97, 98, 99, 100, 101.
DIETERLE, Mme. Marie, 102.
DIETRICH, Christian W. E., 103, 104, 105.
DOLCI, Carlo, 106, 107.
DOBSON, Sir William, 108, 109, 110, 111.
DUGHET, GASPARD, 112.
DURER, Albrecht, 113.
DUPRE, Julien, 114.
DUPRE, Jules, 115, 116, 117, 118.
DUPRE, Leon Victor, 119.

DYCK, Sir Anthony Van, 120, 121, 122.
ELLIOTT, Charles Loring, 123.
FRANCAIS, Francois Louis, 124.
FRANCIA, Francesco Giacomo, 125.
FABRITIUS, Karel, 126.
FRERE, Theodore, 127.
FERRIER, J. M. A. Gabriel, 128.
FLINCK, Govaert, 129, 130, 131.
FUECHSELL, Herman, 132, 133.
FURINI, Francesco, 134.
GAINSBOROUGH, Thomas, R. A., 135, 136, 137.
GALLETTI, Sebastino, 138.
GERARD, Baron Francois Pascal Simon, 139, 140.
GELDER (Arnold de), 141.
GERICAULT, Jean Louis Audre Theodore, 142.
GREUZE, Jean Baptiste, 143, 144, 145, 146.
GEROME, Jean Leon, 147.
GHIRLANDAJO, Domenico del, 148.
GIRODET, de Boussy Anne Lonis (Girodet Trio-
Son), 149.
GROS, Antoine Jean, Baron, 150, 151.
GUARDI, Francesco, 152.
HALS, Frans, 153.
HAMMAN, Edouard Jean Conrad, 154.
HAMILTON, James, 155.
HARPIGNIES, Henri, 156, 157, 158.
HART, James McDougal, 159, 160.
HARLOW, George Henry, 161, 162.
HBLST, Bartholomeus Van der, 163.
HERMANN. Leo. IM.
HENNEE, Jean Jacques, 165, 166.
HEEMSKERK, Egbert Van (The Elder), 167.
HOGARTH, William, 168.
HOBBEMA. Minderhout, 169, 170.
HOLBEIN, Hans the Younger, 171.
HOPPNER, John, 172.
HOOGSTRAATEN Van, Samuel, 173.
HUGUET, Victor, 174.
HUNTINGTON, Daniel, R. A., 175.
INMAN, Henry, 176.
INGRES, Jean Auguste Dominique, 177.
ISBEY, Jean Baptiste, 178.
INNESS, George, N. A., 179, 180.
INNESS, George Jr., 181, 182, 183.
JACQUE, Charles Emile, 184, 185.
JETTELL, E., 186.
JANSSEN, Cornelius, 187, 188, 1S9, 190.
JONES, Hugh Bolton, 191.
JULIEN, Simon, 192.
KAUFFMAN, Marie Anna Angelica Catharine,
193.
KNAUS, Prof. Ludwig, 194.
LAWRENCE, Sir Thomas, 195, 196, 197, 198.

ARTISTS REPRESENTED

LANDSEER, Sir Edwin Henry, R. A., 199.
LAURENS, Jean Paul, 200.
LEFEBVRE, Jules Joseph, 201.
LEFEVRE, Robert, 202.
LEROLLE, Henri, 203, 204.
LE BRUN, Charles, 205.
LELY, Sir Peter, 206, 207.
LIE VEN S, Jan, 208.
LORRAINE, Claude (Claude Gallee), 209, 210,
211, 212.
LOSSOW, Heinrich, 213, 214.
LOUTHERBOURG, Philippe Jacques de, 215.
LUINI, Bernadino, 216.
MARATTI, Carlo, 217, 218.
MARILHAT, Prosper, 219.
MAX, Gabriel, 220.
MAZZUOLI, Francesco, 221.
MEADOWS, J., 222.
MBNESES, Osorio Francisco, 223, 224, 225.
MEULEN, Adam Frans Van der, 226.
MIGNARD, Pierre, 227.
MICHEL, Georges, 228.
MICHELANGELO, Buonarrottl, 229.
MIEREVELT, Michael .Totibjot, v™. 230.
MILLET, Jean Francois, 231.
MINOR, Robert 0., 232.
MORAN, Edward, 233.
MORAN, Thomas, 234, 235.
MONTICELLI, Adolphe, 236.
MORLAND, George, 237.
MURILLO, Bartholome Esteban, 238, 239, 240,
241.
MYTENS, Daniel, 242, 243.
NEER. Aart Van Der. 244.
NICHOLSON. G. W.. 245.
OERTEL, Johannes A., 246.
OPIE, John, 247.
PARMENTIER, Jacques, 248.
PANNINI, Cavaliere Giovanni Paolo, 249.
PARTON, Arthur, 250.
PEALE, Charles Wilson, 251, 252.
PEALE, Rembrandt, 253, 254, 255.
PEBBLES, Frank M., 256.
PIOMBO, Sebastiano del, 257.
PORBUS, Francis, Jr., 258.
POUSSIN, NicholaB, 259.
RAMSAY, Allan, 260.
RAPHAEL, 261.
RAEBURN, Sir Henry, 262, 263, 264, 265.

RAVESTEYN, Jan Van, 266.
RAU, Emil, 267.
RENI, Guido, 268.
REMBRANDT, Van Rijn, 269, 270, 271, 272, 273,
274, 275, 276, 277, 278, 279.
REYNOLDS, Sir Joshua, 280, 281, 282, 283.
RICHARDS, William Trost, 284.
RIX, JULIAN, 285, 286.
RIGAUD, Hyacinthe, 287.
ROMNEY, George, 288, 289, 290, 291.
ROBIE, Jean Baptiste, 292.
ROSIER, Jean Guillaume, 293.
ROUSSEAU, Theodore, 294, 295, 296, 297, 298.,
RUBENS, Peter Paul, 299, 300, 301, 302.
SAFT-LEVEN, Herman, 303.
SANCHEZ-COELLO, Alonzo, 304.
SWANEVELT, Herman, 305, 306.
SCHREIBER, Charles Baptiste, 307.
SCHREYER, Adolphe, 308, 309, 310.
STRIJ (or Stry), Abraham Van, 311.
STUART, Gilbert, 312, 313, 314.
SCHIRMER, Johann WUhelm, 315.
SCHUSSELLE, E., 316.
STUDENTS IN PERUGINO'S STUDIO, 317.
THAULOW, Fritz, 318, 319.
TENIERS, David (The Younger), 320, 321.
TIEPOLO, Giovanni, 322.
TINTORETTO, Jacopi, 323, 324.
THOM, James Crawford, 325.
TOQUE, Jean Louis, 326.
TROYON, Constant, 327, 328, 329, 330, 330A.
TURNER, J. M. W., R. A., 331, 332, 333, 334,
335, 336, 337, 338, 339, 340, 341, 342, 343, 344,
345, 346.
UTERBERGER, Franz, 347.
VAN MARCKE, Emile, 348, 349.
VASARI, Giorgio, 350.
VERONESE, Paolo, 351.
VERBOECKHOVEN, Eugene Joseph, 352.
VUILLEFROY, Dominique Felix de, 353.
WALKER, James Alexander, 354.
WATSON, William, 355.
WESTERBEEK, C, 356.
WILSON, Richard, 357, 358.
WYANT, Alexander H., 359.
ZAMPIERI, Domenlco, 360.
ZIEM, Felix, 361, 362, 363, 364, 365, 366, 367,
368, 369, 370, 371.

II

Voluntary Comments by Art Writers
and Visitors
Followed by Alphabetical List of Painters and Title of Painting.

A FEW EXTRACTS TAKEN FROM A REVIEW OF THE T. B.
WALKER GALLERY.
SIR WILLIAM VAN HORNE,
MONTREAL.
Montreal, December 2, 1912.
Mr. T. B. Walker, Minneapolis, Minn.
Dear Mr. Walker: This is the first opportunity I have had for writing
since I had the pleasure of seeing you and your extraordinary art collections
in Minneapolis. Indeed I am not even yet able to collect and arrange my
thoughts of all I saw there. My five hours were much too short for such
a mass of things. One might almost as well try to see the National Gallery
and the British Museum in the same time. I came away with my mind in
a blur of beautiful pictures, ceramics, bronzes and rugs. Somehow, that
cabinet of Han, Sung and Ming pieces persists more than anything else
perhaps because of its being all together and more comprehensible.
With many thanks for your great kindness, I am,
Most sincerely,
(Signed) W. C. VAN HORNE.
P. S. Mr. Eilers was almost speechless when he came away.
Minneapolis, Minn., August 3. 1912.
I have seen all the principal galleries of Europe and this collection is
the finest of all. MR. JOHN J. BASTING.
A LUMBERMAN'S LOVE OF ART.
Almost in the heart of Minneapolis is a large mansion. A constant
stream of visitors will be noted entering and leaving its spacious doorways.
It is the residence of one of the country's wealthiest lumbermen, whose
great holdings have covered an area greater than some European princi
palities. But the guests come not to see a millionaire. They come to wander
quietly through big chambers which contain an art collection of priceless
value, in some respects the greatest of its kind. Think of it! Specimens of
Raphael, Michael Angelo, Rubens, Van Dyck, Rembrandt, Turner and many
others; the finest collection of old jade and crystal in the world; old Egyp
tian relics dating 2,000 B. C; an extraordinary collection of miniatures
representing the world in its gallery!
This is the famous Thomas B. Walker Art Collection, which is at
m

once so well known— to connoisseurs— and so unknown to the crowd.
Famous men and women of many lands have viewed it and praised it. Dr.
Herrick and I met the old lumberman strolling among his treasures, glad
in the pleasure they gave his guests, the public. He appeared more like a
retired clergyman, quiet, graybearded and frock-coated. Still active in
Methodist Church work, he smilingly gave the Journambulist a little book
which he had compiled, "The Testimony of the Ages," regarding the abiding
influence of religious faith.
The Journambulist returned to his hotel that afternoon, thoughtful
as from a church service. The Presbyterian editor with his ideals in journal
ism, the Congregational banker with his conceptions of public service, the
Methodist millionaire with his priceless collection of treasures,- shared
freely with all who cared— it was the Christian manhood of the northwest
dominating the hustle and hurricane of prosperity. As the dollars grow
more numerous, they often, too, grow smaller. The rushing flood of money-
getting is succeeded, perhaps more often than the pessimist lets us realize,
by the still, deep tides of philanthropy and public welfare. The signs of
Roman decay do not yet appear in the great northwest.
—The Congregationalist and Christian World, Oct. 17th, 1912.

Free Svnagogue, New York.
Stephen S. Wise, Residence, 23 W. 90th Street, Dec. 9, 1912.
Thomas B. Walker, Esq., Minneapolis, Minn.
My Dear Mr. Walker: I write, for one thing, to express to you my
deep-felt gratitude for the great joy which the visit to your home, and
gallery afforded me a few days ago. While I thank you, I feel that I should
congratulate Minneapolis upon having in its citizenship a man who has
amassed so noble a collection as you have gathered from the four corners
of the earth. It is a great collection, for it is not only representative of the
masters, but, as far as I am able to judge, consists of great examples of the
great masters. , .
Fine as is the collection, it is not finer than the spirit of its owner in
throwing open the doors of his home to the community and the nation so
that multitudes may share with him the pure — I had almost said holy — joy of
possession of those art treasures. I shall avail myself of almost any excuse
to go to Minneapolis again and bring Mrs. Wise, who is herself a portrait
painter, with me so that we may spend hours and hours, I wish it might be
days and days, in your galleries.
Hoping with all my heart that you may for many years continue to
enrich the gallery in every way, and, chiefest of all, by your personal and
loving supervision of it, I am, Sincerely yours,
(Signed) STEPHEN S. WISE.

THE ARTS CLUB OF PHILADELPHIA.
April 26, 1912. •
Thomas B. Walker, Esq., Minneapolis, Minn.
Dear Sir: I enclose an article in "The Sun" written by James Hunieker,
probably the best Art Critic in America — from it you will see that Mr.
McFadden, president of this club and I saw your wonderful collection a few
weeks ago. You were away from home or we would have tried to see you.
IV

It is a wonderful gathering of great works by the great men who have
made art live.
Have you an illustrated catalogue? If so we would be highly honored
if you would give us one for our library. We have Mr. Widener's and
others. I hope if you come to Philadelphia you will stop at the club and see us,
and if you have not seen the fine collections in Philadelphia, would be
glad to go with you.
Again congratulating you on your treasures, not only of paintings, but
also of porcelains, jades and rock crystals. I am, yours very truly,
(Signed) A. G. HETHERINGTON,
Chairman Committee Purchases of Art.

INTERESTING WORKS SHOWN AT THE CITY GALLERIES— NOT
ABLE COLLECTION OF THOMAS B. WALKER OF MINNEAPO
LIS—GEORGE MORLAND'S GREATNESS AS A PAINTER IN A
STYLE WHICH HE ALONE REPRESENTS IN BRITISH ART.
How comparatively unknown are the art treasures in the private collec
tions of this vast land may be realized from the experience pf two well
known connoisseurs, John H. McFadden and Albert Hetherington of the
Philadelphia Art Club, who happened to find themselves in Minneapolis,
Minn., a few weeks ago. Among the sights of the city is the art gallery of
Thomas B. Walker, a man of great wealth and one who believes in pictures.
To the amazement of the two Philadelphians, instead of the usual local
gallery filled with copies or indifferent specimens bearing great names they
found a gallery literally crammed with distinguished pictures and fine old
Chinese porcelains. The catalogue of the paintings numbers over 300, among
which are examples by Holbein — his portrait of Henry VIII. — Rembrandt,
Rubens, Van Dyck, Murillo, Veronese, Botticelli, Raphael — a portrait of Pope
Julius II., from the Sir Cecil Miles collection, indorsed by Dr. Waagen of
Berlin; no less than eleven Turners of quality; eight Rembrandts, one of
Saskia; Ferdinand Bol, the Breughels, Bouk, a dozen Corots, a Clouet (Fran-
gois) ; Daubigny, Hobbema, one Hals, Ghirlandaio, three Gainsboroughs, a
Francia, Mignard, Michelangelo, Millet, Morland, Del Piombo, the Poussins,
Raeburn, three by Sir Joshua Reynolds, Romney, Rousseau, Teriiers, Tiepolo,
Sanchez-Coello, Vanden Neer, Tintoretto, Richard Wilson and many others.
Truly an amazing gathering, one that reflects high and varied artistic tastes.
Yet how many know of the Walker gallery? —New York Sun, April 21, 1912.
October 9, 1912.

Mrs. Stevens, wife of Joseph E. Stevens, Corn Exchange Chambers,
Mark Lane, London, England, on a visit to the gallery, said:
I am familiar with the art galleries on the continent and in England
for the past twenty-seven years. This is the most beautiful and magnificent
collection of art that I have ever seen. I am especially acquainted with the
Tate (Tait) and the Wallace galleries, and while in the latter there are
many magnificent paintings, it does not compare favorably with this
Walker gallery. v

17 DEAN'S YARD, WESTMINSTER ABBEY, S. W.
October 7th, 1912.
My Dear Mr. Clarke: Among the many pleasant recollections of our
visit to Minneapolis, none is more pleasant than that of our time in Mr.
Walker's splendid collection of pictures. To begin with, the collection came
as a complete surprise. I had not associated Minneapolis (this is a con
fession of ignorance which you will rather pity than resent), with a gallery
of masterpieces, which would be notable in any city of Europe. Then, there
were so many pictures it is always a joy and a privilege to see — Turners,
Constables, Romneys, all our English masters, to say nothing of older and
greater artists.
I will not deny that an element of melancholy entered my mind as I
read the labels, which told the story of the pictures, and too often related
their flight from England to the far west. Surely, I reflected, artistic Ameri
cans should erect a monument to "The English Death Duties" as to the
kindly force which brings into the markets of the world so many treasures
of English houses. But my melancholy was relieved by two considerations.
If the masterpieces of art must leave my own country, where could I
wish them to go to save to that great kindred nation, which has the same
mother tongue, the same faith, and the same notions of justice and right
dealing? Again, if the art treasures of the world are to be owned by individuals,
could I desire that they should be owned by any other than by those who
like the owner of this princely collection, have the generosity and public
spirit to make them accessible to their neighbors?
I shall be obliged if you will express to Mr. Walker our gratitude for
the delight which he gave us through his pictures, and to his son for the
courtesy with which he showed them to us.
Believe me, Most sincerely yours,
H. HENSLEY HENSON,
Sub-dean of Westminster Abbey; Sometime Fellow of All Souls College,
Oxford.

E. J. VAN WISSELINGH & CO., KUNSTHANDEL.
K. Kroesbeek 78-80 Rokin
P. C. Eilers, Jr. Amsterdam
Windsor Hotel, Montreal, Nov. 25th, 1912.
Thomas B. Walker, Esq., Minneapolis, Minn.
Dear Sir: The special trip I made to Minneapolis to see your collection,
of which I have been told already so much, even in my small country,
enjoyed me very much. I expected to see some beautiful pictures, but what
I saw went far beyond my expectations.
Notwithstanding I remained more than half a day, I saw not enough of
it, and at the same time, too much at once, to say that I am fully acquainted
with your collection, therefore I hope you will allow me another call, com
ing in your country again.
Some of your pictures will not leave my mind: The Turners for in
stance. I never saw a collection of Turners as important as yours. "The
Ancient City" can beat, to my opinion, the best Turner in the World.
Of your Rembrandts, your last acquisitions of the Weber collection
was a revelation to me. The Ferdinand Bol, "Madam Stercke" is still trav-
VI

eling with me; I do not remember a better example of that master. The
Albert and Benjamin Cuyp; Govert Flinck's "Tambourine Player," The Con
stables; Gainsborough, especially the "Gentleman in Blue," that beautiful
man's portrait by Raeburn, beating the best impressionist; that lady's por
trait by Romney; Napoleon by Isabay; the Troyons, well no use to men
tion all these names; I had a great day at yours and am much obliged to
you. Then that important collection of old Persian and Chinese pottery, in
its kind as high artistic as the best part of your picture gallery. I think
it must be a great thing to the people of Minneapolis and to all who are
visiting your Museum, to have such an Art School to educate theirself in
seeing the beauty of nature.
I remain, dear sir, Yours gratefully, P. C. EILERS, JR.,
Of Van Wisselingh & Co., of Amsterdam.

CANADIAN PRAISES GALLERY— WALKER ART COLLECTION
CALLED BEST IN COUNTRY BY TORONTO BARONET.
Characterizing the T. B. Walker art collection as the finest private col
lection he had ever seen in his life, Sir Edmund Walker, president of the
Canadian Bank of Commerce of Toronto, who was in Minneapolis yesterday,
expressed himself as charmed with Minneapolis and the treasures that are
on view at Mr. Walker's gallery. Sir Edmund is not a relative of Mr.
Walker, but he says he has seen every private collection of art on both
sides of the water that is worth seeing, and that the Minneapolis collection
excels them all. —Tribune, Oct. 29, 1912.

Williamsport, Pa., August 2, 1912.
Bishop Evelard wishes to extend to Mr. Walker somewhat tardy, but
none the less sincere, thanks for the privilege that made possible the many
happy and helpful hours spent with his beautiful paintings. Few men pos
sess either the means or the taste to gather together so many of the best
things. Fewer still are generous enough to open these to the public so
every brother may share with him in the pleasure and inspiration they have
to give.

Minneapolis, Aug. 22, 1912.
Dear Mr. Walker:
During my stay here your collection of paintings has been a great in
spiration to me, especially the large Rembrandt "The - Adultress before
Christ" which I think is a most superb example of the great master. The
variety of handling and exquisite color-glazing, with the grand style of com
position, makes it the most intimate of any of his work that I have seen
here or during my travels abroad. Permit me to congratulate you. * * *
With hearty appreciation of what you have done for American Art, I am,
Most sincerely yours,
(Signed) DAVID ERICSON,
89 South 10th St., Mpls., Minn.

Hotel Radisson, Minneapolis, Minn., Jan. 14, 1913.
Mr. T. T. A. W. Haverstad, representative of the Thomas Hospital, and
Field Secretary of The United Church Hospital Association, and a news
paper correspondent, particularly on art matters, writes a letter regarding
the art collection.

Mr. T. B. Walker* Minneapolis, Minn.
My Dear Sir: I have always been deeply interested in the study of
art, and I have had the great privilege of visiting and studying the leading
art galleries in Europe. They are great, but what shall I say about this
collection. To say that it is unique, superb, grand, magnificent and excel
lent, does not fully express my admiration for this most perfect art gallery.
There is such a grandeur and charm over the entire collection that
words fail to express it. I wonder how many times I have visited the col
lection and how many friends I have brought there.
With highest of compliments and sincere good wishes, I beg to sub
scribe myself, Very respectfully,
(Signed) T. T. A. W. HAVERSTAD.

Mr. Edward Brandus, one of the prominent art dealers of Paris and
New York, connected with the art house of Sedlemeyer, and the associate
of Dr. Mersch, the son-in-law of Mr. Sedlemeyer, through whom the last
important Rembrandt was purchased by Mr. Walker. In a letter just re
ceived from Mr. Brandus, he says: New York City, Jan. 22, 1913.
Mr. T. B. Walker, Minneapolis, Minn.
My Dear Mr. Walker: I have read with the greatest interest the
many testimonies and criticisms and have looked over the catalogs and de
scriptions of your collection, which was not by any means unknown to me,
but which I have deemed it advisable to mail to Mr. Sedlemeyer to give him
an opportunity to read these intelligent criticisms upon your great gallery.
I am forwarding these to him with the hope and expectation that it
will contribute materially towards making known in France and in the whole
world that in Minneapolis, the Walker collection is second to none in the
world. (Signed) EDWARD BRANDUS.

By Miss Ruby Danenbaum, Art Writer.
The length and breadth of, our land and in foreign countries where art
has real meaning, the Walker collection represents two salient qualities: per
fection and generosity. Perfection from the fact that it is considered by
connoisseurs to be the most carefully selected collection of beautiful pictures
in this country or Europe; generosity, because it is housed in a private resi
dence and is entirely free to the public every week day of the year. All of
the great public galleries of the country charge an admission fee at least three
days of the week, and the great majority of private galleries are not accessible
to the public.
Strangers in Minneapolis are attracted to the grassy lawn in the heart of
VIII

the business district, on Hennepin avenue and Eighth street, with its closely
encircling park benches, occupied by weary humanity from early morning
until late at night during the summer months, and are curious about the
house and grounds. When they learn about the gallery and that entrance to
it is as free as the use of the benches for whoever may wish to rest upon
them, they lose no time in taking advantage of the entrance privilege. Any
one wishing to hear unbounded enthusiasm should listen to the strangers
in the Walker gallery— they are spontaneous in their praise of what they look
upon as the most magnificent art collection they have ever seen.
The Oh's! and Ah's! which expressed the delight of the beholder at the
first glance into the old gallery will now be doubled, for with the opening of
the spacious new addition, the ensemble that meets the eye is almost stagger
ing in its glowing color — the glorious hues on the walls, the rich rugs, and
handsome furnishings all combine to make a first impression which remains
forever with the person who sees it; that is the person of appreciation.
In the new addition there is a long gallery filled with fine canvases, many
of which are new. The room just in the rear contains a marvelous collection
of rarest old porcelains: Chinese, Persian, Corean, Japanese, Babylonian,
Greek, old English Cameo and Basalt ware, with finest sets of old Dutch
Delf. The adjoining room is devoted to priceless old jade and crystal, said
to be the finest collection of its kind in the world. The glass cases in the
next room going forward are devoted to the earliest known specimens of
glass, found in Syria, Egypt, Persia, Babylonia. The most beautiful inlaid
glass from the old Egyptian tombs dating 2,000 years B. C. and none ever
known like them in later times, glass coins, some of them used before the
time of Christ, cosmetic bottles, water and nursing bottles, urns, smelling
bottles, vases and decorations and many other beautiful objects, dating from
the first to the fourth century before Christ.
There is a collection of miniatures of famous men and women, which
alone would require several days to see, properly. Among the statesmen,
writers, and notable men and women of several centuries, the Minnesotan
is pleased to find a miniature of Ex-President Cyrus Northrop, painted by a
prominent New York artist by the order of Mr. Walker. In this room, too,
there is a splendid collection of small ivory carvings, and several cases of
jade, crystal, amber, agate, amethyst, chalcedony and other old Chinese snuff
bottles, on which a day could easily be spent, with much pleasure and profit.
It would be impossible to go into detail concerning the contents of these
rooms, for there is so much in them which would be of interest to the student
of art and the lover of color and design.
Art students now realize what an advantage it is to be able to study the
Old Masters at any time they may choose, and not be compelled to go away
from home to find such paintings. Mr. Walker has some glorious Old
Masters in the Public Library Gallery: A stately Van Dyck, a Rubens, a
Murillo, a Bottecelli, a Paul Veronese, several canvases by Sir Peter Lely,
and a like number of Sir Thomas Lawrence, among the hundred of his
paintings there.
It would be impossible to mention all of the pictures and objects of
art which Mr. Walker has so generously placed in the Public Library. He
is constantly adding pictures, objects of ethnological and anthropological inter
est, making several collections of which the city may well be proud. A
collection which Mr. Walker has just completed is the great Indian pictures,
of which there are seventy, by H. H. Cross. This is probably the greatest
collection of Indian portraits in the world.
IX

"This is the unique gallery of all that I have seen. Every picture on
these walls is genuine and of the highest order of merit. In most all col
lections the larger part of the pictures are commonplace, mediocre or unin
teresting, and amongst them many that are not genuine. All of these are
most satisfactory examples and worthy of a place on the walls of any gal
lery." JOSEPH JEFFERSON.

"I have made art a special study and have taken great interest in it to
that extent that I have made it a specialty on which I have delivered many
lectures. I have seen the public galleries of Europe and America and many
of the private ones, and I do not know of a collection where there is such
a uniformity of high class art in any gallery that I have ever seen. There
are no commonplace, uninteresting pictures, but all are beautiful and attract
ive and genuine examples of high grade art of many of the fine painters of
the world." DR. B. D. HOLLINGTON, Pastor,
Central Methodist Episcopal Church, Toledo, O.

"The writer of this note has seen and studied the best galleries of the
world; and he has no hesitancy in affirming that none surpass this, and, in
his judgment, very few can in any way approximate it."
REV. FAYETTE L. THOMPSON,
Pastor Hennepin Avenue Methodist Church,
Minneapolis, Minn.

"In the name of myself and of the public, I thank him who daily gives
to the world such a wonderful and uplifting opportunity. This I wish to say
because I sincerely feel it." CORA R. GIBSON, Art Writer,
St. Louis, Mo.
"If you can, meet the man who has collected this great gallery, great
because it represents almost every school, and there is not in it all one spu
rious picture or one poor picture. Bonds and buildings, forests and mills,
this is the game that he plays, but he plays it as a Christian gentleman
should. Libraries, hospitals and churches, these are his duty to humanity.
But this beautifully brilliant gallery, this is his love.
" 'A Christian gentleman, and spend such a fortune on his own luxurious
enjoyment?' you ask. Yes, a Christian gentleman, for he only gets that he
may give. He gave all his pictures to me. Half way across Lake Superior
in a fog I close my eyes in my cabin and I am back again with them all
before my soul. I thank him for making the collection, but the pictures are
always forever mine. 'When a person becomes a part of you, then you
love,' says Hugo. When you have really seen a picture it becomes a part
of you. He gives this collection daily to his own city, and all day long men
and women are accepting his free gift. Two hours I spent with a man in
a blue blouse of a mechanic, but no refinement of color or form escaped
his apprehension and appreciation, and turning at the door he feelingly said
x

'But the best thing about this is that this fellow don't keep this all to him
self, but lets us all own it.'
"When you go to Minneapolis, and it would pay you to go even for
this one thing, forget not to see this beautiful palace of art."
REV. B. D. HOLLINGTON, Art Writer,
Toledo, Ohio.

"Mr. T. B. Walker, Minneapolis, Minn.
"My Dear Sir: Last year I made a special trip to Minneapolis for the
purpose of seeing your collection of paintings. I had heard them so highly
spoken of by many different persons who had visited your gallery that I
deemed it worthy of a trip for the express purpose of carefully examining
the collection. I must say that while I expected from the reports of others to
find a fine collection, I was greatly surprised to find it the most uniformly
beautiful and attractive that I have ever seen.
"I have made art a business and study for many years, have visited public
and private collections in this country and in Europe, and, so far as I can
make a general comparison, I believe that no other gallery, either public or
private, that I have ever seen, contains so uniformly a high, attractive and
beautiful array of pictures as I found in your gallery. I was more than sur
prised and put in nearly the whole day in a most interested examination and
view of the paintings.
"The perfect freedom with which people are admitted without limitations
or restrictions is different from any other art gallery regulations that I have
ever known. I would congratulate your city, and the public generally, for
this most attractive exhibition which you seem to have established more in
the interests of the public than for any personal use or interest."
Sincerely yours,
HENRY REINHARDT,
Art Dealer, Auditorium Annex. Chicago, 111.

Review of art gallery by Mr. Blair Hough, Art Critic, of New York City,
published in New York, Chicago, St. Louis, Minneapolis, and other papers,
May, 1907:
"Mr. T. B. Walker owns a collection of rare and costly paintings from
the hands of the world's masters, covering the last five hundred years, and
has generously opened the great gallery to the public. Any one is at liberty
to call at the Walker residence and view the paintings and other art treasures
it contains. The famous art galleries of Europe have been searched and their
choicest treasures purchased. Artists' studios have been explored, and with
the eye of a connoisseur, Mr. Walker selected bits of canvas that have made
their painters renowned. Every master of note since the fourteenth century
has contributed to his treasure house of art.
"Raphael, Rubens and Rembrandt, whose work has astonished the world
for centuries, are liberally represented. Holbein's portrait of King Henry
VIII, immortalized by Shakespeare, and Myten's King Charles I, martyred
by Oliver Cromwell, with all their associations of English history, look down
from the walls."
Guido Reni's Cleopatra, Egypt's only queen, and Marc Antony's siren,
in her last hour, many decades old; Laurens' Lucretia Borgia, the cruel light
of whose eyes makes one shiver; the younger Pourbens' Maria De Medici,
XI

her beautiful face wonderfully lighted in a smile; Sir Godfrey Kneller's Nell
Gwyn, whose sweet face and sparkling eyes captivated and bewitched a mon
arch's court, all recall romance and intrigue of centuries long dead.
Guardi and Unterberger transport you to peaceful Venice with her slug
gish canals, lazy gondolas, love-smitten swains and coquettish maidens. Es-
selenns and Ziem portray street scenes of far-off lands in the long ago.
Rousseau's Sunset is a striking bit of color. Bierstadt, Frangais, Berchem
and Mendert offer landscapes and pastorals celebrated for their technique.
Corot's "Aurora Greeting the Dawn" is a fine conception of an artist's dream.
Berchem's "Waterfall" is so realistic that one is deluded into hearing the
water leap over the great rocks. Turner's "Tower of London," somber and
gray, recalls the days of guillotines and garrotes and stocks.
The world famous Ruben's Madonna, sorrowful eyes lighted by heaven's
love, gazes compassionately downward. Dolci's Christ Child, Maratta's Visit
of the Wise Men, Madonnas by Van Dyke and Canos and Cipriani's Virgin
inspire higher thoughts and create better impulses.
There are almost priceless portraits of men and women famous in the
world's history by Piombo, Sir Thomas Lawrence, Bol, Isabey, Sir Joshua
Reynolds, Gros, Mignard, Cotes, Janssens, Hogarth, Flinck and others of less
renown. Mr. Walker is also a liberal patron of American art, and much of the
best work of these artists has found its way into his galleries.
The gallery is elegantly appointed and adjoins his residence on Hennepin
avenue. His magnanimity in opening this to the public is almost without
parallel and is praised by visitors and the people of Minneapolis alike.

Mr. N. E. McBride, Annex Hotel, Chicago, says:
"I have seen many of the finest art collections in Europe and America
and I consider this the finest collection that I have ever seen. It is much
larger and finer than the Wallace collection and more uniformly magnificent
than the National Gallery, or the Tate Gallery. The Turners in this col
lection are finer than in any collection I have ever seen, as are also the Rem-
brandts and the Van Dycks. Every picture in this gallery seems to be of the
highest grade of art without any commonplace pictures to be found in it."
Mr. J. B. Eaton, of Buerton House, Montgomery Road, Sheffield, Eng.,
and his traveling companion Rev. George H. McNeal, Sheffield, Wesleyan
Mission, 25 Montgomery Road, Sheffield, Eng., visited the gallery. Mr.
Eaton said:
"We have been for a long time looking over the art and other interesting
things in Europe and America. We began by first traveling over England
and particularly examining the art galleries, public and private. We then
went to the continent, visiting the principal nations there, and then came to
America. We have visited the different towns and cities from New York and
Boston to the Pacific Coast, and from Los Angeles and Seattle back here,
and have stopped here expressly to see this collection. I wish to say to you
that we would rather have missed anything we have seen, in all our travels,
without exception, than to have missed this most magnificent collection of
art. We look upon it as emphatically the finest collection that we have seen
in our travels. Your collection of Turners is not equalled, and taking the
Rembrandts, the Van Dycks, the Claude Lorraines, and especially also the
Constables and the great number of the finest of the artists' works, I con
sider it the finest collection that we have seen. The collection of porcelains
XII

jades, miniatures and rugs, all correspond and combine in making this a
most uniformly magnificent collection. Rev. McNeal fully agreed as to the
judgment expressed by Mr. Eaton."

David Starr Jordan, president of Leland Stanford University, made the
following emphatic statement:
"I do not profess to be an art critic, but I have seen miles of pictures in
my time, at home and abroad, in public and private collections, but of all the
galleries that I have ever seen, without exception, a large part of all the
paintings should be turned face to the wall.
"I have examined fully every picture in this collection, and there is not
one that needs disturbing, and it is the only gallery of the kind that I have
ever seen, and stands the highest as a collection of art."

Detroit, Michigan, Oct. 12, 1910.
"I had the pleasure of visiting your galleries last week, and I was aston
ished at the collection you have brought together. Permit me to thank you
for the pleasure you have given me." A. E. DREYER, M. D.

"Art treasures from the oldest centers of the world's civilization, have
been secured. In the selection of paintings, he has been guided by an un
erring judgment of the value of the work of artists. He has not bought in
discriminately of the works of modern or of old masters. Each picture in his
collection stands on its merits as a picture. His selections cover the history
of art during the past five centuries, and none of them are mediocre. Each
canvas, whether produced by artists of the olden times, or by modern paint
ers, is a gem. These facts are the general testimony of the best art judges
from all parts of the world." — San Francisco Chronicle, Oct. 17, 1909.

Mr. Hendrik Christian Andersen, of Paris, a sculptor and quite noted
architect and a most prominent citizen, who has been engaged for fifteen
years with a large corps of assistants in planning a most comprehensive
world exhibition, was traveling over this country and on his way to Cali
fornia stopped in Minneapolis to see this collection, which he had heard
highly spoken of.
He said: I have seen and am familiar with the art galleries of the world.
I am far more than surprised, really astonished to find such an extraordinary
exhibition of art. I regard this the most uniformly fine collection I
have ever seen without exception.

"I have seen many of the finest art galleries and collections of art in
this country and Europe, but not one of them compares with this one in mag
nificence and beauty of all the objects in it. I do not know a single one
that, taken all together, stands in the same class with it."
JOSEPH CHAPPLE,
Proprietor and Chief Editorial Writer National Magazine,
Boston, Massachusetts.
XIII

Mason City, Iowa, Nov. 15, 1911.
Mr. T. B. Walker, Minneapolis, Minn. ; ,
Dear Sir: I was the man in the group, to whom you so entertainingly
discussed vases, porcelain ware, and other matters of keen interest artisti
cally on last Saturday afternoon.
I couldn't feel content to leave your extreme courtesy unmentioned. I
was almost incredulous on my first visit to your gallery— hushed into rever
ence by the beauty and subdued luxury, all about me. I never was in a place
before, where there was such absolute lack of the discordant, and where
taste had been the supreme arbiter of all about. To be admitted there was
a high privilege, and to converse with the man who had been the collector
artist, was an added privilege much appreciated.
This was my first visit to Minneapolis, and the two afternoons spent in
the gallery (out of a total of three days in the city), served only to make
me deeply reluctant to leave, and keenly anxious to return, when I could
dream over that high art as long as I might wish.
Excuse me for presuming to write so without acquaintance, but I felt
that I must unburden myself of a little of my gratitude.
Yours gratefully, J. CLYDE MURLEY,
Latin and Roman History,
Mason City High School.

(Extract from Harshe's letter of June 17th, 1911.)
Professor Harshe, of the art department of the Leland Stanford Uni
versity of California, who has been secured by the exposition directors to
look after art matters for the coming Panama-Pacific Exposition, in a letter
of June 17, 1911, says:
"A month's time is all too short in which to study your collection of
masterpieces. It was a matter of the keenest disappointment to me that
an engagement at Missouri "U" commencement compelled me to cut short
a visit where every moment was so filled with wonder and delight. I can
not understand how one man could have made a collection of such excellence
and such uniform importance."

Mr. P. E. Kaiser, Secretary of the St. Cloud Board of Education and
Secretary of the Northwestern Publishing Company of that city, after spend
ing several hours in the galleries, said that he had visited the galleries of
the Louvre, the Vatican, Dresden and Berlin, and that he considered this the
finest collection he had ever seen.

"I have often heard of this gallery as a fine collection, and I have come
here for the purpose of seeing it, but I did not expect to find anything like
the extraordinarily fine display of art that I find in these galleries. I have
seen many of the fine art galleries of the world and this is the most mag
nificent collection that I have ever seen.''
MRS. JEROME CHRISTIE,
Quincy, Illinois.
xiv

Biological Labratory, Hamline University,
, St. Paul, Minn., April 12, 1911.
"I can not refrain from telling you again how glad I am that we have so
accessible, such a very wide range of artists, and such good examples of their
work. The opportunity is highly appreciated I am sure, for always on visit
ing the gallery I find others there enjoying the pictures."
HENRY L. OSBORNE.

Wm. E. Curtis, the noted newspaper writer and art critic, on a visit to
the gallery September 4, 1911, after going through the different rooms look
ing over the collections with very great interest, said that it was the most
surprising and bewildering exhibition of art that he had ever seen. That
while many of the great galleries of the world had priceless pictures and far
greater numbers, that no collection that he had ever seen had so uniformly
and exceptionally magnificent examples of the greatest paintings, nor such
beautiful and dazzling collections of porcelains, jades, ancient glass crystals,
etc. And he wanted to know if other people expressed such extravagant
views of the collection. In an article written just before his death, after he
had waited some time for additional lists and descriptions of the pictures
that were not in the old catalogue that was given him, he wrote largely from
memory an article published in many papers, of which the following extracts
are taken:
WALKER GALLERY AT MINNEAPOLIS ONE OF GREATEST ART
COLLECTIONS IN THE WORLD.
T. B. Walker, one of the wealthiest lumbermen in the United States, has
a large gallery attached to his residence, 803 Hennepin Avenue, Minneapolis.
In that, 250 or more examples of mediaeval and modern painters have been
hanging for some years in association with one of the largest and most valu
able collections of porcelains and glass, jade, jewels and examples of carving
and the goldsmiths' art.
Mr. Walker is public spirited and generous in sharing the enjoyment of
these possessions with the public. Anyone, citizen or stranger, is at liberty
to call at his residence on any week day, morning and afternoon, and inspect
the gallery at leisure, and thus far this year more than 65,000 persons have
taken advantage of the privilege.
The rooms are so crowded, however, that there is not an inch of spare
space upon the walls, and you have to squeeze between tall cases of matchless
curios, as rare and as valuable as can be found in the Metropolitan Museum
at New York or at the Kensington in London. It is one of the great private
collections of the world, and has been assembled by Mr. Walker personally
during the last twenty-five years.
Mr. Walker, as I have said, is a lumberman. He came to Minneapolis
from Xenia, Ohio, as a surveyor in early days, bought timber lands and set
up a saw mill; then he bought more timber lands and set up more saw mills,
and he continued to buy land and to saw and to ship lumber until he became
one of the richest men in the West, and has kept adding to his holdings until
he now owns an area of forest, East and West, North and South, as large as
some of the kingdoms of Europe. He has reached a point where he realizes
that money has values that most men have never dreamed of, and that the
XV

greatest satisfaction to be enjoyed by a man of taste and culture is to sur
round himself with things of beauty. i
The Walker gallery is a surprise to everybody who comes here, becajise
it has not been advertised and few people Tcnow anything about it. .And
indeed, skeptics can be excused for incredulity when you tell them that sam
ples of Raphael, Michelangelo, Rubens, Carlo Dolci, Murillo, three of Van
Dycks, three of Rembrandt's, six of Turner's, four portraits by Sir Joshua
Reynolds and portraits by Gainsborough, Hogarth, Holbein and other equally
great artists are hanging on the walls of a Minneapolis house.
The three examples of Rembrandt are: One of the many portraits which
he painted of himself, the portrait of the wife of some Dutch merchant or
alderman — a plain wholesome woman of his time — and a burgomaster with
a reddish beard from the collection of Jacob Anthony Van Damm, of Dor-
trecht, which the catalogue says, "is the great master's most attractive style."
It v/ould be difficult to find among all his works a more beautiful portrait, and
it is considered one of the most characteristic in softness and refinement of
tone. The largest collection of Turners that can be found outside of a public
museum is said to be here, and includes six characteristic works of that great
artist, who, experts say, is the most difficult to copy of any man that ever
wielded a brush.
A portrait that has greater interest to Americans is of Benjamin Franklin,
made in 1775 by Jean Baptiste Greuze, in Paris, where Franklin was agent of
the American colonies. It was presented by Franklin to Archibald Hamilton
Rowen and passed through the hands of several other owners before it
reached Mr. Walker's gallery.
William Dobson, who, in 1641, succeeded Van Dyck as court painter of
England during the reigns of Charles I and Charles II, is represented by
three fine examples.
The four portraits by Sir Joshua Reynolds are all characteristic. One of
them, which has been pronounced the finest portrait in America, is an exqui
site picture of the wife of Edmund Burke, the great Irish patriot and advocate.
The collection of porcelains and curios from the near and far East is so
large and splendid that it cannot be adequately described in a newspaper let
ter, and I have overlooked many fine paintings; but enough has been said to
justify the pride the people of Minneapolis feel in this gallery.
Villeneuve Sur Lot, September 11, 1911.
"I thank you cordially for the catalogues which you sent me. It must
certainly be a grand and interesting gallery. Many thanks also for the cata
logue of Indians. It will be with a great deal of pleasure that I will receive
the complete collection catalogue, for I think it is one of the most interesting
things I have seen for many days. Thanking you again for your kindness,
I remain, Most cordially yours,
ANDRE CROCHEPIERE.
(Mr. Crochepiere is the artist who painted the "Peasant Woman at
Prayer," which hangs in the collection.)
Allan D. Albert, Chief Editor, Minneapolis Tribune, in an address at the
Lake Harriet Commercial Club on the evening of December 5th, is reported
in the next morning's paper as saying:
"I came to Minneapolis ignorant of the fact that the city had an art
XVI

awakening and as soon as I reached here I became keenly aware of an art
spirit. You have a private collection in Minneapolis which is without a
peer in the United States. When I learned that, it was very much of a
surprise." Mr. Albert referred to the T. B. Walker collection.

Senator J. T. Wyman, of Minneapolis, gave the following expression
as to his appreciation of the gallery:
"Last year on a European trip, I saw various collections and had occa
sion to remain in Paris for several weeks, and I spent a good share of my
time viewing the collection in the Louvre; and while it was a very great and
comprehensive exhibition of Art, containing many great examples, yet neither
that collection nor any other that I have seen, compared favorably with
this one, as a beautiful and magnificent exhibition of paintings, porcelain,
and other objects of art."

XVII

BEECHEY (Sir William).
Born at Burford, Oxfordshire, Dec. 12, 1753, died at Hampstead, Jan. 28, 1839.
"Admitted a student of the Royal Academy, London, in 1772, and after
painting portraits and pictures in Hogarth's manner several years in Nor
wich, returned to London, where he long enjoyed uninterrupted favor with
the fashionable world. In 1793 he painted a portrait of Queen Charlotte
and was appointed by her royal portrait painter, and became an A. R. A."
— Cyclopedia of Painters and Paintings.
"He was very celebrated in his time as a portrait painter. His picture
of George III at a Review, now at Hampton Court, gained him the honor
of knighthood and the Royal Academicianship." — D'Anvers' Elementary History of Art.
"This artist was articled to a solicitor at Stowe, in Gloucestershire, and
transferred to the office of another lawyer in London. There having made
the acquaintance of some artists, he prevailed upon his master to release
him, and was admitted a student of the Academy in 1772.
"Beechey excelled in producing a striking likeness. Considered, how
ever, as pictures, they have not the solidity of Reynolds, but — perhaps from
their being painted with less body of color — they have stood better than his;
otherwise they are executed very much in the manner of his great prede
cessor." — James's Painters and Their Works.
"Little of the ideal appears in his compositions; he seized on his por
traits with a vigorous, rather than a delicate hand; neither did he succeed in
summoning mind to the brow or elegance to the air of his heads.":
— Pilkington's Dictionary of Painters.
"Enjoying the favor of the Court, fashion followed him, and many of
the most distinguished of his day were among his sitters. In his early career
he had painted some subject pictures, but his art was essentially portrait.
His chief merit was the accuracy of his likenesses. His coloring was deli
cate and sweet, particularly in his female portraits."
— Redgrave's Dictionary of the Artists of the English School.
"His portraits are almost numberless, many of which are of a very
high class of excellence. Those of the King, Prince of Wales, and Duke of
York, evince a power of handling and breadth of effect, as well as an accu
racy of resemblance, which deserve great praise. In his portraits of men, he
seems to have been deeply imbued with a command of character and expres
sion; and in those of ladies, grace and beauty are ever pervading."
— Spooner 's History of the Fine Arts.
"His portraits are characterized by easy attitude and naturalness of ex
pression and some of them are of great excellence."
— Shedd's Famous Painters and Paintings.

20 T. B. WALKER COLLECTION.  :
No. 1— "Portrait of George The Fourth, King of England."
25x30
From the collection of Sir Robert Peel.
George the Fourth was born 1762, died 1830. Was fine looking in his
early years, but profligacy and a licentious life gave him an undesirable ap
pearance and a character worse than his looks. A man without any redeem
ing traits of character. An admirable and strong reproduction of a profligate
king.

BERCHEM (Nicholas). Born at Harlem, 1624.
Died in Amsterdam, 1689.
Dutch school; landscape, animal, history and portrait painter.
Pupil of Grebber, Van Goyen, Mogaart, Jan Wils and Weenix.
"He had an easy, expeditious manner of painting, and an inexpressible
variety and beauty in the choice of sites for his landscapes; executing them
with a surprising degree of neatness and truth; he gave to every subject as
much beauty and elegance as it would admit. The leafing of his trees is ex
quisitely and freely touched; his skies are clear; his clouds float lightly, as if
supported by air. The distinguishing characteristics of his pictures are the
breadth and just distribution of the lights; the grandeur of his masses of
light and shadow; a natural ease and simplicity in the attitudes of his fig
ures, expressing their several characters; the brilliancy and harmony, as well
as the transparence, of his coloring; the correctness and true perspective of
his design; and the elegance of his composition." — Pilkington's Dictionary of Painters.
"Berchem, as a painter, surpassed all the masters he worked under in
Holland. Painting seemed only a pastime to him; it was while laughing and
singing that he painted his best works. His pictures were often paid for
before they were begun, and his industry was equal to the rapidity and
variety of his conceptions and executions." — Painters and Their Works.

No. 2— "Scene in Holland."
31x41.
From Ruston Hall Collection, Northamptonshire.
'Tis said of this artist, that his best work was done while laughing and
singing, and in this magnificent painting, all nature seems laughing and sing
ing with him.
On the right is seen two grand old oaks, while just beyond are the lazy
sheep and the quaint old church. On the left and center of the picture is
a small pond, almost hidden by the deep foliage of neighboring trees, and
a hunter, crouched at the foot of the large oak, is carefully aiming his gun
at a wild fowl sporting on the water.

INDEX AND BIOGRAPHICAL NOTES. 21
The clouds are more fleecy and buoyant, and the distribution of lights
and shadows more harmonious and natural, than is often attained by any
other painter.
Let us hope that the huntsman's aim is faulty; that the wild fowl may
fly away to enjoy with us "God's outdoors," which is so vividly portrayed
by this remarkable picture.

No. 3— "A Waterfall."
33j4x34.
From collections of Hon. Toredene Townsen, Honniston Hall, Shipton on
Stour.
High up on a rocky promontory stand the vine-clad ruins of some old
castle, while a modest little dwelling stands just beyond in the shadow of
the cliffs. On either side of these a divided mountain stream comes dashing
down its precipitous course, over craggy rocks, hurrying, eddying, foaming,
on its way to the sea. Some shepherds with their flocks are resting on the
banks of the stream, which gives still further life to a very beautiful and
richly colored landscape that is hardly equaled by any of the great masters.

BENSON (Ambrosius). Flemish School.
Flourished about the beginning of the Sixteenth century. He was a
portrait painter of the first rank, but having the misfortune not to be em
ployed as court painter, is not so well known as other artists of that period
whose works were much inferior to that of Benson. His work, and espe
cially his flesh tints, have a refreshing naturalness seldom equaled by any
master either before or since the period in which he lived.

No. 4 — "Young Lady Reading Book."
27x21 y2.
From the collection of Robert Hoe.
The portrait is that of a woman little past the age of twenty. She is
represented as seated by a table reading from a book whose leaves are gilt
edged and each page embellished with a beautiful colored border. In front
of her, upon the polished table, is a rich jewel case of finely wrought gold,
with cover of the same material. She is clothed in a low necked dress made
from some fine black material, the neck and sleeves neatly bordered with
hand-made lace. The sleeves are of red velvet, with the upper arm encircled
by a broad band of royal ermine. The features are regular and truly classic,
the head well poised upon a delicate neck, and no less beautiful shoulders.
The whole figure is brimming over with modest though dignified personality,
which marks the subject as a person of refinement and most likely a member
of the nobility. This picture was the gem of the Robert Hoe collection.

22  T. B. WALKER COLLECTION. 
BRETON (Jules Adolphe) - - ... France
Bofn at Courrieres (Pas-de-Calais), 1827.
Pupil of Drolling and Devigne, whose daughter he married.
One of the best French painters of village and country life.

Medals, 1857, 1859, 1861, 1867.
Medal of Honor, 1872.
Legion of Honor, 1861. Officer, 1867.
"M. Jules Breton attracts and fascinates me. I love the man profoundly,
for I know him well, and I admire the painter, having followed his triumphal
march from canvas to canvas for the last twenty years. Jules Breton is a
complex being. Poesy has endowed him with two strings to his bow; he
describes as a thinker and artist, and paints like a poet. From his earliest
infancy he has been conscious of this gradual development in face of nature's
marvels. Thus, little by little, this initiation became a creed, so that the
mysteries and wonders of the earth have not had so eloquent an interpreter
since the time of Jean-Frangois Millet."
— Eugene Montraiser in Goupil's Great Modern Painters.
"M. Breton's best enemies have always been ready to compare him with
Millet, and regard him, to some extent, as Millet's pupil, merely because M.
Jules Breton loves fields, peasants and the soil, as though each one did not
see nature with his own eyes, colored by his own sentiment. The truth is
that no comparison of these two painters is possible, and that Millet's poetry
is a thing apart from Jules Breton's, which is fine, too. What is precisely
the stamp of this artist's great power, is a fact that Millet's success as a
painter of the 'Angelus' never led him astray from his own path, and that his
individuality was strong enough to keep him from being drawn into the
groove traced by another.
"In 'L'Appel du Soir,' for instance, look at the clear atmosphere; at the
two beautiful girls calling and beckoning to their comrades; at the hay
makers carrying their load of freshly mown hay; is it in the least like the
work of any painter but Jules Breton? And is not this fine picture, with
its charm, its conscientious workmanship, its lofty poetry, worth any num
ber of those would-be masterpieces, sometimes too loudly hailed, only to
suffer from this puffing in the future in proportion as they have benefited by
it in the past?" —Figaro Exposition.

No. 5— "L'Appel du Soir." (The Evening Call.)
33x51
This is one of the most important pictures of the collection. It was
loaned by Mr. Walker, some years ago, to the Chicago Art Institute for
exhibition. The following is from the report of the Art Director:
"Another and yet finer Breton is the property of Mr. T. B. Walker. This
is a large canvas, 'L'Appel du Soir,' another twilight subject, idyllic in its

 INDEX AND BIOGRAPHICAL NOTES. 23
graceful tenderness and purity. The lovely swinging pose of two girls who
are calling across the wide, dim fields, is suggestive of some pastoral, some
old-world rite at eventide, when all the realities of life fade into the vague
distance, and the gods whisper strange messages into mortal ears. The
artist by color and line and atmosphere, by all the subtilties of his craft,
has emphasized the weird poetic dreaminess of this bewitching time, and
the result is an idyllic pastoral of rare beauty, the loveliest picture the
writer has ever seen from the brush of Jules Breton.'-
The artist writes:
"Have you not my 'Call of the Evening,'' which my friends think the
best of my pictures — perhaps the best? I should like to have kept this pic
ture, of which I have thought so long, and it is sad to me to see it cross
the ocean like its sisters. Herewith are some stanzas, which the picture has
inspired me to write, and which I send you quite fresh from my pen.
"The sun was just setting, leaving a faint redness hardly perceptible
through the vapors of the evening, which were rising at the horizon and
enveloped it like a mysterious veil. I wandered on the plain, calmed and
cooled after the heat of the day. Everything breathed a serene, peaceful
and rural majesty. Some haymakers were calling from one field to another
for the return of their companions, and their voices resounded sonorously in
the midst of the perceptible mist. One of them approached, her hand to
her mouth to make a trumpet of it, another waved in the sky her sickle
which formed a dark crescent by the side of the golden moon, whose crescent
shone in the distance. It is this scene, full of poetry, which I wanted to
trace on my picture and translate in the lines which follow:
THE EVENING CALL.
"It is the time for calling and departure-
All is vapor upon the earth, immovable censor.
The sun, appeased by the freshness of the evening —
Extinguishes its sleeping rays flickering in the mist.
The gleaner has uttered her cry which still resounds
While her companion waves her sickle in the air,
Black crescent in the pale sky where the stars twinkle
Where the new moon forms her crescent of gold."
"The present picture is entitled 'L'Appel du Soir,' and formed part
of the Breton exhibit at the Paris Exposition. In none of his idyls of the
life and labors of the field, in which he touches with the poetic tenderness
and hopefulness those subjects which Millet so often interpreted with the
sober force of tragedy, has Mr. Breton so subtly conveyed the sentiment of
that rare volume of poems of which he is the author, and in which he
sings in words as he paints in colors, with the thrilling carol of the lark,
drunk with the dews of morn, or the lingering harmonies of the nightingale,
swooning in an ecstacy of song among the perfumed shadows of the twilight.
"It is the end of day. Nature veils the harvest traits of her inflexible
visage, ever beautiful but ever stern in reminders of eternal duty to the
poor. ' The fires of vine branches and wayside fagots glimmer under cabin
pots watched by purblind eyes and stirred by shaking hands, for we who
till the soil and gather in the harvest must labor till the last palsy strikes
us down. But we are not yet all old, and we who, in the open fields, still
sturdy of frame and bone, still holding within ourselves some phantom of

24 T. B. WALKER COLLECTION.

the romance of life, uncrushed by accumulating realities, can straighten
stiffened muscles, at the first call of the little gray owl in the thicket, the
watchman whose duty begins when the sun ends, and sends the welcome
summons ringing from voice to voice across the busy farms that the day is
gone." — The Collector.
M. Breton's daughter, Mme. Demont-Breton, says:
"My father's friends think this 'Call of the Evening'' is his best picture,
and my father thinks so also. I am sure it is the best picture he has ever
painted, and my husband and our friends are of the same opinion. I am
very glad that my picture ('Her Man is on the Sea'), is going into the same
collection with this, the best of my father's work."
No. 6— "The Last Ray."
35x63*^.
The masters have produced many noble works of art, and if the critic
were asked to name the greatest, he would unquestionably ask "In what re
spect?" For as each possessed an individuality peculiarly his own, just so
the great masterpieces of art differ one from the other, so that it is next
impossible to even make a comparison. One may excel as a colorist, others
in drawing, atmosphere, figures, portraiture, selection, etc. Ofttimes ineffi
ciency in one branch of the art, being more than overbalanced by proficiency
in others. There is a class, however, known as "The l Immortals," which
are no doubt more universally admired than all others. These show the
workmanship of a genius, the beautitudes of the poet, and the conscience
of a philosopher. The works of Jules Breton belong to this important
group, and especially is this true of "The Last Ray." For, although his
composition, his colors, and his interpretation of the mysterious beauties
of nature are all but faultless; yet even these splendid and indispensable
qualities are but incidents to its intrinsic merits, and constitute only the
setting necessary to the great central charm which is found in the artist's
portrayal of a simple, perfect home. In this sentiment, the most precious
it is possible for the human heart to conceive, is found the soul of the
masterpiece of one of the greatest painters of the nineteenth century.
The following letter from the artist's daughter, clearly defines the
painting, not only as a work of art, but the sweet sentiment which her
father so clearly expressed in its composition.
Wissant Pas de Calais, March 29, 1912.
"Dear Mr. Walker: We have heard, my husband and myself, with great
pleasure, that my father's painting the 'Last Ray' has just entered into your
collection. This picture was among those which my father used to mention as one
of his best, and it had very great success at the Solon. It is certainly one
of the works in which my father has allied, in the happiest manner, human
feeling and family love, with the general impression of nature which en
velopes peasant's lives. It is impossible to imagine a gentler scene, a
calmer hour, a purer and more poetical joy. All stages of life are repre
sented; the emotion of the old couple, the strong and healthy happiness of
the young couple, and the joyful rush of the child towards them in the last
rays of sunset. All is rendered with the charms and expressive -intensity
which make the everlasting masterpieces."
(Signed) VIRGINIA DUMONT BRETON.

INDEX AND BIOGRAPHICAL NOTES. 25

BREVORT (James Renwick). American School.
Born in Westchester County, N. Y., 1832.
Student of Thomas S. Cummings.
Member of National Academy, 1863.
Has resided in Florence since 1874.
"J. R. Brevort's landscapes are broad and truly characteristic of Ameri
can scenery with pleasing atmospheric effects. * * * One of the designs
to illustrate a poem exhibits rare feeling and his large 'Harvest Scene, with
a Coming Storm,' shows advancing power and a fine management of light."
— Tuckerman' s.
"He was made professor of Perspective in 1872, a position he held for
two years. * * * Among his best works in America are 'Lago Mag-
giore,' belonging to Mr. Fitzgerald; 'November Winds,' in the Longworth
collection, Cincinnati, and 'Farmington Meadows,' painted for Jay Cooke.
Since his residence in Florence he has made several sketching tours in
Germany, Holland, Switzerland, to the Italian Lakes, etc."
— Artists of the Nineteenth Century.

No. 7 — "Sentinel Bluffs on the Upper Hudson."
18x26.
The deep, clear waters reflect most naturally the green of adjoining hills
and trees, and the bay, with valley extending far up among the hills, marks
the course and the confluence of a smaller stream which here empties into
the river. A small hamlet nestles at the base of the nearest bluff, all but
hidden from view by the cluster of green trees bordering the shore. The
soft breeze that precedes the threatening shower, causes gentle ripples to
chase each other across the emerald bay and gives warning to the boating
parties to pull for shelter. As far as the eye reaches, the great bluffs stand
lined up as sentinels, those in the distance but shadowy forms seen through
the smoky atmosphere appear like phantom hills. His management of
atmosphere and light is most pleasing and commendable.

BERRY (P. V.)  America
Born at Troy, New York, February 25, 1850.
Studied art under Professor Lucien Colliere, at St. John's College, Fordham,
New York.
His pictures, from their natural style, are fast creating for him a wide
reputation.
Exhibited in National Academy 1883, and later years.

2(5  T. B. WALKER COLLECTION. 
No. 8— "In the Foothills of the Blue Ridge Mountains."
18x30.
Through a beautiful valley of pasture lands, with here and there a
cluster of brush and tall grass, a road skirts a foot-hill to the right. On the
road some cows are being driven to pasture by a man on horseback. Through
the low land in the left foreground a little creek winds, partly hidden by
underbrush and bushes. A strong gleam of sunlight shines through a rift
in the clouds to the left, illuminating the distant trees and hills. On the
right the sky is heavy with dark and lowering clouds. The picture shows
a wonderfully clear management of light and shade, and is thoroughly true
to nature. As fine and beautiful as are Rousseau's finest landscapes.
BIERSTADT (Albert) - - .... New York
Born at Dusseldorf, Germany, 1830.
Brought to New Bedford, Massachusets, when very young.
Studied at Dusseldorf and Rome.
Elected member of National Academy, 1860.
Chevalier of the Legion of Honor, 1867.
Order of St. Stanislaus, Russia, 1869.
Again visited Europe in 1867, 1875 and 1883.
Imperial Order of the Medjidii from the Sultan of Turkey.
Medals: Austria, Germany, Bavaria and Belgium.
In 1867 he was sent to Europe upon a government commission, to make
studies for a painting of the "Discovery of the North River by Hendrik
Hudson." Several of his pictures are owned by the United States govern
ment. "The same careful finish of detail, skilful management of light, and
eyes for picturesque possibilities which made Bierstadt's Old World sub
jects so impressive and suggestive, have rendered his studies of American
scenery full of bold and true significance. He is not a mere copyist of
nature, but an artist having definite artistic intentions, and carrying them
out with care and resolution. He is always trying for luminous gradations
and useful oppositions, and reaches what he tries for."
— London Saturday Review.
No. 9— "California Sunshine."
13^xl9j4.
This scene is taken from one of the valleys of Lower California. The
water stands in pools under the scattering trees. Deer are feeding on the
tall grass, and the air seems loaded with the mist and vapor that arises from
the teeming earth, the whole deluged with a flood of yellow sunlight. There
is a wonderfully tranquil and placid expression of beauty in this picture.
As a study in composition, perspective and distance, it is worthy of the
closest attention. The artist has handled his theme with great delicacy and
much knowledge of natural beauties.

 INDEX AND BIOGRAPHICAL NOTES.  27
BODEKKER (Johannes Frederick). Born at Cleves, 1660.
Died at Amsterdam, 1727.
"A Dutch portrait painter, a scholar of Jan de Baan, and met with
great encouragement in his profession at Amsterdam and the Hague. One
of his best productions was the half length portrait of Duke Eberhard Lud-
wig, of Wurtemberg." — Bryan's Dictionary of Painters and Engravers.
"He was a disciple of John de Baan; after which he practiced portrait
painting with reputation successfully at Bois-le-due, Breda, and the Hague,
where he received many acts of kindness from persons of the first rank.
At last, he removed to Amsterdam on account of the encouragement which
his performances experienced in that city." — Pilkinton's Dictionary of Painters.
No. 10— "A Noble Lady of Amsterdam."
29*^x23.
Unfortunately the identity of the subject has been lost. However, the
portrait serves well to demonstrate this Dutch master's ability as a portrait
painter. The picture is that of a noble woman in middle life, dressed in
a gown of some dark material with lace collar and sleeves. The hair is
arranged after the style in Holland at the beginning . of the eighteenth
century. The artistic hand, the well poised head and the interesting face
portray a poetic nature and a person of superior attainments.

BLOEMEN (Pieter Von). Flemish School.
Known also as Standaart or Stendario (Standard).
Born in Antwerp. Baptised January 17, 1657.
Died there. Buried March 6, 1720.
Pupil of Simon Van Douw, an imitator of Wouwerman.
Master of the Guild, 1674.
Member of the Academy of St. Luke, Rome.
Director of the Academy at Antwerp, 1699.
Genre and landscape painter.
"Following the example of his brother (Jan Franz) he went to Italy
for improvement. The name of Standaart was given him by his countrymen
at Rome from his occasionally painting attacks of cavalry. After passing
some years in Italy, he returned to Flanders with the studies he had made
from the objects worthy of notice in the neighborhood of Rome. The pic
tures of this master represent battles, the march of caravans, horse fairs,
etc., ingeniously composed with a number of figures, horses and other
animals extremely well drawn, and painted with uncommon freedom. He
decorated his landscapes with the ruins of architecture and statues from the
studies he had made in Italy, and his figures are designed in a superior style
to the usual taste of his country." —Painters and Engravers.
"His pictures are much in the style of, and represent the same subjects
as, those by Wouwerman." —Painters and Their Works.

28 T. B. WALKER COLLECTION.

No. 11— "Old Stone Fort in Flanders."
19x27.
Painted much after the manner of Philip Wouwerman. The peculiar
old Dutch fort stands on the shore of, a lake or bay well within the shadows
of the adjoining forest. A flight of massive stone steps lead down to a fine
spring brook which empties its crystal waters into the lake at this point.
Women are busy washing clothing at the brook and hanging them on the
lines to dry, while one man is fishing and others busying" themselves with
other work and pleasure. The approach of two mounted messengers pro
vokes considerable excitement and a number of men hurriedly surround
them, eager to learn the story of their reconnoiter. The weird scene is
characteristic of this old master and the color, tone, and drawing, fully
demonstrate his right to be classed among the leading painters of his day.

BOL (Ferdinand). Dutch School.
Born at Dordrecht, in 1611.
Died in Amsterdam; buried July 24, 1680.
Student of Rembrandt Van Rijn, whose studio he entered in 1630.
"Lived chiefly at Amsterdam, where, in 1653, he married Elizabeth Dell.
Painted many historical pictures, excelled in portraits and was an excel
lent etcher." — Cyclopedia of Painters and Painting.
"His masterpiece, the 'Four Regents of the Leprosy Hospital,' * * *
at a certain exhibition held for charitable purposes, is said to have received
more notice and praise than any of the works of his master, Rembrandt.
Yet Bol was a very uncertain painter; and although while under the influ
ence of Rembrandt he produced works that may have passed as being the
work of the master himself, he later degenerated into a bad imitator of
Rembrandt. This change is apparent in those paintings of Bol that bear a
later date than 1660, when he had probably left Rembrandt."
— Bryan's Dictionary of Painters and Engravers.
No. 12— "Madam Stercke."
41*^x35.
From the collection of Asher Weitheimer, London. Signed and dated
1658. Painted under the influence of his great master, Van Rijn Rembrandt.
Madam Stercke was the wife of Querinus Stercke, a great friend of
the artist, her maiden name was Helena Eckout, heing a daughter of Ger-
brand Van der Eckout, a pupil of Rembrandt, who became one of the
noted Dutch painters. The painting shows her when about twenty years of
age, standing on the veranda in the act of plucking from a potted plant a
spray of sweet verbena. The half smile on the beautiful face and the
striking expression of the laughing brown eyes are so realistic, as to all but
speak, while the shapely hands are so perfectly natural that it seems that a
glow of warmth could radiate from them. The figure is gowned in a dress

INDEX AND BIOGRAPHICAL NOTES. 29

of some striped material over which is a dark velvet coat with lace trimmed
sleeves. Over the shoulders is the broad white collar so fashionable in the
Dutch capital at that period. This picture was painted in the greatest period
of this artist's career and has been pronounced the best that ever came from
his ready brush. No. 13— "Portrait of an Old Lady."
31x26^.
This is painted in the strong, rich colors of the Rembrandt school. It
is the portrait of an old lady wearing a large ruff, common to that period
of history. The background is a dark, rich brown color. The dress is a
little heavier, but in largely the same tone, while the ruff, in a yellowish
white, makes a fine contrast below the face, with the dark background and
black hair. In the lower left-hand corner is the artist's signature and the
date, 1654.
Came from Colnaghi, London.
No. 14-^-"Portrait of a Woman."
27x20.
This striking portrait was painted no doubt in this Dutch artist's mid
dle and best period, 1654-1659, while he was yet with his great master,
Rembrandt. The composition and coloring is fully up to that of Franz
Hals, and might easily be mistaken for that master's work, the face and
the hands being exceptionally fine. The figure is attired in a gown of some
rich, dark material tastefully embroidered. The somewhat plain but intelli
gent face is made to stand out prominently by the old Elizabethian collar,
and the peculiar manner of doing up the hair. And those hands; they seem
to throb with life, and send forth a warmth as in fancy they twitch, ner
vously anxious to do their accustomed work. They are wonderful hands,
seldom equalled, and likely never surpassed by any artist either ancient or
modern. • .-.

BONHEUR (August Francois) - - . ¦ France
Born at Bordeaux, 1824. Died, 1884.
Medals, 1857, 1859, 1861, 1863.
Legion of Honor, 1867.
"This artist painted animals, with landscape backgrounds of more mel
lowness and beauty than his sister Rosa's. He attained the honor of Chevalier
of the Legion of Honor, 1867, and but for the eclipsing fame of his sister,
would have gained an even wider reputation than hers."
— French Painters and Paintings.
No. 15— "Cattle Resting in the Shade."
22x28.
A herd of cows are resting under the dense foliage of large trees at
the foot of a hill. One of the cows is standing in the middle of a small

30 T. B. WALKER COLLECTION. 
pond, in the foreground, while others are ruminating in the shade on its
banks. It is a bright sunny day and the shadows of the foliage on the
hillside are striking and effective. In the distance, on the hill-top, another
herd is seen, through the opening between the trees, while the bright, blue
sky forms an excellent background. The verdure, the foliage, and the warm
and beautiful coloring all lead us to acknowledge the greatness of this
artist's genius.

BONHEUR (Marie) Rosa  Paris
Born in Bordeaux, March 22, 1822. Died at her Chateau, by Thomery, on
the edge of the forest of Fountainbleu, May 22, 1899.
Animal painter.
Daughter and pupil of Raymond Bonheur.
Began by copying in the Louvre; afterwards made studies and sketches
near Paris. Her first two pictures exhibited at Bordeaux in 1841 attracted
much attention, and were followed by others which established her world-wide
fame. During the Franco-Prussian war her studio and residence were re
spected by special order of the Crown Prince of Prussia. Since 1849 she has
been director of the Paris Free School of Design for Young Girls, which she
founded. She was elected member of Antwerp Institute in 1868. Medals
first-class 1848 and 1855; Legion of Honor, 1865; Leopold Cross, 1880.
The "Ploughing in Nivarnais" was placed in the Luxembourg, and the
"Horse Fair" was a leading attraction at the French Exposition in 1853,
and at the Universal Exposition at London, in 1855. The artist worked eigh
teen months on this latter picture, attending the horse market in Paris twice
a week regularly during the time.
In addition to the honors referred to, this artist has received several
other medals, and in 1865 was decorated with the Cross of the Legion of
Honor. "The greatest animal painter now in France is probably Rosa Bonheur.
There is the same intense observation and sympathy with nature, the same
vigor of treatment, we find in the works of Troyon and Landseer, so far as
the representation of cattle is concerned." — L. G. W. Benjamin.
"The most accomplished female painter who ever lived."
—Philip Gilbert Hamerton.
"And she is praised for firmness of design and for the grand character
of her landscapes." — Vapereau.

No. 16— "Deer Coming to the Brook to Drink."
19J4X13J4.
In the foreground stands a magnificent male deer. Great antlers crown
his well poised head, his trained eye hurriedly scans the landscape ere he
drinks from the crystal brook at his feet. Immediately back of him, two
does cautiously venture from the shelter of the friendly wood. With ears
alert and eyes piercing the surrounding shadows lest a lurking foe surprise
them, they, too/approach the drinking place. The full grown antlers of the

INDEX AND BIOGRAPHICAL NOTES. 31
stately buck and vari-colored leaves in the forest marks the time as early
autumn. A characteristic and beautiful picture by this most wonderful animal
painter.

No. 17— "Rosa Bonheur's Palette.
When Rosa Bonheur had finished her masterpiece, "The Horse Fair,"
her godson, Georges Cain, asked her for the palette which she had in her
hand. With the palette on her thumb, Mme. Rosa smiled and said, "I intended
to keep that, as I have used it for over twenty years, but if you must have
it, then I will paint you a picture on it." She then painted the "Deer in the
Forest," and added her autograph. The paints are just as she distributed
them, dried around the edge of the palette; the whole is framed under
glass. Adverse circumstancse compelled the owner to part with it, and it
has at last found its way to America.
No. 18— "Scene in the Foothills of the Pyrenees."
20x27.
This scene represents Rosa Bonheur herself riding the bay horse and
dressed in her accustomed male attire of coat, pants and vest of brown
velvet, and straw hat. Her close friend, Madame Mecas, is by her side on
the grey horse. The scene presented is a true view of herself and friend as
there shown in the foot hills of the Pyrenees in Spain. She seemed to be
attracted by the mountain regions of Spain and Scotland, where many of
her finest picture scenes were located. This is a most beautiful and char
acteristic example of the art of this greatest of the women artists of the world.

BONONI (Carlo).
Born at Ferrara in 1569. Died at the same place in 1632.
Lombard School.
Instructed in art by Guiseppe Mazzuoli (called II Basaruolo).
"Bent on improvement, he visited Bologna where the Carracci were
then in the zenith of their fame. Their works inspired him with a new
idea of his art. After passing some time at Bologna, he went to Rome
where he improved his style of design by studying after the antique. His
predilection for the style of Carracci drew him again to Bologna where
he copied some of their principal works. He afterwards went to Venice
where the splendid productions of Paolo Veronese appear to have excited the
liveliest admiration. The works of Correggio at Parma seem to have been
not less the objects of his contemplation. In his smaller works he ap
proached so near to the style of the Carracci that he was called the 'Carracci
of Ferrara'." — Painters and Engravers.
"He was called the 'Carracci of Farrari.' In his later works he resembles
Paolo Veronese, whose pictures he studied in Venice. He was a rival all
his life of Ippolito Scarsella. Many of his works are in the churches of
Ferrara." — Cyclopedia of Painters and Painting.

32 T. B. WALKER COLLECTION.

No. 19— "Building the Tower of Babel."
20x33.
"And they said one to another, 'Go to, let us make brick and burn
them thoroughly.' And they had brick for stone and slime had they for
mertar. And they said, 'Let us build us a city and a tower whose top may
reach unto heaven; and let us make us a name lest we be scattered abroad
upon the face of the whole earth.' * * * So the Lord scattered them
abroad from thence upon the face of all the earth, and they left off to build
the city. "Therefore is the name of it called Babel; because the Lord did
there confound the language of all the earth." _ s
At the lower right-hand corner the, queen and her consort are directing
the work, while everywhere workmen swarm like ants, each carrying forward
some portion of the herculean task. On the left are the brick kilns and the
pit for mixing the mortar. Bononi represents the tower as spiral shaped,
with winding roadway from the bottom to the unfinished top, which is most
likely correct. His figures are well drawn and the detail most remarkable.
"BRONZENO" (Allori Alesandro).
Born at Monticelli, May 3, 1535.
Died at Florence, Sept. 22, 1607.
"He was the son of a painter, but having the misfortune when he was
only five years of age to lose his father, he was placed under the care of
his Uncle Angiolo Allori, who brought him up with all the affection of a
parent. Before he was seventeen years of age, he had made such progress
under this able master, that he painted from his own design, an altar piece
representing the Crucifixion, a composition of several figures ingeniously ar
ranged, and well colored. When he was nineteen, he visited Rome, where
he remained two years. The chief objects of his admiration and study in
that city were the works of Michelangelo and the grand style of that
master is discernable in his picture. On his return to Florence,, he was
greatly occupied for the churches and other public edifices. He was, how
ever, occasionally prevailed on to paint the portraits of some of the distin
guished personages of his time, which he treated in a great and admirable
style. * * * On the whole, his genius appears to have been equal to
every branch of painting." — Bryan's Dictionary of Painters and Engravers.
"In his works the best of which are his portraits, he imitated the style
of Michel Angelo Buonarroti. In 1590 he published a book entitled "Dialogo
Sopra Parte del disegnare le Figure,' illustrated with anatomical plates.
Pictures by him are very numerous, there being in the Uffizi at Florence
alone, sixteen. — Painters and Their Works.
Nephew and pupil of Angelo Bronzino. * * * Among his works are
Baptism of Christ, Marriage at Cana; * * * Portrait of a Young Man,
Hermitage, St. Petersburg, Bonaventura Family, Bianca Capellq, etc."
— Cyclopedia of Painters and Paintings.
No. 20— "Bianco Capello."
35*^x26*4.
From the Chas. Butler Collection, Later from Asher Wirheimer Collection^
London.

INDEX AND BIOGRAPHICAL NOTES.  33
She was born in Venice in 1542. In 1563 she eloped with a banker's
clerk named Pietro Buonaventuri who put himself under the protection of
Francesco de Medici, Grand Duke of Tuscany, at Florence. Francesco made
Bianci his mistress, and her husband his steward, whom soon after he had
put to death. Upon the death of the Duke's wife, Joanna of Austria, he
married Bianci (1578). She and Francesco are supposed to have been
poisoned in the castle Paggio di Capano Oct. 11, 1587, by Cardinal Ferando,
brother and successor to Francesco. Bianci is accused of ordering or in
stigating the assassination of several persons. In those days dame fashion
decreed that ladies of rank and nobility must needs shave the head to make
the forehead higher, thus making them appear more intellectual. This pe
culiar style accounts for the abnormal breadth of Bianci's forehead in the
portrait.

BOULANGER (Gustave Rudolphe Clarence) - - Paris
Born at Paris, April 28, 1824. Died in 1888.
Best known for his historic pictures.
A pupil of Delaroche.
Gained the Prix de Rome in 1849, and studied for seven years in Italy.
He subsequently visited Algeria and painted pastoral scenes, but returned
to subjects of his early choice, and became famous for his pictures of classic
history, such as "Lucretia Spinning," "Lesbia and Her Sparrow," and "Her
cules and Omphale." Received many medals. The Legion of Honor was
also conferred in 1865. His travels in Africa furnished material for several
very prominent works, including "Horsemen of the Sahara," "Djeid and
Rahia," and "Portrait of Hamdy-Bay" (1865). Some of his later works were
"Summer Bath at Pompeii;'' "Roman Comedians Rehearsing Their Parts'"
(1876); "St. Sebastian and the Emperor" (1877); "Repast in the House of
Lucullus" (1878); "Slave with a Fan" (1882) and many others.
"Without rivaling the wonderful variety of Gerome, M. Boulanger has
great affinities with him. He belongs to the group' of refined artists, who,
after 1848, created the neo-Greek fashion, in which familiar scenes replaced
the great tragic subjects of the Academical School of David. His experi
ences in Africa have given another direction to his talent, but here again
he may be classed with Gerome, irt the series of traveled painters, whose
aim it is to reproduce the types and customs of a race. M. Boulanger's
talent is more delicate than powerful, but this artist will always find favor
with public." —Rene Menard.
No. 21 — "Daily News Reading at the Barber Shop of Licinius."
27^x46 *?*..
On the right, with its blue shutters raised as a protection from the
sun's rays, stands the barber shop of Licinius. Before the shop and in the
foreground a group of men are listening to the crier, who reads from the
scroll in his hand, the news of the hour. Upon the left, two women, at
tended by a black slave, stand talking to a man seated. In the left distance
a man grinding a knife. Still farther in the distance under the trees stand
a yoke of oxen. Above and beyond, the roofs of the marble city can be
seen. One of the finest of modern paintings.

34 T. B. WALKER COLLECTION.

In 1774 Thomas Gainsborough, the rival of Joshua Reynolds, to prove
the inaccuracy of Reynolds' statement that blue was not a proper color to
use in a great painting, being cold and unattractive, painted the "Blue Boy>
which on the Continent is looked upon as one of the finest of all the English
figure pictures. It was withdrawn at the Dana sale, and now commands an
extraordinary high price. Boulanger, in line with this idea that blue colors
handled in their most refined and harmonious tints would procure a most
attractive picture, painted this "Barber Shop of Licinius." Many of the best
judges regard this as Boulanger's most beautiful and valuable work, and a
very great success as an almost pure picture in blue.
No. 22— "Pleasant Hours in the House of Lucullus."
27y2x46y2.
This painting is mentioned among other celebrated works of this artist,
in the "Cyclopedia of Painters and Painting" (p. 190), under the title "Repast
in the House of Lucullus."
Under a yellow canopy, on either side of a well-spread table, Lucullus
and his guests recline. In the center, upon a Persian rug, a dancing girl is
tripping to the music of a band of slaves on the right. In the distance four
slaves are carrying in upon a table the next course in the rich banquet. The
marble building, trees and shrubbery form the background.

BOUGUEREAU (William) Adolphe  France
Born at LaRochelle, 1825.
In 1842 he went to Paris and entered the studio of Picot, and later the Ecole
des Beaux-Arts, where his progress was rapid.
He gained the Prix de Rome in 1850, and then studied in Rome.
Medals, Paris, 1855 (Exposition Universelle), 1857,
1867 (Exposition Universelle).
Chevalier of the Legion of Honor, 1859.
Member of the Institute of France, 1876.
Officer of the Legion of Honor, 1876.
Medal of Honor (Exposition Universelle), 1878.
Knight of the Order of Leopold, 1881.
Grand Medal of Honor, Paris, 1885.
Medal of Honor, Antwerp, 1885.
"One day in 1842 or thereabouts a veritable riot sprung up among the
students of the Alaux Art School at Bordeaux. It was occasioned by the
award of the prize of the year to a young shop-keeper's clerk from La
Rochelle, who was taking daily drawing lessons of two hours each, which
his employer allowed him to abstract from business. The students had
such a contempt for the young shopman that they resented with violence
the fact that he should win the honor of the school. But Bouguereau received
the prize in spite of their protests, and it decided his career. He determined
to become an artist. His family objected. He threw up his employment at
the shop, and went penniless to live with his uncle, who was a priest at

 INDEX AND BIOGRAPHICAL NOTES. 35
Sintonge. While there, by painting portraits of the townspeople for a few
francs each, out of his earnings he saved 900 francs, on which he proceeded
to Paris, entered the studio of Picot, and secured admission to the Ecole
des Beaux-Arts in 1843, at the age of eighteen years. He lived by incredible
shifts, finally receiving some small assistance from his family, until, in 1850,
he won the Prix de Rome. For four years he was a pensioner and student
in that city, and he returned to Paris an artist competent to the execution
of great works. Public commission and private patronage soon laid the
foundation of his fortune. In the face of the reaction against classcism, he
remains a classicist, but his technical knowledge is so profound, his skill so
masterly, and his art so powerful in its intellectual vitality, that he is able
to hold his own against the strongest rush of the naturalistic tide, that
would sweep feebler men before it. He is personally an interesting man,
with a rigid adherence to his artistic beliefs, an iron resolution and indomit
able will. One of the bitterest critical battles of our time has been fought
over him, but it has not swerved him one hair's breadth from the position
ke has assumed, and has rather added to than imparted his name."
— Extracts from Notes sur les Cent Chefs-d'Oeuvres, by M. A. Wolff.

No. 23— "April Showers."
36x46 %.
Two young peasant girls, having been overtaken in an open field by a
light summer shower, have seated themselves on the ground, while the
elder girl has turned her blue skirt up over her head and that of her com
panion, as a means of protection from the rain drops. From beneath this
hastily improvised covering, peer out faces that only this artist can paint,
and a pair of eyes that look straight at you in all their earnestness and
reality. Dr. Tuttle, for many years pastor of the Church of the Redeemer,
says: "I am familiar with the finest paintings in the great galleries of Europe.
I have spent many hours and days in looking them over. I regard this
picture as the finest painting I ever saw. I do not know of any painting
of old or modern masters that I regard as fine and beautiful as this one."

BOUTS (Dierick).
Also known as Dirk Van Haarlem and Dierick de Louvain.
Born at Haarlem about 1410-20.
Died at Louvain, May 6, 1475.
Flemish School.
Settled in Louvain after 1450.
"History painter of great merit of the Van Dyck school, in which he
is almost unequalled in glowing depth and transparent clearness of coloring."
— Cyclopedia of Painters and Paintings.

36 T. B. WALKER COLLECTION.
No. 24— "The Three Wise Virgins."
46x3854/
From the, collection pf Paul Metsu Bruges, Belgium.
"They that were foolish took their lamps and took no oil with them;
but the wise took oil in their vessels with their lamps. While the ri e-
groom tarried they all slumbered and slept, and at midnight there was a cry
made: 'Behold the bridegroom cometh; go ye out to meet him. Inen all
those virgins arose and trimmed their lamps. And the foolish said unto tne
wise: 'Give us of your oil, for our lamps are gone out.' But the wise
answered saying: 'Not so; go ye rather to them that sell, and buy for your
selves.' And while they went to buy, the bridegroom came, and they that
were ready, went in with him to the marriage and the door was locked..,
(Matthew XXV. 3-10.)
The figures are painted on a hardwood panel with a background re
sembling Verna-marten. The drapery of the three figures is elegantly drawn
and pleasingingly colored; the faces, artistic with a transparency seldom
equalled. The one in the ga/b of a Sister of Mercy, holds a large lamp.
The one on the right wears a crown and holds a book in her hands. The
center figure stands in the attitude of prayer, while the head of each is
surrounded by a halo.
BRUEGHEL (Ambrose). Flemish School.
Born about 1617. Died about 1675.
"A flower painter and from 1653 to 1670 director of the Academy at
Antwerp. Pictures by him are at Vienna, Cologne and Christiana."
— Painters and Engravers. (Page 204.)
No. 25— "A Summer Bouquet."
20^x14^.
Here we have grand chrysanthemums, "The King of Flowers" and an
emblem of love and friendship in the Orient, and beautiful roses, which hold
about the same exalted position among Caucasian races, elegantly grouped
with a variety of other flowers of less importance, but each being endowed
by nature with its own peculiar beauty. Brueghel was the greatest flower
painter of the Seventeenth Century, and the only consistent criticism would
be that they are lacking in fragrance.
BRUEGHEL (Pieter, the elder).
Called Boeren Brueghel (Peasant Brueghel).
Flemish School.
Born in the village of Brueghel near Breda, 1530. Died at Brussels in 1569.
Pupil of Pieter Coucke. Member of the Guild at Antwerp, 1551.
"He was a son of a peasant and was instructed in painting by Pieter
Coucke, but he seems to have paid more attention to the eccentricities of
Jerome Bosch than to the works of his instructor. * * * Traveled in
France and Italy, devoting particular study to the wildest and most romantic
parts of the Alps. On his return to Flanders in 1553, he settled for a time at
Antwerp where his works met with much admiration. * * * His best pic-

INDEX AND BIOGRAPHICAL NOTES. 37
tures represent village feasts and merry makings, and it is said he often dis
guised himself as a boor to mix in those rural amusements to observe with
more accuracy their various characters which he personified with great humor
and pleasantry. He also painted attacks of bandits in wild landscapes,
gypsies telling fortunes and other drolleries.'' — Painters and Engravers.
— Cyclopedia of Painters and Paintings.
"He was of a very gay and sociable nature and his best pictures are those
representing village feastings and droll subjects. He was thus the predecessor
of David Teniers and his celebrated son."
"Painted chiefly scenes from peasant life, which he treated from a
realistic and humorous point of view not always avoiding coarseness; also
some scriptural subjects and ghost and incantation scenes in the manner of
Bosch." — Painters and Their Works.
No. 26— "Wild Beasts and Their Prey."
26*^x23.
From the collection of Lord Buckland.
Within the deep shadows of the forest, two leopards have waylaid and
killed a fine bull moose. A great male lion makes a daring attempt to rob
them of their prey, while the female leopard crouches upon a rock at a safe
distance awaiting the outcome of the impending conflict. One of the male
leopards stands defiantly over the coveted prize, the other, standing erect,
awaits with apprehension the attack of the powerful foe. The wierd scene
was no doubt conceived by the artist from some one of his favorite sketches
made in the wildest recesses of the romantic Alps. Like all of Peasant
Brueghel's work, the painting is filled with animate life and executed in his
usual vigorous manner.
CARPENTIER (Adrien). Portrait Painter.
Born in Switzerland. Came to London about the year 1760, and settled there
in the practice of his profession.
"In 1763, he was a member of the Free Society or Artists, and was a
constant exhibitor at the Spring Gardens Exhibitions. From 1770 to 1774
he sent portraits and portrait groups to the Academy Exhibitions."
— Redgrave's Dictionary of Artists of the EngUsh School.
"One of his best productions was a half-length portrait of Roubiliac the
sculptor, from which there are two engravings, one in mezzotinto by Martin
and the other in line by Chambers. He died about 1774."
— Pilkington's Dictionary of Painters.
No. 27— "Portrait of Mrs. Hammond."
30x24.
From thq,sale of th? effects of James Hammond, London.
Mrs. Hammond was the wife of James Hammond, M. P., an English
poet and statesman. He was equerry to the Prince of Wales and took his
seat in parliament in 1741. He wrote "Loves Elegies" partly translated or
imitated from Tibullis.

38 T. B. WALKER COLLECTION.  
CEDERSTROM (Thure von, Baron).
Born at Smaland, Sweden, 1843.
Pupil of Dusseldorf Academy and Weimar Art School.
Medal at London in 1879.
"Best known by pictures dealing mostly with monks, in the fashion of
Gurtzner and Vibert." -Art and Artists of Our Time.
No. 28— "Monks Preparing Breakfast."
20x15.
From the Geo. I. Seney collection.
The good-natured side of monastic life. Two portly monks, one grinding
coffee, the other on his knees blowing the fire. Cheeks distended and face
red from the reflection and heat of the coals, he forms an amusing picture
to his more fortunate companion, who looks on with a good-natured smile.
CRAIG (Thomas Rutherford, A. N. A.).
American School.
Born at Philadelphia, Feb. 14, 1849.
Self taught
Specialty — Landscapes with cattle.

No. 29— "Breaking Up of a Shower."
19*^x29*^.
The rain has ceased, and through rifts in the clouds, the sun's rays seem
ready to break through and dispel the gloom. In the distance the receding
cloud takes on a darker tone, by reason of the reflected light, but even in
this quarter there are indications of the breaking up of the shower. Three
cows coming from the shelter of a friendly wood, regale themselves upon
the tender grass still wet from the recent rain. Beyond the pasture, stands
the rustic home of the farmer, all but hid from view by the overhanging
trees. The artist has chosen a difficult, but interesting, subject and in both
design and color, has demonstrated his ability as a landscape painter.

CAZIN (Jean Charles).
Born at Samer, in Picardy, 1840. Died in Paris, 1900.
Pupil of Lecoq de Boisbandrau.
Won medals at Salon in 1876, 1877 and 1880.
Legion of Honor in 1882.
"M. Jean Charles Cazin is one of the most original and fascinating per
sonalities in contemporary French art. For this man painting is not a mere

INDEX AND BIOGRAPHICAL NOTES. 39
commerce, but an inspiration. He dominates nature, and manifests in har
monious creations the enthusiasm, the passion, the melancholy, the thousand
shades of joy or grief, which he feels." — Theodore Child, in Harper's Magazine.
No. 30— "The Deserted Homestead."
10^x15^.
Along the winding roadway, the neglected fence fast falling _t> decay
is all but hidden by the growth of hazel brush and locust. In the midst of
the undergrowth, a stately apple tree spreads its branches supplying the
weary traveler with fruit in its season. In the distance are the remains of
the old home which once rang with the laughter of happy children but is now
only a sad remembrance of bygone days when the fire glow on the friendly
hearth bid welcome to father and the boys as they returned from their work
in the fields.
A well chosen subject rendered in this artist's usual force and purity.

No. 31— "Old Spanish Ruins at Flanders."
20x27.
From the collection of Monsieur Mathieu, Bordeaux.
Flanders was an ancient countship of the Low Countries which has left
its name to two provinces in the modern kingdom of Belgium, distinguished
as east and west. It took its rise in the time of Charles The Great. In 1385,
the male line of counts became extinct and the country passed to the Dukes
of Burgundy. In 1477, by the marriage of Mary of Burgundy to Archduke
Maximilian, son of Emperor Frederick IV., the county including what is now
Belgium and parts of Netherlands and France passed to the house of
Austria. In 1494, Maximilian resigned the rule to his son, Philip, who in
1496 married Joanna, daughter of Ferdinand and Isabella of Spain. Philip
died in 1506 and was succeeded by his son who afterwards became Charles V.,
who in turn was succeeded by his son, Philip II. of Spain. In the wars
between Spain, and Holland and France, the western coast of Belgium-
Flanders — was the first point of attack by the two latter countries and it was
at this time (about 1657-8) the fortress here shown was reduced to ruins.
The colors are slightly different from Cazin's usual tones. The reflec
tions in the water and the cloud effects are especially fine.

No. 32— "Castle by Moonlight."
2054x28.
Painted by Cazin for Mr. Irving R. Davis from whose collection it comes.
In the foreground, the lake, calm and glassy, mirrors back the varied
colors of the fleecy clouds. The great castle lying just back of the wooded
shore is lit up by the mellow light of the half hidden moon. Far in the
gloaming, friendly lights peep out here and there, marking some humble
abode, while to the right a village hamlet lies, bathed in the soft light reflected

40 T. B. WALKER COLLECTION.

from the moonlit sky. Low down, the horizon, the clouds are a
threatening and over all an ominous stillness prevails.
A marked painting and one justly characteristic of this noted ar
No. 33— "Fisherman's Home on the Coast of Brittany."
24*^x31.
This scene is among the low sand dunes that skirt the Brittany coast.
The dull beach grass looks gray in the deepening twilight, and the twinKiing
stars overhead are brightening in the evening sky. In the center stands tne
low-roofed cottage, and on the right a boat lies overturned among the weeds,
From the window of the cottage shines the ruddy light of lamp and nre. J. ar
away over the low hills the steady rays of the distant lighthouses may
be seen. No. 34— "The Church of St. Wolfran at Abbeville."
22x27.
From Sedelmeyer, Paris.
Abbeville is a city of France, on the Somme river, 12 miles from its
mouth in the English Channel, and 25 miles northwest of Amiens. The most
remarkable edifice is the church of St. Wolfran, which was erected in the
time of Louis XII. Although the original design was not completed,
enough was built to give a good idea of the splendid structure it was intended
to erect. The facade is a magnificent specimen of the flamboyant Gothic
style, and is adorned by rich tracery, while the western front is flanked by
two Gothic towers.

No. 35 — "A Normandy Farm Scene."
20x24.
A hazy evening scene. The crops on the right harvested, and the grain
in the shock. The fields of yellow grain to the left of the center, and to the
right of the center the stacks of grain, with the farm house and buildings still
farther to the right. The sky is hazy, and with a misty cloud effect that in a
large part obscures the sun, and makes the peculiar impression and apparently
lonesome feeling that Cazin brings into so many of his most attractive
pictures. The coloring is somewhat weird, but soft and harmonious.

No. 36— "A Farm Scene."
16x19.
Another misty, lonesome evening scene, with a clump of trees and a
stack of hay to the right of the center; the pale, bright moon throwing a
soft light over the level landscape, with three lonesome clouds floating
in the upper center of the picture. The land is divided into garden patches
so commonly found in the rich valleys of France, where each proprietor

INDEX AND BIOGRAPHICAL NOTES. 41
or tenant has his little patch of a few acres. These cultivators live in the
small villages in the neighborhood, sometimes going several miles to do their
farming, generally living, not on the land, but at some distance in the little
cluster of houses comprising the village. The trees and vegetation are
soft, and with the peculiar color effects produced only by him.
No. 37— "The Fisherman's Home.
26x34.
This picture possesses the usual qualities of Cazin in which he, more
than any other artist, except perhaps Harpignies and Millet, bring an im
pression or scene of sadness and lonesomeness beyond that of other artists.
His paintings have come to be highly prized and high in price.
A fisherman's cabin on the sea shore; an old-fashioned, long-armed
windmill; the housewife carrying a bundle of hay to the cow or goats; some
fisherman's boats out on the open sea; the sky as well as the land and sea
weirdly but beautifully colored, makes this one of the finest examples of
modern art. No. 38— "A Pastoral Scene in Brittany."
26x31.
Another characteristic home life scene among the peasant farmers of
Brittany. The farmer, with his pick across his shoulder, calling to his wife
who is sitting on the grass with a child in her arms, that it is time to return
to their little home that is beyond the church with its tiled roof and belfry.
The soft foliage of the grass, the shrubbery and the tree, and the tinted,
soft brown gray sky, altogether making up one of the finest, softest and
most important of all the paintings that Cazin has ever produced.
No. 39— "Windmills In Holland."
25x31.
The scene is near Zaandam about five miles northwest of Amsterdam.
Nowhere else in Holland are there so many windmills as at Zaandam and
in the immediate vicinity. These quaint old mills are employed in the va
ried branches of industry, grinding corn, crushing oil bearing seeds, sawing
timber, and many other kinds of work. Two mills in close proximity are
shown in the painting, besides many other buildings in the adjoining coun
tryside. In the foreground a fence almost hidden by large flowering shrubs,
separates one field from the other. The time is mid-afternoon, and al
though the clouds are dark and threatening, the sun's rays break through,
lending glory to the picturesque landscape, and an added charm to one of
Cazin's most pleasing pictures. No. 40— Moonlight."
21x25.
In the pale moonlight, of an autumn night,
As we walk the village street,
Lights from the Inn speak of cheer within,
To the strains of music sweet.
All else is still, save the whip-poor-will,
Which sings in the distant trees;

42 T. B. WALKER COLLECTION.
And the crickets cheep in the grasses deep,
As it softly nods in the breeze.
While like a band, quaint buildings stand,
As phantoms by the way;
Through the silver sheen of the cloud is seen
The moonlight's mellow ray.
A study of a group of Jean Cazin's works will aptly bear out Mr.
Child's observation, that each painting manifests some particular passion,
the endless shades of joy, and the somber tones of grief and melancholy.
Yet it is difficult to determine which is the more charming as his fascinating
personality is plainly evident in all his varied works.

CIPRIANI (Gio Battista). Born at Florence in 1732.
Died in 1785.
Was one of the first members of the Royal Academy, founded in 1768.
"His drawing is correct, his coloring harmonious, his heads possess
grace and loveliness." —Mrs. Shedd's Famous Painters and Paintings.
"The fertility of his invention, the graces of his composition, and the
seductive elegance of his forms are only surpassed by the probity of his
character, the simplicity of his manners, and the benevolence of his heart."
—Fuseli. Quoted by Mrs. Shedd.
"He went to Rome in 1750, where he remained a few years, and then
visited England, whither his reputation had preceded him. At this period
the engraver Bartolozzi was in his prime, and the union of their respective
talents produced many works of rare excellence.
"His forms were attractive and elegant, his composition graceful, and
his invention abundant." — Spooner's History of Fine Arts.
"This celebrated artist is justly claimed by the English school, not
only from his long residence in London, but from his education.
"Some of the few pictures he left are at the seat of Coke at Holkham,
and four in the ceiling of the library of the Royal Academy.'
— Pilkington's Dictionary of Artists.
"His art is to be found in his drawings, full of graceful invention and
fancy; his females exquisitely elegant, his children unrivaled. Fuseli praises
his invention, his graceful compositions and elegant forms, and also his
simple manners and unaffected benevolence. The English school is indebted
to him for the improved drawing of the figure and more correct taste. He
painted the allegorical designs on the panels of the new stage-coach first used
by George III. in November, 1762, and still used by our sovereign. Designed
the diploma for the Royal Academy in 1768."
— Redgrave's Dictionary of Artists of the EngUsh School.
No. 41 — "The Assumption of the Virgin."
24x32.
This painting was originally intended as a design for the dome of some
large cathedral. In the center is the Virgin Mary, drifting upward through

INDEX AND BIOGRAPHICAL NOTES. 43
the clouds, with the angels to the side and beneath. The light, fleecy raiment
in which the Virgin is clothed is soft in tone, and blends off with the clouds.
On the right sits Peter, drifting off in a chariot, and on the left is St. John,
with numerous angels in the clouds above and between them and the Virgin.
The picture is delicate and finely drawn and colored, and very soft in tone.
Cipri&ni painted but few small pictures. This one was from the collection of
Lord Jersey, formerly one of the finest private galleries in Europe.

CANO (Alonso). Born in Granada, March 19, 1601.
Died there Oct. 3, 1667.
"In 1637 Alonso Cano had obtained the position of the first artist of
Seville. Considered as a painter, Alonso Cano was superior to many of his
rivals in drawing and in richness and in variety of coloring, and his compo
sitions are simple and pleasing." — Painters and Their Works.
"He was a painter, sculptor, and architect, whence sometimes called
the Spanish Michelangelo." — Cyclopedia of Painters and Paintings.
"An eminent Spanish painter, sculptor and architect, who has been
called the 'Michelangelo of Spain,' for his great excellence in the three sister
arts. * * * He afterwards studied under Juan del Castillo, one of the most
eminent painters in Spain, and executed many works for the public places of
Seville, which were greatly admired, and were considered astonishing per
formances for a student under twenty years of age. * * * In his after
years he produced many admirable compositions. His works are to be found
in all the principal churches and convents of Cordova, Madrid, Granada,
Seville, etc. * * * There are also many excellent works by Cano at the
Imperial College and other public situations at Madrid, which rank him
among the greatest Spanish painters." — Spooner's Dictionary of the Fine Arts.
"This celebrated Spanish artist has been called, with some propriety,
the 'Michelangelo of Spain.' He distinguished himself as a painter, sculptor
and architect, in all of which branches he excelled, and it is easy to determine
in which he was most conspicuous. * * * He produced many admirable
compositions. In the Church of Santa Maria at Madrid is a celebrated
picture by him, representing a subject from the life of S. Isidoro; a Saint
Francis, iie Santiago; and in San Miguel, two pictures of S. Caterina and
San Joseph. Many other excellent works by this painter are to be seen in
the Imperial College and other public situations in Madrid, which sufficiently
establish his fame as one of the greatest painters of his country. The
numerous monuments of his ability as a sculptor and an architect are not
noticed, as beyond the limit of this publication."
— Bryan's Dictionary of Painters and Engravers.
"In Mr. Fuseli's opinion, Cano excelled as a painter, with the single
exception of Valasquez, all contemporaries, and yet seems to have owed
his superiority entirely to nature. His design is correct, his arrangement
happy, and his color charming. As a sculptor, he gives evident proofs of
having studied the antique, by the dignity of his forms, the grandeur of his
drapery, and elegance of taste." — Pilkington's Dictionary of Painters.

44  T. B. WALKER COLLECTION. 
"One of the most vigorous of the Spanish painters, and also, like
Michelangelo, with whom he is usually compared, an architect and sculptor
of great merit. He has left in Spain a very great number of specimens of
his genius, which display the boldness of his design, the facility of his pencil,
and the purity of his flesh-tints and his knowledge of chiaro-scuro."
—Encyclopedia Britannica.

No. 42— "Madonna and Child."
48x41.
From Manfrini Collection of Venice.
It is difficult to undertake a description of this splendid painting, except
as a whole, as the figures are all delicately proportioned, the color arrange
ment harmonious, and the whole composition most pleasing.
The sweet, simple face of the woman shows in a pronounced manner
the divine and worshipful love of the mother, but the great strength of the
picture centers in the infant. The forms and flesh tints are as natural as life,
besides, the infantile helplessness of form, the childlike expression of the
intelligent face, the sweet mouth and eyes, make up one of the most success
ful child pictures of any of the great masters.

CONSTABLE (John).Born at East Bergholt, Suffolk, June 11, 1776.
Died in London, March 30, 1837.
Landscape painter; pupil of Royal Academy in 1779, and later of Joseph
Farrington and R. R. Reinagle.
"While there are many landscape painters who can paint nature in her
tranquil moods, when she sits motionless as a model, there are but few
who, like Constable, can fix upon canvas the coming storm, the rising wind,
and the rapidly changing sunset. In treating masses of clouds driving across
the sky or brooding over the tree tops, he has no rival."
— Cyclopedia of Painters and Paintings.
"The peculiar merit and novelty in Constable's works cannot be ex
pressed better than in the words used by Redgrave: 'Landscape painters
had hitherto usually painted with the sun at their backs, to the right or
to the left, out of a picture,' and 'many had painted the sun in the picture
gradually sinking in the low horizon. But Constable chose the time when
the sun was high in the heavens, far above, out of his canvas, but still in
front of him, and painted almost always under the sun and much that is
peculiar in his art arose from this cause." — Painters and Their Works.
"Constable was .xclusively a landscape painter, depicting nature in
her grand and angry moments, and one to whom our modern school of
landscape painting is greatly indebted. In color, he helped eliminate the
brown landscape and substituted in its place the green and blue of nature.
His influence upon art was impressive, eventually developing the famous
Barbizon scb'W."
— (Chas. r< Pratt, Art Critic, Alaska- Yukon Exposition, Seattle, 1909.)

INDEX AND BIOGRAPHICAL NOTES. 45
"The Constable family came from Yorkshire. His father, Golding Con
stable, inherited considerable property, including the watermill at Flatford;
and he purchased also a watermill at Dedham and two windmills near
East Bergholt. At the last named place, he built a house to which he
removed in 1774. He married Miss Anna Watts and they had three sons
and three daughters. John, the second son, was born June 11, 1776. Al
though he was baptised, the same day, as he was not expected to live, yet
he grew up to be a man of great personal strength and was known as 'The
Handsome Miller.' * * * During this time (1800 to 1816), although he
continued to paint portraits for profit, Constable, in pursuing his favorite
style of art, was advancing to the first rank as a landscape painter, yet
many of his works had remained unsold. * * * He himself explained
the reasons when writing: 'My great art flatters nobody by imitation, it
tourts nobody by smoothness, tickles nobody by petiteness, it is without
_.)_-de-rol or fiddle-de-dee; how then can I hope to be popular.' * * *
iiut fame at last came from a quarter whence it was least expected; a
.it encn speculator bought three of his pictures at the Royal Academy * * *
a«d sent them to the Paris Salon in 1824. The power shown in them caused
them to be much admired, and the King of France awarded Constable a
gold medal." — Painters and Their Works.

No. 43 — "Lock on the River Stour" (Masterpiece).
41Hx62**4.
CONSTABLE'S MASTERPIECE.
From the collection of General Bulwer, Hayden Hall.
One of the largest and by all odds the most important of Constable's
works. In the foreground, a lock is being opened for the passage of a
boat on its way down the Stour River in England. The water, as it seeks
release under the heavy gate, eddies and foams like a boiling caldron. While
the boat is being lowered for passage through the lock, the old horse takes
a needed rest on the tow path, beneath the branches of a spreading elm.
Just beyond, almost hidden by trees and shrubbery, is the artist home of
John Constable. It was here that he did his greatest work, and near here
at Hampstead, — "My dear Hampstead, my sweet Hampstead," as he was wont
to call it — he was buried. On the left is a small hamlet with its quaint old
church tower, standing sentry-like on the border of the broad, wooded
meadows which stretch away until lost to view under the pall of the
ominous clouds overhead.
Constable intended this painting to be hung in the National Gallery,
but General Bulwer and his wife finally offered him a price so fabulous as
to induce him to part with it.

No. 44 — "Constable's Artist Home on the River Stour."
13*4x17.
From the collection of General Bulwer, Hayden Hall.
This little gem is a portrayal of the same lock on the Stour, taken
from a different point of view. On the left, the tow path crosses the high
way at the end of the rustic bridge which spans the river. In the fore-

46 T. B. WALKER COLLECTION. ____———
ground is the old lock closed, while just beyond and almost hidden by over
hanging trees is the artist home of the great painter. To the right a
far beyond, stretch the wooded meadows, while massive clouds an
obscure the deep blue of the summer sky. .
While not so important as others of his work in this collection, it is
none the less a perfect example of this wonderful master.

No. 45— "Lockkeeper's Home on the Stour."
34x41 %.
From the collection of General Bulwer, Hayden Hall.
It is evident that Constable found in the quaint scenery of this vicinity
not only his greatest inspiration, but material for his best paintings. In
fact, his masterpiece, "Lock on the River Stour," was painted in the imme
diate neighborhood. In the foreground is one of the rustic locks and two
children fishing from the shore. On the right a grand old elm spreads its
boughs, casting its shadows into the tranquil stream. On the left is a gnarled
oak, broken and bent by the many passing storms, while near the end of the
bridge spanning the river is the gatekeeper's modest cottage. To the left
in the distance stands the artist home of John Constable almost hidden from
view by overhanging trees. The shadows deepen as the sun dips low in
the west, obscured by threatening clouds.

No. 46— "Sherbourne Collegiate Church."
3&x50y2.
From the collection of General Bulwer, Hayden Hall.
In the foreground is a shallow channel of the River Stour. The shal
low rapids, only a short distance above the lock, affords a crossing place
for the farmer folk of the vicinity. A rustic wagon drawn by two horses
is crossing the ford, while two cows from the adjoining meadows disport
themselves near the opposite shore. On the left, half hidden by the spread
ing boughs of great eliKi, stands the artist home of the great painter. Heavy
clouds o'rspread tfhe sky, while on the horizon the setting sun casts a pale
blush over the surround'ng landscape.
The odor from the new mown hay,
Comes to the boy and dog at play;
While the old canoe with silent oar,
Lies idle on the reed-grown shore.

No. 47— "Hampstead Heath."
23x37.
From the collection of Trevanyan Turner, London.
In 1827 Constable took up his abode at Hampstead, "My dear Hamp
stead, my sweet Hampstead" as he was wont to call it. He said, "My
little studio commands a view without an equal in all Europe." Here
he loved to sketch, and the neighborhood furnished him with many studies

INDEX AND BIOGRAPHICAL NOTES. 47
for his pictures. The lists of the various sales of his paintings show that
he painted a number of pictures entitled "Hampstead Heath," one at the
"Barring's Sale" fetching $13,385.00. It is evident that they were not
replicas, each showing some different landscape. In this he presents a
quaint old church in a corner of the burial ground, partially surrounded by
a rustic fence. The cemetery presents a tumbled down and much neglected
appearance. On the left of the small valley is the edge of the woods, while
to the right several magnificent trees stand in close proximity to the church,
their great branches reaching far out over the small ravine, very nearly
hiding from view the cottage standing in the shadow of the distant trees.
The great white-capped clouds standing out against the blue of the summer
sky form a splendid background to a very interesting painting. .

No. 48— "The Lock."
27x40.
From an old English Collection.
A canal boat has just passed the lock, and is bound on its way up the
canal. The lock is not yet entirely closed. Just beyond in the shadow
of some splendid trees is the home of the lock keeper. Two men are seen
fishing from a skiff on the opposite shore, while a boy and a girl on the
tow path are also preparing to fish from the shore. A strong wind ruffles
the water in the canal, and sways the trees and grasses on the shore. The
colors are strong and harmonious and the lights and shadows extremely fine
and striking. One of the finest paintings by this foremost of the English
landscape painters.
No. 49 — "Constable's Artist Home on the River Stour."
28x33*^.
From sale of Constable's paintings in 1838.
In 1818 Constable painted his first rainbow in connection with a view
of Salisbury Cathedral, but this one, with Sherborne Collegiate Church, was
painted, no doubt, about the time of his removal to Hampstead Heath (1827).
Sherborne is an ancient market town of Dorsetshire, England, situated on
a slope overlooking the river Yeo, and is 118 miles southwest from London.
In 705 A. D. Sherborne was made the seat of the Bishopric by Ina, king of
the West Saxons; it was removed in 1078 to what is now Salisbury, but
before the changing of the seat of the Bishopric, a great Benedictine Abbey
had been founded, and the Abbey or Collegiate Church erected. This old
church was restored in 1848-58 at an expense of $160,000. Sherborne gram
mar school, founded in 1550, by Edward VI, now occupies the ruins of
the old abbey. The painter projects the old church and the beautiful land
scape surrounding against a background of a departing storm cloud across
whose sombre face is set the bow of promise.
No. 50— "A Bit of English Landscape."
27*^x36.
The fine old mansion and grounds would indicate the country seat and
extensive estate of some noble family. Two men in the immediate fore-

48  T. B. WALKER COLLECTION. 
ground are loading gravel into a quaint old cart, while the sly old dog
makes a bed of their discarded coats. Other horses and men are seen on
the winding roadway, and a donkey enjoying his holiday by the pool of
clear water, beneath the spreading branches of some splendid trees. Be
yond a diversity of green hills and wooded valleys stretch away to a line
of hills, barely discernable under the darkening shadows of the threaten
ing cloud. A characteristic, and at the same time, a most beautiful example
of this master's bold style.
COLE (Thomas).
Self taught. Born at Bolton le Moore in Lancashire, Feb. 1, 1801.
Died at Catskill, N. Y., Feb. 11, 1848.
Landscape Painter.
"In 1819 his father emigrated to America and settled in Ohio, where
Thomas first learned the rudiments of art from a portrait painter named
Stein. After studying nature under great difficulties, he went, in 1825, to
New York and was first brought into notice by his views on the Hudson.
He made several visits to England, France and Italy, but passed the greater
part of his professional life in New York. Exhibited at the Royal Academy,
London, "View in New Hampshire," "Tomb of General Brock" (1830), and
"View in United States" (1831).
Works: "Dream of Arcadia," "Titian's Goblet," "Mount Etna," "Italian
Landscape," etc. — Cyclopedia of Painters and Paintings.
"Thomas Cole was then (1819) about eighteen years of age, and his
wish to become a painter increasing daily, he suddenly left his home and
with difficulty reached Philadelphia and New York, where he started paint
ing landscapes in a garret. His talents soon recommended him to Trumbull
and other older artists, and he met with some wealthy patrons from whom
he received substantial assistance. They enabled him to visit Italy and
England, and finally settling down in the United States, he was a long time
the best landscape painter in America." —Painters and Their Works.
"Cole was the first good landscape painter in America."
— Bryan's Dictionary of Painters and Engravers.
"We trust that our readers will require no urging from us to insure
their making a visit to the Art Galleries in Broadway when the Exhibition
of the Artists' Fund Society is to be seen. * * * Cole who was unques
tionably the father of American landscape art is represented by the best
picture perhaps he ever painted." —Evening Post, Nov. 18, 1863.
"The catalogue contains many distinguished names prominent among
which are those of Rosa Bonheur, Thomas Cole, Gilbert Stuart, Alston,
Frere, Conture, Diaz, and others of less note. * * * The Cole and Stuart
will be greeted with pleasure by those who lived when these great artists
flourished." — New York Times, Nov. 18, 1863.
No. 51— "Italian Landscape."
32^x48j4.
From the Robert Hoe Collection. Signed on rock in lower lefthand
corner, "T. Cole, 1849."

INDEX AND BIOGRAPHICAL NOTES. 49
This splendid painting was No. 191 of the Artists' Fund Society exhibit
on Broadway, New York, in November, 1863, and the critic's write-up says:
"It glows in all the splendid colors of Cole's best manner. It is a magnificent
picture and one of the best of this great master."
The scene is the quaint ruins of an ancient castle near the sea coast of
Italy. The stone arch bridge which once spanned the mountain stream is
in ruins, and over the crumbling abutments and piers a crude pole bridge has
been constructed by the neighboring peasants. Down the valley through
a rift in the hills one gets a view of the sea. Cows and goats are drinking
and a boy is fishing in the crystal stream, while the shepherd with his
herd of sheep and goats worships before a shrine erected upon the body
of a fine old tree near the rocky shore. Beyond the valley stand the crum
bled ruins of a grand old castle, its moss-grown walls towering far above
the adjoining hills are kissed by the golden rays of a magnificent Italian
sunset.

No. 52— "Sunset In the Adirondacks."
19*/_x29^.
Near the close of a hot summer day, the sun has dropped from sight
behind the distant mountains, tinting to gold the billowy white capped
clouds, enveloping all the landscape with a glow whose light, although more
mellow, is all but equal to the direct rays of the sun. The outline of the
trees, and the varied colors of the cloud and sky, are mirrored in the crystal
waters of the mountain stream, which after its mad rush over precipitous
rocks, now flows silently and tranquilly on its devious course to the sea.
And from the point where the cows regale themselves in the water, and
rest upon the shore, we get a glimpse of the Gipsy's camp on a wooded hill
side', just beyond an abrupt bend in the river. A most romantic landscape,
done in Thomas Cole's inimitable style.

COLEMAN (Samuel). American School.
Born in Portland, Maine, 1832.
Pupil of A. B. Durand.
"An elaborate view of the Rock of Gibraltar, exhibited by Samuel Cole
man suggested a broader scope of landscape talent than his many exquisite
delineations of home scenery previously hinted. * * * Coleman shows
us the grand old historical monument as it appears on a tranquil summer's
day, lifting its majestic summit from a calm unruffled sea. into a serene
and cloudless sky, and glowing in the golden rays of the noonday sun. We
regard the picture as a splendid success. * * * 'Tow Boats on the
scenery of that beautiful lake whose crystal waters the early French settlers
Hudson' is fine in color; the water is admirably represented; so are the
mountains. * * * The first illustrated volumes of American verse were
published by Samuel Coleman (Sr.) and his son must have been familiar in
boyhood with the most select specimens of foreign illustrated works. He
inherited a refined organization and a fine sense of the beautiful."
— Tuckerman's Book of Artists.

50  T. B. WALKER COLLECTION. 
"He enlarged the borders of his excursions and began to study the
called sacramental. . Lake George perhaps never reflected from its peaceful
shores the figure of a happier artist. To the White Mountains also he
turned his steps, painting there the studies for many pictures that are now
safely and honorably housed in the galleries of the metropolis. And then, to
Europe. * * * The two years (1860-62) that he spent in the studios and
the museums, the cathedrals, and the palaces of the Frank, the Castilian, and
the Moor, were doubtless appreciated; not appreciated only, but improved.
—American Painters, by G. W. Sheldon.

No. 53— "The Old Stone Fort."
10x17^.
This little landscape, although not the most important, is one of the
best of this American artist's work. The scene is a quaint old Castilian or
Spanish fishers' hamlet, painted during his sojourn in Europe in 1860-62.
The old stone fort occupies a promontory jutting out into the sea, with a
grove of palm trees reaching back to the towering mountains in the rear.
Several boats lie at anchor within the harbor while many others under
full sail are seen in the outing. Two women sit upon the sandy beach watch
ing the ever restless sea as the gentle waves come and go in perfect rythm
upon the shore. Earth and sky seem to meet at the distant horizon, leaving
only a dim outline of the rugged mountainous coast. The delicate glow so
characteristic of Coleman's works is noticeable in this example to a marked
degree.

CROCHEPIERRE (Andre Antoine). French School.
Born at Villeneuve sur Lot in 1860.
Still living September, 1911, in the place of his birth.
Began painting in 1880.
Honorable mention Salon de Paris, 1882.
Medal Solon de Paris, 1891.
Bronze Medal at Paris Exposition, 1900.
In a letter received from Mr. Crochepierre under date of September 11,
1911, he says: "I have exhibited at the Salon de Paris every year since 1882.
I remain faithful in the execution of my paintings — to the qualities— which
in my estimation make the beauty of the paintings of the Holland School of
the seventeenth century, and I find in that school the true models, unfor
tunately almost inimitable. I thank you cordially for the catalogues which
you sent me. It certainly must be a grand interesting gallery. Many thanks
also for the catalogue of the Indians, for I think it is one of the most
interesting things I have seen for many days."
No. 54 — "Peasant Woman at Prayer."
32x22.
Kneeling on a low^ chair, her arms resting upon its high back, her white
beads in her hands, this old woman looks before her with a sweet, compla-

INDEX AND BIOGRAPHICAL NOTES. 51
cent smile. Over her shoulders is drawn a red woolen shawl of that
warm, bright tint in which Vibert so often dresses his subjects. Her dress
of black homespun falls in heavy folds about her, and her head is enveloped
in a white kerchief, bound turban fashion about it. This painting shows in
a marked degree the artist's excelling powers in fine flesh technique. His
drawing of hands is unequaled, and his depiction of the wrinkled faces of age
is unexcelled.

No. 55 — Grandmother Rocking the Cradle.
31x22^.
This painting was purchased direct from the artist, who pronounced it
the best of all his works, displaying not only his talent as a painter, but a
depth of sentiment seldom equaled and likely never surpassed.
Hush now, and keep quiet, not a word or a peep,
For Grandmother's rocking the baby to sleep;
Not a step or a move, lest by any mishap,
A noise should be made to disturb baby's nap.
Rock-a-by baby, Grandma is near,
Close your bright eyes, now, that is a dear.
Thus Grandmother sings, and the cradle marks time
To her lullaby song, and the words of her rhyme.
Gently touching the cover, softly lifting the lace
She lovingly studies the sweet baby face;
While the smile in her eyes, and the song she has sung,
Reaches back to the days when Grandma was young.
Rock-a-by baby, Mother is near,
Papa is coming, that will be dear.
Thus singing she dreams of the pleasure and joy,
When the child in the cradle was her own baby boy.

COROT (Jean Baptiste Camille) - - - France
Born at Paris, 1796. Died 1875.
Pupil of Michallon and Victor Bertin.
Completed his studies in Italy.
Medals, 1833, 1848, 1855.
Legion of Honor, 1846.
Officer, 1857.
"In originality of mind and force, purity and individuality of aim and
character, he seems to be the most considerable figure that has appeared in
the art world of France during the century." — L. G. W. Benjamin.
"Corot stands apart. Critics call him a master. He is no profuse
colorist. Browns, pale greens, and silver grays, with an occasional shade of
purple, or a bright spot of intenser color, to represent flowers or drapery,
are his reliance." —Jarvis? Art Thoughts.

52 T. B. WALKER COLLECTION.

No. 56— "End of the Chase."
12^x18.
The broad meadows stretch away to the border of blue hills in the dim
distance. Clumps of bushes with here and there a willow or an elm breaks
the expanse of green. The small grey rabbit has been driven from hiding
and approaches the lone hunter with a bevy of dogs baying on his track.
The hunter hurriedly brings his gun in position determined to end the chase
ere bunnie plunges into the underbrush of the higher ground only a few
rods in advance.
A fine example of this artist's work
No. 57— "View in Rome in 1834."
29x3954.
Taken from the entrance of the Catacombs, it shows on the extreme right
a portion of the Colosseum. On the left, two tall trees, whose close, cluster
ing boughs reach the upper corners of the canvas. To the right of these the
Arch of Trajan can be seen, over the foliage that covers the rocks. Beyond
this is the city itself. This painting passed through the private galleries of
Mr. Hirsch and Count Kraszowszk, of Paris. Dated 1830.

No. 58— "A Home in Brittany."
7x1354.
From the Henri Garmier collection.
Along an unfrequented roadway, winding its course by the wooded 'j
shores of a small lake, a woman is leading a cow. The modest home with
thatched roof is seen just beyond while, in the distance, the hills rise in a
blue line against a horizon of fleecy clouds. The sky is a shade bluer and
the general tone somewhat brighter than is usual in this artist's work. It
is a marked painting and shows the artist's mastery of color and design.
No. 59— "Dance of the Nymphs."
19x28.
This picture is well known to those familiar with the work of this artist
at his earlier period. Under the soft green of a summer forest, in wild sport, ',
the Nymphs dance over the sward and among the flowers. The scene is
beautiful in the delicate lights and fine soft colors that compose it. ;
From the second Seney Collection. Painted for his family physician,"1
Dr. Simonia, and sold by him to Leroy & Co., of Paris.
No. 60— "Landscape."
10x17.
The setting sun turns the western sky to gold and casts his declining j
glory over the distant hilltops. The wild birds seek shelter for the night
among the friendly branches of the stately trees while the shadows lengthen.,
and the shades deepen in the adjoining forest. In the foreground, a boat lies

INDEX AND BIOGRAPHICAL NOTES. 53
at its moorings near the shore of the sun-kissed lake, while the lone occupant
seems lost in a dream of the picturesque surroundings and the glories of
the departing day. A certain harmony of soft colors and delicate tints make
this a pleasing picture. Painted about the time of Corot's residence at
Barbizon and the steeple in the distance is in all probability that of the
Church of Angelus. No. 61 — "Landscape with Figures of Cattle."
1054x18.
In the foreground, a crystal lake reflects the mellow light of an evening
sky. A cow stands knee deep in the water while a youth is seen wading to
the broad meadows skirting the further shore. On the left in the shadow of
the stately elms, some children are gathering wild flowers; in the distance,
the blue hills and at their foot, a villa almost hidden in the border of the
adjoining woods.
A beautiful little painting after Corot's usual theme and modest color
ing. No. 62 — "A Landscape Scene."
23x31.
One of the most attractive and beautiful private collections in this
country. Imported by Knoedler & Co., about 1875. Characterized by Samuel
Avery, of New York City, as the most attractive example of Corot that he
has ever seen. A characteristic painting by this most refined of all the Bar-
bazon painters. Representing a pastoral scene, with peasants in the center
ground, with a long distance out over a bay, with the beautiful, poetic trees,
and the soft gray coloring so characteristic of this painter.
No. 63— "Early Morning."
12*^x16.
The golden light of morning creeps slowly up the eastern sky, reflect
ing to earth the first gray tints of returning day. Gradually the shadows
steal away, bringing to view, one by one, the various objects in the surround
ing landscape. The river reflecting the silver sheen of the clouds o'erhead,
flows rippling on its devious way, while a lone fisherman plies his vocation
from a skiff lying close beside the reed-grown shore. Just beyond, the river
turns abruptly to the right and is lost to view behind a thicket of water-
beach and willow; while a line of low hills is dimly outlined far beyond the
Clump of fine trees of the farther shore. The subject is well treated in
Corot's favorite tints. No. 64 — "Aurora Greeting the Dawn."
43x3454.
From Baron de Beurnonville Collection, Paris.
One of Corot's most important and beautiful paintings. Showing the
graceful figure of Aurora or Eos, the goddess of light and of the day, pre
paring to welcome the early dawn.
The soft light of morning is coming from the eastern sky across the

54 T. B. WALKER COLLECTION. 
poetic landscape from beyond the portico of the temple seen in the distance.
No finer, more graceful or poetic landscape has been portrayed by any
ancient or modern master.
No. 65— "On the Border of the Forest of Fontainebleau."
21x1454.
In this picture the beholder seems standing near the two peasants
beneath the shadow of one of Corot's grand old trees with grape vines
reaching up into its branches, and the gnarled trunk covered over with the
clustering vines. To the left is a large willow whose top has been blown
away by some passing storm, leaving but the standing trunk. With the pass
ing years, it has sent up a large number of thrifty sprouts which even now
have attained to the former grandeur of the parent tree. Beyond is a glimpse
of landscape with small lake in the foreground and a quaint hamlet border
ing its shore; and in the distance, the wooded hills and the silver gray of
the southern sky. A very fine and characteristic example of Corot's peculiar
style.

No. 66 — "Sunshine and Shadows."
15x18.
Beneath the shadows of a clump of green trees sits a peasant woman;
work in hand, keeping watch over her cows. The cows are feeding in a small
grass plot surrounded by blossoming shrubs and the wild forest flowers.
Through the trees we get a glimpse of a small lake and the hills beyond,
bathed first in sunshine, then in shadow as the fleecy clouds skim lightly
across the sky, playing at "hide and seek" with the sun, as they noiselessly
come and go across the azure deep. An ideal Corot, painted after his most
fascinating style.

No. 67— "A Lake in the Woods."
10x14.
Within the shadows of the great elms, the little brook after its long
devious journey through various gorges in the hills, and the deep grass of
the broad meadows, empties its crystal waters into "A Lake in the Woods."
A cow has just emerged from the bordering wood and is in the act of cross
ing the brook only a short distance above its junction with the lake, no doubt
intent upon joining another cow resting beneath the trees on the opposite
shore. A boat with lone occupant tranquilly floats upon the placid waters,
which mirror back the grandeur of the trees and sky.
No. 68 — "Midsummer Pleasures."
18x24.
Fleecy clouds float lazily across the sky, shutting out the rays of the
summers sun. Occasionally through a rift in the cloud, a flood of light
peeps through, causing fields of sunshine to chase the phantom shadows
across the blossoming landscape, reflecting their glory in the crystal waters

INDEX AND BIOGRAPHICAL NOTES. 55
of the lake, and adding a golden halo to the village hamlet on the distant
hill. The peasant, taking advantage of the ideal summer day, enjoys his
favorite pastime, fishing from the old canoe, while his good wife whiles
away the passing hours gathering wild flowers from the wooded meadows
adjoining the lake, and listening to the joyful songs of the lark, and the
bob-bob-white of the hidden quail. An interesting example of Corot's most
pleasing and fascinating style.
No. 69— "A Sylvan Reverie."
1054x13.
While the tranquil waters of the lake reflect the silver sheen of the
clouds, and the village hamlet, situated on the distant hills is bathed in the
mellow light of a summer afternoon, the peasant girl seated among the
trees and flowers, in a woodland reverie, is carried back to an earthly para
dise. The play of colors in the broad expanse of water come and go like
varying moods, while the running brook murmurs an accompaniment to the
whispering leaves, and the joyful anthem of a thousand birds. An ideal
Corot, both in composition and tone.
No. 70 — "Souvenir of the Dead Fountain."
34x45.
The title, "Souvenir of Morte Fountaine," is that given by the artist,
and no doubt has reference to the small inlet seen in the foreground, which
in former years gave its bounty of living water to the lake, but now lies
dormant, reed grown and practically dry. Through this break in the shore
is seen a boat with lone occupant lying close beside the bank, and beneath
the shadow of the row of splendid trees which adorn the shore. Under
the warm full luster of his atmosphere, every object is perfectly illumined,
even the shore line of the crystal lake is plainly visible, until lost behind
the slender trees and tall grass upon the left. Just where the fountain
once poured its limpid waters into the lake, stands a willow, bent under
the weight of years, and broken by many a passing storm. Here like a
faithful sentinel it stands, each year sending up a tender branch, upon which
the lark and the wren may alight, while they sing their happy songs of
consolation to the Spirit of the "Dead Fountain," and of joy to the soul
of his ever faithful friend.

CORREGGIO (Antonio Allegri).
Born at Correggio in 1494 (?).
Died there March 5, 1534.
"Lombard school. Real name Antonio Allegri, son of Pillegrino Allegri;
probably pupil of his father's brother Lorenzo, and of Antonio Bartolotti,
both second rate painters of his native town. At Modeira he is said to have
found a better master in Francisco Bianchi, called Ferari, who belongs to
the school of Francia, but as Bianchi died in 1510, this, like all that con
cerns Correggio's training, is uncertain. An attempt to account for his
peculiar development has led to many conjectures, none of which give any

56 T. B. WALKER COLLECTION.
clue to the formation of his totally new method of painting or to the dis
tinguishing characteristics of his style. These characteristics are sweetness
of expression and ineffable grace of pose; light in color, or, in other words,
a certain luminous quality which radiates and transfigures."
— Cyclopedia of Painters and Paintings.
"Allegri's art was thoroughly individual, but by the sensuous character of
his painting he is more nearly allied to the school of Venice than to the
severer intellectual schools of Padua or Florence."
"Allegri's use of chiaroscuro, his exquisite modelling and his gracious
manner, if we may so call it, bear so much closer affinity to Leonardo da
Vinci than to any other master, that it seems almost impossible to doubt
that in some way or another he also caught inspiration from him."
"Perhaps what mostly distinguishes his style from that of every other
master is his delicate perception of the minutest gradations of light and
shade. His chiaroscuro has been praised by artists as simply perfect. It
sheds a wonderful atmosphere of light and delight over all his works, and
his figures seem literally to live in radiant glory."
— Bryan's Dictionary of Painters and Engravers. ,

No. 71 — "Virgin and Infant Jesus."
754x854.
From the collection of the Marquis de San Vitolia, Italy.
This painting was exhibited at the Royal Galleries at Leeds in 1868, and
at the Royal Academy, London, in 1886, and had to pass the certification and
inspection of the Royal Art Association. The whole painting shows the
character of a master's hand. Although small, the design, and the splendid
grouping, the elegance in form of both figures, and the pleasing harmony
of colors throughout mark it a masterpiece of art.
Mr. Chas. D. Pratt, art critic of the Alaska- Yukon-Pacific Exposition,
says: "Coming down to the great painters of the 16th century, we find a
climax in Italian art. 'The Virgin and Infant Jesus,' by Correggio, is a
gem-like example of this master of values, atmosphere and color. His
pictures are mostly of religious subjects, but he was not a moralist or story
teller; he was full of love of life and worship of nature; all his work is
joyous."

COTES (Francis). Born in London in 1726, died there July 20, 1770.
Pupil of George Knapton.
"Became eminent as a portrait painter, was a member of the Society of
Artists, and one of the original members of the Royal Academy where he
exhibited from 1760 to 1770." -Cyclopedia of Painters and Paintings.
"He was the son of the mayor of Galway, who, on some political dis
pute, came to settle in London about 1720, and practised as an apothecary
in Cork Street, Burlington Gardens. Here the painter was born in 1726 and
commenced the study of art as the pupil of George Knapton He became
eminent for his portraits in crayon and also painted in oil with much ability

 INDEX AND BIOGRAPHICAL NOTES.  57
"He painted in 1767, 'Queen Charlotte, with the Princess Royal on her
lap,' a pleasing portrait, which was engraved by Ryland. He was in con
siderable practice and for a time had so great a run that fashion followed
him from London to Bath and back again. He drew well, sketched his
subject freely and was agreeable in his coloring."
— Redgrave's Dictionary of Artists of the English School.
"He was particularly eminent for his portraits in crayons, in which
branch of the art he surpassed all his predecessors. A fine specimen of his
talent is now in the council room of the Royal Academy, close to the por
trait of Sir Joshua Reynolds. The picture in question is a portrait of old
Mr. Robert Cotes. He also painted with considerable ability in oil colors;
and at one time Hogarth declared him to be superior to Sir Joshua Reynolds.
But though the picture of Cotes deserved not this high character, they were
very pleasing, well finished, colored with great spirit, and by the aid of Mr.
Toms' draperies, were justly ranked with some of the best of that day."
— Pilkington's Dictionary of Painters.
"Lord Oxford mentions several of his crayon sketches, and says he
excelled Rosalba in vivacity and invention, though inferior to her in soft
ness and harmony." — Spooner's History of the Fine Arts.

No. 72— "Portrait of Lady Burdette."
26x22.
From the collection of Sir F.,W. Burton.
A very refined portrait of a prominent lady and as beautifully painted
as though done by Sir Joshua Reynolds and considerably after the manner
of his coloring and finish.
Lady Burdett was the wife of Sir Francis Burdett, the liberal politician,
who was born in 1770. Her maiden name was Sophia Coutts, a daughter of
Thomas Coutts, the rich banker of London.

CUYP (Albert).
"Born at Dordrecht in Oct., 1620, died there, buried Nov. 6, 1691. Dutch
school, landscape, animal and marine painter; son and pupil of Jacob Gerritsz
Cuyp." — Cyclopedia of Painters and Paintings.
"He acquired the chaste and exquisite style for which he is so particularly
admired by a close and vigilant attention to nature, under all the vicissitudes
of atmosphere and season. His pictures frequently represent the borders
of the Maes river, with shepherds and herdsmen attending their cattle. These
subjects he has treated with an enchanting simplicity, that may be truly said
to be peculiar to him.
"It is not, perhaps, giving him more merit than is due him to assert
that no painter had surpassed him in the purity of his aerial tint. Tuned
to the harmony of color, like the ear of the musician to sound, his eye
appears to have been incapable of a discordant tone; every object is enveloped
in the air of the moment he wished to describe.
"His pencil is uncommonly broad and facile, with an unusual plumpness
of touch, and a crispness of surface which is peculiar to him, if we except

58 T. B. WALKER COLLECTION. 
the works of Rembrandt, to which those of Cuyp bear some analogy in the
richness of color and the intelligence of light and shadow."
—Bryan's Dictionary of Painters and Engravers.
"There is a poetry of effect, an eternity of distance in his pictures, which
no Dutchman ever expressed in a similar way. His landscapes sparkle
with silvery sheen at early morning, they are bathed in warm or sultry haze
at noon, or glow with heat at eventide. Under all circumstances they have
a peculiar tinge of auburn which is Cuyp's and Cuyp's alone.
"He shows great cleverness in throwing pale yellow clouds against clear
blue skies, and merging yellow mists into live green vegetation. He is also
very artful in varying light and shade according to distance, either by
interchange of cloud-shadow and sun-gleam or by gradation of tints. His
horses and cattle are admirably drawn and they relieve each other quite
as well if contrasted in black and white and black and red, or varied in
subtler shades of red and brown. Rich weed-growth is expressed by light
but narrowy touch, suggestive of detail as well as of general form. The
human figure is given with homely realism in most cases, but frequently with
a charming elevation, when, as often occurs, the persons represented are
meant to be portraits. Whatever the theme may be, it remains impressed
with the character and individuality of Cuyp.
"At the sale of the Clewer collection at Christie's in 1876, a small 'Hilly
Landscape in Morning Light' was sold for £5,040, and a 'View of the
Rhine,' with cows on a bank, for £3,150. Smith has catalogued 335 of Cuyp's
works. — The Encyclopedia Britannica.
"He is deservedly held, in very high esteem for his peculiar qualities.
In the treatment of atmospheric effects, whether of morning, noontide or
sunset, Cuyp has no rival save Claude, whom he even surpasses in his
power of diffusing a glow of light throughout the limits of a canvas."
— Cyclopedia of Painters and Paintings.
"His best works are in England. In the National Gallery there are no
less than eight pictures by him; of these the landscape with cattle and
figures (Eng. 106) is the principal. English private galleries are rich in his
productions." — d'Anvers" Elementary History of Art.

No. 73— "Shepherds in the Valley of the Maas."
44x54.
From the Collection of Viscount Oxenbridge.
Burton Hall, Lincoln, England.
It represents one of this great master's most brilliant and beautiful
landscapes, with cattle and shepherd by the walls of an old building. The
cattle are quietly reposing in the foreground, with the shepherd listlessly
watching and waiting. The air is soft, warm and pleasant, and the whole
picture full of harmony of coloring and one of the most beautiful and refined
in tone to be found amongst the old masters of landscape painting.
No. 74 — "Picturesque Landscape."
35x4254.
Speaking of the peculiar gifts of this master, one writer aptly remarks,
"He is particularly admired by a close, and vigilant attention to nature,

INDEX AND BIOGRAPHICAL NOTES. 59

under all the vicissitudes of atmosphere and seasons.'- It is owing to this
fact that his numerous works differ materially in general tone, especially
in his atmosphere and clouds. Whatever the subject, or tone however, his
studied arrangement, faultness drawing, and admirable atmosphere stamps
upon the work the individuality and character of Albert Cuyp. In this in
teresting example he presents a group of five soldiers, near the base of a
rocky cliff surmounted by a quaint old church and an ancient shrine. Three
of the soldiers amuse themselves with cards, while two remain mounted
upon their horses. The crude pole bridge that spans the little brook, marks
the location of the winding roadway. Beyond, on a wooded promontory
lies the crumbling ruins of an ancient castle, with a line of blue hills in
the distance, and the whole landscape illuminated by a peculiar bluish, sil
very sheen, growing gradually darker as it approaches the deeper tones
of the fleeting clouds.

CLOUET (Francis) Called Janet. French School.
Born in Tours about 1516.
Died about 1573.
Son and probably pupil of his father, Jean Clouet.
Court painter to Francis I., 1541.
Retained same position under Henry II., Francois II., Charles IX.
and Henry III.
"His paintings bear distinct traces of a Flemish origin, and their style
differs widely from that of the Italian artists, whose paintings were then
in vogue in France, paintings which were tainted with an affected senti
mentality and a disregard of nature. Clouet on the contrary, like the Van
Eycks and Memling, had clearly made truth and accuracy his principal aim.
Still his works are not Flemish throughout, as they possess also a distinctly
French element, which is observable in the elegance that pervades them, as
well as in the taste that grasps the most advantageous point of view from
which to treat them. The more closely the work is examined, the deeper is
the insight obtained into the moral and physical character of the person
represented." — Painters and Engravers.
No. 75— "Queen of Navarre."
19x15.
From the collection of the Duke of Portland.
Her maiden name was Jenne d' Albert, being the only daughter of Jean
II. d' Albert, King of Navarre. Her mother was Marguerite, sister of the
French monarch, Francis I. Jenne or Joan was born in 1528, and her earliest
suitor was Phillip, the son of Charles V. of Germany, but her uncle, Francis
I., opposed the union, and gave her in marriage to Antoine de Bourbon,
Duke of Vendome, in 1548. She was converted to the Protestant faith and
introduced it into Navarre. On December 13, 1553, a son was born, who
afterwards became the illustrious Henry IV. of France and Navarre. In 1555
with her husband, she succeeded to the throne of Navarre. Her husband was

60 T. B. WALKER COLLECTION.

killed in 1557 and she died in Paris in 1572. She was distinguished for her
talents, virtues, and heroic qualities. The portrait was painted while Clouet
was court painter to her cousin Henry IL, King of France.

CHURCH (Frederick Edwin).
Born at Hartford, Conn., May 4, 1826.
Died at New York, April 7, 1900.
"An eminent American landscape painter, born at Hartford, Connecti
cut in 1826, was a pupil of Thomas Cole. His earliest productions were
views of the Catskill Mountains, among which he resided, and a view of
East Rock near New Haven, which attracted very favorable notice. In
1853-5 he visited South America, and found in the magnificent scenery of
that country, materials for several of his most admired pictures. After his
return he executed his "View of Niagara Falls from the Canadian Shore,"
regarded by many as the most successful representation of the great
cataract. 'In the rush of water and the fine atmosphoric effects,' says a
foreign critic, it realizes the idea of sound as well as motion."
— Lippincott's Biographical Dictionary. :
"In 1855 he visited South America and found in the magnificent scenery
of that country, materials for several of his most admired pictures. * * *
After a visit to the Holy Land in 1868, he painted Damascus (1869), Jeru
salem (1870), The Pantheon (1871)." — The Encyclopedia Americana.

No. 76— "Scene in the Catskill Mountains."
31j4x48,
Since the summer of 1609 when Henry Hudson and the crew of the
"Half Moon" first saw the peaks rise above the primeval forests, the Cat-
skill Mountains have never ceased to attract universal attention, being gen
erally considered by geologists as one of the most wonderful localities in
all the world. They lie in the eastern part of the state of New York, facing
the picturesque valley of the Hudson river. Scientists seem to agree that
these great masses of rock were lifted bodily upward from the bed of
the ancient seas, showing the strata somewhat tilted towards the west, and
that the glaciers, the wind and the rains of countless ages, have carved
out the great valleys and precipitous peaks into their present picturesque \
appearance. Mr. Church no doubt presents a view in the Big Indian Val
ley or possibly from the wonderful Kaaterskill Clove not far from the village
of Katskill. Aside from his renowned "View of Niagara Falls" his views
in the Catskill Mountains are among his most beautiful and interesting
works. Here where every layer of slate, and blue stone represents a page
in the geological history of the ages, the artist seemed to get his greatest
inspirations, and in these views therefore, we get his characteristic style,
and approach nearer to his individuality and native charm than in any other
of his splendid pictures.

INDEX AND BIOGRAPHICAL NOTES. 61
DAVID (Jacques Louis) - - - France
Born at Paris, 1748.
Founder of the Modern French School of Painting.
Studied under Vien at Paris and Rome.
Gained First Prize of Rome, 1774.
Appointed by Napoleon as his first painter, 1804.
As one of the regicides of Louis XVI., David was banished from France
in 1816, and died in exile at Brussels, 1825.
"David was the Napoleon, the dictator, who, with a strong hand, arrested
the corruption of art and gave it firmness and purity."
— Gleanings in the Field of Art.
"One of the most eminent painters of modern times. His countrymen
have conferred on him the title of 'The Head and Restorer of the French
School,' which he brought back from its previous gaudy and affected style
to the study of nature and the antique. At Rome he devoted himself par
ticularly to historical painting, and his great talent soon gained him the
reputation of one of the most promising artists of the age. By 1788 his
reputation was established as the first painter of France. He painted several
portraits of the Emperor and other members of the Imperial Family, the
most celebrated of which were, 'Napoleon as First Consul,' on horseback,
crossing Mount St. Bernard and pointing out to his troops the path to
glory, and 'Napoleon in his Coronation Robes.'
"As a grand designer he undoubtedly ranks among the first artists of
modern times, and the praise of correct delineation and harmonious coloring
is universally conceded to him. Had he lived in more peaceful and less excit
ing times, so that he could have lent his whole time and energies to his
favorite branch of the art, he doubtless would have far surpassed himself,
and his history would have graced one of the brightest pages in the annals
of the fine arts." — Spooner's History of the Fine Arts.

No. 77— "Napoleon in Exile."
1254x19.
Napoleon was landed as a prisoner for life on the Island of St. Helena,
October 16, 1815. In the autumn of the following year he appealed to the
sympathy of the world for alleged ill treatment at the hands of the British
governor, Sir Hudson Lowe. In September, 1818, Napoleon's health began
to fail, and it is alleged that he refused medical aid and proffered exercise,
and continued to grow worse until May 5, 1821, when he died of cancer of
the stomach. He was first buried on the island, May 8, 1821, but in 1840,
in accordance with his own request, his remains were removed to Paris and
found a final resting place under the dome of the Hotel des Invalides.
He is here represented by the artist as contemplating the simple head
stone of some notable prisoner, who had lived out the remnant of his days
upon this prison island, and as his keen eye is riveted upon the tomb, a
carrion bird hovers low over the last resting place of one who once was
great, influential, and powerful. We may surmise and conjecture, but we
can not conceive the utter hopelessness and despair which weighed upon
his ever fertile mind, as he contemplated the end of worldly ambitions, and
the certain decay of all earthly greatness.

62 T. B. WALKER COLLECTION. 
No. 78— "Madam la Fouche."
22x18.
She was the wife of Joseph Fouche, Duke of Otranto, a French Jacobin,
who was born at Nantez, in 1763. In 1799 he was appointed minister of the
general police, and under the consulate and the empire, rendered important
services to Bonaparte, who in 1806, gave him the title of Duke of Otranto.
He finally lost favor with Napoleon and in 1810 was dismissed from the
police, but appointed governor of Rome. After Napoleon's return from Elba,
he was again appointed as minister of police, which office he retained under
Louis XVIII for a short period. He was banished in 1816 and died in
Trieste in 1820.

DAUBIGNEY (Charles Francois).
Born in Paris, February 15, 1817.
Died there, February 20, 1878.
Son and student of Edme Francois Daiibigney.
Student of Delaroche.
Medals: second class, 1848.
First class, 1853, 1857, 1859 and 1869.
Legion of Honor, 1859.
Office, 1874.
"One of the most distinguished French landscape painters and etchers
of recent years. Under the tuition of his father, he painted boxes, clock-
cases and other articles for commerce. At the age of eighteen, he visited
Italy. * * * He first exhibited at the Salon of 1838 and obtained medals
in 1848 and 1853, besides medals at the Paris Universal Exhibitions of 1855
and 1867. * * * He excelled in river scenes which he often painted from
a barge fitted up as a floating studio."
— Bryan's Dictionary of Painters and Engravers.
"An excellent landscape painter, especially of river scenes, which he
painted from a floating studio. He left many etchings."
— Cyclopedia of Painters and Paintings.

No. 79— "Scene on the River Oise."
1454x26.
From the collection of Baron de Bondi.
Daubigney, like Troyon, found material for much of his works in
Normandy, Brittany and the country adjoining Barbazon, at which place
many of his best pictures were painted. This interesting landscape is on
the Oise River in this portion of France and represents a borough of
humble cottages, in the midst of which stands the parish church. In the
foreground, the crystal waters of the river mirror back reflections of the
wooded shore and the delicate tints of the copper colored sky. And, as
the haze of early morning adorns the distant hills,, the ducks swim away in
delight and the peasant women begin their morning's task. An excellent
and beautiful example of this great painter's later works.

INDEX AND BIOGRAPHICAL NOTES. 63
No. 80 — "Late Afternoon in Southern France."
10x1354.
Before driving his cows home for the night, the shepherd boy brings
them down to the crystal pool of spring water, just below the hill. Green
trees surround the spring, and on the tableland beyond are several cot
tages almost hid from view by the fields of ripening grain. Other cattle
are grazing on the neighboring hillside, while beyond stretching away until
it meets the distant horizon, is a wooded valley or plain. Banks of cloud
obscure the sun, but through the vapor the declining rays are diffused in a
myriad of golden tints upon the clouds and reflected in subdued tonesupon
the trees and hills. The best of this great master's drawing and coloring is
evident in this little painting.
No. 81 — "House of Mother Bazot at Valmados."
754x1154.
From the collection of Baron de Bondi.
This quaint old house was painted several times by Daubigney. It
seems to stand at the end of a row of small cots near the shore of a small
stream. Just outside the rustic fence, Mother Bazot is seen bringing home
the ducks. The row of green trees mark the course of the stream, while
the western sky is resplendent' with the new moon's crescent band and the
soft rays of the setting sun.
It is not strange that a scene such as this should inspire, but how won
derful that this master has been able to draw a perfect picture of his im
pressions!

No. 82— "Le Crepuscule" (Twilight).
31x49.
It is evident that this delicate twilight was painted like many of Daubig-
nay's river scenes, from a floating studio on the Oise river. The delicate
blush of the sky after sunset is reflected in the water of the river. The
fish hawks dip low in search of an evening meal, but the finny tribe is
seen hiding in the reeds that border the shore. On the right a quaint old
house surrounded by a stone wall is almost hidden from view in the deep
ening shadows of the stately trees, which stand out like sentinels against
the varied tints of the evening sky.
When the light of day is waning, and the golden sun has set,
And a hundred varied tints pervade the sky;
When the surface of the water, from reflected lights beget,
A play of color, mirrored from on high.
Then comes the peaceful evening time's grandest sweetest dower,
The hallowed, restful moments of the twilights witching hour.
No. 83 — "Summer Morning on the River Oise."
2654x3654.
The Oise River of France rises near Selogne, in the forest of Thierache,
among the Ardennes, Hainaut, Belgium, and flows southwest across the de-

64 T. B. WALKER COLLECTION.

partment of Aisne-et-Oise, joining the Seine about six miles below Pontoise
in the department of Seine^-et-Oise. .
The scene is no doubt from the artist's floating studio, looking down
the river. In the immediate foreground a reed grown sand bar reaches
out some distance into the river, just below which a bevy of ducks disport
themselves in the water. Within the shadows of the stately trees sur
mounting the higher grassy shore on the right, two peasant women are
busy with their morning's washing, while a small steam launch towing a
barge makes its way slowly up the somewhat rapid flowing channel. The
opposite shore is dotted with fields of golden grain, shady groves, and the
humble homes of the peasantry. The sky, partially obscured by clouds,
and radiant with the glow of the morning sun, makes a fitting background
for the row of blue hills just coming into view in the increasing light.
The coloring may suffer somewhat in comparison with the "Scene on the
River Oise," but the subject and splendid composition makes the painting
fully as interesting. No. 84 — "Sunset, Early Autumn."
1454x21.
Another view near the home of Mother Bazot at Valmadois. In the
foreground the flock of ducks after a busy day are congregating on the
shore ready to swim away home for the night. The shadows lengthen,
and the shades grow darker in the adjoining wood, as the birds seek
shelter in the friendly branches, chirping a last sweet anthem to the de
parting day. The sun like a great ball of fire, is just dropping from sight
behind the distant hills, tinting the clouds with its golden rays, reflecting
a myriad of fantastic colors to the crystal waters of the pool, and the
soft blush of twilight to the surrounding landscape.
DEVE (E.). Born at Vienna and studied in Academy under Lotz.
No. 85— "Evening in Italy."
28**4x40.
The artist gives us a view directly up a shallow river, as it comes in
sight around a point of low land to the right densely covered with a growth
of stately trees, creeping vines, hazel brush and ferns. On the left two
women are bathing under the seclusion of the rocky precipitous shore, be
neath the deep shadows of a sturdy oak and a clump of overhanging willows.
Beyond the bend in the river are broad meadows of waving grass and
farther on a line of blue hills standing out dimly against the golden glow
of a summer sunset. A beautiful subject finely drawn and delicately toned
and finished.
DEMONT-BRETON (Mme. Virginie Elodie) - France
Born at Courrieres.
Pupil of her father, Jules Breton.
Medals third class, 1881; second class, 1883.
Hors Concours.
Member of the Society of French Artists.

INDEX AND BIOGRAPHICAL NOTES. 65
No. 86— "Her Man Is on the Sea."
62*^x52.
"Three fishers went sailing away to the West,
Away to the West as the sun went down;
Each thought of the woman who loved him the best,
And the children stood watching them out of the town;
For men must work and women must weep,
And there's little to earn and many to keep,
Though the harbor bar be moaning."
This is one of the largest pictures in Mr. Walker's collection. It repre
sents a peasant woman, the wife of a sailor, sitting near a rude fireplace
with a babe in her lap. Apparently she has just been warming the little
fellow's feet prior to putting him to bed. The child is sleeping and his
legs and feet are exposed to the fire, which throws a bright reflection on
them. His mother's head has dropped half to one side and is resting against
the wall back of her chair. The eyelids are half closed, indicating that she,
too, is just upon the point of falling asleep. The great strength of the
picture is in the expression of the mother's face. It is one of utter weariness
in the waiting and watching, mingled with anxiety and sadness. She has
been thinking and wondering as to her husband's safety, and at last has
yielded to the influences of tired nature.
The coloring is subdued, but very effective. The treatment harmonious,
and while there are no strikingly arranged highlights and no conspicuous mar
shaling of catchy characteristics, yet there is so much of fine drawing, so
much of rare color — joined to the tender sentiment in the piece — that one
finds it hard to leave the patient, saddened face.
DESMOULINS (Auguste). French School.
Student of J. L. David.
A prominent French painter and personal friend of Rosa Bonheur.

No. 87 — "Napoleon on Horseback."
16x21*4.
The artist simply presents a portrait of Napoleon on his beautiful horse,
the other figures in the picture forming only a fitting background. He and
his staff all mounted, occupy a wooded hill immediately in the rear of his
advancing army. While the trappings of his horse are rich and gaudy,
Napoleon himself is dressed even plainer than the members of his staff, as
he stands slightly in advance, viewing the progress of the battle through
his field glass. One of his faithful soldiers lies dead and unnoticed at his
feet as a mute reminder of the terrible price of Napoleon's greatness, glory,
and power.
DE BRUSH (George F.). American School.
Born in Selbyville, Tenn., 1855.
Figure Painter.
Pupil of National Academy.
Member of American Society of Artists.
Professor of Antique class, Art Students' League.

66 T. B. WALKER COLLECTION.

No. 88— "A Celtic Huntress."
22x17.
The picture is that of a young girl standing erect, and looking intently
and almost defiantly at the person who dares to look in her direction. She
is strongly built, and holds in one hand an arrow, while with the other,
she caresses her faithful hound standing by her side. A very striking figure
piece, and a fine and characteristic example of this American artist's work.

DEL SARTO (Andrea). Born at Florence in 1487.
Died there in 1531.
"Andrea d Agnolo is commonly known as Andrea del Sarto from the
profession of his father who was a tailor. He has till lately been miscalled
Vannucchi. Giovanni Cinelli writing in 1677 was the first to call him by
that name. The mistake arose through the misreading Andrea's mono
gram of two A's for an A and a V crossed. * * * His name was An
drea Agnolo di Francesco di Luca di Paolo del Migliore. He was born
at Florence in 1487, and having shown an early disposition for drawing he
was placed with a goldsmith to learn the business of engraving on plate.
In this position he was noticed by Giovanna Barile, an artist of little note,
who persuaded his father to entrust him to his care. Andrea remained
under that master for three years, and afterwards entered the School of
Piero di Cosino, who was a better colorist than draughtsman, and from
him he acquired the habit and knowledge of painting those beautiful land
scape backgrounds which are seen in many of his works. Andrea was,
however, more indebted for the cultivation of his talents to his studies
from the frescoes of Masaccio and Ghirlandaio, and afterwards from the
cartoons of Leonardo da Vinci and Michelangelo than to the lessons of his
instructors. Andrea del Sarto possessed an extraordinary talent of imi
tating and copying the works of great masters with an accuracy which
sometimes deceived even the painters themselves. Of this Vassari men
tions a very remarkable instance of which he was himself an eye wit
ness. Raphael had painted for the Cardinal Giulio de Medici, afterwards
Clement VII, the portrait of Leo X seated between that prelate and Car
dinal Rossi, in which the drapery and background were painted by Giulio
Romans. Federigo II, Duke of Mantua passing through Florence to Rome
had seen this picture, and had requested Clement VII to make him a
present of it, when the Pope gave directions to Ottaviano de Medici to
send the portrait to Mantua. Unwilling to deprive Florence of so interest
ing a work of art, Ottaviano employed Andrea del Sarto to paint an exact
copy of it, which was sent to the Duke of Mantua at the time when Giulio
Romano was in his service. No person suspected the deception; even
Giulio was himself deceived, and was only convinced of the fact by Vasari
assuring him that he had seen it painted, and by showing him the private
mark of Andrea del Sarto." — Painters and Engravers.
"The works of Andrea d Agnolo are distinguished by drawing so cor
rect that his contemporaries named him 'The Faultless;' also by delicate
modeling and good chiaroscuro. His coloring is fine, and the general exe-

 INDEX AND BIOGRAPHICAL NOTES. 67
cution of his works in fresco excellent. As regards his figures, they have
much dignity, and those introduced with Biblical subjects have a more
Eastern appearance than those in the works of his contemporaries."
— Painters and their Works.

No. 89— "Madonna and Child."
35*^x2954.
From the Collection of Hans Greven, Munich.
The "Gallery Greven" was organized at Munich upwards of one hun
dred years ago, and was sold out at private sale in the early part of the
year 1912.
Like his portrait of Leo X, for the Duke of Mantua, this work fol
lows closely the style of Raphael with the possible exception of a very
slight stiffness of his figures. The drawing, however, is exceptionally fine,
and the coloring is all but faultless. The beautiful face of the Madonna
actually glows with the radiance of maternal love, while the delicate hands
tenderly clasp the divine infant. The child is well formed, and unlike the
babes in many notable works of this character, is truly infantile, not only
in flesh tones, but in attitude, form and feature.
Just one touch of nature makes all the world kin,
Bringing back tender memories where e're we may roam;
But when love is exemplified, our hearts once again,
Instinctively turn back to Mother and home.

DIAZ DE LA PENA (Narcisse Virgile) - - - - Paris
Born at Bordeaux, August 21, 1808.
Died November 18, 1876.
Genre and landscape painter.
A romantically picturesque figure in art is that of Diaz. Born in 1808
at Bordeaux, of Spanish parentage, who had been banished from their native
country on account of political troubles. At ten years of age Diaz was left
an orphan, and at fifteen he was apprenticed to a maker of porcelain, where
his talent first displayed itself. He quarreled with and left his master, and
subsequently spent several years in most bitter poverty. After his ability
as a most wonderful colorist had been recognized, Diaz painted and sold
many pictures, endeavoring by the accumulation of a fortune to avenge the
poverty of his youth. He died at Paris from the sting of a viper, in 1876.
Medals in 1844, 1846 and 1848. Legion of Honor, 1851. Diploma to the
memory of Deceased Artists, Exposition Universelle, 1878.
No. 90— "A Pleasant Road."
8x10*4. '
From the collection of Herzog Freres, Paris.
Another of this artist's little gems. A lone woman is seen wending her
way down an unfrequented road, winding its devious way through a wooded

68 T. B. WALKER COLLECTION.

landscape. Here we pass a great boulder o'ergrown with moss and wild
flowers, while a little farther on, the old road skirts the reed-grown shore
of a crystal pool. The sky is partially obscured by clouds and now and
then the sun breaks through, dispelling the shadows and tinting the land
scape with ever changing fields of light and shadow.

No. 91— "A Pathway Through the Forest."
6x8.
From the collection of Herzog Freres, Paris.
This beautiful little landscape is from Brittany. A pathway through
the forest, skirted on either side by shrubs and wild flowers, here it bends
around a great tree and then it follows the banks of the crystal brook.
The sun is obscured, except for the moment; the lonely traveler sees a
rift in the billowy clouds and the mellow lights shed glory on the distant
trees.

No. 92— "Nymphs at the Pool."
1554x1254.
From the collection of Herzog Freres, Paris.
At a secluded pool in the forest, five Nymphs are disporting themselves
in the limpid waters. Three have already finished their toilet and languidly
watch the others who are yet in the water. Under the shadow of an over
hanging bush, the faithful dog keeps watch while the crystal waters mirror
back the radiant tints from the sun-kissed sky.
The work of this painter fascinates not only by the perfect harmony of
colors, but by the energy and life given to all his figures.

No. 93— "Gathering Wild Flowers."
9x1254.
From an old French collection.
Beneath the friendly shade of the wooded shore, a bevy of young girls
are resting and admiring the bunches of wild flowers gathered along the
banks of the lake. Behind them the forest is dense and the shadows deep,
except for one rift in the foliage, through which peeps the blue of the azure
sky. The dog, jealous lest he be forgotten, ardently courts recognition from
his young mistress and insists upon being considered as a necessary adjunct
to the merry party.

No. 94 — "A Summer Afternoon."
1254x9.
From the collection of Herzog Freres, Paris.
A young lady attired as for the ball is seated at the foot of a vine-clad
tree, accompanied by her faithful dog. The deep shadows of the adjoining

INDEX AND BIOGRAPHICAL NOTES. 69
woods cause the white figure of the girl to stand out in bold relief. With
flower in hand, she seems intently looking and waiting for someone whom
the painter has left to conjecture.
Like all of Diaz' paintings, the colors are pleasing and the subject well
chosen.

No. 95— "The Forests of Fontainebleau."
16x21.
This renowned forest extends over an area of 81,740 acres and is trav
ersed by 12,000 miles of road and pathway. It is one of the most beautiful
wooded tracts in France, and for generations it has been the chosen haunt
of French landscape painters. The most celebrated spots are the Vallee
de la Solle, the Gorge au Loup (Wolf), the Gorge d'Apremont, and the
Fort l'Empereur. The town of Fontainebleau stands in the midst of the forest
in the department of Seine et Marne, about thirty-seven miles southeast from
Paris, on the railway to Lyons. The village of Barbizon also stands on the
border of the forest of Fontainebleau.
This beautiful little picture represents one of the numerous paths through
the forest. Dark clouds cast a deep shadow on the foreground, but in the
distance the pathway and trees are bathed in the soft light reflected through
a rift in the cloud.
No. 96 — "Fresh Air and Pleasant Sunshine."
5j4x8.
Like all of Diaz's works, this little panel is a gem of art. On a mild
summer's day, when the rays of the sun are tempered by light, fleecy clouds,
grandma takes a stroll through the wooded pastures, enjoying once more the
fresh air and pleasant sunshine. The hurrying clouds cause alternating fields
of sunshine and of shadow to chase each other over hills and meadows, while
the leaves gently rustle in the soft breeze, wafted thither from the distant
hills. No. 97— "Flora."
1454xl0j4-
A very graceful female figure with flowing hair and airy costume of dark
blue is standing in a wooded glade, bearing on her arm a basket of flowers,
and accompanied by two persuasive cupids. The pose of the figure is very
graceful, while the soft, warm flesh tints, and the management of the foliage
and clouds forming the background show both a masterly knowledge and a
refined sense of beauty. Diaz's pictures show him to have been a colorist
of the most brilliant splendor.
From Sedelmeyer, Paris.
No. 98— "Social Gathering of Turkish Women."
1554x12.
Seated upon rugs spread upon the ground, after the manner of the far
east, three Turkish women of the nobility are gathered around a tray

70 T. B. WALKER COLLECTION.

containing a Turkish pipe and a small jar of tobacco. The ladies are with
out veils, which would indicate that they are within the private grounds of
the home of the hostess. All are attired in elaborate gowns, rich head
dress, and a profusion of jewels and costly laces. This class of pictures is
of necessity extremely rare, as an artist is seldom privileged to make such
sketches, and then only for the privilege of painting a picture for the noble
man's harem.

No. 99 — "Turkish Women Entertaining."
15x19.
It will be observed that the three women seated, are the same, and
in the same position as those in the preceding picture, "Social Gathering
of Turkish Women." In this interesting work, however, two more char
acters are introduced. The lady's maid or servant has removed the tray
containing pipe and tobacco, and has placed in its stead a pedestal-like
stand, upon which is a rare old liquor decanter and a small metal drinking
cup. The beautiful young daughter of the hostess has also arrived on the
scene, and stands just back of the ladies, holding in her arms her pet dog.
It is evident that the artist made the most of this opportunity, really se
curing two rare and charming groups from practically one sitting, and luck
ily both have found their way into this collection, which gives to each an
additional interest.

No. 100— "Turkish Woman and Children."
24x17.
A young Turkish mother, no doubt the wife of a Pasha, is seated un
der the shadow of the trees, within the private gardens of her own home.
Her attire consists of a royal-blue blouse, and a rose-colored gown of rich
material, elaborately trimmed in gold and lace. Folded across her lap is a
rare Persian shawl, while the head is surmounted by a crown-like tiara
with the veil, with which the face is always covered when appearing in
public, — thrown lightly over the crown and falling in graceful folds over the
shoulders. The arms and neck are encircled by pearls, and other gems
adorn the hands, the ears and crown-like head-dress. Immediately back of
the mother stand her two beautiful young daughters, each attired as richly
as the woman. The children's faithful dog receives the caresses of his
noble little mistress, with a dignity commensurate with his exalted posi
tion, believing, no doubt, that the group would be incomplete without him.

No. 101 — "A Memory of Normandy."
2154x26.
This important province of the French Republic occupies practically
the whole north portion of ancient Gaul, Rouen being the capital city. The
settlement and beginning of the Norman state are commonly placed in the
year 912 A. D., Rolf or Rou; the Norman leader received the country as a

INDEX AND BIOGRAPHICAL NOTES. 71
grant from Charles the Simple, king of Carolingia, and it continued prac
tically an independent country until the reign of Richard the Fearless (about
987) after which it was considered a part of France. While some provinces
such as Burgundy, Poitou, and Lanjou are more important as agricultural
and fruit districts, yet Normandy with its beautiful rivers, historic cities,
and picturesque coast line is certainly a painter's paradise. The artist pre
sents a diversity of interesting landscape, and naturally gives to his at
mosphere a warmer tone than is found in his gem-like figure pieces and
miniature landscapes.

DIETERLE (Mme. Marie). Born at Sevres, France.
Landscape painter.
Daughter and pupil of E. Van Marcke.
Her paintings are as soft and attractive and at the same time as beauti
fully painted as those of her father. In fact, her works are more sought
after than any other lady artist.
No. 102— "Going Home From the Pasture."
27x21.
As the shadows of the evening deepen the old lady drives the cows
home from wooded pasture. Those in the lead seem to hesitate as though
we stood in the way, and only a few more steps would bring them through
the frame and off the canvas. The picture resembles very much the work
of her illustrious father, Emil Van Marke.
DIETRICH (Christian Wilhelm Ernst).
Died at Dresden, April 24, 1774.
Student of his father and Thiele.
He was sometimes called Dietrici or Dietricy.
Appointed court painter to Augustus II. of Poland, 1729.
Same under Augustus III. of Poland in 1741.
Professor Academy of Arts, Dresden.
Director of the Painting School at the Meissen Porcelain Factory.
"His chief talent consisted in a successful imitation of the works of
Rembrandt, Ostade, Poelemburg, Salvator Rosa and others, particularly as
a colorist, in which he greatly excelled. In 1746 he became keeper of the
Dresden Gallery, in which he is very fully represented."
— Bryan's Dictionary of Painters and Engravers.
"There were several artists of this name, of whom Christian was the
most distinguished. He traveled in Holland and in Italy, was protected by
Count Bruhl, and became painter to Augustus, King of Poland. He pos
sessed extraordinary skill in imitating old masters and was an excellent
colorist." — Painters and Their Works.

72 T. B. WALKER COLLECTION.

"His chief merit lay in successful imitation of the works of Rembrandt,
Ostade, Poelemburg and Salvator Rosa, though he had much original excel
lence. He painted historical subjects enriched with landscapes in a good
style." — Pilkington's Dictionary of Painters.
No. 103— "The Crucifixion."
26x35.
From the collection of Alberto Remond, of Caiffa, Syria. Taken there
with him when appointed minister from France.
"And when they had come to a place called Golgotha, that is to say, A
place of a skull, they crucified Him and parted His garments." The two
thieves and Jesus under guard of a squad of Roman soldiers, and surrounded
by those who had accused Jesus before Pilate, have arrived at the place of
execution. The two unfortunate men who had fallen a prey to selfishness
and greed, one sitting and one standing, are under guard at the rear of the
noisy mob around Jesus. At the left is "the centurion and those that were
with Him," including His mother and a few faithful followers. While the
Roman soldiers strip Jesus of His raiment, scourge, and otherwise abuse and
maltreat Him, the Priests, Scribes and Pharisees look on in ghoulish satis
faction, as they are about to see the consummation of their earnest endeavor
to be rid of this Nazarene who had dared to teach a different doctrine than
that accepted by the majority of His people. They had raised a great mob
and, in the darkness of night, had laid hands on Him and took Him before
Caiaphas, the High Priest, where the dignitaries of the church had assembled
ready to condemn Him. Arriving there, the usual inquisition was held and,
as prearranged, He was condemned, and carried before Pilate (the civil
tribunal), and when that governor asked what wrong He had done, they
answered simply, "If He had not been a malefactor we would not have
brought Him before you." After a long parley, Pilate said: "Take Him
and do with Him as you will." They said: "It is not lawful for us to put
any man to death," but "we have a law and by that law He ought to die."
This was a civil law that had found its way into the statutes of Caesar's do
mains through the influence of those same scribes, priests and Pharisees,
who were now compelling the civil power to enforce it. How exactly like
all religious persecution, and it proves beyond a reasonable doubt that ma
jorities are not of necessity divinely right.
The biographies of all the great masters show that in their mature age
they were wont to reproduce these notable scenes from the life of Christ,
giving to the world in them not only the very best examples of their handi
work, but in their faithful portrayal, to emphasize the great truths and les
sons which these events were intended to establish in the minds of men
through all generations.
A study of the figures, grouping and expressions, together with the well-
executed landscape, shows Dietrich to have been a profound student as well
as a great artist.
No. 104— "Notable Events in the Life of Jesus."
26x35.
From the collection of Alberto Remond, of Caiffa, Syria taken there
with him when appointed minister from France.

INDEX AND BIOGRAPHICAL NOTES. 73
On the right we see the marriage in Cana of Gallilee when Jesus per
formed His first miracle. From this we see the Apostles healing the sick,
feeding the hungry, clothing the naked, and burying the dead; thus follow
ing out the teachings of the Master: "A new commandment I give unto
you, that you love one another." How well the Apostles understood this
is shown in James's saying: "Pure religion and undefiled before God and
the Father is this, To visit the fatherless and the widows in their distress
and to keep himself unspotted from the world." Upon these works of char
ity, of friendship, of love, He would establish His church.
The great artist has placed his church at the last in the line to show
the idea of its having been established upon the one grand principle of un
feigned charity, that sees in any human being a brother man, and not the
evil things that have encompassed him. The figures in this old painting are
remarkably well drawn, the colors are soft and harmonious, and the whole
composition exceedingly well and artistically done.

No. 105— "Christ's Head on Napkin."
21x17.
There is a tradition that when Christ was laid in the sepulchre that
a napkin was placed over his face, which when found after the resurrec
tion, had upon it in dim outlines, a perfect likeness of the face of Jesus
as it appeared in death. In deference to this tradition, Dietrich conceived
this extraordinary picture. It will be observed that the face is painted
upon the picture of a small linen napkin. A casual look shows only the
outline of the face as it would appear in death, while the eyes sunken and
closed, but upon looking carefully at the picture from certain angles, the
beholder will be surprised to find that the eyes are open and looking di
rectly at them. Dietrich painted many religious works, and it is generally
believed he painted this while keeper of the Dresden Gallery.

DOLCI (Carlo). Born in Florence, May 25, 1616.
Died there January 17, 1686.
Florentine School; studied with Jacopo Vignali.
"Charles Blanc calls him the true representative of Jesuitical art. The
tone of his coloring is generally adapted to the character of his subjects,
being always soft and harmonious. Some of his female figures are better
than any of his male subjects. He was the last of the Florentine school,
as well in style and taste as in point of time."
— Cyclopedia of Painters and Paintings.
"He painted pleasing and highly finished pictures, chiefly confined to
devout subjects and most frequently representing heads of our Saviour and
of the Virgin. These are not so much admired for the particular beauty of
character, as for soft and tranquil expression of devotion in the patient suf
fering of Christ, the plaintive sorrow of Mater Dolorosa, or the compunc
tion of a saint in penitence. Subjects of that description he has treated with
great delicacy and tenderness. The general tone of his coloring is well ap
propriated to the character of his subjects, nothing is harsh or obtrusive;

74  T. B. WALKER COLLECTION.
all is modest, placid and harmonious. He generally painted in a small size,
though there are some pictures by him as large as life at Florence, of which
the principal are, the St. Anthony, in the Florentine gallery; the Conception,
in the collection of the Marchesi Riccardi; and the St. Sabastian, in the Corsini
palace. There is a fine picture of Christ Breaking the Bread, in the collec
tion of the Marquis of Exeter, at Burleigh. His small pictures of heads of
the Madonna are numerous, and are highly valued by the admirers of pol
ished and laborious finishing. There are many of his pictures in England,
besides that at Burleigh, and they obtain very high prices in public sales."
^Bryan's Dictionary of Painters and Engravers.
"He was particularly fond of painting sacred subjects, and his works
are easily distinguished, not so much by any superiority to other great artists
in design or force, as by delicacy with which he perfected all his composi
tions by a pleasing tint of color, improved by a judicious management of
a chiaro-oscuro which gave his figures a surprising relief, by the graceful air
of his heads, and a general harmony, accompanied with exquisite finishing.
His pencil was tender, his touch inexpressibly neat, and his coloring trans
parent, though he has often been censured for the excessive labor bestowed
on his pictures." — Pilkington's Dictionary of Painters.
"His works were distinguished for their appropriate composition and
expression, for their pleasing coloring, improved by a judicious management
of the chiaro-scuro, which gives his figures a surprising relief, for the graceful
air of his heads, and for their general harmony and exquisite finishing. The
soft and tranquil expression of resignation or devotion in the patient suf
ferings of Christ, the plaintive sorrow of the Mater Dolorosa, the compunc
tious visitings of conscience in his Magdalens, are all treated with great
delicacy and tenderness. His pencil was delicate, his touch inexpressibly
neat, his coloring transparent. He has been censured for bestowing im
mense labor on his works, and for giving his carnations more of the appear
ance of ivory than of flesh. In his manner of working he was remarkably
slow, and it is reported of him that his brain was affected on seeing Luca
Giordano despatch more work in four or five hours than he could have done
in so many months. He generally painted in small size, though he executed
some works of the size of life." —Spooner's History of the Fine Arts.

No. 106— "The Light of the World."
1654xl4**4.
From Collection of J. Goddard, Esq., North Hampstead.
In the center of the picture, apparently standing out from the canvas,
as a bas relief, is the infant Jesus and His mother. The hands and face of
the latter— although some 270 years have intervened since the painter's brush
modeled them— have the appearance of ivory, while the expression of loving
veneration has probably never been excelled.
The figure of the Child, although small, is not only beautiful but ex
tremely natural in flesh tint and figure.
Practically all the light within the modest stable seems to radiate from
the lowly cot of the Divine Infant— the reflections bringing dimly to view
the outlines of the building and the gentle cow reposing upon the stable floor.
The painting shows not only the patient work of the master, but a ven
eration almost equal to worship in its production.

INDEX AND BIOGRAPHICAL NOTES. 75
No. 107— "The Madonna."
Oval, 30x2554.
From the collection of Lord Buckland.
The portrait is that of a young woman with perfect oval face, classic
features and with downcast eyes. A sombre brown wrap covering the well-
poised head is being held at the breast by the half folded hands. Over this is
thrown a royal blue scarf, hanging in soft folds over the graceful shoulders,
partially hiding the plain red gown. The whole figure is elegantly drawn
and most artistically colored. Each — and it is safe to say, everyone — of the
great masters used as models for the Madonnas, either a revered mother, a
dear sister, a sweetheart, or a loving wife. Dolci, it will be remarked, was
most fortunate in his selection of a subject for this splendid picture, and the
sincerity of feeling, coupled with the charming innocence expressed in the
beautiful face, is ample proof that his model was some one no less dear than
wife or sweetheart. 'Tis said that "All the world loves a lover," but Dolci
had learned also that all the world would love the beloved, and therefore
paints into the truly sweet face, a depth of soul and modest sentiment that
at once appeals to every eye, and mysteriously reaches to every heart.
DOBSON (Sir William). Born at Holborn in 1610.
Died in London, October 28, 1646.
"After Vandyck's death, Dobson became sergeant-painter and groom of
the privy chamber. He painted Charles I, Charles II, Prince Rupert, and
many other notable personages." — Cyclopedia of Painters and Paintings.
"Sir Joshua Reynolds speaks of him as one of the greatest artists Eng
land has produced. His touch was bold and free, his coloring warm and har
monious, and, though inferior to Vandyck in the gracefulness of his figures,
yet he gave a life, dignity and truth to his portraits which has seldom been
surpassed. His works are highly esteemed, and are to be found only in the
big galleries and the collections of the nobility of England. Specimens can
be seen in the superb galleries at Wilton, Belvoir, Chatsworth, Blenheim,
Stowe, Windsor, Chiswick, Devonshire House, Castle Donninton, Althorpe,
etc." — Spooner's History of the Fine Arts.
"Vandyck, passing a shop on Snowhill, perceived a picture exposed for
sale in the window which had sufficient merit to excite his curiosity to dis
cover the painter, whom he found at work in a miserable garret. The well
known liberality of Vandyck soon relieved him from his wretched situation;
he afterwards introduced him to the king, and zealously recommended him
to his Majesty's protection. On the death of Vandyck, Dobson was ap
pointed sergeant-painter to the king, whom he accompanied to Oxford, where
he painted his portrait, that of Prince Rupert and several of the nobility.
"Of the painters of his time, Dobson appears to have approached nearest
to the excellent Vandyck. His portraits are faithful transcripts of nature,
and although he was not equally successful in his historical pictures, the
few of them that he painted are not without considerable merit. One of
his best, works in history is the 'Decollation of St. John,' at Wilton. Several
portraits by Dobson are in the Northumberland House, at Chatsworth, in
Devonshire House, and other mansions of nobility."
— Bryan's Dictionary of Painters and Engravers.

76 T. B. WALKER COLLECTION.

"Charles I distinguished him by the name of the English Tintoret. While
at Oxford, he also painted the portraits of the Prince of Wales, Prince Ru
pert, and many of the nobility.
"He was certainly one of the most eminent painters of his time, and an
equal honor to the art and to his native country. His manner is bold and
free and has an abundance of sweetness with a charming tone of color; and
though inferior to Vandyck in the gracefulness of his figures, yet he gave
life, dignity, and sentiment to his portraits; and for truth, character and re
semblance few have surpassed him." —Pilkington's Dictionary of Painters.
"The portraits by him are warmer in color than those by Vandyck, but
they are lifelike, and, it is said, were capital likenesses." — Painters and Their Works.

No. 108— "Admiral Robert Blake."
27x2354.
Celebrated British Admiral, born at Bridgewater in Somersetshire, about
1599. Educated at Oxford, he was elected to Parliament in 1640; was ap
pointed "General of the Sea" in 1649, and after many victories he resigned
about 1654, and became a member of the first two parliaments summoned
by Cromwell. In 1656 he destroyed the Spanish fleet at Cadiz. He is con
sidered as the founder of the naval supremacy of England. He died about
1657. The features are clearly defined, the coloring true to nature, and the
whole delicately finished.

No. 109— "The Earl of Pembroke."
29x2454.
From the S. T. Smith Collection.
(Mr. Smith is the author of Catalogue Raisonne.)
William Herbert, Earl of Pembroke. Born at Wilton, England, in 1580.
Was Lord Steward of the king's household about 1626. He is supposed to
be the person to whom Shakespeare's sonnets were addressed. Pembroke
College was named in honor of him. He died in 1630.
While the colorings are warm and modest, yet the outlines are clear and
distinct; and the life, dignity and grace given to form and feature, indicate
this one of the best productions of one of England's greatest painters.
No. 110— "Earl of Winchester."
30x25.
Charles Paulet, son of John Paulet, Fifth Marquis of Winchester
Charles became the Sixth Marquis upon the death of his father in 1674 S
being then about seventy years of age he died in 1680 tj,. . •?
painted while he was Earl, likely between 1641 and" Sas^ob'sonwasTp!
pomted Court Painter upon the death of Vandyck in 1641 A very We Hke
portrait, in the usual soft colors of this noted portrait painter.

INDEX AND BIOGRAPHICAL NOTES. 77
No. Ill— "Henrietta Maria, Queen of England."
1954x16. .
From the collection of General Bulwer.
Queen of England, wife of Charles I. She was born in Paris, November
25, 1609. She was the youngest child of Henry IV of France by his second
wife, Maria de Medici. On March 30, 1625, she was married at Paris by
proxy to Charles I, king of England, only a few days after his ascension to
the throne. She very soon gained the affections of her husband, and the
great influence she gained over him became obnoxious to the English nation
by her undisguised partiality to the Catholic faith. In 1644, a few days afteft
the birth of her last child, Henrietta Anna, she narrowly escaped being taken
prisoner by Essex and fled to France, where she suffered many hardships,
although receiving a pension from the French government. She died sud
denly at her house in Columbus, France, on September 10, 1669, her body
being buried in the Abbey of St. Denis with the exception of her heart, which
was entrusted to the nuns of the Marie de Chaillot. This portrait of the
queen was painted about 1635, only a few years after her marriage to Charles
I, and as Dobson gave truth and character to all his portraits, the picture is
without doubt a true likeness of the queen at this period. The painting is
done in this great English master's charming tone and unusual individuality.
DUGHET (Gaspard) - - - ("Poussin")
Commonly called Gaspard Poussin.
Born at Rome, 1613.
Died there in 1675.
Student of his brother-in-law Nicholas Poussin.
Influenced in his later works by Claude Lorraine.
"His parents were French subjects who had settled in the Eternal City.
They appear to have been people of a kindly disposition, for about 1629
they received into their house their fellow countryman Nicholas Poussin,
then a lonely and friendless student in Rome, and nursed him tenderly
through a dangerous illness. This friendship brought about the great paint
er's marriage with a daughter of his host. Nay, more, Poussin seeing the
inclination of the young Gaspard towards art, took him as his pupil, and for
three years carefully superintended his instruction.
"After leaving Poussin's studio, his independent nature led him, though
scarcely yet twenty, to set up for himself. * * * He spent a year at Pe
rugia and Castiglione with the Duke della Cornia, who treated him with great
consideration and escorted him back to Rome. * * * He made a trip to
Milan, * * * followed by visits to Florence, * * * and to Naples, be
fore he once more settled down in Rome. This point may be said to mark
the conclusion of the first period of Dughet's art, during which the works
produced by him are to be distinguished by a coldness and certain want of
freedom. He now came under the influence of Claude Lorraine at this time
in the zenith of his fame at Rome.
* * * His partiality for quiet lights should first be mentioned. He
excels in the representation of effects before sunrise, and in the reproduc
tion of the peaceful tones of evening. * * * The leaves seem to move
and the trees to cease to be inanimate objects under his brush." * * *
— Painters and Engravers

78 T. B. WALKER COLLECTION. 
"Gaspard Poussin's landscapes approach nearer to nature — that is to
say, have less of what is termed 'classical' than Claude Lorraine's, but they
look heavy when placed alongside of those of his great rival. His 'The Call
ing of Abraham' brought $9,975.00 at the Sir P. Miles sale in 1882."
— Painters and Their Works.

No. 112— "The Hilly Country Near Jerusalem."
30x45.
Originally from the collection of Lord Buckland. Later in an old New
York collection stored for a number of years and only recently offered for
sale. The country aptly described by Moses as "A land of hills and valleys."
The whole of Palestine or Holy Land is mountainous, being traversed by a
portion of the Lebanon chain, Mount Hermon, about one hundred miles
north from Jerusalem, reaching an altitude of 9,100 feet, but none of the
others being above four thousand feet. In the center of the picture two
women are seated upon the ground, while a man stands calling to their at
tention the approaching messenger. Farther away two men are bathing in
the mountain stream, which goes rushing on its devious course to the sea,
o'ershadowed by spreading trees which border the winding shores. Beyond,
the rugged hills rise abruptly from the wooded valleys, their gray summits
in many instances, being crowned by a quaint castle or a ruined tower,
and touched by the mellow light of early morning.

DURER (Albrecht). Born at Nuremberg, May 21, 1471.
Died at Nuremberg, April 6, 1528.
Pupil of Michael Wolgemuth, 1486-1490.
The great representative painter of Germany, was of Hungarian descent,
and perhaps connected with a Hungarian family named Ajtos who had lived
for many generations in a little village of the same name (Eytas, as Durer
wrote it) near Gyula. This name of Ajtos, derived from "ajto" (a door),
signifies the same as the German "Thurer" or "Durer." * * * It is sig
nificant that Durer bore the same arms; namely, the open door under a
pent-house roof. * * *
During this period; namely, from 1494 to 1505, he executed several of
his larger copper plates. * * * Durer's connection with the Emperor
Maximillian I began in 1512 and continued till his patron's death, in 1519.
* * * Durer's art is essentially German in character, and those who admire
the Italian ideal find nothing in it to desire. * * * "In creative richness
of fancy, in extensive power of thought, and in moral energy, and in earnest
striving, Durer," writes Lubke, "must be called the first of all German mas
ters, and as regards artistic gifts, need fear no comparison with any master
in the world, even with Raphael and Michelangelo."
This is no doubt true to some extent. We do not find in Durer's art the
classic ideal, or the perfection of man's physical nature, nor the spiritual
ideal of the early religious painters, nor the calm dignity and rich sensous
beauty of the great masters of Italian Renaissance, but in it we find a noble

INDEX AND BIOGRAPHICAL NOTES.  79
expression of the German mind, with its high intellectual powers, its daring
speculative philosophy, its deep-seated reverence, its patient laboriousness,
and its love for the wierd and grotesque."
— Bryan's Dictionary of Painters and Engravers.
"From 1505 to 1507 he lived at Venice where he was much esteemed as
a painter, and though he lost none of his German spirit, felt the charm of
the Italian Renaissance masters, Bellini and Montegna, whose influence he
showed in his subsequent works. He attended the coronation of Charles V at
Aix-la-Chapelle and obtained the appointment of court painter before his
return to Nuremberg where he continued to work until his death."
— Cyclopedia of Painters and Paintings.
No. 113— "The Crucifixion."
1354x10.
From the collection of T. L. Conklin, New York.
"And when they were come unto a place called Golgotha, that is to
say, a place of a skull, * * * they crucified Him, and parted his gar
ments, casting lots; that it might be fulfilled which was spoken by the
prophet, "They parted my garments among them, and upon my vesture did
they cast lots." * * * Jesus, when He had cried again with a loud voice,
yielded up the ghost, and behold, the vail of the temple was rent in twain
from the top to the bottom; and the earth did quake, and the rocks rent.
And the graves were opened; and many bodies of the saints which slept,
arose. * * * Now, when the centurion and they that were with him
watching Jesus, saw the earthquake, and those things that were done, they
feared greatly, saying, Truly this was the Son of God." For three hours
(from the sixth to the ninth) a pall of darkness was over the whole land,
and over yonder, almost in the shadow of the cross is Jerusalem, with the
magnificent temple of Soloman, wherein the vail which separated the world
from the holy of holies, or the throne of God's grace, was rent in twain
from the top to the bottom, as the Great High Priest had made an offering
of Himself for all men, and for all time, opening the way, that whosoever
will, might come into the presence of his God without further mediation or
further offerings. Durer has put upon this small canvas a graphic picture
of this all-important moment, without doubt the most momentous in the
whole history of the human race.
DUPRE (Julien). French School.
Born in Paris, March 17, 1851.
Landscape and Genre Painter.
Pupil of Pils, Lehman and Laugee.
Medals Third Class, 1880; Second Class, 1882.
No. 114 — "Landscape.
25x36.
This magnificent landscape is from Southern France. Time is midsum
mer when kind nature bestows her richest bounties upon the hills and in the

80 T. B. WALKER COLLECTION.
valleys and the lights and shadows chase each other o'er the blossoming
trees and the broad expanse of waving grass. In the distance are several
groups of cattle beyond the rustic bridge which marks the course of the
roadway across the meadows. In the foreground, a young peasant girl,
with stick in hand, seems to give her attention to some cows and sheep
resting on the flower decked shore of the crystal pond, while immediately
in the rear, partially hidden by spreading trees, is the humble home. The
verdure is not overdone; the painter simply reproduced nature as he found
it in this sun-kissed Southern clime.

DUPRE (Jules) - - - - - France
Born at Nantes, in 1812.
Landscape painter. One of the most original and powerful of the modern
French or Barbizon School of Painters.
"That he carries love of nature to exaltation, he, equally with Corot, de
picts in landscape what he has felt as well as what he has seen. * * *
Under his feeling all parts of a scene are softened into a harmonious whole,
and exactness of detail is subordinated to the interpretation of impression.
Nevertheless, he accepts nature on her own conditions in the main, and, like
Constable, whose methods formed his most important instruction, in securing
the reality he secures the charm."
— A History of French Painting, by C. H. Stranahan.
No. 115— "Evening."
12x15*4.
No doubt a scene in Brittany. The shepherd has brought his flocks and
his cattle from the fields and, while the good wife milks the cows, he and
the lazy sheep rest themselves upon the grass. On the shore of the winding
river, moss grown and quaint, stands the humble cottage only partially
visible in the shadows of overhanging trees. In the west, the setting sun
reflects his glory upon the white capped clouds and tints to gold the mea
dows and the crested hills.
No. 116— "A Summer Idyl."
7x9.
In this little gem, the artist presents a shady pasture, with cattle lazily
feeding, while others are slaking their thirst at the running brook.
Although the design is small, yet every detail is perfect.
The trees, the grazing herd, the crystal waters, and the delicate tints
.>f cloud and sky, make of this a fine example of Dupre's smaller paintings.
No. 117— "The Coast of Brittany."
19x23.
On the right, one huge precipitous rock stands like a sentinel on the
long stretch of sandy beach. Three sails are in sight, one almost hidden in

INDEX AND BIOGRAPHICAL NOTES. 81
the dark shadow of the heavy cloud approaching in the distance. A light
breeze drives small white-capped waves upon the shore, while the ominous
clouds indicate an approaching storm. A fine, strongly colored, beautiful
painting.

No. 118— "The Drinking Pool."
25x32.
Characteristic example of the Barbazon School. The drinking pool, al
though occupying a central position in the picture, cannot be considered
the principal object around which the picture is painted, as it is so perfectly
balanced, that the elimination of any object or touch of color, would mar
the whole beautiful composition. It is a poem of nature, every line of
which is in perfect rythm, and all its parts in such complete metre, that it
is extremely difficult to consider it except in its entirety. The scene is no
doubt one of the many beauty spots near the forest of Fountainbleau, some
thirty miles southwest from Paris. The peasant woman rests in the shade
of some friendly trees, while her three cows regale themselves in the drink
ing pool, all but hid from view by overhanging branches. The time is
early autumn when all nature is clothed in her coat of many colors, and
forest and field made glad with the joyful songs of ever happy birds.

DUPRE (Leon Victor).
Born at Limoges (Haute-Vienne), June 18, 1816.
Landscape painter.
Brother and pupil of Jules Dupre.

No. 119— "The Wooded Pasture."
6x8.
In the center of the picture is a beautiful oak tree, and from beneath
its roots a spring of sparkling water bubbles up into a running brook from
which some cows are drinking. Other cattle are scattered in various por
tions of the shady pasture beyond, and all nature seems glad under the vari
colored sky of a summer day.

VAN DYCK (Sir Anthony). Flemish School.
English School.
Born at Antwerp, 1599.
Died in England, 1641.
Pupil of Rubens.
"He is chiefly distinguished as a portrait painter, although he executed
many historical paintings. Wornum says: 'As a portrait painter Van Dyck
is generally allowed to dispute the palm with Titian. His portraits are in-

82 T. B. WALKER COLLECTION. _
ferior to Titian's in color and in solidity of effect. In all other respects Van
Dyck was fully equal if not superior to the great Venetian painter.' "
—Hoyfs The Historic Schools of Painting.
"Inferior to Rubens in imagination and energy of character, he excelled
him in feeling for spiritual beauty, in elevation of sentiment and refinement
of execution. Van Dyck was pre-eminently a portrait painter, and as such
is admitted to rank with Titian; but he also attained to high excellence in
the treatment of sacred subjects.
"In portraiture Van Dyck rises to the greatest height, and fears no
rival but Titian, Holbein, Velasquez and Rembrandt."
— D'Anversi1 Elementary History of Art.
"Van Dyck's best work is in portraiture, and he is one of the most ac
complished masters of that art. First in Italy, and then at the court of
Charles I. of England, he had frequent opportunity to immortalize the
princes, the prelates and the brilliant aristocracy of his time. All of these
pictures are remarkable for a thoroughly dignified conception, a wonderful
refinement of psychological portraiture and for the charms of their in
comparably clear, soft and finely-treated coloring." — Lubke's "The History of Art."
"Refined, elegant, exquisite in taste and sweet in color, his is almost un
rivalled. His hands are noted for their beauty, his heads unconstrained and
full of life and truth; the action, simplicity and dignity of his figures and
grace of his draperies are unsurpassed."
— Redgrave's Dictionary of Artists of the English School.
"In portraiture Van Dyck will not be denied the most honorable place
after Titian, and it will then be admitted that Titian only retains this supe
riority in the heads of his portraits, and that in the hands and accessories he
was inferior to our painter, both in correctness and elegance. His attitudes
are easy and natural, and they captivate by an air of unaffected simplicity
for which his portraits are singularly remarkable. His heads are full of
life and expression, without anything of the coldness and insipidity which
are frequently found in the productions of the portrait panter."
— Bryan's Dictionary of Painters and Engravers.
"According to Fuseli, Van Dyck deserves the next place after Titian in
portrait painting. Inferior to that master in richness and warmth of coloring,
he surpassed him in almost every other respect. He is unrivalled for the
delicate drawing and beauty of his hands; he was a perfect master of drawing
and chiaroscuro; he was admirable in draperies; with simplicity of expression
and graceful attitudes he combined both dignity and individuality; his heads
are full of life and expression without anything of the coldness and insipidity
which are frequently found in the productions of the portrait painter."
—Spooner's History of the Fine Arts.
"No master from beyond the Alps ever took up a higher position than
Van Dyck among the most celebrated representatives of Italian art.
"Van Dyck is one of the most brilliant figures in the history of art.
That he should, in the same subjects chosen by Rubens, have attained the
same degree of expression was scarcely possible. Rubens was exceptional
precisely through the sweep and power of his imagination; but Van Dyck,
applying the same principles to portrait painting, was no less exceptional!
Titian, Raphael, Rembrandt, Velasquez, and Frans Hals are not, on the
whole, superior to him in this branch. They often delight us with their tech-

 INDEX AND BIOGRAPHICAL NOTES. 83
nical excellence or penetrating study of individuality, but their conception re
mains entirely different from that of Van Dyck. With him, as with Rubens,
physiognomical interpretation is so intimately connected with picturesque
necessity that his portraits scarcely ever fail to leave an indelible impression
on the mind." — Encyclopedia Britannica.
No. 120— "Children of Charles I."
48x41.
From the Collection of the Duke of Sutherland, Trenham Hall,
Stoke on Trent.
The children are Prince Charles, who became King Charles II, Prince
James, who became King James II, and Princess Elizabeth. A beautiful and
interesting portrait in Van Dyck's finely treated coloring.
No. 121— "Portrait of a Jewish Rabbi."
32x26.
From the collection of Dr. Thompson, of Sheffield. Has been always
regarded as a genuine painting by Van Dyck and has all the excellent qual
ities and characteristics of this great painter. The collection contained a
considerable number of very fine genuine paintings of the leading English
artists. This portrait represents a Jewish Rabbi with his hat on, and his hand to
his face. It is characteristic of Van Dyck, as he was most noted for his
painting of the hands. The picture is very finely drawn, remarkably natural
in color and one of his characteristic portraits. It stands well its compari
son with the Rembrandt and Hans Holbein portraits of this gallery. These
three artists rank among the five greatest of all the portrait painters, as
they are commonly classed by the art writers, the other two being Frans
Hals and Velasquez. No. 122— "Mother and Child."
4854x37.
From the collection of Comte Andre de Ganay, Paris.
The remark has oftimes been repeated by persons familiar with this
great master's works, that it is not probable that there is in existence a
more beautiful and characteristic example of Van Dyck's peculiar style, than
this notable painting. The mother, a beautiful woman, just past the spring
time of girlhood, is seated, holding her no less beautiful child. The face
is upturned as if in supplication, showing to advantage the classic features
and the well-formed neck. She is clothed in a simple red dress, with a
robe of royal blue thrown over the chair and lying in rich folds across her
lap. The nude child stands erect upon the mother's knee, supported by her
left hand under the arm, and the right hand gently holding the silken wrap
pings against the chubby form. Redgrave, in his "Dictionary of Artists of
the English School," can safely be quoted in describing most graphically, the
splendid painting: "Refined, elegant, exquisite in taste, and sweet in color,
Van Dyck is almost unrivalled. His hands are noted for their beauty, his
heads unconstrained and full of life and truth; the action, simplicity and dig
nity of his figures and grace of his draperies are unsurpassed."

84 T. B. WALKER COLLECTION.

ELLIOTT (Charles Loring).
Born at Scipio, N. Y., December, 1812.
Died in Albany, Aug. 25, 1868.
Portrait Painter.
Pupil of John Trumbull and Quidor in New York.
A. N. A., 1845; N. A., 1846.
"His pictures are to be found in the State Library Albany,— the Mer
cantile Library, Baltimore and in the New York City Hall."
— Cyclopedia of Painters and Paintings.
"His works are remarkable for fidelity of likeness, and vigorous col
oring." .
— Lippincotfs Biographical Dictionary.
"'His likenesses are remarkable for their vigor and truth; indeed that
of Fletcher Harper, was sent to the Paris International Exhibition of 1867
as a typical example of American portraiture. * * * The Head of
Skaneateles Lake is said to have been the only landscape he ever painted."
— Bryan's Dictionary of Painters and Paintings.
No. 123— "Portrait of Daniel Webster."
2954x2454.
Celebrated statesman, orator and jurist, was born at Salisbury, New
Hampshire, January 18, 1782. He was a younger son of Ebenezer Web
ster and Abigail Eastman, both being persons of vigorous intellect and
high-toned morality. On account of delicate health Daniel was permitted
to pass a great portion of his childhood days in play, which he greatly en
joyed. However he loved books and after acquiring the rudiments of an
education at home in the common school, he was sent in May, 1796, to
Phillips Exeter Academy of which Benjamin Abbott was principal. He did
not make much progress here so in 1797 he left the academy and continued
his studies under Rev. Samuel Wood until August of the same year when
he entered Dartmouth College. Here he was from the start the foremost
man of his class and graduated in August, 1801. He immediately began
the study of law, and was admitted to the bar in March, 1805. When he
gained his majority he joined the Congregational Church, and zealously
espoused the principals of the Federalist party.
In June, 1808, he married Grace Fletcher of Hopkinton, N. H. In No
vember, 1812, he was elected to the National House of Representatives and
again re-elected in 1814. In 1816 he moved to Boston where he became
the greatest lawyer of his age, as well as the greatest orator. In 1823
he was again elected to Congress and thereafter until 1852 was continuously
m the house or the Senate of the United States Congress. In stature he
was tall, his head and brain of great size, his eyes large, black and lustrous.
He was greatly distinguished for his conversational powers and genial tem
per in society, and it would be a difficult task to even undertake to give
an idea of the genial affection which at every period of his life flowed out
from him in the domestic circle, and still more difficult to paint the abound
ing gaiety and humor and fascination of his early days.
He died at Marshfield, October 24, 1852, leaving one son, Fletcher- his
wife and all his other children having died before him.

 INDEX AND BIOGRAPHICAL NOTES. 85
FRANCAIS (Francois Louis)  France
Born at Plombieres, 1814.
Pupil of Gigoux and Corot.
In 1848 and 1852 this artist was a member of the juries of admission and
award at the Salon.
Chevalier of the Legion of Honor, 1853.
Officer of the same, 1867.
Medals, 1841, 1848, 1855, 1867.
Medals of Honor, 1878.
One of the last of the Barbazon school.
Rene Menard says of Frangais:
"He has sought to translate the varied expressions which he has received
in different countries. The Campagna of Rome, or the Environs of Paris,
the Coasts of Brittany or the Cascades of Switzerland, are, turn by turn,
analyzed and rendered with the vigorous exactness of a portrait. Each lo
cality retains its own charms."
" 'The Sacred Woods' was pronounced by Rousseau himself 'one of the
most remarkable landscapes of modern times.' "
— History of French Painting (p. 250).
No. 124— "The Sacred Woods."
22x1554.
A beautiful sunset sky is seen through the trees of the ancient Park of
the Gods near Rome. The time is just after the sun has dropped below the
horizon. The twilight shades have given the trees, statues, and figures that
tone so peculiar to "evening come before day has gone." The sky in all
the splendor of purple and gold shows through the trees in the last dying
glory of the summer sunset.
FRANCIA (Francesco Giacomo).
Real name Francesco di Marco Raibolini.
Bolognese School.
Born before 1486, Vassari says 1450.
Died in 1557.
Student of his father Francesco Raibolini.
"His masterpiece perhaps is the beautiful Madonna seated with Saints
Francis, Bernard, Sebastian, and Maurice, dated 1526, in the Pinacoteca at
Bologna. Although his St. Michael in San Domenico is also very fine."
— Bryan's Dictionary of Painters and Engravers.
"In 1512 he was re-elected to the 'Mastership of the Guild of Gold
smiths' and in 1514 to that of 'Master of the Four Arts.' It is said also that
at one time he had two hundred pupils, and it is a curious fact that he
signed his pictures 'Aurifix.' * * * It is impossible to name a better
example of his work than the altar-piece, and the lunette forming part of
which, are now in our (English) National Gallery, and which long^formed
a chief subject for study among artists of Bologna who survived him."
— Painters and Their Works.

86 T. B. WALKER COLLECTION.

No. 125— "Saint Catherine."
2254x17.
From the collection of Mr. Ferral.
She is represented as a young woman with hands clasped as in prayer.
The head, with dark brown hair, is adorned with a crown and encircled by
a halo. She is clothed in a dress of some very light material, and a red
wrap thrown across the left arm. Back of the figure is a landscape with the
sea in the distance. This characteristic old picture is painted on a panel.

FABRITIUS (Karel). Born 1624. Died in Delft, 1654.
"The birthplace is not known. He was a student of Rembrandt, in
whose school he was the fellow-pupil of Samuel van Hoogstraten. He was
a painter of the first order, especially in portraits, and was counted among
the best in perspective. He was suddenly killed by an explosion of a powder
magazine while painting the portrait of the beadle of the old church of Delft.
"It is singular that the birthplace of this artist, whose works are spoken
of as worthy of Rembrandt, is not known." — Painters and Their Works.
"Karel Fabritius was of the Dutch school; pupil of Rembrandt and
painter of the first order, especially in portraits."
— Cyclopedia of Painters and Paintings.
No. 126— "The Head of a Man."
23x18.
From the Olden Barnevelt Collection.
So closely did this apt student follow the perspective and color effects
of his renowned teacher, Rembrandt, that his portraits are often mistaken
for the work of that great master.
In this beautiful portrait especially, the features have the same delicate
outline, and the distribution of lights and shadows show the touch of an
artist of the foremost rank.

FRERE (Theodore)  France
Born at Paris.
Pupil of J. Cogniet and of C. Roquesplau.
Exhibited in Salon, 1884.
Hors de Concours.

No. 127— "Camel Train on the Bank of the Nile."
654x1054.
On the banks of the sacred Nile, a number of Arabs with their camels
are encamped for the night. In the foreground three Arabs sit by a fire
preparing the evening meal, while their camels rest beneath the shadows of

INDEX AND BIOGRAPHICAL NOTES. 87

a friendly tree near by which they have pitched their tent. Farther away
where the tall palmettos cast their shadows over the sombre ruins, other
Arabs are watering their camels and preparing to pitch camp for the night.
Far beyond the opposite shore of the great blue Nile, the hills rise in a
purple line against the setting sun which appears to go down in a golden
halo in the midst of the great desert of Sahara.

FERRIER (J. M. A. Gabriel)  - France
Born at Nimes, 1847.
Pupil of Lecoq de Boisbaudran.
Won Grand Prix de Rome, 1872.
Medals, 1876 and 1878.
Legion of Honor, 1884.

No. 128— "Hamlet and Ophelia."
38*4x27.
Hamlet, Prince of Denmark, whose father, the king, had been poisoned
by Hamlet's uncle, the present king, aided by the queen (his mother), whom
the uncle immediately married; having come into possession of the exact de
tails of the murder, determined to re-enact the tragedy in a play before the
royal conspirators and a small number of attaches and friends. The king
and queen have entered, accompanied by Ophelia, Portius and others, and
when everything is in readiness, Hamlet joins Ophelia and after some half
jesting remarks about his dead father, a trumpet sounds, the curtain is rung
up, and a scene enacted showing Hamlet's father asleep and the present
king pouring poison into his ear, followed immediately after by the love-
making and marriage of his mother to the murderer.
Ophelia says, "What means this, my lord?" And Hamlet answers:
"Marry, this is miching mallecho; it means mischief." The king and queen
are appalled and startled. Later the king arose and called for lights, and all
left the room, save Hamlet and Horatio. Hamlet says:
"Why let the stricken deer go weep,
The hart ungalled play;
For some must watch, while some must sleep;
Thus runs the world away."
The dramatic pose of Hamlet and Ophelia, the guilt and fear on the
faces of the king and queen, and the weird scene are all finely drawn, and
graphically presented in this charming picture.

FLINCK (Govaert). Dutch historical and portrait painter.
Born at Cleves, 1614. Died in 1660.
"He first studied under Lambert Jacobs and afterwards entered the
school of Rembrandt. He advanced rapidly and became one of the most
distinguished pupils of the eminent artist. He soon acquired a high reputa-

T. B. WALKER COLLECTION.

tion and was commissioned by the Magistrates of Amsterdam to execute
many important works for the State House. His works have been greatly
admired for the purity and sobriety of the coloring and the studied and ju
dicious arrangement of the compositions. One of his best works is Solo
mon praying for the Gift of Wisdom in the Council Chamber at Amsterdam."
— Spooner's History of the Fine Arts.
"It is said by Descamps that Flinck, on seeing one of the portraits^ of
Vandyck, renounced that branch of the art and confined himself to historical
painting. The Burgomasters of Amsterdam had commissioned him to paint
twelve large pictures for the town house of which he had finished the sketches
when he died, in 1660." — Pilkington's History of Engravers.
"Dutch school; historical and portrait painter; pupil of Lambert Jacqb-
zen and Leeuwarden, then of Rembrandt, under whom his talent developed
so rapidly that after one year his pictures could scarcely be distinguished
from those of the master. He left Rembrandt in 1638, and took the freedom
of Amsterdam in 1652. After Eeckhout, he was the scholar who approached
nearest to Rembrandt." — Cyclopedia of Painters and Paintings. ,
"Painted historical subjects and portraits, and in both he was one of the
most successful and most employed artists of his country. The Magistrates
of Amsterdam engaged him in many considerable works for the Stadthouse;
and he painted the portraits of some of the most illustrious personages of
his time, particularly the Elector of Brandenburg, the Duke of Cleves, and
Prince Maurice of Nassau, Stadtholder. The pictures of this master, without
equaling Rembrandt in the richness and harmony of his tint, or the magical
conduct of his light and shadow, are to be admired for a sobriety and purity
of color and the studied and judicious arrangement of his compositions."
— Bryan's Dictionary of Painters and Engravers.
"The 'Isaac Blessing Jacob' is, however, altogether in the style of Rem
brandt, and it must be borne in mind that, later, Flinck adopted somewhat
of the Italian style of painting. His best works were produced between 1638
and 1650. Pictures by Flinck are to be found in all the great galleries of
Europe." —Painters and Their Work.

No. 129— "Burgomaster's Wife."
29^x25.
From the Collection of Count Mnezneck, of Paris.
Without doubt this beautiful picture is one of the last and best by this
painter, who is recognized as the most important of the Rembrandt school,
as he was still employed in painting for the Burgomasters of Amsterdam
when he died in 1660; beside the peculiar collar and head dress here shown
was that worn about that period, not only in Holland, but in other parts
of the world. His flesh tints, while a few shades lighter than Rembrandt,
are almost, if not quite, equal to that master's work. This painting was No!
50 in Count Leon Vandalin Mniszech Collection.

No. 130— "Tambourine Girl.
20x16.
A beautiful little Dutch girl, with bright eyes and golden hair, holding

INDEX AND BIOGRAPHICAL NOTES. 89

her favorite tambourine upon her knee. The perfection of form and elegance
of color show the artist to have been an apt student of his renowned master,
Rembrandt.

No. 131— "Homage of the Wise Men."
3454x2754.
"And when they were come into the house, they saw the young child
with Mary, his mother; and fell down and worshipped him; and when they
had opened their treasures, they presented unto him gifts, gold and frankin
cense and myrrh." — Matthew 2:11.
It was the time of the numbering of the people, and Joseph and Mary
had gone up to Bethlehem for the occasion. Being so many strangers in the
little town, every lodging place was full, so that they were obliged to spend
the night in a stable. When the wise men and shepherds saw his star, they
followed it until it stood over the lonely place where the divine infant lay.
Here we see them in the soft light of early morning, offering their gifts and
worshipping the child held on his mother's lap, amidst the humble surround
ings. His coloring is rich and harmonious, the arrangement pleasing, and
his light and shadow most natural.

FUECHSELL (Herman).
Born at Brunswick, Germany, August 8, 1833.
Pupil of Lessing in Dusseldorf, 1855.
Prize for Life Drawing, Brunswick College, 1852.
Studio in New York since 1858.
—Cyclopedia of Painters and Paintings.
No. 132 — "Evening Scene on the Hudson."
23*4x3354.
As the summer sun drops slowly out of sight and the first soft glow of
coming twilight creeps o'er the distant hills, the cows come home from
the wooded pastures and are met at the rustic gate by the farmer boy, who
admits them to the stable yard for the night. Beyond the field of ripening
grain is the modest farm house, almost hid from view by the deepening
shadows ,of the adjoining wood. A peculiar restful quiet seems to pervade
all the landscape, broken only by the soft murmur of the river as it hastens
on to the sea. A most pleasing picture and one fully characteristic of this
American painter. No. 133 — "A Dream of New England."
34x45.
Owing to the broad scope and diversity of landscape presented in this
interesting picture, a detailed description could not be undertaken. The

90 T. B. WALKER COLLECTION.

artist presents a beautiful lake, surrounded by an undulating landscape, com
prising low sandy peninsulas, reed grown marshes, green meadows, wooded
valleys and broad fields, reaching away to a line of blue hills rising one
above another in the distance. It is indeed a poet's dream of mid-summer,
marred only by the introduction of two dying elms; but although the win
try winds sing sad requiems through their dead branches, yet a kind provi
dence sends the sparkling brook, murmuring and lisping through all the
summer days, nature's glad song of life, beauty and joy. Modest in color,
but a well chosen subject, filled with interest.

FURINI (Francesco). Florentine School.
Born in Florence in 1604.
Died there in 1649.
Pupil of his father and Passignano and Roselli.
"On leaving school, he visited Rome and Venice. In 1644 he was ap
pointed curate at Mugello near Borgo San Lorenzo, where he painted some
of his best pictures, but he acquired the high reputation in which he is held
by his admirable easel pictures which are found in the first collections of
Florence. He had a preference for imitating the style of Albani, in which
he was very successful. He drew with elegance and correctness, particularly
the delicate forms of women and children, and generally made choice of
those subjects in which they could be introduced with the happiest effect."
— Bryan's Dictionary of Painters and Engravers.
"His works are highly commended." — Lippincott's Biographical Dictionary.
No. 134 — "Adoration of the Shepherds."
40x30.
"And there were in the same country (about Bethlehem), snepherds
abiding in the field, keeping watch over their flock by night. And lo the
angel of the Lord came upon them, and the glory of the Lord shone round
about them; and they were sore afraid. And the angel said unto them, Fear
not, for behold, I bring you good tidings of great joy which shall be to all
people. For unto you is born this day in the City of David, a Saviour,
which is Christ the Lord" and after many other wonderful signs, the angels
went away. Then the shepherds determined to go up to Bethlehem. "And
they came with haste, and found Mary and Joseph and the babe lying in
a manger." The artist shows the interior of the stable filled with divine
light and the angels proclaiming the glad tidings, "Glory to God in the
highest, and on earth peace, good will toward men." Finished in Furini's
peculiar mellow tones.

INDEX AND BIOGRAPHICAL NOTES. 91

GAINSBOROUGH (Thomas), R. A.
Born at Sudbury, in 1727.
Died at London, 1788.
Pupil of Gravelot.
Went to London in his fifteenth year (1741).
Worked for three years in the Martins Lane Academy under Frank Hayman,
the historical painter.
Returned to Sudbury in 1745 and began as a portrait painter.
Removed to Ipswich, and in 1760, to Bath.
On the foundation of the Royal Academy in 1768, he was one of the
thirty-six original members.
Bryant says:
"Gainsborough will always occupy one of the highest places in the Eng
lish school, whether as a portrait or landscape painter. In his early land
scapes he showed traces of the influence of the Flemish school, but as time
went on Nature alone became his mistress. As a colorist he ranks with
Rubens, and in technical work Ruskin says, 'Turner is a child to him.' All
the great galleries contain his works, there being twelve in the National Gal
lery at London."
Ruskin says:
"Gainsborough's power of color is capable of taking rank beside that of
Rubens; he is the purest colorist (Sir Joshua himself not excepted) of the
whole English school, Turner himself being, in management and quality of
a single and particular tint, in the purely technical part of painting, a child
to Gainsborough."

No. 135— "Mrs. Edgar."
19x16.
She is descended from Edgar, King of Scotland (1093-1107), whose sister
became the wife of Henry I, of England, August 5, 1100. The Edgars have
always been a prominent family, its members at various times since the
Norman conquest, holding important positions, some even holding honorable
titles, a recent instance being Sir John Ware Edgar, K.C.I.E., C.S.I., etc.,
born in 1839. Gainsborough's services as a portrait painter were eagerly
sought, as he was one of the greatest colorists of his day, and as one writer
says, even ranked with Rubens in this respect. Like all masters of portrait
ure, he was somewhat given to flattery of his subjects, and this combined
with his mastery of pencil and brush, made him immeasurably popular with
Royalty and the Nobility.

No. 136— "Gentleman in Blue."
48x31*4.
From the collection of S. T. Smith, Duke Street, London.
(Mr. Smith is the author of the important Catalogue Raisonne.)
This picture was painted soon after the "Blue Boy," which Gainsborough
painted in order to prove to Sir Joshua Reynolds that blue was a most beauti-

92 T. B. WALKER COLLECTION.

ful pigment when rightly used; to which Sir Joshua most strenuously ob
jected. After seeing Gainsborough's "Blue Boy," however, Reynolds ac
knowledged this to be one of the finest pictures ever painted. This color at
that time was the most popular for gentlemen's and boys' wear and was em
ployed again in this no less wonderful painting, "The Gentleman in Blue."
This portrait is that of a prominent man of the times, and is a characteristic
painting by this great English colorist.
No. 137— "The Parish Chapel, Sudbury, England."
10*4x12.
In this scene is shown, somewhat in the distance, the parish chapel of
Sudbury, Suffolk county, England, the artist's native town. On the left and
nearer the foreground on a rising knoll and shaded by a couple of tall trees,
is a cottager's home. In front of the cottage a rugged road leads to the
town. On the roadside three figures are seen, a man and a woman standing
talking to a woman who is seated on the grass.
From the Collection of Viscount Clifton. A very full description of this
picture is given in Mr. Walter Armstrong's Catalogue of Gainsborough's
Paintings.

GALLETTI (Sebastiano). Born at Florence, about 1676.
Died there in 1746.
Student of Allesandro Gherardini and Giovanni Giuseppe del Sole.
"He was a good designer and executed several works in fresco at Placen-
zia, Parma and Turin in which last city be became director of the Academy."
— Pilkington's Dictionary of Painters.
No. 138— "Early Morning in Egypt."
12x1854.
Over the hilltops the reflected rays of the morning suu delicately tints
the eastern horizon. The sky is o'erspread with mist-like clouds and the
surrounding landscape is but dimly outlined in the mellow light of early
morning. An east wind ruffles the water in the crystal pool and bends
and sways the date palm trees on the hill beyond. Women and children
are returning from the pool with water for the morning meal, while one
carries a small child upon her back. The artist has chosen a difficult sub
ject, but the execution is artistically designed and wonderfully natural.
GERARD (Baron Frangois Pascal Simon).
Born in Rome, March 14, 1770.
Died in Paris, Jan. 11, 1837.
French School.
Pupil of the Sculptor Pajou of Brenet and of Jacques Louis David.
Won second Prix de Rome in 1789.

INDEX AND BIOGRAPHICAL NOTES. 93
Appointed Official Portrait Painter by Napoleon, 1800.
Member of the Institute, 1812.
Legion of Honor, Order of Sir Michael; first painter to the king in 1817, and
in 1819 created a Baron.
"He executed many important works under the Empire, and was patron
ized by Louis XVIII, Charles X, and Louis Philippe."
— Cyclopedia of Painters and Paintings.
"There is a letter existing in which (Gen'l) Moreau tells Gerard that
Madame Buonaparte (Josephine) desired to see his portraits and with Moreau
would visit his studio for that purpose. In 1802 Chaptal writes to Gerard that
Napoleon wished Gerard's pictures should be exhibited in the Salon, which
he 'will visit the day after tomorrow.' The list of those whose portraits were
painted by Gerard is a long one, and many of those who sat to him became
his life-long friends, among others Talleyrand, who, as late as 1830, wrote to
him from London urging him to visit England. * * * His house was for
thirty-five years the rendezvous of the most distinguished among his country
men and of foreigners who visited Paris." — Painters and Their Works.
"This very eminent painter * * * made his first exhibition in 1795.
* * * Since then, he has distinguished himself by many classical works
which are well known by engravings of them, and are to be found in the
royal and noble galleries of France. He painted numerous portraits of the
prominent persons of his time, particularly of the Emperor Napoleon, and
his consorts, Josephine, Marie Louise, the king of Rome, Madame Pasta,
George Canning, General Foy, and some of the Bourbon family."
— Bryan's Dictionary of Painters and Engravers.

No. 139 — "Napoleon in Coronation Robes."
76x57.
From the collection of Baron de Bondi, * * * Paris.
Napoleon assumed the title of Emperor of France and King of Rome
on may 18, 1804. He was crowned Emperor of France, Dec. 2, 1804; Pope Pius
VII performing the coronation ceremony. On May 26, 1805, he was crowned
King of Italy in the Cathedral at Milan. He was born at Ajaccio on the
Island of Corsica, August 15, 1769. This painting shows him at the age of
thirty-five and practically at the pinnacle of his greatness. In 1783 when but
fourteen years of age, he entered the Royal Military College at Paris. In
1792 he became captain of artillery. In 1795 he was made commander-in-
chief of the armies of France. As early as 1800 he was practically ruler,
and a little later was made consul for life. After he became emperor and
king, he established all the etiquette of royalty, and introduced many prac
tices marked by ostentation and parade. He was finally defeated by the
English under Lord Wellington, at Waterloo, on June 18, 1814, and was con
demned to exile on the Island of St. Helena, arriving there Oct. 16, 1814,
and died there, May 5, 1821.
Gerard was a favorite portrait painter with Napoleon as early as 1800,
and painted several very important portraits, not only of Napoleon, but also
of Josephine. In this splendid portrait, he is represented as seated upon the throne,

94 T. B. WALKER COLLECTION.

attired in a magnificent imperial carmine robe, decorated with bees, and
trimmed with gold braid and royal ermine. He is crowned with a laurel
wreath and holds in his left hand a wand of authority, while the right hand
is raised in the attitude of command. The throne chair is elaborately carved
with imperial eagles and figures representing religion and civil authority.
The bee was adopted by Napoleon in lieu of the fleur de lis of the
French Monarchy.

No. 140— "Napoleon Wearing Hat."
31x2454.
From the collection of the Duchess de Berry, Paris, 1837.
Showing in profile the thin lips and powerful chin indicative of that ag
gressiveness and tenacity of character so prounounced in every phase of his
illustrious career. The hat entirely covers the splendid forehead, but beneath
we see the piercing eye, the long Grecian nose, and the well formed shell
like ear. He wears a blue waistcoat with white front, decorated with epaulets
and the badge of the "Legion of Honor," of which he was the founder. As
Gerard was appointed by Napoleon as his court painter, some four years
before the latter's coronation, it is most likely that this portrait was painted
between 1800 and 1804.

GELDER (Arnold de). Dutch Painter.
Born at Dort, 1645. Died, 1727.
"He, Hke Rembrandt, painted portraits and historical subjects showing
the same choice or form and same fascinating charm of color. Many of De-
Gelder's portraits have been attributed to Rembrandt. He was a fine colorist,
fond of picturesque effects and had a broad and masterly touch."
— Cyclopedia of Painters and Paintings.
"He became a disciple of Rembrandt, under whom he made so great a
proficiency as to approach very near that famous artist. Nor is it in any way
surprising that in his coloring, handling and freedom of pencil, he should so
exactly imitate his master, since he resembled him also in his manner of
thinking; though many of Rembrandt's disciples quitted his style on quitting
his school. DeGelder adhered to it as long as he lived."
— Pilkington's Dictionary of Painters.
"Endowed with a similar feeling for the art, he seems, like his master,
to have only appreciated its beauties as they related to the harmony of color
and the magical effect of a judicious management of the chiaroscuro; little
solicitous of the higher considerations of correctness of design and dignity
of character. Like Rembrandt, he painted portraits and historical subiects
in which he exhibits the same uncouth choice of forms, with the same fas
cinating charm of color, the same eccentricities and defects, with his admi
rable conduct of light and shadow and the richness and spirit of his pencil.
* * * He was the most successful in his portraits, some of which are not
unworthy of Rembrandt, and are frequently attributed to that master."
— Bryan's Dictionary of Painters and Engravers.

INDEX AND BIOGRAPHICAL NOTES. 95
"He acquired the elements of design under Samuel van Hoogstraeten,
but afterwards went to Amsterdam and entered the school of Rembrandt.
He became one of the most accomplished imitators of the style of that
master, and his works exhibit the same magical coloring and admirable
chiaroscuro, producing an effect which captivates the beholders and coun
terbalances the uncouth choice of forms and impropriety of costume."
— Spooner's Flistory of Fine Arts.

No. 141— "The Blind Simeon and Christ Child in the Temple."
39*4x4654.
From the collection of Sir Wm. Cunliffe Brooks.
This most fascinating painting follows in every detail the style and
finish of Rembrandt, the same fascinating charm of color and the same rich
ness and spirit of pencil.
Mary has taken the infant Jesus into the temple to make an offering for
him according to the Mosaic Law, and aged Simeon, whom God has promised
should not die until he had seen his glory, meets her and taking the Child up
in his arms blessed God, and said, "Lord, now lettest thou thy servant de
part in peace according to thy word, for mine eyes have seen thy salvation."
In that sweet upturned face, with its silken beard thinned by age, is more
of expression, more of soul, than seems possible to portray with color and
brush. The modest mother prayerfully, listens to the magic words of this
father of Israel, while even the Divine Infant appears to realize the solemnity
of the occasion.

GERICAULT (Jean Louis Andre Theodore).
Born at Rouen, September 26, 1791.
Died at Paris, January 18, 1824.
History and animal painter.
Pupil of Carle Vernet and of Guerin.
In 1817, after serving in the army three years, he went to Italy and studied in
Rome and Florence.
"Theodore Gericault, a pupil of Carle Vernet and Pierre Guerin, died
very young, but he played an important part in French art, and exerted much
influence on the whole school." — D'Anvers' Elementary History of Art.

No. 142— "An Old Friend."
15x18.
The artist under this title aptly presents the picture of the faithful old
family horse. A sleek, well-kept, light roan horse, stands lazily eating at the
manger of a modest, but comfortable stable, which demonstrates that he is
not only considered as "An Old Friend," but that his friendship and faithful
ness are fully appreciated by those whom he has served. Light from an
unseen window shines fully upon his side, showing the artistic coloring, and
the artist's studied attention to detail and finish.

96 T. B. WALKER COLLECTION.

GREUZE (Jean Baptiste).
Born at Tournus (Saone-et-Loire), August 21, 1725.
Died in Paris, March 21, 1805.
French school; genre and portrait painter; pupil in Lyons, of Grandon. and in
Paris, of the Academy, in 1755.
"His works are highly valued for their exquisite coloring, particularly
his carnations, and for the fine models of his heads and countenances. His
pictures are full of life and sensibility, and his heads of young girls possess
a charming innocence and simplicity that deserves the highest praise. His
works are highly prized and bring large prices." —Spooner's History of Fine Arts.
"One of the most distinguished painters of the modern French School.
He displayed preeminent talent in domestic, moral, and affecting subjects."
—Pilkington's Dictionary of Painters.
"His style is eminently French, and he may be considered as one of
their best colorists; a quality in his pictures that can be recommended for
imitation. "His pictures are highly prized by his countrymen, and no less so by
English amateurs. Enormous prices have been given for them in public
sales." — Bryan's Dictionary of Painters and Engravers.

No. 143— "Benjamin Franklin."
2854x23.
This portrait of Franklin was painted upon his order in 1775, and
presented by him to Archibald Hamilton Rowen.
In 1832, he began the publication of the famous "Poor Richard's Alma
nac." To him is due the founding of the Philadelphia Library, now one of
the largest in America. He continued to rise in the estimation of the com
munity until he was deemed worthy of the highest honors his country could
bestow. In 1736, he was Clerk of the General Assembly of Pennsylvania.
In 1737, Postmaster of Philadelphia.
In 1753, Deputy Postmaster General for the British Colonies.
From 1757 to 1762, he was in England pleading the cause of the Col
onies before the Privy Council, and prevailed.
As early as 1752 he had made extensive experiments in electricity and
wrote several scientific articles which were translated into several languages.
From 1764 to 1775 he was again in England as an Ambassador from the Col
onies, and on his return in 1775, was unanimously elected as a delegate to
the second Continental Congress. He was one of the committee chosen to
frame the Declaration of Independence, which he signed, with others, on July
4, 1776. In 1776, he was sent as Ambassador to the court of France. In
1785-6-7, he was chosen President of Pennsylvania. He was a delegate in
1787 to form a constitution of the United States. His last public act was
the signature of a memorial to Congress, by the Abolition Society, of which
he was the president. He died in Philadelphia, April 17, 1790.

INDEX AND BIOGRAPHICAL NOTES. 97
No. 144— "Ideal Head."
Oval, 21x17.
From the collection of Comte Raoul de Armand.
Greuze "was noted for his fine heads and countenances," and in this
small oval he has in a manner most remarkable shown his right to be so re
garded. The face in addition to the well formed and beautiful features, has
in it a world of charming innocence, simplicity and character. The really
"ideal head" adorned with a luxuriant growth of rich auburn hair, is well
poised upon a truly feminine neck. Drapery of some soft white material
constitutes the dress, showing to advantage a form no less ideal than the
shapely head. It is said that he excelled in his portraiture of young women,
and was known as one of the greatest of the French colorists, both of which
are truly exemplified in this fine portrait.

No. 145— "Madam le Doux."
19*4x23.
She was the wife of Claude Nicolas le Doux (Ledoux), a remarkable
French architect, born at Dbrmans in 1736. He published a valuable treatise
on architecture; the most remarkable monuments of his inventive genius
are the Batteries of Paris. He and his estimable wife, it is believed, were
lifelong friends and admirers of Greuze. Le Doux died in 1806, the year fol
lowing the death of this eminent painter. The finely modelled head, the
charming simplicity of countenance, and splendid coloring, are unfailing evi
dence of Greuze's brush and pencil.
No. 146— "Study of Young Girl's Head."
16x12*4.
The artist has chosen for the subject of this picture a round-faced, blue-
eyed lass about sixteen years of age. The slightly turned up nose and gen
eral contour of the face, indicates a roguish disposition, although the intelli
gent eyes have a dreamy faraway look that marks her as a thinker and as
one not over frivolous. The head slightly inclined to the left, is crowned
with a profusion of soft brown hair, partially covered by a veil falling
gracefully over the back and shoulders. She is gowned in a blue and gold
striped dress, with scarf of some soft white material over the shoulders
and about the low-cut neck.
GEROME (Jean Leon). French School.
Born in Vesoul, May 11, 1824.
Medals at Paris.
Legion of Honor 1855, Officer 1867, Commander 1878, Member of Institute
1865, Professor in Ecole des Beaux Arts 1863.
History and Genre Painter.
Pupil of Paul Delaroche and of Gleyre.

98 T. B. WALKER COLLECTION. 
"Failed to obtain the Prix de Rome, but obtained third class medal for
his 'Cock Fight' in 1847, and increased his reputation by his 'Anacreon' in
the following year. Then visited Russia where he painted a successful
picture of Russian Musicians; and then Egypt, whence he brought back
valuable material afterwards treated (1857). Since this period he has painted
a variety of subjects, ancient and modern, which have gained him a place
as one of the best known modern French painters."
— Cyclopedia of Painters and Paintings.

No. 147— "The Alchemist."
1854x23.
Alchemy was at various ages practiced in nearly every country of Europe,
Asia and Africa. The artist gives us the interior of an Arabian house. On
benches along the farther side of the room, two women sit in earnest con
versation, while a young man plays upon the guitar. Near the center of the
room a princess sits upon an inverted pottery crate busy at some fancy
work. At the left the alchemist works over his fire and melting ladle, while
the Arab prince watches each chemical change, expecting, no doubt, to find
there the philosopher's stone, by which life might be prolonged and youth
renewed, or something equally as mysterious and wonderful. The profound
est mystery attended all the experiments, and the more obscure the ideas,
the more mystifying and symbolic the language of the alchemist. The bright
colors of the costumes, the weird light and the unique portrayal of the myste
rious, complete a beautiful and fascinating picture.
GHIRLANDAJO (Domenico del), Maker of Garlands.
Born at Florence, 1449.
Died there Jan. 11, 1494.
Painted historical subjects and portraits.
Florentine School.
"He proved one of the most distinguished artists of that early period,
both as a mosaicist and painter. His design was more graceful and correct
than was usual in his time and the expression of his heads is superior to any
painter that has preceded him. He was the first of the Florentine painters
who, by a judicious attention to perspective, gave to their works the ap
pearance of verity and depth." — Bryan's Dictionary of Painters and Engravers.
"He was invited to Rome by Sextus IX, who employed him in the Sistine
Chapel, where he painted two pictures. He was the founder of a very dis
tinguished school which has produced many eminent artists and he claims
to be one of the instructors of Buonarotti." — Spooner's History of Fine Arts.
"He lived between the time of Masaccio and that of Michael Angelo, and
his works differ essentially from theirs. They are chiefly large frescoes
representing sacred subjects, into which he introduced the portraits of dis
tinguished Florentines, either as spectators or as actually taking part in the
scene represented. * * * As a painter in fresco he became one of the
greatest as regards technical skill and facility of expression."
—Painters and Their Works.

INDEX AND BIOGRAPHICAL NOTES. 99
No. 148— "Laura de Sades."
28x2351.
From an old Italian collection.
The lady love of Petrarch, the great poet, pronounced a genuine painting
of this noted artist. The features are clearly and delicately outlined. The
flesh tints are still almost perfect, although upwards of four centuries have
elapsed since the canvas left the artist's easel. She stands by an open door
holding an apple and a red carnation, no doubt presented to her by Petrarch,
whom one can imagine standing just outside the door.

GIRODET (de Boussy Anne Louis). (Girodet Trioson.)
French School.
Born at Montargis, January 5, 1766.
Died in Paris, December 9, 1824.
History and Portrait Painter.
Pupil of Luquin and of David.
Grand Prize in Rome, 1789.
Ten years prize for History, 1810.
Member of the Institute 1815. Legion of Honor 1816.
Louis XVIII ordered the cross of the Legion of Honor to be placed on
Girodet's coffin." — Cyclopedia of Painters and Paintings.
"His greatest work 'Une Scene du Deluge' is one of the finest examples
of the modern French School." — Painters and Their Works.
"Like David himself and most of his disciples, Girodet lacked a mastery
of color. His power of drawing was his forte, and to this is due the charm
of many of his works." — Bryan's Dictionary of Painters and Engravers.

No. 149— "Hortense, Mother of Napoleon III."
28x23.
From collection of the Duchess de Berry.
Her maiden name was Hortense Eugenia de Beauharnais. She was born
in Paris in 1783, being the daughter of Alexander Viscomte de Beauharnais,
and Josephine Tascher, who afterwards became the wife of Napoleon Bona
parte and Empress of France. In the year 1802, against her own inclina
tions, her mother gave her in marriage to Louis Bonaparte, with whom she
did not live happily. In 1806 her consort was made King of Holland and
Hortense, his queen. Hortense was the mother of three sons, the two first
of which died in infancy, the third was Charles Louis Napoleon, who became
Emperor of France in 1852, under the title of Napoleon III. Hortense was
the author of one of the favorite national songs of France, entitled "Partant
pour la Syrie." She died in 1837.

100 T. B. WALKER COLLECTION. 
GROS (Antoine Jean, Baron).
Born in Paris, March 16, 1771.
Died in Paris, June 27, 1835.
Named member of the Institute, 1816.
Counsellor of the Royal Museum, 1816.
Professor of Ecole des Beaux Arts, 1816.
Order of St. Michael, 1819.
Legion of Honor, 1828.
"In 1796 he was presented to General Bonaparte at Milan and obtained
his favor by painting him on the bridge at Arcole. The General had the
picture engraved by Longhi, gave the plate to Gros, appointed him on the
commission charged to select works of art for France. * * * Up to 1812
he painted battles of the Empire and portraits, then was commissioned to
paint the cupola of St. Genevieve which he finished in 1824, when he was
ennobled." — Cyclopedia of Painters and Paintings.
"Although Gros was in one sense always a strict adherent to the canons
of classicism, yet he was one of the first of David's pupils to abandon classic
and mythological scenes. It has been aptly remarked that he painted classic
forms underneath modern costume. His style is bold and full of moment,
and his coloring, though not unfrequently exaggerated, is a great improve
ment on the coldness of the founders of the Classic School."
— Painters and Engravers.

No. 150 — "Napoleon Bonaparte."
26x22.
From the collection of Duke de Guise, Nancy, France.
Baron Gros was first introduced to Napoleon at Milan, about May 15,
1796. Napoleon and his army had captured the city and he had ordered that
all of the principal works of art found in the historic city be gathered and
shipped to Paris, and it was no doubt in this connection that Gros secured
his introductions. Soon after the fifteenth day of November, 1796, Gros
gained Napoleon's favor by painting him "On the Bridge at Arcole." Be
fore this, however, the artist had sketched and painted his portraits and, no
doubt, this picture was painted about that time. He wears the white trousers
and vest with blue over jacket, decorated with epaulets and badges of honor.

No. 151— "King Charles X."
21x17.
King of France, born at Versailles in 1757; was the son of the Dauphin
(who was the oldest son of Louis XV) and was the youngest brother of Louis
XVI. In 1773, he married Maria Theresa, of Savoy, daughter of the King of
Sardinia, by whom he had two sons. He constantly opposed all concessions
to the Revolution and joined the Royalist Emigration in 1789. After Bona
parte had ceased to reign, Count d'Artois (afterward King Charles X) en-

INDEX AND BIOGRAPHICAL NOTES. 101
tered Paris with the allied armies. He ascended the throne September 16,
1824, under favorable circumstances. He was unfortunate with his ministries,
however. In March, 1830, the Chamber voted an address hostile to the ministers.
The King and Cabinet then resolved on a coup d'etat. On July 25, 1830, they
issued the ordinances which infringed the charter, and caused an expulsion
of the Monarchy. After a bloody contest of three days' duration in the
streets of Paris, between the people and the army under Marmot, the Revolu
tion was completed on the 30th of July, and the Bourbon dynasty ceased to
reign. Charles abdicated in favor of his grandson, the due de Bordeaux,
retired to England and died at Goritz, in October, 1836. His intellectual
capacity was small, and Lord Brougham represents him as a furious bigot,
and a declared enemy of liberty.

GUARDI (Francesco). Born in Venice, in 1712.
Died in 1793.
Venetian school; architecture and landscape painter.
Pupil and imitator of Canaletto.
"He painted many views of Venice, which, though less precise in per
spective and architectural detail than those of his master, are charming in
style and execution." — Cyclopedia of Painters and Paintings.
"As the number of his pictures was very great, they were sold for
low prices until about forty years ago. Since then the spirit with which
they are executed and the force of coloring have caused them to rise enor
mously in value." — Painters and Their Works.
No. 152— "Venice Looking Seaward."
19x24.
In the foreground, and extending far away to the left, is one of the grand
canals, dotted with gondolas and other small craft, some far out to sea, while
others lie lazily near the shadows of the great palaces upon the right. The
tall steeple, just behind the mosque-like building, marks the location of the
palace of the Doges, while just to the right is seen the upper portion of the
grand cathedral.
Although Guardi painted many Venetian scenes, few of them equal this
splendid production.

HALS (Frans). Dutch School.
Born in Antwerp, 1584. Died in Haarlem, 1666.
Portrait and genre painter of great renown. Pupil of Marel Van Mander.
"He was never prosperous, despite his long and active life, and his un
usual talent whi>h excited Van Dyck's admiration. In 1664, reduced to sheer

102 T. B. WALKER COLLECTION. 
want, he was supported by the municipality and pensioned. Flesh coloring
unequalled, handling broad and masterly and vigorous. Pictures unequalled
in merit." —Cyclopedia of Painters and Paintings.-
"His parents were descendents of an old patrician family at Haarlem.
* * * No record whatever is preserved of the painter's early years at
Antwerp, nor has any authentic work by him during that period been pre
served. * * * When the painter was past thirty-five years old, he appears
with his first important picture, and that a masterpiece, the "St. George's
Shooting Guild at Haarlem." This remarkable circumstance remains unex
plained, as do other facts in the painter's life, which has been handed down
to us in meager outline. * * * The genius of Hals which for over a cen
tury was so far forgotten that some of his finest portraits were sold for a
few pounds or even florins, is now once more fully recognized. In his power
of setting down the momentary changes which pass across the human face,
especially the expression of laughter and merriment, no man yet has equalled.
As a master of brilliant brush work, and in the consummate power of his
handling, he stands second, if second, to Velasquez alone. * * * In his
earliest period, we have magnificent portraiture indeed, accompanied with
certain over-clearness of definition and ruddiness of color. In the middle
period we have a great fusion of tones, and more atmosphere, while in the
third period brilliant and masterly to the end, he has almost abandoned the
use of color for a masterly scheme of black and white." — Painters and Engravers.
"The family of Hals was one of the oldest in Haarlem as Claes Frans-
zoon Hals is mentioned in the register of that place in 1350, and from that
date there are entries of the births, marriages and deaths of his descendants
down to 1674. Among them was Pieter Hals Clasz, who married in 1579, Lys-
beth Copes. These were the parents of Frans Hals, the painter. * * *
Frans Hals appears to have been the first Dutchman who practised in Hol
land the free manner of painting adopted by Rubens and Van Dyck. * * *
The heads are painted with a lightness and decision yet sufficient solidity,
giving them a wonderful appearance of that joyous life which was the result
of the freedom of wealth that then existed in Holland. Both Rubens and
Van Dyck had a very high opinion of Hals' talent as a painter, and when
the latter visited Holland, he urged Hals to accompany him to England."
— Painters and Their Works.

No. 153— "Bergomaster of Haarlem."
48x36.
This painting was purchased about 1840-50 from a fine old collection in
central Europe, and at the death of the owner, about twenty years ago, was,
with several other important paintings, placed in storage vaults where they
remained many years. The picture was purchased so long ago and the pur
chaser has been dead so many years that information as to its history and
purchase is not now obtainable, but would be of value and interest.
The old burgomaster sits with left hand upon the arm of his chair while
the right arm rests upon a small table covered with a red cloth. Upon the
table is a leather-bound book and a small paper weight upon which is the
painter's mark "F. H. 1661." The table and book were objects almost in
variably introduced into this master's portrait work. While the picture has

INDEX AND BIOGRAPHICAL NOTES. 103
become darkened by time, it is much better preserved than many paintings
of the same age. The hands have probably never been excelled by any mas
ter; and the smiling face with cropped beard is truly as natural as color and
brush could possibly produce.

HAMMAN (Edouard Jean Conrad) Paris
Born at Ostend, 1819.
Pupil of the Art Academy at Antwerp and DeKeyser.
Settled in Paris, 1846.
Gold medal at Brussels in 1848.
Chevalier of the Order of Leopold of Belgium, 1854.
Medals at the Salon, 1853, 1859 and 1863.
Medal. Exposition Universelle. 1855.
Cross of the Legion of Honor, 1864.
Hors de Concours.
"His historical works, generally representing some well known episode,
are remarkable for simplicity of design and grace of execution. In the bril
liance and harmony of his coloring he sometimes almost equals his great mas
ter, N. DeKeyser, but in the general style of his genre paintings, he has adopt
ed the French rather than the Belgian manner." —Viardot.
No. 154 — "Haydn's Inspiration for the Seasons and Creation."
29i4x41.
Haydn, while crossing the English Channel on his last visit to London.
encountered a terrific storm. He was so impressed with the play of the ele
ments, that, it is said, he was inspired to compose his celebrated oratorio,
"The Creation," and the cantata, "The Seasons."
HAMILTON (James)  Ireland
Born in Ireland, 1819. Died, 1878.
Studied in Philadelphia and in England.
Was selected by Dr. Kane as illustrator on his
Arctic Explorations.
Particularly successful for his marine views.
"But our ablest marine painter of this period seems to have been James
Hamilton, of Philadelphia, who was beyond question an artist of genius. He
was inspired with a genuine enthusiasm for the sea, and rendered the wildest
and grandest effects of ocean with breadth, massiveness and power. We
have no marine painter about whose works there is more of the raciness and
flavor of the blue water. -Benjamin's Art in America.

104 T B. WALKER COLLECTION.
"Displaying a talent for art, he adopted it as a profession while still a
young man. He was assisted by John Sartain and other Philadelphia gen
tlemen. * * * In 1854 he went to England spending some time in Lon
don. He returned to Philadelphia in 1856 and having turned his attention
to drawing upon stone and wood, he furnished the illustrations for Dr. Kane's
"Arctic Explorations," "Arabian Nights," "Ancient Mariner," and other pop
ular works." —Artists of the Nineteenth Century.
"Hamilton's style is bold; he does not aim at high finish; but he is the
reverse of little, and aims to give emphatically his own feeling and sense
of a subject." — Tuckerman's Book of the Artists.

No. 155— "After the Storm on the Coast of Newfoundland."
29x4354.
The storm is past, and the welcome sunlight breaks over the bank of
departing clouds, bringing to view a number of unfortunate fishing boats
more or less damaged by the fury of the wind. The sullen rumble of the
storm can still be heard above the roar of the maddened sea, now seething,
and boiling; its mountainous billows still threatening to engulf the few re
maining ships, while wrecked portions of the more unfortunate are being
tossed and further broken by the relentless waves. The gulls dipping low,
shriek defiance to the storm and sea, as the sailors manfully right their boats
and steer for home and safety. The picture is well drawn, artistically finished
and filled with enthusiasm, life and power.

HARPIGNIES (Henri). Born at Valenciennes, July 28, 1819.
Landscape painter.
Pupil of Achard.
"Both in oil and water-color this artist stands ia the first rank of living
French painters. His water-colors have the strength and breath of the
English school." —Cyclopedia of Painters and Paintings.
"Henri Harpignies is also successful in poetic interpretation, as in his
'Evening on the Roman Campagna.'" — Radcliffe's Schools and Masters of Painting.
"His landscapes are broadly treated, with great firmness of touch; are
full of truthfulness, light and great vigor."
— Stranahan's History of French Painting.
"Harpignies, although not destitute of a certain stiffness or lack of
mechanical freedom in his handling, still renders the grander effects of
nature with majesty." —Benjamin's Contemporary Art in Europe.

No. 156— "A Morning Scene Near the Forest of Fontainebleau."
24x32.
From the Forbes Collection, London.
This is one of the most beautiful and refined of all this painter's works.
It has all the refined, poetic feeling of a Corot, yet in the weird and peculiar

INDEX AND BIOGRAPHICAL NOTES. 105
style of this artist, and was painted in his best period, about 1880. It came
from the Forbes collection in London and was the finest of fourteen import
ant pictures owned by Banker Forbes in his well-known collection. The
picture will stand comparison as a landscape with any of the refined and
real impressionist painters of modern times. He stands alongside of Corot
as the greatest of the Barbazon painters, and is the last remaining one of
that celebrated school.

No. 157 — "Another Scene Near the Forest of Fontainbleau."
24x32.
From the Forbes collection, London.
Represents a pastoral scene with some peasants and their present cot
tage in the beautiful poetic style of this noted painter. A fit companion
of No. 66 of this catalogue.

No. 158— "Late Evening Scene."
30x42.
From the Forbes collection, London.
This evening scene has all of the strange, weird effect that this painter,
more than any other, can give to his landscape scenes. It represents a
solemn landscape scene, with the moon in the far distance, central view
of the picture, with trees and shrubbery and the lonesome twilight effect
scarcely to be found in the works of any other painter of the old or mod
ern schools. From the depths of the forest, where the night birds woo,
The mountains re-echo the owl's too-whoo;
And far o'er the meadow, so lonely and shrill,
Comes the doleful complaint of the sad whippoorwill.

HART (James McDougal) - N. A., New York
Born at Kilmarnock, Scotland, 1828.
Brother of Wm. Hart, N. A.
Brought to America, 1831.
Studied with Schirmer, in Dusseldorf.
Member of the National Academy, New York, 1859.

No. 159  "Harvest Scene Valley of the Delaware."
10*4x1854.
In the foreground, a corner of the pasture is separated from the meadow
and the field of golden grain by a small brook and an old rail fence. A pri
vate roadway leads from the pasture over the brook and into the hay meadow
beyond Near by, two men are tedding the hay, while in the distance three

106  T. B. WALKER COLLECTION. 
workmen are loading and hauling. On the left are the modest farm build
ings, standing just within the group of elms that border the field of grain.
Farther on, the great hills rise one after another until lost to view under
the dark pall of the threatening clouds o'erhead.

No. 160— "Landscape with Cattle."
15x20.
This picture covers a large expanse of scenery and is replete with
beauty and refinement. An open field or pasture, sloping gradually from the
foreground to the edge of the river, which is seen in the middle of the pic
ture. Through the center of the pasture, with its grass of delicate sun
lit green, a small path may be traced to the water's edge. In the fore
ground some cattle are ruminating. Along the river banks are fine trees
which reflect their outiines in the clear water of the stream. In the distance
is a village, while in the extreme distance the blue-topped hills fade into the
sky. A fine example of the old Hudson River schccl.

HARLOW (George Henry) - - - England
Born at London, June 10, 1787.
Died at London, Feb. 4, 1819.
Studied under De Cart, Drummond, and Sir Thomas Lawrence. * * *
In 1818 Harlow went to Italy, and was well received and flattered at Rome;
where he was made a member of the Academy of St. Luke. He exhibited
between 1804 and 1818, forty-two portraits at the Royal Academy, and five
at the British Institution.
He worked with great rapidity, and made at Rome a good copy of
Raphael's "Transfiguration," the same size of the original, in eighteen days.
Harlow's best works are his small portraits, and those done with a
pencil and having the faces slightly tinted.
— Painters and Their Works, Vol 1, P. 518.
No. 161— "Miss O'Neil as Juliet."
40x25.
Miss O'Neil was a noted English actress in the early part of the nine
teenth century. The picture is one of those delicately penciled portraits of
this renowned painter. The tinting of the face is very delicate, yet most
natural, while the gown and laces are rich, both in color and light effects.
This is considered one of the best of Harlow's portraits.
No. 162— "Playmates."
4354x3354.
From the Carleton Galleries, London.
A golden-haired boy with black hat and plume is sitting upon the marble
step, caressing his pet dog. On the right, sitting upon the floor, her left

INDEX AND BIOGRAPHICAL NOTES. 107

arm resting upon a foot-rest, is a girl but little older than her playmate.
The boy is neatly dressed in a soft brown suit, cut low at the neck and
trimmed with dainty lace; while the little girl wears a white dress of soft,
gauzy material, modestly trimmed with bows of small ribbon of purple,
green and white. The children are beautiful, resembling each other to a
marked degree, and it is believed they are portraits of the artist's own chil
dren. The expression in the face of the mischievous dog would indicate
that he was anxious for the children to "start something." Considered a
splendid example of Harlow's work.
HELST (Bartholomeus Van der).
Born at Haarlem (or Dordrecht), in 1613.
Died in Amsterdam, buried Dec. 16, 1670.
"Dutch school; portrait painter, either studied under Frans Hals or took
him as his model, and became one of the greatest portrait painters of his
time. Lived chiefly at Amsterdam, where in 1654 he and Nicolaas van Helt-
Stokade founded the guild of St. Luke." — Cyclopedia of Painters and Paintings.
"His instructor is not mentioned, but he painted subjects of history in
an excellent style, and as a portrait painter he ranks among the ablest
artists of his country.
"His works are highly prized for correct drawing, lively and true ex
pression of the figures and countenances, and admirable coloring."
— Spooner's History of Fine Arts.
"A very eminent portrait painter, born at Haarlem in 1613. The Dutch
biographers do not inform us by whom he was instructed, but he is deserv
edly considered as one of the ablest artists of his country. That his talents
were of no ordinary cast may be presumed from Sir Joshua Reynold's de
scription of his celebrated picture in the stadthouse at Amsterdam. 'The
best picture in the house,' says that judicious critic, is painted by Van-
derhelst.' "This is perhaps the first picture of portraits in the world; comprehend
ing more of those qualities which make a perfect portrait than any other
I have seen; they are correctly drawn, both heads and figures, and well
colored, and have a great variety of action, characters, and countenances.;
and those so lively and truthfully expressing what they are about, that the
spectator has nothing to wish for."
— Bryan's Dictionary of Painters and Engravers.
"He sometimes employed his pencil on historical subjects, and the land
scapes which he introduced into those compositions are always in good
taste, and designed with great truth to nature. But his chief merit con
sisted in portraits, which he designed in an agreeable style, with a light,
free touch, and a mellow pencil, with bright draperies and beautiful color
ing. Many of his countrymen do not hesitate to compare him with Van
dyck." —Pilkington's Dictionary of Painters.
"In the opinion of many good judges, Bartholomeus Van der Heist, as
a portrait painter, ranks next to Vandyck.
"Fine portraits by Van der Heist are to be found in all the great gal
leries of Europe, and even in many private collections." — Painters and Their Works.

108 >T. B. WALKER COLLECTION. 
No. 163— "Portrait of a Lady."
4254x34. ,
This is a signed painting from one of the old collections of Europe,
is of the age of Van der Heist, and has every attribute, even to the family
crest or coat-of-arms of one of the prominent houses of Europe, so care
fully painted in the corner of the picture, which, with the dress and bearing
of the lady, and the refined and characteristic drawing and coloring char
acteristic of this artist, altogether indicate and seem to insure its genuine
ness as a work of this most prominent of all the artists of his time.

HERMANN (Leo) - - ... - France
Born at Paris.
Pupil of the Ecole des Beaux Arts.
No. 164— "The Good Story."
854x11.
Leo Hermann's "Good Story" made him noted as an artist. One of the
Goupifs "Hundred Masterpieces of French Art."
Two portly monks, round of face and rotund of person, sit before a
table in a well furnished apartment. One is reading from a small volume
which he holds in his hand. The other, in an ecstacy of laughter, leans back
in his chair speechless.

HENNER (Jean Jacques). Born in Alsace, 1829.
Died, 1905.
His paintings are marked II. Henner. Pupil of Drolling and Picot;
won the Grand Prix de Rome in 1858. — Cyclopedia of Painters and Paintings.
He sent to the Salon in 1878 "A Dead Christ" and "The Magdalene."
The last was much praised by Roger Ballu, in the "Gazette des Beaux Arts,"
July, 1878, who says: "How can we describe the ineffable poesy of this
figure, modeled in full light, the flesh of which has the agreeable brilliancy
of a white camellia opening itself to the sun * * * you may accuse me
of enthusiasm if you wish, but I was ravished at the sight of this 'Magda
lene;' it might take its place in a museum, and proudly regard a Correggio."
No. 165— "Portrait of Grand Opera Singer."
24x18.
This is one of Henner's strongest portraits. The delicate flesh tints
the strong, beautiful features, the splendid pose, and the profusion of golden
hair, together with the elegant draperies, make up a beautiful woman The
dark background causes the whole portrait to stand out in almost full relief.
The color arrangement is most harmonious and pleasing.

 INDEX AND BIOGRAPHICAL NOTES. 109
The wonderful flesh of his "Magdalene," which Ballu likens to the "bril
liancy of a white camellia opening itself to the sun," is given to the face
and figure of this painting, and while other details necessary to produce a
perfect picture are not lacking, yet this pearl-like flesh is the potent factor
in the composition of this strong attractive picture.

No. 166— "A Reverie."
19x17.
A maiden sits beside her table,
Still and fair as marble cast;
Are her thoughts about the future.
Or simply day dreams of the past?
Eyes wide open, yet see nothing;
Ears alert, yet hear no sound;
All her being simply dreaming,
In a reverie profound.
One of Henner's most interesting pictures.

HEEMSKERK (Egbert Van). (The Elder.)
Born at Haarlem in 1610.
Died in 1680.
Called "The Peasant."
Dutch School.
"He painted the interior of Dutch alehouses with boors regaling or
quarreling, of which there are two examples in the Louvre and one in the
Hermitage at St. Petersburg. These subjects he painted with some ability."
¦ — Bryan's Dictionary of Painters and Engravers.
"Painted genre and merrymakings. There are two pictures by this artist
in the Louvre, which are much in the manner of Teniers and Brouwer; the
drawing is correct, the coloring transparent, and the execution light and
spirited." —Painters and Their Works.

No. 167— "Market Day at the Country Inn."
Painted at Amsterdam about 1665. Like all of this artist's works, this
is a scene of revelry. On the right is the quaint country inn, with its
spacious yard filled with men, women and children from the country-side.
It is market day, but only a remnant of vegetables remain and nearly all
give themselves over to eating, drinking, dancing and to games. One young
man in his enthusiasm embraces the buxom bar-maid, entirely unnoticed by
the group watching the game of ten-pins. On the left, some of the vil
lagers are cutting and shocking a field of grain. The figures are well drawn,
the color arrangement very good, and although the subject is not elevating,
yet the execution is spirited, making an interesting picture.

110 T. B. WALKER COLLECTION. 
HOGARTH (William) - - - England
The first great English painter.
Born in London, December 10, 1697.
Died there October 26, 1764.
Son of Richard Hogarth, schoolmaster.
"His power of drawing enabled him to imitate the forms within his own
range of art— to seize their expression and character— and to endow^ them
with truth and nature. His color was simple and pleasing, not wanting in
harmony, his work well and carefully finished."
—Redgrave's Dictionary of Artists of the English School.
"Thackeray delineated in words the society which the artist shows us
in color. This was ever the bent of Hogarth's genius. He might fail as a
painter of history, but never as a painter of life. He loved to 'point a moral'
as well as 'adorn a tale,' and the moral was always a dramatic warning
against vice.
"The distinctive art history of Great Britian really begins with Hogarth."
—Radcliffe's Schools and Masters of Painting.
"England did not produce a first-class master of genre until the eigh
teenth century, when such a one appeared to William Hogarth."
— Lubke's History of Art.

No. 168— "Hogarth's Portrait of His Wife."
31x20.
Painted about 1730. Hogarth was noted more for his character scenes
and representations of the customs of the times than as a portrait painter.
But of late years his portraits have become as highly appreciated as those
of any of the English artists. This one in particular, is fine and rich in
tone, the lace cap and large lace collar being beautifully painted. The back
ground is also very fine. The flesh tones are natural. It is altogether one
of the finest portraits of any of the old English artists.

HOBBEMA (Minderhout). Born 1638. Died at Amsterdam.
Buried Dec. 14, 1709.
Dutch School.
"His style was similar to that of Ruysdael, with a richer and more har
monious system of coloring. His subjects are usually of a humble character
and his execution proves him to be a close student and follower of nature.
He is considered one of the greatest masters of landscape art. Some of the
landscapes are enlivened with figures by Pieter Bouts, Adrian Van der Velde,
Berghem, Storck, B. Gael, and others. The works of Hobbema are now
exceedingly scarce and very valuable, most all being in England at the
present time.

INDEX AND BIOGRAPHICAL NOTES. Ill
"Formed himself under the influence of Jacob van Ruysdael. Much
neglected in his lifetime, and little esteemd, this painter now takes rank as
one of the greatest masters of landscape art, thanks to the initiative of
England, where nine-tentfis of his works are to be found."
— Cyclopedia of Painters and Paintings.
"He resided at Amsterdam, and lived on terms of intimacy with Nicholas
Berghem, A. Vand der Velde, John Lingelbach, and Ruysdael, who are said
to have adorned his landscapes with figures and animals. His style was
similar to the latter, with a richer and more harmonious system of coloring.
His subjects are usually of a very humble character, often representing a
cottage embosomed in a clump of trees, with a sandy road leading through
a wood, and a brook or small lake. His pictures are executed with charm
ing simplicity, and he is not surpassed by any Dutch painter for pure and
chaste tints, finish and freedom of touch and intelligence of chiaro-oscuro."
— Spooner's History of Fine Arts.

No. 169— "The Old Mill."
2854x3854.
From Collection, Ruston Hall, Northamptonshire.
The first glance at this remarkable painting captivates the lover of the
beautiful in tone and finish, while the harmony of coloring has scarcely ever
been surpassed.
A quaint old mill is seen, almost hidden by the overshadowing trees
which fringe the shores of the small stream and casting their shadows into
the placid waters of the millpond with such idealistic splendor as to all
but rival nature itself. Far across the fields and meadows is seen a modest
farm house, and the whole overshadowed by the fleecy clouds and hazy
sky of a quiet summer's day, marks this a finished picture of a master
painter. No. 170— "A Wooded Landscape."
2154x31.
From Adrian Hope Collection.
In the foreground several clumps of beautiful trees and a winding road
way leading back to some neat little cottage homes almost hidden by the
green shrubbery; the same wooded landscape continues until lost to view
through the dense foliage and shadows of the overhanging trees. A hunter
with his dog and gun are seen in the roadway. The rich coloring and artistic
shadows make an attractive and interesting picture.
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.
"The wonderful series of 89 portraits in red chalk and India ink by

112 T. B. WALKER COLLECTION. 
 , .   f 
Holbein in the royal collection at Windsor, are in themselves sufficient
to stamp him as one of the greatest of all masters in portraiture."
—Cyclopedia of Painters and Paintings.
"This most celebrated artist was the younger son of the elder Hans
Holbein, of Augsburg." —James's Painters and Their Works.
"Was not only the greatest German exponent of the realistic school,
but one of the first portrait painters of any age; and, moreover, one to
whom the British school of painting owes more than to any other master.
Inferior in grandeur of style and fertility of imagination to his great cotem
porary Durer, he excelled him in truth to nature, in feeling for physical
beauty, and in command over all the technical processes of his art."
— LfAnvers' Elementary History of Art.
"It has been the lot of few to have their merit so munificently rewarded,
or to whose fame posterity has paid the tribute of more honorable testi
mony. "The portraits of Holbein are distinguished by a pure and simple de
sign, peculiarly characteristic of his model, his carnations are tender and
clear, and his heads, without much shadow, have a surprising relief."
—Bryan's Dictionary of Painters and Engravers.
"Holbein was soon presented, and Henry immediately took him into his
service, assigning him apartments in the palace, with a liberal pension,
besides the price of his pictures. Holbein painted the portrait of the king
several times, also the principal personages of the court, and many others
of the nobility.
"His portraits are distinguished for a pure and simple design; his
carnations are tender and clear, with a peculiar enamelled bloom; and his
heads, without much shadow, have a surprising relief. He generally painted
on a green ground; in his small pictures often on a blue.
"There are a great number of genuine portraits by Holbein, in the man
sions of the nobility throughout England." — Spooner's History of Fine Arts.
"His portraits up to this time all display that uncommon facility for
seizing character which his father enjoyed before him, and which he had
inherited in an expanded form. No amount of labor, no laboriousness of
finish — and of both he was ever prodigal — betrayed him into loss of resem
blance or expression. No painter was ever quicker at noting peculiarities of
physiognomy. * * * His method was to the very last delicate, finished
and smooth, as became a painter of the old school." — Encyclopedia Britannica.
"He very early attained great technical skill, and evinced a rare power of
drawing — lifelike, full of character and truthful.
"Unsurpassed as many of the highest qualities of portrait are, especially
in his lifelike character, he was no less so in the originality, variety and
power of his designs." — Redgrave's Dictionary of Artists of the English School.
"Hans Holbein, the younger, called Holbein par excellence, that the
true mantle of all the family genius descended; and his biography must be
given more at length.
"Holbein's portraits have always great vigor and individuality. They
do not evince the least imagination or soul; yet his realism is so correct,

INDEX AND BIOGRAPHICAL NOTES. 113

his expression so natural, and his heads so simply, yet thoroughly and
forcibly finished, that he ranks in this respect with the most renowned
artists of any age or country." — Radcliffe's Schools and Masters of Painting.

No. 171— "Henry VIII."
46x35.
This painting was for many years the property of one of the most promi
nent families in England. It was finally sold and came into the possession
of Colneghi, the most reliable authority in England, perhaps, on the works
of the masters. This picture was in a noted exhibition of the portraits of
the family of the House of Tudor, held in Manchester, England, in 1897,
and was registered, "No. 83-4. Title Henry VIII. Artist, Hans Holbein.
Lent by Martin Colneghi, Esq.," as shown by the label on the back of the
canvas, and the catalogue of the Exhibition. It represents Henry VIII,
life size and nearly full length, dressed in his coat made of golden thread
woven into the cloth and reproduced very beautifully by the painter. The
king has on his rather broad brimmed hat with very little crown shown,
his gloves in his hand and with all the magnificence of dress possible. An
extraordinary picture and framed in wood carved frame, with ornamental
figures and open Venetian carving. It represents one of the most important
of the portrait works of Holbein, who is known as one of the greatest of
the portrait painters, which, as Radcliffe says, makes him rank "with the
most renowned artists in any age and country."

HOPPNER (John). Born at Whitechapel, London, April 4, 1758.
Died in London, January 23, 1810.
Portrait and Landscape Painter.
Member of the Royal Academy.
"The mother of this artist was a German attendant at the palace, and
his father, also a German. He entered life as a chorister in the Chapel
Royal, but showing a strong inclination for drawing, George III made
him a small allowance and in 1775 he was admitted into the schools of
the Royal Academy. His first attempts at painting were landscapes, yet he
gained the gold medal in 1782 for a painting of "King Lear." In the same
year he married Miss Wright, whose mother executed portraits in wax.
From that time, he devoted himself to painting portraits, and was the
chief rival of Lawrence. He was much in favor with the royal family and
painted many portraits of members of it.
In 1793 he was elected an associate, and in 1795, a full member, of the
Royal Academy. To a certain extent, Hoppner imitated Reynolds and al
though his coloring was admired when his portraits were painted; owing
to the use of bad materials, some of them have now become heavy and
hard. He succeeded best in portraits of women and children. * * * His
full-length portraits of official personages are also very good, for they
stand firm upon their feet and their roles are well imagined. Pictures

114 T. B. WALKER COLLECTION.

and portraits by Hoppner have been sold as follows: Portrait of Mary
Gwyn, 1889, $11,810. * * * Portrait of Nelson, $13,385. ..."
— Painters and Their Works.
"By the patronage of the Prince of Wales became a fashionable por
trait painter, finding a rival only in Lawrence. The Prince, the Duke and
Duchess of York and many other notable personages were among his sit
ters. * * * Published in 1803, 'A Select Series of Portraits of Ladies of
Rank and Fashion' painted by him." . „ . , t. ¦ _•
— Cyclopedia of Painters and Paintings.
"Hoppner's style of portrait painting appears to have been founded
on the study of the works of Sir Joshua Reynolds, but he was far from
being a copyist. Occasionally, indeed, he imitated Reynolds' manner and
formed his pictures on similar principles, but he atoned for the plagiarism
by his original graces. * * * In his portraits of children, he was pe
culiarly happy and scarcely less so with those of ladies; but in painting men
his style was too constrained.
Among his contemporaries he had a reputation for brilliant and yet
mellow coloring. * * * In 1810, Lawrence in one of his letters, ex
pressed genuine sorrow at the news of Hoppner's death; adding, however,
in another place, the remark that 'the death of Hoppner leaves me without
a rival.' '.' — Bryan's Dictionary of Painters and Engravers.

No. 172— "Lady Isabella Hamilton."
26x24.
Lady Isabella Hamilton was the only daughter of the Right Honorable
Sir William Hamilton, from his first wife, whom he married in 1755. Cham
bers, speaking of Isabella's mother, says she was a "lady of beauty, con
nections, amiable qualifications, and 5,000 pounds a year." Another biog
rapher calls her a "beautiful heiress of Pembrokeshire." Duclos, secretary
of the French Academy, has this to say, after his visit to Naples, 1772,
where Sir William was serving as ambassador (1764-1780).
"Sir William's lady and himself in the prime of life, his daughter just
opening to womanhood, beauty and accomplishments. The public respect
paid to his merits, and the internal peace of his amiable family." Three
years later, however, Isabella died and her mother also died in 1782. The
half-length portrait was no doubt painted in 1774, during a visit of Isabella
to England and Scotland and fully verifies Prof. Duclos' statement that
Isabella was both accomplished and beautiful. The painting also demon
strates Hoppner's ability as a portrait painter, and the influence of the works
of Reynolds.

HOOGSTRAATEN VAN (Samuel).
Born at Dordrecht, August 2, 1627.
Died there, October 19, 1678.
Student of His Father and Rembrandt.
Master of Houbraken.

INDEX AND BIOGRAPHICAL NOTES. 115
"he painted portraits, landscapes, etc., with success, and wrote a good
work on the theory of painting." — Lippincott's Biographical Dictionary.
"History, portraits, perspective views and still life. He was the elder
son of Dirk Van Hoogstraaten, and shortly after his father's death (1640)
he entered the school of Rembrandt. In 1651 he went with his brother
Jan to Vienna, and after visiting Rome, to London about 1663. * * *
At first Samuel Van Hoogstraaten painted in Rembrandt's strong, dark
manner, but afterwards he adopted one more like that of De Barre, or
Pieter de Hooch and some of his pictures have been sold as being by the
latter painter." — Painters and Their Works.
"The first applied himself to portrait painting, and finding the dark,
though vigorous, style he had acquired under Rembrandt did not please the
generality of his sitters, he adopted one more clear and agreeable, and met
with great encouragement in that branch at the Hague and at Dordrecht.
Later on, he painted landscapes, flowers, fruit, and subjects of still-life in
the style of Pieter De Hooch." — Bryan's Dictionary of Painters and Engravers.

No. 173— An Interior View."
1854x23.
The beholder being permitted to stand at the rear of the great recep
tion room of a palatial residence, from whence to get a view of this room,
the broad veranda, and a glimpse of the beautiful terraced gardens and
ground, which surround the house. A flood of golden sunlight pours in
through the great windows and arched doors, lighting up the fine porch
and the grand reception room within. On the right four ladies seated at
small tables drink the health of the chivalrous host, while the hostess sits
at the left of the door, conversing with another woman standing well back
in the shadows. The maid with a tray of fruit ready to serve, stands on
the veranda, as other guests, attired in the fashions of the long ago, file in
from the flower gardens and the charming wooded grounds.

HUGUET (Victor). French School.
One of the leading cotemporary painters.
Pupil of Eugene Fromentin.
His works are handled almost exclusively by Durand Ruel, Paris.
No. 174 — "Scene on the African Coast."
15x22.
In the foreground the low, sandy beach in narrow finger-like peninsulas
reaching out into the sea, is overrun by a colony of storks. Beyond is a
small, low island, covered by the peculiar temples and thatched huts of a
native tribe, who may be seen busying themselves in work and pleasure

116 T. B. WALKER COLLECTION.

along the shore, and in the shadows of the palm trees on the island. Beyond
is the restless sea, resplendent with colors reflected from the sun-kissed
clouds ofthe early morning, as the light of day dispels the darker shadows
of the night. A peculiarly interesting picture in subdued, but pleasing tones.

HUNTINGTON (Daniel) R. A.
American School.
Born in New York, Oct. 14, 1816.
Died there.
Portrait and genre painter.
Pupil of Professor Morse and later of Inman.
President of the National Academy 1862, 1869, 1877-84.
Studio in New York.
"Visited Europe in 1839, and again in 1844, painting some of his most
important works in Florence and Rome. Portraits: Presidents Lincoln and
Van Buren, Governor E. D. Morgan, William E. Dodge, * * * Bishop
Whipple, * * * General John A. Dix, * * * Honorable John Sher
man, etc." — Cyclopedia of Painters and Paintings.
"He was elected a member of the National Academy in 1840, and Presi
dent in 1862, holding that office until succeeded by Henry Peters Gray, in
1869. He was again elected in 1877. Among the most important of Hunting
ton's portraits are those of President Lincoln, * * * President Van
Buren, etc." — Artists of the Ninteenth Century.
"His figures generally have the roundness which distinguish several of
the best Italian masters, and his tints are subdued, and harmonize like many
of the favorite pictures both of the Roman and the Tuscan schools. A strik
ing merit in his composition is his simplicity." — Tuckerman's Book of the Artists.
"In his portraits truth and simplicity are reckoned his conspicuous
merits. His execution is considered good, though subdued."
— Mrs. Tyler's Modern Paintings.

No. 175 — "Abraham Lincoln, Original Portrait."
34x27
This portrait of Lincoln, painted from life, together with other art
effects, was removed from the late Daniel Huntington's residence at 49
East 20th Street, New York City. It is not known exactly at what date
Huntington painted Lincoln, but it is positively known that Lincoln sat for
him several times between the time he reached Washington (Feb. 23, 1861)
and the time of his assassination by John Wilkes Booth, April 14th, 1865.
The painting is in Huntington's subdued coloring, but has been pronounced by
many who knew Mr. Lincoln personally, to be a most remarkable likeness,
and by reason of the subdued coloring, shows the features more naturally
than would a brightly colored and more brightly finished painting. Abraham
Lincoln, the sixteenth president of the United States, was born in Hardin

INDEX AND BIOGRAPHICAL NOTES. 117

County, Kentucky, February 12th, 1809. He was the son of Thomas Lincoln,
and Nancy Lincoln (Hanks). The Lincolns were direct descendants of
English Quakers, who settled in America in the seventeenth century. Abra
ham's mother died when he was but nine years of age, yet he often said,
"All that I am and all that I hope to be, 1 owe to my angel mother." When
twenty years of age he stood six feet tour inches tall, and although quite
slender, was renowned for great physical strength. He had but one year's
schooling, but by great persistence, educated himself. In 1836 he was ad
mitted to the bar and began the practice of law at Springfield, Illinois. His
sweetheart died, but he afterwards married Mary Todd (Nov. 4th, 1842),
and from this union four sons were born, only one (Robert) of which is now
living. He was elected the first Republican president in November, 1860,
and when starting for Washington in February, 1861, said, "I feel that I
cannot succeed without the same divine blessing which sustained him,
(Washington) and on the same Almighty Being I place reliance for sup
port.

INMAN (Henry). Born of English ancestry, at Utica, N. Y., Oct. 28, 1801.
Died in New York, January 17, 1846.
American School.
Portrait, genre and landscape painter
Pupil of John Wesley Jarvis, of New York.
"Inman was much employed in the United States as a portrait painter.
In 1845 he came to Europe and while in England painted Wordsworth,
Macaulay, Dr. Thomas Chalmers, Lord Cottenham, and others; also some
landscapes." —Painters and Their Works.
"He studied under J. W. Jarvis at New York, where he practiced for
several years and rapidly attained prominence. In 1832 he married and
settled in Philadelphia, where he had a large practice as a portrait painter."
— Bryan's Dictionary of Painters and Paintings.
"Let anyone turn from the crude execution of his paintings at the
age of eighteen to the exquisite finish and delicate tints of "Rydal Water,"
which seems to deepen in crystal tranquillity as you gaze, until the very
spirit of the delicious landscape passes into your mind, as it often did into
that of Wordsworth, who himself conducted Inman to the very point of
view whence the picture was taken. * * * The works thus brought to
gether (at the Art Union rooms for the benefit of Inman's family), all the
products of one mind, were more valuable and attractive than many exhibi
tions we have seen comprising twenty times as many pictures by fifty different
artists (One hundred and fifty of Inman's pictures were arranged upon the
walls) * * * In his happiest efforts at portraiture wherein there was
great inequality, viewed as a whole, Inman has been compared to Sir Thomas
T „ — Tuckerman's Book of the Artists.
Lawrence. Tuckerman gives thirteen pages of unstinted praise to Henry Inman,
who suffered many years with asthma, eventually contracting heart disease
from which he died. .-_¦•_..
"He numbered among his sitters in America many distinguished men,

118  T. B. WALKER COLLECTION.
and his portraits are in the Boston Atheneum, New York City Hall, and
elsewhere throughout the country. Among his landscapes are 'Rydal Falls,
England,' and 'October Afternoon,' one of his last works. He painted also
'The News Boy,' 'Rip Van Winkle,' 'The Boyhood of Washington,' and
kindred works." —Artists of the Nineteenth Century.

No. 176— "The Birthplace of Washington."
1954x23.
The modest farm home of Augustine Washington and his second wife,
whose maiden name was Mary Ball, was situated in a parish called Washing
ton, Westmoreland County, Va., near Pope's creek, a small tributary of the
Potomac river and about one-half mile from its junction with that stream.
The house was destroyed by fire during the boyhood of Washington, but in
1815, a stone with suitable inscription was placed on the spot by George
Washington Parke Custis. After the burning of their house on Pope's creek,
the family moved to a house on the Rappahannock, a short distance above
Fredericksburg, where the father died, in 1743, when George was but eleven
years of age. Inman's splendid little picture shows the monument with
inscription, and the interesting landscape adjoining.

INGRES (Jean Auguste Dominique).
Born at Montauban (Tarn-et-Garonne), August 29, 1780.
Died in Paris, January 14, 1867.
"History and portrait painter, pupil of Roques in Toulouse, and of David
in Paris (1796). Won the second Grand Prix in 1800, and the Grand Prix
de Rome in 1801, but being unable to go to Italy, on account of the war, he
spent the next five years in Paris studying the pictures in the Louvre."
— Cyclopedia of Painters and Paintings.
No. 177 — "Napoleon in Coronation Robes."
1754x1454.
This splendid portrait represents Napoleon at 35 or 36 years of age
as he appeared in his coronation robes when crowned Emperor of France,
December 2, 1804.
On December 16, 1809, he divorced Josephine, whom he married in 1795,
and was married to Marie Louise on April 2, 1810. On March 20, 1811,
Napoleon's son, the King of Rome, was born. On April 6, 1814, he abdicated!
and on May 1, 1821, he died. This portrait is no doubt a faithful likeness of
Napoleon in the prime of life and at the very pinnacle of his greatness.
ISBEY (Jean Baptiste). Born at Nancy, 1767.
Died at Paris, 1856.
This painter is said to have studied under four masters: Girodet, Claudet,
Dumont, and David. He arrived in Paris in 1786, and was so fortunate as to

INDEX AND BIOGRAPHICAL NOTES. 119
obtain commissions to paint Marie Antoinette, and other members of the
Royal Family. Isbey was no less in favor with the chiefs of the different
ruling powers that succeeded each other in France.
Napoleon appointed him, in 1805, first painter to the Empress Josephine,
and afterwards, drawing master to the Empress Marie Louise; also "Di-
recteur des Fetes et Ceremonies." Talleyrand sent him to paint the pleni
potentiaries at the Congress of Vienna. Louis XVIII sat to him. Charles
X made him cabinet painter, and Louise Philippe appointed him Honorary
Conservator of Public Museums.
His picture of the "Congress o' Vienna" is at Windsor, and there are
many other works by him in the Louvre, and at Versailles.
— Painters and Their Works, Vol. 2, Page 8.

No. 178 — "Lucien Bonaparte."
23x13.
Prince of Canino, a brother of Napoleoi , born at Ajaccio, in March, 1775,
was one of the ablest members of the fami_y. In the French Revolution he
showed himself a zealous republican and acted with much energy and moder
ation on several occasions.
In 1795 he married Christine Boyer, a poor girl. He was elected to the
Council of the Five Hundred in April, 1798. He held many other prominent
positions. In 1800 his wife died, and in 1803 he offended the First Council
by marrying a widow, Madame Jouberton. He went into exile in 1804,
settling in Rome, where he entered the field of literature and art. The
Emperor (his brother) offered him a throne, if he would separate from his
wife; but he refused; he was then ordered to quit Europe, and embarked for
the United States in 1810, but was detained in England until 1814. He was
reconciled to Napoleon in 1815, and supported him actively during the
Hundred Days.
He passed the remainder of his life in exile in Italy, where he wrote
"Charlemagne," etc.
He had six daughters and five sons. Died at Rome in 1840.
INNESS (George), N. A.  - New York
Born at Newburgh, N. Y., 1825.
Died at the Bridge of Allan, Scotland, 1894.
Studied art at Newark, N. J., and engraving at New York.
Elected Associate of the National Academy of Design,
1853, and a full Academician, 1868.
Visited Europe twice and lived some time at Florence and Rome.
"Mr Inness was the foremost American landscape painter and one of
the most able and individual of contemporary landscapists. He takes rank
with such masters as the men who have made the Barbizon school the most
brilliant phase of French art, Corot, Rousseau and Dupre While his tech
nique was faultless, his drawing forcible, and his coloring brilliant, his fame
rested upon the subjective quality of his art. He loved Nature, and .ym-
¦TaSed with her in her moods." -New York World, August 5, 1894.

120 T. B. WALKER COLLECTION. 
"Mr. Inness ranked as a painter with Rousseau, Corot, Diaz, and Dupre.
His death, with that of Wyant, a couple of years ago, removes from the
scene the two great American painters of landscape." —News, Newark, N. J.. 1894.

No. 179— "Cromwell's Bridge."
1954x30.
This bridge was built by Cromwell in Ireland, 1649, and was erected
primarily for military purposes, but in a most substantial manner. The
bridge spans a deep, rugged gulch, so overshadowed by the dense forest as
to almost completely shut out the sunlight. Like most of Mr. Inness's sub
jects, it is a study of nature principally, done in this artist's forcible draw
ing and brilliant coloring.

No. 180— "Harvest Scene in the Delaware Valley."
30x45.
A pleasing landscape of wide meadow and river winding among trees.
In the foreground is a wheat field in which the reapers are at work. In
the middle distance some cattle are watering. There is a skilful distribution
of color in this picture, and much air and light.
Mr. Julius Oehme, of New York City, one of the most experienced art
men of the world, pronounces this as fine and beautiful as any painting ever
produced by Turner, and much more permanent and durable than any of
Turner's finest examples.

INNESS (George, Jr.).
Born in New York City, July 5th, 1854.
Pupil of his father, George Inness.
Studied under Leon Bonnat in Paris. Sketched in different parts of Europe.
Mr. Inness has produced some of the finest landscapes of any of the
modern artists, somewhat in the manner of the work of his father, yet more
refined and beautiful in color, tone and effect. George Inness, Sr., produced
some magnificent paintings, but it was only when he caught an inspiration
and color scheme. His son is more successful in producing, almost always,
a fine landscape. He has also added figures and with success produced reli
gious pictures. He is better known in France than in this country, as he has
been there for a number of years, studying and working with the French art
schools. Arsene Alexandre, who is regarded, perhaps, as foremost art critic in
Europe, says of the exhibition containing Inness' pictures as follows: "The
profoundest sentiment, the simplicity of motive, and the richness of execu-

INDEX AND BIOGRAPHICAL NOTES. 121
tion, render the landscapes of George Inness, Jr., particularly attractive.
They show the mark of a true artist and an excellent painter. Thus do they
command the greatest consideration. It would be impossible to come
before the public with more discretion and modesty than Mr. Inness has put
into his work. Not by excessive canvases, not by anecdote, does he try to
become popular, and which can be produced on the boxes of various products.
In truth this is contrary to all the examples shown. In return he gives us
beautiful motives, very simple, taken from the grandest nature, or more
exactly in the grandest meditation before nature, his color always very rich
and sometimes of great intensity, but without unnecessary violence. Finally
this reflection, this personal participation of the painter in the scenes which
he gives us, is an indispensable condition, not only to make good studies,
but more to make fine pictures.
"The painter truly deserving the name makes provision of sentiment
from nature, but it is only when shut into his own home that he begins really
to be free — when he arranges, enriches, embellishes and composes his work.
By this operation the painting becomes a rare object, and one remains
a long time before it in repose, because it was a long time loved. There is
very little chance that Ruysdael, Corot, Rosseau, who worked thus, should
be mistaken. "Inness is an American who had for his master, his father, a celebrated
artist of the United States. He has worked much in France, and it is here
that he feels himself most at his ease to dream and work.
"There is a great variety of motive in these pictures and a grand unity
of temperament. This sentiment is earnest and profound. The silver hours,
and the golden hours, please him, above all — the clear hours, but still always
mysterious, where the earth and the sky embrace, or again, the hours more
mysterious, where the earth awakes and the sky dreams — silver fogs of the
morning, golden fogs of the evening, veils infinitely rich and transparent,
which the painter so well sees from a distance, but in which he makes one
feel the palpitation of life.
"From time to time he shows the fresh and bright appearance of things,
but there still, as in certain pictures of forests, one sees the richness of
the pictorial matter invested by clearness of motive. Several pictures amidst
the numerous witnesses show to us mighty effects in different styles.
"The Venice, so harmonious, and in which the lines take so much
grandeur. The Pond, in the charming fresh morning, so delicately surrounded
by vapors. The plain over which rolls a stormy sky and in which advances
a black and smoking train— a canvas as happy as courageous. Or still
another picture, which shows not less courage, and is not less successful,
where one sees the tops of the houses lit by the sun of an evening in autumn,
while in the sky, changeable like silk, are proudly lifted the chimneys of a
factory. This is what can be made of a subject in which beauty is not per
ceived by the greater part of the passing world— by a man who is a true
colorist and has the emotions of a poet.
"All this makes the joy of painting, but a calm, reflective joy, which is
only gotten at the price of much trouble, many struggles, and intense anxiety.
"Mr. Inness does not show himself only a landscapist. He has several
times tried to render his thoughts under subjects borrowed from the Scrip
tures, as in 'The Entombment,' or in 'The Golgotha,' where he shows an
original composition, and a fine light. More than once, one sees appearing
before him his destiny of rich and moving landscapist, the sight of which
will be the reward offered by his imagination to his merit."

122 T. B. WALKER COLLECTION.

No. 181— "Rabboni."
3454x40.
Represents the scene of Mary meeting Jesus as told in John XX, be
ginning at the 11th verse, "But Mary stood without at the sepulchre and
wept; and as she wept, she stooped down and looked into the sepulchre.
"12. And seeth two angels in white sitting, the one at the head, and the
other at the feet, where the body of Jesus had lain.
"And they say unto her, 'Woman, why weepest thou?' She saith unto
them, 'Because they have taken away my Lord, and I know not where they
have laid him.'
"14. And when she had thus said she turned herself back, and saw Jesus
standing, and knew not that it was Jesus.
"15. Jesus saith unto her, 'Woman, why weepest thou? whom seekest
thou?' She, supposing him to be the gardner, saith unto him, 'Sir, if thou
have borne him hence, tell me where thou hast laid him, and I will take him
away.' "16. Jesus saith unto her, 'Mary.' She turned herself, and saith unto
him 'Rabboni,' which is to say, Master."
A beautiful, harmoniously colored picture, representing the morning
light, apparently just before sunrise. As poetic and beautiful as though
painted by Jules Breton. No. 182— "Sunset Scene."
15x22.
A beautiful sunset scene, showing in the foreground a little stream with
brush and a few trees along the bank. Farther on can be seen a peasant
woman carrying a pail of milk. To the right of the center are two cows
feeding, while in the distance can be seen a clump of trees and a church,
upon which the setting sun throws a soft, warm light. The shadows of
twilight are brightened here and there by the soft rays of the sun.
No. 183 — "Evening on the Delaware Canal."
2854x36.
In the lower right hand corner one sees a canal boat and one lone boat
man pushing away from the shore. On the right, far in the distance, is a
small hamlet all but hidden by the wood bordering the river. The artistic
beauty of this picture is in the peculiar light effects. In a close study of the
picture we can all but see the rifts in the clouds through which the sun
shines, and the moving clouds causing the lights and shadows to chase
each other over hill and dale and down even across the broad meadows on
the left until they are lost to view in the dim distance. The sunset glory in
the western sky is most magnificent.
JACQUE (Charles Emile) - - .... par;s
Born at Paris, 1813.
First President of the French Society of Animal Painters.
Medals, 1851, 1861, 1863, 1864.
Hors de Concours.
He died in 1893, rich and honored, and the sale of his studio collection

INDEX AND BIOGRAPHICAL NOTES. 123
in 1894, by auction in Paris, produced the noteworthy return of over 600,000
francs. "His pictures of life are marvelous in their minute representations, not
only in the larger objects, but in the details.
"Why have Charles Jacque's works such a powerful charm? It te be
cause they always show us things or persons such as they are in nature;
because he studied them in the course of their usual life and avocations;
and because this sincerity carries us without effect to the scene that he
chooses to represent." — Artists of the Nineteenth Century.
"Few artists have a more widely extended, or a better deserved reputa
tion." — Cyclopedia of Painters.
"But the most incredible and ironical fact, in the glorious existence of
an artist, is that, medaled for painting in 1849, 1863 and 1864 — all third class
medals, Charles Jacque has obtained in all seven medals, of which not one,
it seems incredible, has gone beyond the third class. He is, without a doubt,
the only one among the painters and engravers who has received seven third
class medals. Certainly he would be justified in lightly valuing official recom
penses, for he is superior to the highest."
— Jules Claretie, Goupil's Great Modern Painters, 1894.

No. 184— "Shepherd and Sheep."
954x13.
A compact flock of sheep, attended by a shepherd, are coming down from
the shelter of the woods to a small stream to drink. The sky, a little blue
showing through the almost unbroken gray, is seen beyond the trees on the
right. The rest of the upper canvas is filled with the dark green of the
shadowed trees.

No. 185— "A Hot Afternoon."
26x33.
A shepherd is seen leading his flock from the heated pastures to the
running brook beneath the shadows of the great trees bordering its banks.
The sheep walk with heads near the ground indicating that they are hot
and thirsty. The shepherd's faithful dog precedes them, however, and pro
ceeds to slake his own thirst while the flock wait impatiently. This has
been pronounced one of the finest and most important of the works of this
famous painter.

JETTELL (E.)  Moravia
Born at Janovitz, Moravia.
Member of Jury, Universal Exposition, 1889.
Chevalier of the Legion of Honor, 1889.
Hors de Concours.

124 T. B. WALKER COLLECTION.

No. 186 — "Evening in Finistere."
29x36.
From Sedelmeyer, Paris.
Along the well beaten road, a peasant woman with basket on her arm
and a stick over her shoulder, is driving her two cows from the herding
grounds into the village. The recent rains have left the grass wet and
numerous small ponds standing in the roadway; the ducks find these sur
roundings so propitious and pleasing, that they are loath to leave it for
the night. On the left of the road and far beyond the beautiful trees by
the roadside, are the gardens and farms of the villagers. Over the thatched
roofs of the village, the sun, like a great ball of fire set in a leaden sky, peeps
through breaking clouds, casting a weird soft light over all the landscape.

JANSSEN (Cornelius). Born in Amsterdam (?), about 1590.
Died between 1662 and 1664.
Dutch School; painted with Van Dyck for eight years.
"His style is clear, lively and natural; his touch light, his pencil delicate,
his carnations soft and sweet, and he painted his pictures with remarkable
neatness. "His pictures are easily distinguished by their smooth, clean, and delicate
tints, and by that character of truth to nature with which they are strongly
marked." — Spooner's History of Fine Arts.
"Janssen's portraits may be known by their being more highly finished
than those by Van Dyck, as he had formed his own manner before that
painter came to England." —Painters and Theit Work.
"He had already reached considerable celebrity in his own country when
he visited England in 1618. He met with very flattering encouragement, and
was taken into the service of James I, whose portrait he painted several
times. His work is distinguished by a neat finish and a clear style of color
ing." — Bryan's Dictionary of Painters and Engravers.
"His style of coloring is clear, lively, and natural; his touch light, his
pencil delicate, his carnations soft and sweet, and his pictures are finished
with remarkable neatness. Though Jenssen had neither the freedom of hand
nor the grace of Van Dyck, yet in other respects he was deemed his equal and
the finishing of his pictures superior. His paintings are easily distinguished
by their smooth, clear, and delicate tints, and by that character of truth to
nature with which they are strongly marked." — Pilkington's Dictionary of Painters.

No. 187— "Little Girl."
30x1954.
From the Olden Barnevelt Collection.
The three-quarter portrait is that of a Dutch girl about twelve years of
age. She is attired in a dress and sack of some dark material, with blue

 INDEX AND BIOGRAPHICAL NOTES. 125
stripes in front and trimmed in hand-made lace, with broad lace collar. In
the left hand she holds a pair of white kid gloves, while in the right hand
is a jewelled fan. This interesting portrait was no doubt painted in Amster
dam prior to his going to England, although the flesh tints are softer than
the Dutch School, whence he had his training, and is considered a good ex
ample of this master's work in portraiture.

No. 188— "Portrait of Lady Carlisle."
42x29.
From Rustin Hall, Northamptonshire.
Wife of Charles Howard, Earl of Carlisle. Born about 1630, who was
employed in diplomatic missions to Muscovy, Sweden, and Denmark, in the
reign of Charles II. He died in 1686.
As Janssen died in 1662, this beautiful portrait must have been one of
his later and best pictures.

No. 189— "Earl of Carlisle."
27*4x23.
From the Collection of Lord Chesterfield.
The portrait is of Charles Howard, first Earl of Carlisle. He was a
great grandson of Lord William Howard, third son of the 4th Duke of
Norfolk, and was born about 1630. Oliver Cromwell in 1658 created him
Viscount of Morpeth. In May, 1660, Charles II entered London as the
recognized King of England. In 1661 Charles Howard was created Earl
of Carlisle. Under the reign of Charles II he was employed in the diplo
matic service to Moscovy, Sweden, and Denmark, and as Governor of
Jamaica, died in 1686. As Janssen, the painter, died between 1662 and 1664,
and Howard, not having been created Earl of Carlisle until 1661, it is evi
dent that the portrait was painted between 1661 and 1664, when the Earl
was about 31 to 33 years of age, and is, no doubt, one of the artist's last
works. The faultless finish, clear coloring, and splendid drawing are uner
ring evidences of the later work of Cornelius Janssen.

No. 190— "Lady Lettice Digby."
49x39.
Lady Digby was a direct descendent of the ancient family of Fitzgerald
of Kildare. She was created baroness of Offale for life, and after her mar
riage to Lord Digby of Coleshill, county of Langford, her extensive and
valuable possessions were brought into her husband's family. During the
time of the Rebellion, the insurgents often attacked her residence, "Castle
Geashill," but were as often repulsed, as it is recorded that she met these
assaults with "great resolution." She died in 1658, just six years earlier
than the death of the painter, and lies buried in the renowned Cathedral
of St. Patrick. She was survived by her husband, seven sons, and three
daughters. The portrait is that of a woman probably about 30 years of
age. with brown eyes and hair, classic features and beautiful, clear com-

126  T. B. WALKER COLLECTION. 
plexion. She is seated in an armed chair on a draped portico attired iri a
low necked white satin gown, the half length puffed sleeves trimmed with
broad' bands of hand made lace, while the low neck is encircled by a broad
collar of the same variety of Irish lace. The whole portrait finished in
Janssen's inimitable style.

JONES (Hugh Bolton). American School.
Born in Baltimore, Md., Oct. 20, 1848.
Landscape Painter.
Studied in Baltimore, and in Spain and Brittany.
A. N. A. 1881, N. A. 1883.
"In 1877 he made a sketching tour in Brittany and Spain, sending the
result of his labors to Baltimore, where several of his pictures were exhibited
in 1878. He has been a regular contributor to the National Academy since
1874." — Artists of the Nineteenth Century.
"In 1877 visited Europe and studied there four years, sketching in
Brittany and Spain." — Cyclopedia of Painters and Paintings.
No. 191— "Geneva."
7x11.
This beautiful little panel was painted by the artist while abroad, and
sent to his mother as a present, as well as to acquaint her with the progress
he was making in his chosen profession. The devoted mother treasured the
painting far above any other of her belongings, but finally reluctantly parted
with it for the comforts the liberal consideration would bring to her in her
declining years.
Geneva is the largest city in Switzerland, and is situated on the south
western extremity of the beautiful lake of the same name. In 1876 the
canton of Geneva, which includes the city, had 99,352 inhabitants, nearly
evenly divided between Catholic and Protestant.

JULIEN (Simon). French Historical Painter.
Born at Toulon, October 28, 1735.
Died in Paris, February 23, 1800.
Studied under Dandre Bardon at Marseilles.
Also student of Carle van Loo at Paris.
Grand Prix de Rome at Paris Academy, 1760.
Called Julien l'Apostat.
"When he joined Natorie's school, the pupils of the other masters
called him 'Julien the Apostate.' He afterwards styled himself 'Julien de
Parme' after his patron, the Duke of Parme."
— Cyclopedia of Painters and Paintings.

INDEX AND BIOGRAPHICAL NOTES. 127
No. 192— "The Coming Storm."
11x14.
The sky which, but a few moments ago, shone clear and blue, is now
o'erspread with great angry clouds, boiling and seething like ocean billows.
Gradually a pall of darkness approaches, preceded by a weird ominous light,
mysteriously appalling, touching first the distant tree tops, then stealing
up across the meadows until the whole landscape is resplendent with its
ghost-like shroud. The last rays of the sun strive to break through the
rapidly gathering gloom. The thunder roars, and the wind moans and
shrieks as it sways the great trees, and twists and tangles the tall grasses
of the meadow, and chases miniature white caps over the surface of the
Httle stream. The husbandman hurriedly pushes his boat into the stream,
in an endeavor to reach the shelter of his home ere the fury of the storm
breaks. A difficult subject handled in a masterly and artistic manner.
KAUFFMAN (Marie Anna Angelica Catharina).
Born at Coire in the Grisons, Switzerland, October 30, 1741.
Died at Rome, November 5, 1807.
History and Portrait Painter.
Daughter and Pupil Joseph Kauffman.
One of the Original Thirty-Six Members of the Royal Academy, London.
"She was very beautiful and highly accomplished, for she was not only
a painter, but knew several languages and was a good musician. Of course
she acquired these accomplishments gradually and it was from about 1754
when her family moved to Milan that she made rapid progress in art and
other things. In 1757 her mother died; she then went with her father to
Florence, and arrived in Rome in 1759. There her talents excited great ad
miration. In 1764 she went to Venice, and having become acquainted with
Lady Wentworth, in 1765 came with her to England. Angelica's brilliant
reputation caused her to be received with great distinction and she found
a kind patron and protectress in the young Queen Charlotte. It is said
she was much admired by Sir Joshua Reynolds, and Sir Nathaniel Dance,
another painter, wandered hopelessly through Italy after her. Unfortunate
ly she was deceived into marrying clandestinely in 1769, a servant who had
the address to pass himself off for his master Count Frederick de Horn,
a Swedish nobleman. It was with difficulty, and by the payment of sev
eral hundred pounds, that she got rid of this imposter, and after his death
she married in 1782 Zucchi, a Venetian artist long settled in London. _ She
then retired to Rome where she enjoyed for many years an undiminished
reputation and after her death was buried with great pomp."
— Painters and Their Works.
"She married Antonio Zucchia, a Venetian painter and an Associate of
the Royal Academy and left London a few days afterward. In 1782 her
father died, and in the following year she retired with her husband to Rome.
Her husband died there in 1795 and she herself in 1807. She was buried
in Saint Andrea della Frate. * * * She contributed eighty-two pictures
to the Royal Academy between the years 1769 and 1797. She was twice
painted by Sir Joshua Reynolds."  Bryan's Dictionary of Painters and Engravers.

128  T. B. WALKER COLLECTION.
"Having visited Milan, Bolbgna and Parma, was in Florence in 1762, in
Rome in 1763-4, whence she visited Naples, then in Bologna in 1765, and
studied in Venice, Titian, Tintoretto and Paolo Veronese. In 1776 she
accompanied Lady Wentworth to England where she met with the most
flattering reception. * * * Went to Venice and in 1782 to Rome and
Naples, where she was in great favor with the royal family. On her re
turn to Rome the Emperor Joseph II sought her acquaintance and gave her
commission for his gallery." . .
—Cyclopedia of Painters and Paintings.

No. 193— "Persian Mother and Children."
39x31.
From the Collection of Lady Cartwright.
This beautiful bit of portraiture is truly characteristic of this wonderful
woman's best work, showing not only a cleverness in drawing and perfect
harmony in colors, but a dignity, grace and refinement seldom equaled and
scarcely ever surpassed. The greatest and most successful works of any
artist, are those which most nearly reflect the character and individuality
of the painter, and this beautiful and accomplished woman, naturally ex
celled in her portraits of women and children, as in these she could more
clearly follow out her own delicate ideals. Many, even of the masters,
were wont to flatter their subject by rounding out the natural defects of
nature, but Angelica painted a perfect likeness, adding only where neces
sary, a touch of modesty, a bit of grace, or perchance a mite of refined
personality. Thus, in this beautiful Persian mother and her two no less
beautiful children, she has left to the world not only a most excellent work
of art, but a lasting reflection of those most worthy and commendable traits
in her own noble character.

KNAUS (Prof. Ludwig) - - Dusseldorf
Born at Wiesbaden, 1829.
Pupil of Jacobi, of the Academy of Dusseldorf.
Afterwards allied himself with Lessig, Leutze and Weber.
Spent eight years in Paris studying the method of the French painters.
Member of the Academies of Berlin, Vienna, Munich, Amsterdam, Antwerp
and Christiania, and Knight of the Order of Merit.
Legion of Honor, 1859.
Medal of Honor, 1867; Officer of the Legion of Honor, 1867.
Medals, Vienna, 1882; Munich, 1883; Antwerp, 1855.
Professor nf the Academy of Berlin.
"Ludwig Knaus enjoys the unique distinction of being accepted by Ger
many as her chief painter of genre, and by the world as one of the leading
masters in that art. He owes his double triumph to the variety and inde
pendence of his genius." —Cyclopedia of Painters.

INDEX AND BIOGRAPHICAL NOTES. 129
No. 194— "The Spat."
24x24 — Circle.
"A painting as rich in tone as the Old Masters."
Of this painting and its mate, "The Reconciliation," Mr. Knaus says:
"The two paintings in oval shape, representing playful Cupids, which
Mr. Knoedler purchased from the estate of the art dealer, Lepke, in Berlin,
were painted by me twenty years ago for my house in Dusseldorf, where they
remained until my departure from there in the year 1877."
(Signed) Ludwig Knaus.
Berlin, December, 1887.
A. R. A. in 1826; R. A. in 1830; Knighted in 1831..

LAWRENCE (Sir Thomas) - England,
Born at Bristol, 1769. Died at London, 1830.
Entered the schools of the Royal Academy as a student, 1787.
Elected an Associate of the Royal Academy, 1791.
Received the Honor of Knighthood, 1815.
Elected President of the Royal Academy, 1820.
Chevalier of the Legion of Honor, 1825.
"The first great name which meets the student of painting in England
in the nineteenth century is that of Sir Thomas Lawrence."
— N. jyAnvers" Elementary History of Art.
"Sir Thomas Lawrence takes rank next to Reynolds in the numerous
band of British portrait painters." — Pilkington's Dictionary of Painters.

No. 195— "Portrait of a Child."
18x14.
A bust length figure of a fair haired child. The head is turned slightly
to the right, the hair falling in graceful ringlets upon the uncovered shoulders.
In whatever way the spectator may view this picture, he will not fail to be
touched by the innocent beauty, the charming simplicity and grace depicted
in this childish face.
The design of Lawrence is graceful and unaffected; his coloring is clear
and brilliant, with a soft splendor, particularly in his portraits, which render
them fascinating in the highest degree.

No. 196 — "Portrait of Mrs. William Southby."
3054x25*4.
Purchased by Thomas McLane, of London, from the sale of the pictures
of one of the descendants of Wm. Southby. The picture is one of the char
acteristic paintings of this noted artist and in one of his most silvery and
brightest tones. Lawrence also painted Wm. Southby, as well as this por
trait of Mrs. Southby.

130 T. B. WALKER COLLECTION. 
No. 197— "Portrait of Sir Edward Codrington."
30x24.
Sir Edward Codrington was an English Admiral, born in 1770, died in
London in 1851. Was Vice-Admiral of the English fleet in 1821 and in full
command in 1826. Was in chief command of the combined British, Russian
and French fleets in the battle of Navarino in 1827. Member of Parliament,
1832 to 1839. This picture is from the collection of Lady Penelope Gage.

No. 198— "The Countess of Darnley."
44x2854.
Painted about A. D. 1790.
Wife of John Bly, fourth Earl of Darnley. It is not likely that Sir
Thomas Lawrence ever painted a more beautiful portrait. The beauty, beat
ing and modest grace of the countess, the drapery of the figure and the
rich architectural background are all portrayed in the best style and finish
of this great painter.

LANDSEER (Sir Edwin Henry, R. A.).
Eminent Animal Painter. English School.
Born at 83 Queen Anne Street East, London, March 7, 1802.
Died at St. John's Wood, London, Oct. 1, 1873.
Gold Medal French Exhibition, 1855. Gold Medal, Vienna Exhibition, 1873.
Student of his father and of the Royal Academy.
"In the South Kensington Museum are nine drawings executed at a
very early age, some of them having been made when he was but five years
old. His first appearance in public occurred in 1815, when on the walls of
the Royal Academy Exhibition appeared a "Portrait of a Man" and portraits
of a "Pointer Bitch and Puppy." — Bryan's Dictionary of Painters and Paintings.
"In person Landseer was small, but he was full of activity and as a
curly headed lad, sat to Leslie for his picture, "The Death of Rutland." He
was also very witty, a clever mimic, and an agreeable companion, although
subject at times to fits of depression which later in life became more pro
longed. It is difficult to follow him through his long and active career
during which he produced a very large number of pictures in oils and water
colors and many etchings. * * * An able French critic has given it as
his opinion that Landseer was "Un des plus grands peintres d'animaux des
temps moderns." —Painters and Their Works.

No. 199— "The Three Dogs."
37x46.
From the sale of Landseer's studio by Mr. Archer, of London.
A black Irish setter, a beagle hound, and a fine English setter, stand mo
tionless on the briar-grown hill awaiting impatiently the word from their

INDEX AND BIOGRAPHICAL NOTES. 131
master, that will send them bounding and baying after the coveted game.
Anxiety is pictured upon every face and each ear attuned, Hstening, intently
for the magic command. In composition and drawing, the most minute
detail is brought out as completely as the figures themselves, even to the
thorns on the briar bushes, and the smooth and the matted hair on the
dogs. The splendid arrangement, the distribution of color, and the charming
tone make of this a most pleasing and interesting picture.
LAURENS (Jean Paul) -  France
Born at Fourquevaux (Haute-Garonne), 1838.
Pupil of Bida and Leon Cogniet.
Medals, 1869 and 1872.
Medal of Honor, 1877.
Officer of the Legion of Honor, 1878.
Member of the Jury of the Exposition, and of the Salon.
"Laurens is an 'intellectual' artist, having a full conception of dramatic
effects. In the tragic subjects which he greatly affects, and which have given
him the title "painter of the dead,' he maintains quiet conservatism; he
exaggerates neither expression nor gesture, and from details of which he is
fond, selects most felicitous combinations." — History of French Painting.
No. 200— "Lucretia Borgia."
24x20.
A characteristic Laurens. Dark, rich and powerful. Lucretia Borgia is
in prison. She stands leaning on the ledge of the deep embrasure window,
through which a narrow strip of vivid Italian sky is visible. The light falls
on her auburn hair and white shoulders, and lights up the rich. folds of the
gray-green brocade of her robe. Behind her are the dark tapestries and
furnishings of her prison apartment. One feels the depth of her plotting
infamy in the cold impenetrability of her face. Laurens has painted larger
and more striking pictures than this, but never one in which cold-hearted
treachery was more powerfully rendered.
LEFEBVRE (Jules Joseph) Paris
Born at Tournan, 1824.
Genre and portrait painter.
Pupil of Leon Cogniet.
Prize of Rome, 1861.
Medals, 1865, 1868, and 1870.
Cross of the Legion of Honor, 1870.
Officer of the Legion of Honor, 1878.
Grand Medal of Honor, 1886.
Hors de Concours.
Member of the Jury at Vienna Exposition, 1882.
"His skilful and delicate painting of flesh, and his fine characterization,
render him a distinguished painter." —History of French Painting.

132 , T. B. WALKER COLLECTION. 
No. 201— "The Jewel Bearer."
22*4x18.
A half-length figue of a young girl in a quaint dress and velvet cap, bear-
. ing in her hands the Queen's jewel casket, The straight black hair, full brown
eyes and soft olive complexion, render it a picture full of maidenly grace and
innocence. The hand holding the jewel case is remarkably well drawn, and the
flesh tint so natural as to almost outdo nature.
LEFEVRE (Robert) - - - France
Born at Bayeux, 1756. Died, 1831.
Genre and portrait painter. Pupil of Regnault.
Removed to Paris, 1784.
Legion of Honor, 1814.
Exhibited in many Salons from 1791 to 1827.
"His celebrated painting, "Cupid Disarmed by Venus" (1795), hangs in
the Louvre. "He painted the portraits of Napoleon and Josephine, and made twenty-
seven copies for different princes and dignitaries of Europe. At the restora
tion of the Bourbons he was employed to paint the portraits of Louis XVIII
for the Chamber of Peers, which gained for him the appointment of painter
to the King, and admission to the Legion of Honor. Among his other por
traits are those of Charles X and the Duchesses d'Angouleme and de Berri."
— Spooner's History of Fine Arts.
"As a portrait painter he enjoyed a high reputation. He painted the
Emperor Napoleon I, the Empress Josephine, Pope Pius VII, and all the
principal personages of the Empire and the Restoration. In 1814 he was com
missioned to paint the portrait of Louis XVIII for the Chamber of Peers,
and was appointed principal painter of the Cabinet and Chamber of the King,
and made a Knight of the Legion of Honor. He died in consequence of an
accident, at Paris, January, 1831." — Ottley's Painters and Engravers.
No. 202— "Portrait of Napoleon Bonaparte."
27x23.
This portrait was painted for Napoleon in 1810. Lefevre was then court
painter, and produced the picture from actual sittings and observations at
the time. The picture hung for several years in Napoleon's private apart
ments at Fontainebleau. While in exile on the Isle of St. Helena, Napoleon
directed its presentation to the Duke of Treviso (Field Marshal Mortier),
one of Napoleon's most trusted and highly esteemed commanders. The
picture was owned by Mortier and hung in his library during the remainder
of his life, and at his death it; was, by his will, left to his nephew, Count de
LaGrange. At the death of Count de LaGrange, many years later, the pic
ture, under the laws of France, was sold, with the remainder of his personal
estate, by the French government, and the history of the picture given
officially at the time of the sale. It was purchased by one of the leading art
collectors of Paris, Viscount de Beaupleau, of whom the picture was ob
tained. At the time of its purchase it was on its way to the art gallery of

INDEX AND BIOGRAPHICAL .NOTES. 133
the Invalides, or Tomb of Napoleon, where it was to enter into an exhibition
of the great painters of the country, and was intended for the place of honor
of the whole collection. It had been the central picture at the exhibition of
the "Great Pictures of the Century" in 1885, where it attracted much attention,
and was given a conspicuous position, not only as a portrait, but as the one
among the great pictures of the century.
This portrait represents Napoleon in his military dress, as commander of
the French armies. Taken in his prime, when at the age of torty-one, having
been painted in 1810, six years after he was crowned Emperor of the French.
As the picture undoubtedly had the approval of Napoleon himself, as
shown from its production by his order and its retention by himself in his
private apartments as his personal property, and presented afterwards as a
substantial token of his respect and esteem to that one of his field marshals
whom he seemed to respect and esteem more highly than any other, it cer
tainly has the highest claims of any existing portrait to being considered a
correct and accurate portrayal of the greatest commander, statesman and
ruler in history.
J. T. Headley, speaking of the Duke of Treviso, in his work "Napoleon
and His Marshals," says:
"Mortier was a noble-hearted man, of great valor, tempered with pru
dence, and of incorruptible integrity. Napoleon loved some of his generals
for their chivalric devotion to him, while he had no great admiration for
their character — others he tolerated because they were useful; while some
few received both his respect and affection. Mortier belonged to the latter
class. Napoleon loved the frank, unostentatious and heroic chieftain, whom
he had proved in so many trying circumstances. Tall and well formed, his
splendid and commanding figure moved amid the chaos of a battlefield like
some ancient hero, while his calm and powerful voice would restore confi
dence in the very moment of despair." (Translation.)
"This picture was presented during his exile, by Napoleon I to Marshal
Duke of Treviso, who, by his last will, left to his nephew, Comte de LaGrange.
When the said Comte de LaGrange died, it was part of the sale after his
death, and at that sale was purchased by the undersigned. This said .picture
(under the heading No. 203 of the official catalogue) was the central picture
of the collection of the 'Pictures of the Century' at the Exposition of L'Ecole
des Beaux Arts.
"This said information, and particulars of this document, is hereby
certified to, sincerely and authentically and with the most complete exact-
Personal Seal
(Signed) and
Viscount de Beaupleau. Seal of France.
LEROLLE (Henri)  France
Born at Paris.
Pupil of Lamothe.
Medals, 1879; first class, 1880.
Hors de Concours.
His picture of 1880 is in the Luxembourg Museum, and that of 1885 in
the Metropolitan Museum of New York.
A real impressionist, like Breton, Millet, and Cazin.

134 T. B. WALKER COLLECTION.

No. 203— "The Resting Place."
27x24.
Two girls returning from the fields have stopped to rest on the old
flower-grown bench by the pathway. This resting place is on the crest of
the hill o'erlooking the village, in a beautiful grass plat near the edge of
the shady woods. One girl stands with pail in hand earnestly conversing
with the other, who is seated upon the rustic bench. Just over the hill is
the village, while beyond are the farms and gardens of the villages, reach
ing away to the line of blue hills in the dim distance. The tone is much
after the style of Cazin.

No. 204— "The Last Sheaf."
33x24.
In the foreground the artist presents two female figures at work in the
fields. One with a child in her arms stands watching the other, who is
in the act of gathering up "The Last Sheaf," while just beyond are the
ricks, where the balance of the crop has been carefully stacked ready for
the threshers or the flail. The field has been sown to clover, which even
now, all but hides the stuble, and covers the surface with a carpet of living
green, while beyond the field, the forest stands out against a background of
blue sky, partially covered by fields of sombre clouds. In this interesting
picture, the artist uses much of the style of Millet, and the tones of Breton.

LE BRUN (Charles) - - Paris
Born at Paris in 1619. Died in 1690.
Studied under Simon Vouet in Paris, and Nicholas Poussin in Rome.
Was made Premier Court Painter in 1648.
In 1662 he was ennobled, appointed Director of all the public works, and
Director General of the manufacture of tapestry at the Gobelins.
He was also appointed Director General of the Academy of Painters.
"He was justly called the Louis XIV of Art, and at the zenith of his
fame well might have said, in the sentiment of his royal master, 'le peinture,
c'est moi.' He developed early the vigour and industry which characterized
him through life, and while a mere boy obtained the patronage of such men
as Richelieu and the Chancellor Seguier. So well did Le Brun follow the
teachings of the great master that he painted, at this time, some pictures that
were attributed to Poussin, such as the 'Mucius Scaevola,' now in the Louvre.
A few of his later works also recall the same influence. But after his re
turn to Paris, in 1646, whither his great reputation had preceded him, his
natural talent, favored, perhaps, by circumstances, soon led Le Brun in a
different direction. His success was great and uninterrupted and it was
equaled by his industry.
"But to 1660, the year in which he was made Director of the Gobelins,
by Colbert, belong the first important works which he executed for the king.
These were the celebrated series of pictures on the life of Alexander, now in
the Louvre, comprising the 'Entry into Babylon,' the 'Tent of Darius,' the

INDEX AND BIOGRAPHICAL NOTES. 135
'Passage of Granicus,' and the 'Battle of Arbela.' They are completely typi
cal both of the artist and his time. They are splendid decorative pictures,
in which great subjects are represented with an inexhaustible fertility of in
vention, nobility of conception and a power of vividly expressing outward
action. Their technical excellence is also great, and the costumes are care
fully studied. These pictures are the work of several years, but on the com
pletion of the 'Darius,' Le Brun was made first painter to the king, and
thenceforth became supreme in the world of art."
— Spanish and French Painters, by Gerard W. Smith.
"The whole arrangement of the royal palaces was entrusted to his care,
and to his intuition was due in great measure the foundation of the Academy
of Painting by Louis XIV. in 1648, and the establishment of the French school
in Rome. "In the Louvre there are twenty-two of his pictures, at the head of
which stands the 'History of Alexander.' This famous series, which was
ordered by Louis XIV. in 1660 and which was completed in 1668, is no less
important among his works than the 'History of S. Bruno,' among those of
Le Sueur. It comprises the 'Passage of the Granicus,' the 'Battle of Arbela,'
the 'Family of Darius made Captive,' the 'Defeat of Porus,' and the 'Tri
umph of Alexander at Babylon,' an evident allegorical flattery of the early
triumphs of the great Louis. The painter had the good fortune to have it
engraved by Edelinck and Audran. The other great paintings of Le Brun are
the 'Day of Pentecost,' where he has introduced himself in the figure of
the disciple standing on the left; the 'Christ with Angels,' painted to im
mortalize a dream of the queen-mother; and the 'Repentant Magdalen,' which
is called by some 'Mademoiselle de la Valliere.' "
-—History of Art, by N. D'Anvers.
"Recalled to Paris in 1648, he was received into the Academy, protected
by Fouquet, presented to Louis XIV, by Cardinal Mazarin, and made court
painter. In 1.662 the king ennobled him, gave him the general care of all
works of art in royal buildings, and made him director of the Gobelins, and
successively rector, chancellor and director of the Academy of Painting. In
1666 Le Brun induced the king to found the French Academy at Rome,
where, though absent, he was made prince of the Academy of St. Luke."
• — Cyclopedia of Painters and Paintings.
"Le Brun excelled in composition, and there is often great ingenuity and
poetry in his works. His works were very numerous in the palaces of
France, and easel pictures by him are to be found in all the galleries of
Europe." —Painters and Their Works, by R. N. James.
"Le Brun belongs to the classical and artificial school, of which he is a
favorable example. His best works are a series of pictures representing the
battles of Alexander, now in the Louvre. In composition and in execution
they have much merit."— Famous Painters and Paintings, by Mrs. J. A. Shedd.
There are twenty-two important paintings by Le Brun in the Louvre,
also examples in the Versailles Museum; Rennes Gallery; Bordeaux Museum;
Lyons Gallery; Caen Gallery; Nantes Gallery; Geneva Gallery; Old Pinako-
thek Gallery, Munich; Stuttgart Gallery, Liechtenstein; Venice Academy;
Dulwich Academy; Royal Academy of England; Earl of Darnley Gallery;
Earl of Yarborough Gallery; National Gallery, Pesth; Lord Nelthorp Gal
lery and in the great staircase and ceiling of the gallery at Versailles; also
in the gallery at St. Germain, and in the Castle and Pavilion of Sceaux.

136  T. B. WALKER COLLECTION. 
No. 205— "Marius on the Ruins of Carthage."
45*4x36.
The picture represents Caius Marius, of whom the historian says,
"No Roman ever rendered greater service to the state, and no Roman ever
rose so high to fall so low, with the single exception of Pompey." He was
seven times Roman Consul. Having been finally defeated by Sulla, Marius
was compelled to fly, and while concealed in the march, was found by his
pursuers and imprisoned at Minturnse. A Cimbric soldier was ordered to
dispatch him, but was so affected by his appearance and language that he
lost his courage and could not kill him. The people of the town rose in his
favor and furnished him a vessel in which he sailed to Africa, meeting with
many dangers on the way. He landed at Carthage, where a message was
sent him by the Roman praetor, ordering him to leave the country. His
answer, as represented in the picture, was, "Tell the praetor that you have
seen Caius Marius a fugitive sitting on the ruins of Carthage;" a reply which
was recorded by Plutarch as aptly comparing the fate of that city with his
own changed fortunes.
This is perhaps the only example of his paintings in this country. It
is a very effective, finely drawn and attractive historical painting.
From the Hunter Sale in New York, 1853.
LELY (Sir Peter) — real name, Peter Van der Faes.
Born at Soest, Westphalia, 1617.
Portrait painter, Flemish school.
Appointed Court Painter to Charles II.
Died in London, 1680.
"Through the influence of William, Prince of Orange, Lely was pre
sented to Charles L, whose portrait he painted, as well as those of William
and the Princess Mary. Thus he gained great reputation and encourage
ment, and for many years was the most eminent painter in England. His
works are characterized by a beautiful and permanent coloring, and grace
ful attitudes." —Spooner's History of the Fine Arts.
"For thirty years he was the most popular portrait painter in England,
and amassed a large fortune. His portraits are of elegant conception, clear
and warm coloring, hands especially finely drawn."
No. 206— "Portrait of Hon. Barbara Yelverton."
30x24.
Daughter of Sir Henry Yelverton, a prominent statesman and jurist.
He was the author of a work entitled "Special Cases." A fine, characteristic
picture by this great portrait painter.
No. 207— "Lady Elizabeth Percy."
45*4x3654.
The following is inscribed upon the painting "Daughter of Jaceline,
eleventh Earl of Northumberland. Married first to Henry Earl of Ogla,
afterwards to Charles, Duke of Somerset."

INDEX AND BIOGRAPHICAL NOTES. 137
"Percy" is the name of an ancient and noble English family, descended
from William de Percy, who lived during the reign of "William the Con
queror" (1025-1087 A. D.). The tenth Earl of Northumberland, Algernon
Percy, born 1602, was the father of Jaceline, and was high Admiral under
Charles I. His brother Thomas was executed in 1606 as one of the lead
ers in the notorious "gunpowder plot." The present Duke of Northumber
land is Henry George Percy, with a family of five living sons, and the same
number of daughters. This portrait of Lady Elizabeth was painted at about
the same period that Sir Peter made the famous portrait of King Charles
I, or possibly a few years later. This was Lady Elizabeth's first portrait,
and strangely enough, after she had grown to womanhood, and was the
Duchess of Northumberland, Sir Peter Lely was again engaged to paint
her portrait, and this was his last work, as he died, leaving the picture
unfinished. The graceful attitude of the figure, the splendid drawing, and
the beautiful coloring, all show plainly the handiwork of the great Flemish
master. For a More Extended Biography See Catalogue of 1912.

LIEVENS (Jan) Dutch School.
Born at Leyden, Oct. 24, 1607.
Died at Amsterdam; buried June 8, 1674.
Student of Joris Verschooten and Pieter Lastman. Afterwards greatly in
fluenced by Rembrandt.
Member of the Guild at Antwerp, Amsterdam and the Hague.
"In 1631 was called to England, where, during a residence of three years,
he painted the Royal family and many persons of distinction."
— Cyclopedia of Painters and Paintings.
"Before he was eighteen he had established his reputation as a portrait
painter, and his picture of 'Students Reading at a Peat Fire' opened the way
to him in 1630 to visit England, where he was favorably received and
painted the portraits of Charles I. and his queen, with several of the nobility."
— Bryan's Dictionary of Painters and Paintings.
"Lievens was the fellow pupil of Rembrandt at Lastman's and the
greatest praise that can be bestowed upon his work is that some of them
have been attributed to Rembrandt. But they are less vigorously painted,
the models he worked from were different and some of his portraits ap
proach nearer to those of Van Dyck." —Painters and Their Works.
No. 208— "Dutch Lady with Fan."
4854x37.
From the collection of Sir William Cunliffe Brooks.
The portrait is that of a Dutch girl about eighteen years of age, with
golden brown hair hanging in ringlets about her shapely neck and shoulders.
The intelligent face with its regular features is illumined by a subdued
smile, plainly discernible in the roguish eye and at the corners of the no less
roguish mouth. The figure is clothed in a dark green gown of soft material,

138 T. B. WALKER COLLECTION.. 
elegantly trimmed around the low cut neck and short sleeves with fine hand
made lace. In the right hand she holds a folding fan, while the left hand
hangs idly by her side. As she leans lightly against the corner of a brown-
stone building, the wooded gardens can be seen beyond. A close observer
will see in this beautiful portrait not only the influence of his fellow student
Rembrandt, but also a very noticeable approach to the manner of Sir An
thony Van Dyck. This latter is especially true as regards his flesh tints and
the elegantly formed hands.

LORRAINE (Claude). (Claude Gallee.)
Born at Chamagne, in Lorraine, in 1600.
Died in Rome in 1682.
French School; landscape painter; real name was Gellee.
Studied under Agostino Tassi and Godfrey Waal.
"From morning until night he was seen in the fields contemplating,
with an attentive eye, the effects produced by the sun at different hours of
the day, and the vapory veil which air and distance throw over the various
objects as they recede from the sight.
"His landscapes do not, like those of the Dutch painters, exhibit cold
portraiture of a prescribed portion of a country; he soars above the servile
representation of ordinary nature, and transports his spectators into the
regions of poetry and enchantment. In this point of view Claude will ever
be regarded as the first of landscape painters; and it will not be disputed
that his compositions are the richest and most studied of all those who have
excelled in that branch of art.
"He presents to the beholder such an infinity of objects, and conveys
him over such a variety of hill and dale and misty mountains, that the' eye
may be said to be constrained, as it wanders, to repose itself on the way.
The superb temples, the lofty architecture, with which he embellished his
compositions; his ample lakes, peopled with aquatic birds; the glittering lus
ter of his skies; the diversity of his foliage; strictly suited to each plant or
tree; every object is stamped with the genuine feature of selected nature. In
his pictures of morning, the ris'ing sun dissipates the dews, and the fields and
verdure brighten at the approach of day; his evening skies expand a glowing
splendor over the horizon; vegetation, oppressed by a sultry aridity, sinks
under the burning heat of the sun.
"His marines and magnificent seaports contend for the superiority with
his inimitable landscapes, in the purity and freshness of the air, and the
gently undulating swell of the water sparkling with the lucid reflection of a
clear and brilliant sunshine.
"The pictures of Claude bear visible evidence that they are the result
of much thought, deliberation and cultivated taste. In their execution, both
patience and elaborate care are equally manifest. His best works are paint
ed throughout with a full body of color, and a liberal use of ultra-marine.
He appears to have commenced his operations entirely in grey, in which that
valuable color is freely used; so that when the super colors in the com
pletion of the work are applied, the silvery hues beneath contribute greatly
to the atmospheric effect, which constitutes one of the chief charms in his
pictures. It is also worthy of notice that the same careful attention to de
tails is as observable in the half tones, shadows, and distances as in the

INDEX AND BIOGRAPHICAL NOTES. 139
more prominent and luminous parts. Above all, the high quality of his
genius is best discovered in the selecting of objects of the most pleasing
forms, tastefully grouping them together, so as to produce, by the various
combinations, a scene replete with the most enchanting beauties."
— Bryan's Dictionary of Painters and Engravers.
"He searched for true principles by the incessant examination of nature,
usually studying in the open fields, where he frequently continued from sun
rise till the dusk of the evening, sketching whatever he thought beautiful
and striking.
"Every curious tinge of light on all kinds of objects he marked in his
sketches with a similar color, by which means he gave his landscapes such
an appearance of nature as has rarely been equaled by any artist.
"His skies are warm and full of luster, and every object is properly
illumined. His distances are admirable, and in every part a delightful uni
formity and harmony never fail to excite admiration. His invention is
pleasing, his coloring delicate, his tints have such an agreeable sweetness
and variety as to have been imperfectly imitated by the best subsequent
artists, and were never equaled.
"His pictures are scarce, especially such as are undamaged, and they
are so valued that no price is thought to be superior to their merits. There
are some of uncommon excellence in this country."
— Pilkington's Dictionary of Painters.
"His works are combinations of beautiful objects borrowed from the
inexhaustible source of nature, enriched by art, exhibited under the most
lovely forms and alluring media. Sir Joshua Reynolds says in his Discourses,
that Claude Lorraine 'was convinced that taking nature as he found it sel
dom produced beauty.' If the scene represents the early morning, the hemi
sphere is suffused with light and warmth, and all nature visibly feels their
influence; the mists are seen dispersing, and the cool freshness of the dawn
of day is yielding to the absorbing rays of the sun; the soft zephyrs appear
to agitate in gentle ripples the surface of lucid streams and to breathe in
. whispers among the foliage of the surrounding groves. The shepherd is seen
leading his flocks to the pastures, or Diana with her attending nymphs is
sallying forth to the chase. Every period of the day, with all its elemental
vicissitudes, has been successfully embodied by his magic pencil, and even the
gorgeous splendor of a summer evening, with all its dazzling brightness, was
not beyond the reach of his master hand. His pictures are enriched with
palaces, temples, and other noble edifices; and the ruins of ancient mighty
structures are so appropriately introduced and composed with so much skill
and taste, that it is easy to imagine that they once had existence at some
glorious era of the Greek or Roman states.
"This illustration is still further heightened by the introduction of some
event from sacred or profane history, poetry, or romance, which accords
with the style of the buildings and the scenes depicted. The landscapes
of other great artists, as Gaspar Poussin and Salvator Rosa, engage little of
our time and contemplation to run over the scanty confines of their scen
ery compared with the august and boundless expanse of Claude. He presents
the beholder with such an infinity of objects, and conveys him over such a
'variety of hill and dale and misty mountains' that the eye seems to be con
strained as it wanders, to repose on the way. His marines and magnificent
seaports' contend for superiority with his inimitable landscapes, in the purity
and freshness of the atmosphere, and the gentle, undulating swel of the
water, sparkling with the reflection of a clear and brilliant sunshine.
, r <_. — Spooner s History of the Fine Arts.

140 T. B. WALKER COLLECTION.
No. 209— "Classic Harbor Scene."
41x5254.
From the collection of the Earl of Egremont.
It is difficult to describe a "Lorraine," as nothing short of seeing and
studying his harmony of colors and detail can convey to the mind anything
like ah idea of their natural beauty and artistic value. To the right is a
castle or palace built partially into the bay. The morning sun casts his
golden glory over sea and sky, bringing to view in the shadows of the stately
trees two women in earnest conversation. The emerald waters lazily ripple
on the shore, fanned by a gentle breeze of the early morning. The headlands
are seen in the distance and some boats lie almost hidden in the shadows
of the castle wall. As in all' of Gallee's work, one cannot but note the nat
uralness of detail and the harmony of color.
Mr. Pratt, art critic, Alaska- Yukon-Pacific Exposition, Seattle, 1909,
says: "There is a beautiful 'Classic Harbor Scene,' by Lorraine, who rivaled
Turner in painting the luminosity of the air. His landscapes are poetical."

No. 210— "Classic Landscape."
4654x5854.
From the Lady Cartwright Collection.
It would be fitting and proper to apply this title to any one of this mas
ter's later pictures, as every one is of the highest class of art. The artist has
chosen as the subject of this characteristic painting a scene in his own sunny
Italy. At the foot of a precipitous hill on the left, a road passes through a
massive gateway to the grounds of some ancient castle, hid from view by the
grove of great elms skirting the hill. Some trees twisted and bent, and others
prostrate and decayed, have fallen before the fierce winds that frequent the
valley, while the majestic trees on the right have weathered the storms of
bygone years, and still spread their friendly branches far out over the beaten
roadway through the hills. A weary peasant woman and her child are resting
by the roadside, while four men exchange greetings, and others wend their
way toward the city situated in the foothills far beyond the fields of waving
grain. The silvery hues of his atmosphere, and the faultless distribution of
lights and shadows, have probably never been surpassed even by Claude him
self.

No. 211 — "Sunset in an Italian Seaport."
67x3854.
From the estate of Walter Langdon.
Purchased by him in London in 1808.
In the foreground is a group of emigrants with their luggage; upon some
planks near-by they have prepared a meal with a goodly supply of liquid re
freshments. On one of the plates will be seen the artist's name, "Claude
Gellee Lorraine." Groups of sailors from the vessels in the harbor are con
versing with their friends, while others are busy in the rigging of the great
vessel on the left. A number of imposing buildings on the right have a

INDEX AND BIOGRAPHICAL NOTES. 141
frontage on the harbor and in the distance is the Harbor Light, and as the
shadows deepen many sea fowl fly shoreward for the night. Far across the
expanse of water the sun dips low in the west, shedding its declining glory on
the few fleecy clouds o'erhead.

No. 212— "Morning in Northern Italy."
24x29.
Beneath the spreading branches of the stately trees, the spectator
catches a glimpse of the sun, as its rays break through the hazy atmosphere
far beyond yon lofty mountain peak. Some peasants with oxen and wagon
are hauling for fuel the dead trunks and branches of fallen trees. Farther
down the valley all but hidden by the deep foliage, and clinging vines, stands
the sombre ruins of the ancient parish church and adjoining parsonage.
The rock-strewn landscape, the gnarled and broken trees, and the crumbling
ruins of the quaint old church, are but mute witnesses of an earthquake,
which years ago devastated the whole countryside. The painting is a very
fair example of what may be considered the beginning of Claude's later
and best period.

LOSSOW (Heinrich) - - - Bavaria
Born at Munich, 1843.
Pupil of Munich Academy, and of Royal Conservatory at Schlotheim.
"Paints rococo scenes, often strongly realistic."
— Cyclopedia of Painters and Paintings.

No. 213— "Love Awake."
27x22.
A beautiful brunette is teasing and coaxing a little Cupid, who is resisting
with all his diminutive strength. The warm, glowing flesh tones, and the
dark drapery of the couch, are both rich and delicate.

No. 214— "Love Asleep."
27x22.
Here the case is reversed. It is the little god of love who is pleading,
and a fair-haired blonde who is pushing him away, deaf to his coaxing, blind
to his caresses. This picture is lighter in tone and more delicate than its
mate. These pictures have been as extensively engraved and reproduced in
many ways as the "Angelus" of Millet.

142  T. B. WALKER COLLECTION. 
LOUTHERBOURG (Philippe Jacques de) - - Prussia
Born at Fulda, Hesse-Cassel, 1740.
Died at Chiswick, England, 1812.
Landscape, marine and battle painter.
Studied in Paris in 1775, under F. Casanova.
Member of Academy, 1767.
Settled in England, 1771.
Member Royal Academy, 1781.
Exhibited 155 works in Royal Academy.
"His subjects were noble and grandly treated, and he deserved the repu
tation he enjoyed." — Redgrave's Dictionary of Artists of the English School.

No. 215— "Ancient Fortress at Cassell."
18x25.
This scene undoubtedly attracted the artist's attention, not alone from the
picturesque nature of the locality, but was enhanced by recollections of a
memorable spot adjoining his boyhood's home. It represents the ancient
fortress on the summit of an isolated hill at Cassel, which, from the flatness of
the adjacent country commands an extensive view. At the foot of the hill
and in the foreground, some cattle are wandering at a pool. A boy and girl
are watching the herd. The old moss-covered castle and parapet on the hill
top looms out grandly against the lowering clouds, while the verdure is
painted with marvelous fidelity.

LUINI (Bernadino). Lombard-Milanese School.
Born at Luino about 1475.
Died at Milan after 1533.
Pupil of Civerchio and of Leonardo da Vinci.
"He imitated so closely (Leonardo da Vinci), that many of his pictures
pass for the work of his master. His faces wear the Leonardesque smile,
though it has not the same depth of meaning, and his manner of painting is
similar to that of Leonardo, though it does not reach that almost superhuman
degree of finish which distinguishes the Giocondo among pictures."
— Cyclopedia of Painters and Paintings.
"Luini's earliest known picture is "Pieta" in the choir of the Church of
St. Maria della Passione at Milan, which was painted before 1510. It was not
until after that date that he imitated Leonardo, and probably at least ten
years elapsed before he formed an independent style of his own. As was to
be expected, under these circumstances, many of Luini's pictures were long
attributed to Leonardo." —Painters and Their Works.
"He was a student of Stefano Scotto, but in the middle part of his career
he became a follower of Leonardo da Vinci. His early works bear no trace
of Leonardo's style, and his late productions evince much originality with
Leonardo's manner for a basis. Milan Saronno and Lugano still possess his

INDEX AND BIOGRAPHICAL NOTES. 143
best pictures which for sweetness and depth of feeling are unrivalled. To
form a just idea of the powers of Luini, it would be necessary to study his
series of pictures. "The Life of the Virgin," at Saronno, in which the virgin
is represented with a beauty, dignity and modesty which resemble the works
of Raphael. — Bryan's Dictionary of Painters and Paintings.

No. 216— "Madonna with Two Children."
25x18.
From the Collection of Lord and Lady Pelham Clinton.
Who claimed it to be an original Raphael.
Painted on a hardwood panel about one and one-half inches thick, and
now much worm eaten and somewhat out of shape. Mary in red dress and
green cape covering her head and shoulders is holding the child Jesus, while
John the Baptist stands almost beneath the folds of the Madonna's cape.
The children are about two or three years of age, Jesus being entirely nude,
while the John the Baptist is clothed in skins held by supports over the
shoulders. All the figures are well formed especially that of the child Jesus.
Except for one or two peculiarities of this master's work, it would be impos
sible to discern between his paintings and those of Raphael; and even this
example while in the collection of Lord Clinton was often mistaken for his
great master's work.

MARATTI (Carlo). Born in Camerano, May 13, 1625.
Died in Rome, December 15, 1713.
Roman School; best and favored pupil of Andrea Sacchi.
"One of the first artists of his time.
"Most popular and most employed artist of Rome."
—Spoone-i^s History of the Fine Arts.
"The most admired statues of the ancients, and celebrated paintings of
the best of his predecessors, were the objects of his perpetual attention and
imitation, till he had made himself master of the most beautiful forms and
graceful attitudes and airs of heads. Those he sketched with the utmost
facility, and conveyed such dignity, beauty and elegance to his own composi
tions as surpassed the works of all his contemporaries. Maratti's manner
of designing was grand, and his mode of thinking and composing truly noble
as well as judicious; his ordonnances were rich and magnificent, and his ex.-
pression lively and affecting.
"His touch is lively and exquisite, and his draperies have a noble variety,
being managed with peculiar art and judgment.
"Maratti received the honor of knighthood £*£ a public testimony of his
merit and he has been more respected and admired than any of the modern
painters. While he was alive his works were sold at prodigious prices, and
they still retain their value in every part of Europe. They are in the greatest
esteem with the present age and are likely to be equally sought after by pos
terity." — Pilkington's Dictionary of Painters.

144 T. B. WALKER COLLECTION.

No. 217— "The Annunciation."
1354x954.
From collection of Amelio Burce, Director of Gallery, Florence, Italy.
"Joy to the world, the Lord is come." Mary kneeling while a messenger
from Heaven is represented as presenting to the world by her the "Son of
Righteousness," while the angels sing the glad song, "Peace upon earth, and
good will toward men." The colors are pleasing and the subject well chosen.
No. 218— "The Wise Men and the Infant Jesus."
14*4x1154.
"Now, when Jesus was born in Bethlehem of Judea, in the days of Herod
the King, behold wise men from the east came to Jerusalem."
Within a lowly stable in Bethlehem, Mary sits holding the infant Jesus,
while the wise men of the east and the shepherds are gathered around her,
offering precious gifts to the child.
The light of Divine Love is represented as shining from above, bring
ing to view the modest surroundings, and the forms and figures of those who
have come to offer homage. The figures are finely proportioned and nat
ural, and the colors fine and pleasing.

MARILHAT (Prosper) France
Born at Vertaizon, near Thiers (Puy-de-Dome), 1811.
Died there, 1847.
Landscape painter; pupil of Roqueplan.
"Recommended by his master as the artistic companion of Baron Hugel,
he visited the Levant in 1831 and spent a number of years in Cairo, where
the climate so ruined his health that he did not long enjoy the fame which
awaited him on his return to Paris. He left more than two hundred un
finished pictures." —Cyclopedia of Painters and Paintings.
No. 219— "The Prophet's Tomb."
954x1354.
Supposed to be the tomb of Abou Mansour, a distinguished astronomer,
born at Mecca in 855 A. D. He lived at the court of the caliph, Al Mamoon,
at Bagdad, and committed to his superintendence, the building of two observ
atories. The time of his death is unknown. An interesting subject treated
in a masterly manner.

MAX (Gabriel). Born at Prague, 1840.
Pupil of Blaas, Kurzbauer and Piloty.
"Whenever his name is mentioned by the writers upon German art of

INDEX AND BIOGRAPHICAL NOTES. 145

today, his power and originality are admitted and admired. Many of his
works are tragic in the extreme."
— Clement & Hutton's ''Artists of the Nineteenth Century.''
"When we come to Gabriel Max, we find a genius, to the analysis of
whose masterly conceptions we should much prefer devoting a chapter instead
of a .few meager paragraphs. In respect of mental grasp and imagination,
combined with technical ability, we should give this first place in the con
temporary Munich school to Max and Bocklin. Artists and public are alike
agreed upon the surpassing character of Max's works."
— 5*. G. Benjamin, "Contemporary Art in Europe."
"First exhibited in 1867 and has since acquired a steadily increasing
fame. Honorary member of Munich Academy, Professor in 1879-83. Gold
medals in Berlin and Munich." — Cyclopedia of Painters and Paintings.
In a recent work published in 1897, called "The Madonna in Art," giving
illustrations of thirty-one of the great Madonnas painted from the earliest
ages to the present time, there are given of modern paintings one by Gabriel
Max and one by Bouguereau. The one by Max is spoken of as follows:
"Take, for instance, the portrait Madonnas by Gabriel Max. Here are
no details to divert the attention from motherhood, pure and simple. We do
not ask of the subject whether she is of high or low estate, a queen or a
peasant. We have only to look into her earnest, loving face to read that
here is a mother. When weary with the senseless repetitions of the set com
positions of past ages, we turn with relief to a simple portrait mother like this,
at once the most primitive and the most advanced form of Madonna art.
It is only another case where the simplest is the best."
No. 220— "The Treasures of Home."
31x24.
Represents a mother and child. One of the most refined, beautiful and
harmonious and softly toned pictures that has been produced by this master
of the German school. One of the best, if not the best, of his paintings.

MAZZUOLI (Francesco). Surnamed II Parmigiano (The Parmasan).
Born at Parma, January 11, 1503.
Died at Casale Maggiore, August 24, 1540.
Student of his Uncle Michele and Pier Llario Mazzuola.
"His style formed on that of Correggio and Raphael, is characterized
by exceeding grace and delicacy of form, and softness of coloring. * * *
Mazzuola was the first Italian artist who engraved with aquafortis."
— Lippencotfs Biographical Dictionary.
"His early pictures show how carefully he had studied Correggio's
works before going in 1822 to Rome where study of its great masters pro
foundly affected his manner. He had won such reputation there before 1527,
when the sack of the city interrupted his career that the soul of Raphael
was said to have passed into him. _Cydopedia gf p<UntM md PaintingSi

146  T. B. WALKER COLLECTION. 
No. 221— "Portrait of II Parmigiano."
37x28.
From the Collection of the Duke of Sutherland.
On the back of the canvas is inscribed "Lileshall Catalogue No. 12,
Portrait of Parmigiano, Francesco Mazzuoli, called II Parmigiano, born at
Parma 1503. Died at Casale Maggiore, aged 37. Parmigiano 37x28". The
half-length portrait shows the artist seated with right arm resting on a table
on which is a money bag, several pieces of money, etc. In the left hand he
holds a heavily bound book. Immediately back of the figure is a group of
statuary (a Roman soldier embracing a female figure).
The artist is clad in a dark coat with fur collar, and over his long-
flowing hair is a cap much worn by artists in those days. The dignified
pose and the classic features indicate a person of a high order of intelli
gence, while the hands are a two-fold proof that the portrait is that of the
great Parmasan, as we see in the picture just such hands as one would ex
pect to produce the wonderful hands of the portrait. The painting, both in
color and drawing, shows unmistakable proof of the influence of Raphael.'
MEADOWS, J. ... English
Exhibited Altogether 43 Pictures at the Royal Academy Between 1854 and
1863.
Painter of Sea Scenes.
No. 222— "Fisherman's Village— Hoisting the Storm Signal."
29x49.
Near the point of a narrow peninsula a colony of fisherfolk have grouped
their cottages into a quaint little hamlet. On the sea front they have con
structed a strong wharf, which also serves the purpose of lookout, and sig
nal station. On this particular day, great white capped clouds have hung
low across the western horizon, and now of a sudden the sun is obscured,
an ominous light steals over the sea, engulfing the little village in its
phantom shroud. With telescope in hand, the trained old seaman, accom
panied by several anxious wives, hasten to the wharf. One hurried look is
sufficient, and just as the increasing wind begins to lap the sea into waves,
the storm signal is hoisted. As the sullen rumble of the approaching storm
increases, a shout goes rapidly from boat to boat, "pull for the shore." A
number of crews, anticipating the danger, are already beaching their boats,
others hurriedly pull in their nets, while a number, under full sail, are seen
far in the offing.
MENESES (Osorio Francisco). Commonly called Osorio.
Spanish school; born at Seville, 1630. Died there 1705.
Pupil of Murillo.
"He was president of the Seville Academy for which he painted a 'Con
ception.' In the church of St. Martin, at Madrid is an 'Elijah.' "
— Painters and Engravers.

 INDEX AND BIOGRAPHICAL NOTES.  147
"Painted the glory in the 'Marriage of St. Catherine,' which cost Murillo
his life, and also the four lateral pictures. Some works ascribed to his master
(Murillo) were probably executed by him. He was a member of the Academy
of Seville from 1666 to 1673, and its Majordomo in 1668-9."
— Cyclopedia of Painters and Paintings.

No. 223— "Ossorio's Madonna."
16x13.
This beautiful painting owing to its elegance in tone and finish has often
been mistaken for the work of Murillo. The picture is that of a beautiful
young woman in the attitude of prayer, with a profusion of golden brown
hair hanging loosely over the shoulders. The loose fitting dress is of some
soft white material with low neck and banded sleeves. The heavy blue scarf
thrown lightly over the shoulder is held in place by the half clasped hands.
One of Osorio's most wonderful compositions colored and toned in this mas
ter's incomparable manner.

No. 224 — "The Assumption of the Virgin."
25x14.
It is assumed by both the Greek and Roman Catholic Churches that the
Virgin Mary ascended into heaven much after the manner of the ascension
of Christ as recorded in the first chapter of the Acts of the Apostles. Osorio
represents her as a beautiful young woman clad in flowing garments of spot
less white, triumphantly ascending, accompanied by a host of cherub angels,
while a cloud seems ready to receive her out of sight. The figures show the
hand of a master in their composition and the work of a superb colorist in
tone and finish. The painting as a whole bears a close resemblance to kindred
subjects by his renowned master Murillo.

No. 225— "It Is Finished."
27x15.
"When Jesus therefore had received the vinegar, he said, 'It is finished!'
and he bowed his head and gave up the ghost.' Only a few moments before,
Jesus when he saw his mother and his beloved disciple standing by, had
said, 'Woman behold thy son,' and to the disciple, 'Behold thy mother.
Mary in deepest anguish embraces the foot of the cross, while the beloved
disciple, John, stands gazing at the silent form upon the cross in an attitude
of abject despair; believing no doubt that this was the finish indeed, 'for as
yet they knew not the scripture, that he must rise again from the dead.' On
the top of the cross are the letters I. N. R. I., which interpreted read, 'The
King of the Jews.' Besides being well drawn, and finely executed, the paint
ing is a powerful sermon without words, a mute reminder of the brother
hood of man, and the fatherhood of God."

148  T. B. WALKER COLLECTION. 
MEULEN (Adam Frans Van der). Flemish School.
Born in Brussells, Jan. 11, 1632.
Died in Paris, Oct. 15, 1690 (Possibly after 1693).
Genre, Landscape and Battle Painter.
Pupil of Peter Snayers.
Member of the Academy of Painting, 1673.
Counsellor, 1681. First Counsellor, 1686.
Court painter to Louis XIV.
"Court painter to Louis XIV., was lodged at Gobelins, had a pension of
6,000 livres, and accompanied the king to Flanders to paint his battles."
— Cyclopedia of Painters and Paintings.
Some of his first productions found their way to Paris, and possessed
sufficient merit to attract the attention of Charles Le Brun, at that time the
arbiter of taste in the French metropolis. As the great aim of every one about
the court was to flatter the ambition of Louis XIV. Le Brun recommended
Van der Meulen to Colbert as a likely person to fitly commemorate the mili
tary achievements of the monarch. The minister agreed. Van der Meulen
was invited to Paris, was pensioned by the king, and granted apartments at
the Gobelins. * * * He painted the principal battles and sieges of Flan
ders for the Chateau of Marley. * * * The king heaped riches upon him,
and Le Brun, his constant friend, gave him his niece in marriage."
— Bryan's Dictionary of Painters and Engravers.
"Van der Meulen drew figures, and especially horses with great spirit, and
his coloring in the pictures he painted in France, is brilliant, the blue of the
sky and the green of the landscape being sufficiently vivid to balance the
bright colors of the uniforms. * * * He often finished up the faces in
battles and huntings, so as to make them portraits." — Painters and Their Works.

No. 226 — "Meeting of the Duke of Lorraine and Marshal Turenne,
an Incident of the Thirty Years War.
32x4754.
From the collection of Lord Buckland.
The Duke of Lorraine (Charles IV.) was the son of Frangois Comte de
Vandemont; was born in 1604, and succeeded his uncle Henry in 1624. In
the thirty years' war which began 1618 and ended in 1648, Charles fought for
the German Empire, and as an ally of Spain, fought against the French in
several ensuing campaigns. He died in 1675.
Marshal Turenne, or Viscomte Tour d'Auvergne, was the son of Henri
Due de Bouillon, and was born at Sedan, Sept. 11, 1611. His mother was
Elizabeth, a daughter of William the Silent, Prince of Orange. For five years,
1625-30, he fought against the Spaniards. In 1630 he returned to France, and
as Marechal de Camp, fought in Flanders, and in 1640 took part in the cap
ture of Turin. He was raised to the rank of marshal in 1643. The Duke of
Lorraine had been driven out by the French, and compelled to resign the

 INDEX AND BIOGRAPHICAL NOTES. 149
duchy January 19, 1643. By the treaty of the Pyrenees (1659), he was rein
stated under very hard conditions, but broke again with Louis XIV, and was
expelled once more. This meeting of the marshall and the duke, it is be
lieved, was arranged by the Duke of Lorraine, for the purpose of making
terms with Turenne, whereby the duchy should be restored to the duke. He
failed, it seems, to gain his point with Turenne, as he was not restored until
a number of years later (1659). The figures, as well as the landscape, are
well drawn, and the colorings are bright and spirited.

MIGNARD (Pierre). Born at Troyes, 1610.
Died in Paris, May 30, 1695.
"French school of portrait and allegorical painters. Pupil of Jean Bou
cher at Bourges, Vouet in Paris, also under Pierre Gentil, the sculptor. He
was patronized by Urban VIII, and by his successors to Alexander VII,
whose portrait he painted, and distinguished himself in that branch, as well
as in historical subjects. His works lay claim to our approbation, by a cor
rect design, a captivating amiability in his forms, and an harmonious, if not
vigorous, effect in his coloring. Several of his pictures have been engraved
by some of the most celebrated of the French burinists, among which are
Gerard, Audran, Poilly, Roullet, Manteuil, etc."
— Bryan's Dictionary of Painters and Engravers.
"His pictures, in the graceful, dignified style of Raffaelle, were greatly
admired at Rome. He acquired a distinguished reputation in that city and
found abundant employment. He also distinguished himself as a portrait
painter and was patronized by the Popes and many of the nobility. He ex
ecuted many works for the churches. He was invited back to Paris by Louis
XIV, and, on his way, passing through Tuscany, Modena and Parma, he
was honored by the princes of those cities, whose portraits he painted. Louis
sat to him ten times for his portrait, and had such a respect for his talents
that he ennobled him. After the death of Le Brun he appointed him his prin
cipal painter." — Spooner's Flistory of the Fine Arts.
"He painted the portraits of Urban VIII, and of Alexander VII, and
many other works, including frescoes in churches. In 1658 he was recalled
by the king to Fontainebleau, where he became the rival of Le Brun, to whose
honors he succeeded. He was court painter, the director of the Gobelins, and
was elected on the same day member, rector, chancellor, and directory of the
Academy." — Cyclopedia of Painters and Paintings.
"The chief portrait painters of the period of Louis XIV were Mignard,
who was also a distinguished painter of fresco, Rigaud, Largilliere, and Fran
cois de Troy. The name of Mignard, rendered famous by Le Brun's rival
and successor, Pierre, is also illustrated by an older brother, Nicholas. We
must believe history, which assigns to him a distinguished talent, as well as
the abundant evidence of the works he has left. He was born a painter.
He is one of the large number of conspicuous artists from the studio of
Vouet But, in spite of such difficult competition, Mignard's won him repu
tation He 'proceeded to other cities of Italy, was welcomed with honors
by artists and rulers, and, returning to Rome, painted Pope Alexander VII.
But, like Vouet, he was recalled to France by the king, at the instigation of
Mazarin, and, leaving his wife and newly-born son at Rome, he set out Oct.

150  T. B. WALKER COLLECTION. 
10, 1657. He was received in the prominent towns of France with great
honor; at Marseilles by the First Consul of the city, at Aix by the President
of the Parliament, at Avignon everybody aided Mignard 'de Avignon' to do
the honor to Mignard 'Le Romain.' " — History of French Painting.

No. 227— "Jean Baptiste Racine."
28x22.
A distinguished French dramatist; born at La Ferte, Milan, 1639; died
at Paris, 1699. His first tragedy, the Thebaide or Les Freres Eunemis, was
performed by Moliere's troupe at the Palais-Royale in 1664. His first master
piece was Andromaque, which on its performance in 1667, produced a pro
found impression. After writing eight or ten successful pieces, he retired
from the theater in 1677, owing to chagrin at hostile critics. However, in
1689 and in 1691, he wrote Esther and Athalie. As a dramatist, Racine is
considered the model of French classical tragic drama.

MICHEL (Georges). French School.
Born in Paris about 1763.
Died there in 1843.
Student of Leduc in Paris.
"At one time he was the painting companion of Louis Braundet; at an
other he was living in the house of a noble amateur whose pictures he fin
ished. His favorite subject was the great plain which stretches from Mont-
martre out to the north of St. Denis. * * * The following two pictures
are to be seen in the new gallery at Luxembourg":
"Aux Environs de Montmartre."
"Interieur de Foret." — Bryan's Dictionary of Painters and Paintings.

No. 228— "Fisherman's Hamlet and the Old Mill."
13x24.
Formerly of the A. T. Stewart Collection.
Later from the Collection of Judge Hilton.
A quaint old Dutch mill occupies a place of vantage on a low promontory
near the bay. A smaller mill and the roofs of numerous fishermen's huts are
barely visible along the coast beyond. Several vessels lie at anchor, while a
number are seen plying their trade in the offing. One boat has been pulled
far ashore, near by which two women seem discussing the latest village gossip,
while the men farther away make a landing with their nets. The lowering sky
and dark threatening clouds are warnings to the experienced seamen to keep
close to shore until more propitious weather. A most splendid example of
this eccentric painter's best work.

INDEX AND BIOGRAPHICAL NOTES. 151
MICHELANGELO (Buonarrotti).
Born in the Castle of Caprese in Tuscany, March 6, 1472.
Died in Rome, February 18, 1564.
Studied under Domenico Ghirlandaio and at the Academy in the
Gardens of St. Mark.
Lorenzo de Medici became his patron and gave the artist a home at the
Medici Palace, where he did much work.
"In the early part of his life, he not only applied to sculpture and paint
ing but to every branch of knowledge connected with the arts. As, a
painter, sculptor or architect, he attempted, and above any other man, suc
ceeded, to unite magnificence of plan and endless variety of subordinate parts,
with the utmost simplicity and breadth. His line is uniformly grand; char
acter and beauty were admitted only so far as they could be made subservient
to grandeur. "A beggar rose from his hand the patriarch of poverty; the hump of his
dwarf is impressed with dignity; his women are moulds of generation; his
infants teem with the man; his men are a race of giants. * * * He is the
inventor of epic painting in the sublime compartments of the Sistine Chapel.
He has personified motion in the groups of the Cartoons at Pisa, embodied
sentiments on the monuments of St. Lorenzo, unravelled the features of medi
tation in his prophets and sibyls; and in the 'Last Judgment', with every
attitude that varies the human body, traced the master-trait of every passion
that sways the human heart. Such was Michel Angelo, the salt of art.'
— Pilkington's Dictionary of Painters.
"He has contributed more to the grandeur of design so essential to both
painting and sculpture, than any artist that has ever existed."
— Bryan's Dictionary of Painters and Engravers.
No. 229— "The Deluge."
14x21.
From the collection of Lord St. Helens. Painted on vellum and with an old
oak panel for a stretcher.
This picture represents a very strange but appropriate view or idea of the
deluge, with the waters everywhere rising up on the earth and driving the
inhabitants onto the higher grounds and thence into the trees to escape from
the rising floods.
The drawing and designing are characteristic, interesting and finely
drawn. It is not intended for a finished picture.
Michel Angelo was justly rated as in general a poor colorist, but the
greatest of all designers. This picture shows fine drawing and composition
and is interesting and attractive as a composition and idea of the greatest of
all the sculptors and designers of the world.
MIEREVELT (Michael Janszen Van).
Dutch School.
Born at Delft, May 1, 1567. Died there, July 27, 1641.
Portrait Painter.
Pupil of William Willemsz and Augustyn. Member of the Guild at the
Hague, 1625.
"Son of a goldsmith who perceiving his disposition for drawing, placed

152  T. B. WALKER COLLECTION. 
him under the care of Jerome Wierix with the intention of his becoming an
engraver. When he was twelve years of age, he executed a plate of "Christ
and the Woman of Samaria," and soon afterwards another of "Judith with the
Head of Holofernes." He learned the art of painting under William Willemsz
and Augustyn, then under Anthony Van Montfoort at Utrecht. Having
painted the portraits of some of the princes of the house of Nassau, they
were so universally admired that he afterwards met with continuous employ
ment in that branch and as he lived to an advanced age, he is supposed to
have painted a greater number of portraits than any other artist of his
country." — Bryan's Dictionary of Painters and Paintings.
"Mierevelt's portraits are remarkably well drawn and the heads full of
character. They are somewhat of the same class as those by Cornelius
Jansen, but Mierevelt did not finish the dress and ruffs so highly and in
general they are plain and without lace; they are also painted with a heavier
touch." — Painters and Their Works.
No. 230— "Gustavus Adolphus."
(King of Sweden.)
24x20.
From collection of General Lytton Bulwer, former Ambassador to France.
Gustavus II. was born in Stockholm in 1594. He gained in his youth, a
complete knowledge of Latin, German, Dutch, French and Italian, speaking
each language as fluently as a native, besides having a fair understanding of
the Russian and the Polish. His father, when Adolphus was but ten years of
age, introduced him into the affairs of government and required his presence
at meetings of the council and audiences with foreign ambassadors. His
father dying in 1611, he ascended the throne when only eighteen years of age,
and at once applied himself to bettering the financial condition of the nation,
and in quieting the universal. discontent and especially that of the nobles.
In 1630, after several successful wars, Gustavus, at the head of an army of
about 15,000 men, determined to take part in the Thirty Years' War which
had been raging in various parts of Europe since 1618. In the following year
(1631), he shattered the supremacy of Austria and was hailed as the liberator
of Protestantism. This opposition, however, being reinforced by Wallenstein,
the fortunes of war were against him until the battle of Lutzen, near Leipsic,
in November, 1632. In this terrible battle, Gustavus Adolphus was killed, but
his little army drove Wallenstein and his forces into Bavaria, thus winning a
decisive victory. Gustavus Adolphus is justly regarded as one of the greatest
and noblest figures in all the world history, and had his life been spared to
continue the heroic campaign, the Thirty Years' War would have been known
to history as only the Fifteen Years' War, and Germany saved from the
barbarism which reduced her to a wilderness, and flung her back a century in
the march of civilization. This splendid portrait, it is believed, was painted
at Stockholm about 1625.
MILLET (Jean Francois).
Born at Gruchy, near Cherbourg, Oct. 14, 1814.
Died at Barbizon, January 20, 1875.
French Painter.
Pupil of Langlois and Delaroche.
First class medal Paris Universal Exposition 1867.
Decoration of the Legion of Honor, same year.

 INDEX AND BIOGRAPHICAL NOTES. 153
"His parents were Norman peasants who industriously cultivated a small
farm. Amid these rustic surroundings, he received a simple yet sound educa
tion from his grandmother, and his great uncle, a priest, without cure of
souls, who both lived under the family roof. A taste for art early developed
itself in him, and his first systematic instruction was received from Langlois
at Cherbourg where he was sent in 1832. His progress was such that he was
granted a small pension by the Municipal Council to enable him to pursue
his studies in Paris. Thither he went in 1837 and entered the studio of
Delaroche where Diaz and Rosseau were among his fellow pupils. His first
appearance at the Salon was in 1840 when he exhibited a portrait. * * *
He wavered sometimes between historical and peasant figure painting. The
appearance of "The Winnower" in 1848 and "The Sower" in 1850 showed
his true vocation, and henceforth he adhered strictly to subjects taken from
peasant life. In 1849 he removed from Paris to Barbizon, a village in the
beautiful Fontainebleau country, with which his name became inseparably
connected. * * * Since his death, his works have fetched enormous prices,
but his widow and family were left comparatively poor and were granted a
pension of 1200 francs by the state."
— Bryan's Dictionary of Painters and Engravers.
"This painter whose works have, since his death, been bought at very
high prices, was one of a family of nine children, and it is said that as a boy,
he looked after cattle, and followed the plough. In after life, when he had
become the head of a school known as that of Barbizon, he often spoke of
himself as a Norman peasant. * * * He had to struggle with poverty in
Paris, and lived and died poor, although such well known critics as Edmond
About and Theophile Gautier bestowed the highest praises on "The Gleaners"
in their notes on the Salon of 1857. The former said of it 'All is calm, the
drawing without a fault, and the color without a glitter.' The latter, 'He
(Millet) understands the inward poetry of the fields, he loves the peasants
whom he represents and in their resigned figures expresses his sympathy with
them. * * * Owing to the care he bestowed upon their execution, Millet
is said to have produced only eighty pictures." —Painters and Their Works.

No. 231— "The Church at Greville."
22*4x2854.
This old church at Greville is the church wherein Millet was baptized.
A close examination will show that it has been painted with the greatest
artistic care, even to grains of sand deftly put upon the canvas with the brush.
After finishing the painting, it remained in the possession of the great painter
until his death, or immediately preceding that event, when it became the
property of a Mr. Anderson, of Paris, who was associated with Cyrus Field in
laying the Atlantic cable. After the death of Mr. Anderson, his widow
brought the painting to America. Mr. Millet's son, while visiting in this
country, hunted up the painting and was much moved upon beholding it.
He told' Mrs. Anderson that his father had always valued this picture very
highly, not alone for the pleasant recollections it afforded, but he considered
it one 'of his best efforts, especially in the magnificence of his cloud and sky.

154 T. B. WALKER COLLECTION.
MINOR (Robert C.)  - - New York
Born in New York, 1840.
Studied in Paris under Diaz and in Antwerp under Van Luppen,
Boulanger and others.
Member of the Society of American Artists.
"Robert C. Minor's landscapes are always as interesting as they are
characteristic. They are strongly impressed with the sentiment of the place
and the hour they represent." — Boston Transcript, March, 1878.
No. 232— "Twilight's Witching Hour."
16x20.
On a low brushy hill to the right, a peasant woman with red shoulder
shawl, stands looking over the field of ripening grain, lying within the shad
ows of the distant woods, and stretching away toward the line of the hills
until lost to view in the deepening twilight. Painted much after the manner
of Diaz and Rousseau.
The sun's slanting rays as they seem to unfold,
Tint the clouds and the sky and the hilltops with gold;
Then gradually fading away for the night,
Leave the world bathed in mellow twilight.

MORAN (Edward) .... _ New York
Born in England, 1829.
Came to America, 1844.
Member of the Royal Academy of London, 1862.
Returned to the United States, 1869.
Elected A. N. A., 1873.
Member of the Pennsylvania Academy and of the
Royal Academy, London.

No. 233— "A Squall on the English Channel."
24x3654.
Angry storm clouds still cast a pall of darkness o'er the distant hills,
where the coast line is dimly visible through the shadowy gloom. The waters
of the channel are lashed to madness, alternately moaning and roaring like
fighting demons. A number of ships and smaller craft have, been caught by
the sudden squall, and are being tossed as chaff by the furious waves.
Through rifts in the clouds, fields of blue sky appear, and the sun peeps out
tinting the clouds to gold, while a thousand shades of color play hide-and-
seek in the surging waters of the mighty deep. The perspective and the
atmosphere are wonderfully fine, but the penciling and toning of the waves
are remarkably natural and pleasing.

INDEX AND BIOGRAPHICAL NOTES. 155

MORAN (Thomas) -  N. A., New York
Born at Bolton, Lancashire, England, 1837.
Brought to America, 1844.
Brother of Edward and Peter Moran.
Returned to Europe 1862 and 1866, and studied the works of Turner
and the old masters.
Elected N. A, 1884.
Member of Society of American Artists.
No. 234— "Sunrise in Mid Ocean."
29x49.
Obtained from the artist, one of his finest paintings.
After a careful study of this canvas since being hung in this collection,
the artist pronounced it the very best of all his Venetian scenes. On the
left, immediately back of a group of fine residences, with their beautiful
gardens, stand the palatial churches, their white domes dimly visible in the
soft pink light of the late afternoon. Farther on in every direction are
visible roofs, domes and steeples of many other important buildings, the
most prominent of which is the magnificent Palace of the Doges (Governors),
with its delicately tinted walls and its stately square tower. As the sun's
rays decline, and the soft breezes are wafted in from the sea, gayly attired
pleasure seekers throng the numerous gondolas and glide down the Grand
Canal to the soft strains of the gondolier's song, and the sweet tones of the
mellow guitar. The soft blush of the sky, the many beautiful and well-
arranged colors, and the elegant reflection in the crystal waters of the canal,
are so real and pleasing as to carry the mind away in fancy to this historic
city "The Queen of the Sea."
No. 235— "Venice and the Palace of the Doges."
30x42.
The grand old ocean. The rising sun casting its mellow light across
the vast expanse shows no sail in sight, only the boundless ocean in all her
overpowering grandeur and loneliness. In the center of the picture is seen
the "trough of the sea," while on the left the great waves are breaking into
fleecy foam. The sunlight glory in the clouds adds additional enchantment
to this beautiful canvas, in all making this one of the best maritime pictures
in the world.

MONTICELLI (Adolphe), Deceased  Paris
Born at Marseilles, 1824.
Pupil of Rossi and of Diaz.
¦ Large sums of money have been paid for fine specimens from this artist's
brush. Both in this country and on the continent, connoisseurs have come
to appreciate Monticelli as a great colorist.

156 T. B. WALKER COLLECTION.
No. 236— "The Bridal Procession."
19x2454.
How richly fantastic are the colors of this artist. A bridal procession is
passing under the arched entrance to the church. The stone of the edifice,
the liveries of the attendants — all but the dresses of the bride and her maid,
are dark. The bridegroom can scarcely be discerned in the shadows by the
archway.

MORLAND (George).
Born in his father's house in the Haymarket, London, June 26, 1763.
Died in Eyre Street Hill, London, October 29, 1804.
Student of his father, Henry Robert Morland.
"Perhaps the most flattering opinion of the works of George Morland is
that of a French critic who says that his pictures are remarkable for a clever
distribution of light and shade, that the drawing is correct and that, they are
well finished and admirably represent nature." — Painters and Their Works.
"In 1799, he removed to the Isle of Wight, where Mr. Lynn, a surgeon
of Westminster, generously placed at the service of himself and his wife a
picturesque cottage near Cowes. Then began that series of painting of coast
scenes, fishermen and smugglers of which so many engravings after Morland
remind us. The cottage in which he painted was filled from morning till
night with sailors, fishermen and smugglers."
— Bryan's Dictionary of Painters and Engravers.
(About 1790.) "He moved to a house in Winchester row, Paddington,
in the garden of which he kept all sorts of animals; foxes, goats, pigs, dogs,
monkeys, squirrels, guinea pigs, and dormice, besides a donkey and an old
horse which frequently appears in his pictures."
— Bryan's Dictionary of Painters and Engravers.
"One of the first paintings which he executed of that distinctly 'Morland
Style' which he alone represents in British art was 'Gypsies Kindling a Fire,'
for which Colonel Stuart gave him forty guineas in 1790, the commencement
of his best period as an artist." — Bryan's Dictionary of Painters and Engravers.

No. 237— "Shipwrecked."
1054x17*4'.
The scene is of a terrible storm and high seas on the rugged coast of
the Isle of Wight, where practically all his coast scenes were painted about
1799. A small sailing vessel has been driven upon the rocks by the furious
wind and has sunk from sight in the maddened, rolling sea. Five sailors
have succeeded in reaching the rugged shore and are endeavoring to pull in
the broken mast laden with two of their unfortunate comrades. The sea
gulls scream defiance to the raging storm, amid the din of thunder and the
roar of the angry waves. As a consequence of Morland's unfortunate asso
ciations, most of his painting up to this time were of subjects of a low char
acter. But in these paintings on the Isle of Wight, he reaches a higher

INDEX AND BIOGRAPHICAL NOTES. 157
sphere, aud seemed touched with grandeur and nobler thoughts, showing
clearly what he might have been with different associates and environments—
a painter of the very first rank.

MURILLO (Bartholome Esteban).
Born in Seville, January 1, 1618.
Died there, April 3, 1682.
Spanish School. Studied under Juan del Castillo.
"The fertility of his talent, only paralleled by that of Lope de Vega in
literature, enabled him to cover the walls of private and public buildings at
Seville with the pictures now scattered all over Europe at prices which, to
the artist, would have seemed fabulous." — Cyclopedia of Painters and Paintings.
"Few painters have a juster claim to originality of style than Murillo, and
his works show an incontestable proof of the perfection to which the
Spanish School attained, and the real character of its artists — for he was
never out of his native country, and could have borrowed little from foreign
artists; and this originality placed him in the first rank among the painters
of every school. AH his works are distinguished by a close and lively imi
tation of nature. His pictures of the Virgin, Saints, Magdalenes, and even
of the Savior, are stamped with a characteristic expression of the eye, and
have a natural peculiarity of countenance and habiliments which are very
remarkable. There is little of the academy discernible in his designs or his
composition. It is a chaste and faithful representation of what he saw or
conceived; truth and simplicity are never lost sight of; his coloring is clear,
tender and harmonious, and though it possesses the truth of Titian and the
sweetness of VanDyck, it has nothing of the appearance of imitation. His
works now command enormous prices." —Spooner's History of the Fine Arts.
"With the work of this admirable artist, the English collector is more
intimately acquainted than with those of any painter of the Spanish School;
and their intrinsic merit amply justifies the admiration which is bestowed
on them." — Bryan's Dictionary of Painters and Engravers.

No. 238 — "Archbishop Ambrozeo Ignatio Spirrola."
3554x25.
From the collection of the Duke of Sutherland.
Believed to have been a son of Marquis Ambrosio Spinola, the celebrated
Spanish military commander, who was born at Genoa in 1569, and died in
1630, who became renowned in the Dutch wars in the Netherlands and
Flanders, and afterwards in the war against France and Italy.
At the bottom of the canvas is this inscription in Latin: "Died on the
14th day of May, 1684, in his 52nd year. The very illustrious and most
reverend doctor of divinity Ambrosius Ignatius Spinola and Guzman, Spanish
Archbishop in the year of our Lord 1670, in the 38th year of his life." This
would indicate that Spinola was born in 1632 and was 38 years old when

158 T. B. WALKER COLLECTION.
created Archbishop. As Murillo died in 1682, it is evident that this inscrip
tion was added later, probably soon after the death of Spinola.
Murillo painted but few portraits, but in this we see the same clear colors
and careful design so characteristic of his great religious paintings.

No. 239— "The Coronation."
52x39.
From the Lord Townsend Collection.
The Virgin Mary, robed in spotless white, with a blue mantle thrown
over her shoulders, is represented as rising above the serpentine devil, and
his angels, while an angel of God places upon her head a crown of twelve
stars, and cherubs bring garlands of flowers and shout with joy. The serpent
still holds in his mouth the apple with which he had tempted "the first man
Adam," and with which he tempted the son of this woman, "the second man
Adam, who became a living spirit" after his forty days' fast. Here, how
ever, his subtlety failed and one was found "who, being tempted in like
manner as we, yet sinned not." The horn in prophecy represents Power, and
the great horn in the, lower corner of the painting no doubt is emblematic of
the p'vwer of Satan which Jesus destroyed. In this wonderful painting
Murillo represents faithfully what his fertile mind conceived, and has given
to his figures, truth and simplicity; and although his coloring is modest, yet
it is clear, tender and harmonious.

No. 240— "The Nativity."
24x35.
From the collection of Marquis Alexandro Tetade, Seville, Spain.
Upon the occasion of the taxing of the people, first instituted when
Cyrenius was governor of Syria, Joseph with Mary was obliged to return
to his own city, Bethlehem, to be taxed. There was such a multitude in the
little city upon this memorable occasion that "There was no room for them
in the inn." so they were obliged to seek shelter in a stable. "And there
were in the same country shepherds abiding in the field, keeping watch over
their flock at night. And lo! the Angel of the Lord came upon them, and
the glory of the Lord shone round about them, and they were sore afraid.
And the angel said unto them, Fear not, for behold I bring you good tidings
of great joy which shall be to all the people. For unto you is born this day
in the City of David, a Saviour, which is Christ the Lord. * * * And
suddenly there was with the Angel a multitude of the heavenly host praising
God, and saying: Glory to God in the highest, and peace on earth, good
will toward men. (Luke 11:7-10.) The painting is a most vivid portrayal
of Luke's testimony by a master whose originality was only surpassed by his
faithful representation, and the exquisite sweetness of his coloring. This
most important event occurred, no doubt, in what, in our calendar, would be
the month of April or possibly May, when the weather was sufficiently mild
to permit the shepherds to abide in the fields at night, and at a time when
there was green pasturage for the sheep, and when the weather in the bleak
country about Bethlehem would be sufficiently mild to allow the event here

INDEX AND BIOGRAPHICAL NOTES. 159
so truthfully painted to occur in a stable, without injury to mother and child.
Murillo has faithfully and truthfully followed the text regardless of the gen
erally accepted theory that Jesus was born December 25th of our calendar,
and thus truthfulness and faithful representation was one of the great secrets
of his wonderful success and popularity.

No. 241— "Madonna of the Lily."
3654x27.
The Madonna attired in deep brown robes stands erect, with upturned
eyes as if in supplication. The right hand is pressed upon the breast, while
with the left she holds a spray of white lilies. A pale blue scarf orna
mented by a spray of purple roses is thrown lightly over the head falling in
graceful folds about the upturned face and shapely neck. The heads of
three cherub angels peep through the clouds in the immediate background,
which may indicate the ascension (assumption) of the Virgin. While the
colors in this example are not so clear and harmonious as in his later
works, yet the composition and drawing follow closely his last and greatest
period.

MYTENS (Daniel).
Dutch portrait painter, was born at the Hague (at the end of the 16th
century). Died after 1658.
He belonged to the Dutch school, probably studying in the school of
Rubens, as he imitated that master in his portraits and in his background';.
He went to England during the latter part of the reign of King James. His
work was greatly admired and, though he drew several of the court, he was
not formally employed as painter to the King until the first year ot the reign
of King Charles. His patent was dated the 30th of May, 1625. Sometime
after the arrival of Vandyck at the Court of King Charles, he returned to
the Hague.
"He had studied the works of Rubens previous to his coming to England.
His landscape in the backgrounds of his portraits is evidently in the style of
that school, and some of his works have been taken for Vandyck's.
"He painted beautiful copies of Raphael's cartoons. His works show
great simplicity of manner, lightness of color, and silvery flesh tones."
— Cyclopedia of Painters and Paintings.

No. 242— "Henrietta Marie, Queen of Charles I."
35x30.
From the collection of General Bulwer.
The flesh tints in this beautiful picture are true and lifelike. Form and
features are reproduced in finest perfection, attained only by the greatest of
the portrait painters. And in the costume the artist has a magnificence of
color seldom seen on canvas. This is one of the most beautiful and charac
teristic of this noted artist's works.

160 T. B. WALKER COLLECTION.
No. 243— "King Charles I."
46x34.
From the Collection of General Bulwer.
This picture was painted about the time at which Queen Henrietta Maria
was painted as described above. The coloring is very fine, _ natural and
satisfactory. His portraits of men were colored as appropriately as the
refined and more delicate coloring which he gave to his portraits of women.
This pair of portraits represents a most interesting, celebrated and noted
couple of prominent people of past history. In some respects King Charles
stood out as prominently before the world with as tragic a life as to make a
couple who jointly formed as interesting a pair as any king and queen in
history. And we can rely upon these two as being as favorable and correct
a representation of their true appearance and character as any historical
portraits known.

NEER (Aart Van Der).
Born at Gorinchem, Holland, about 1603.
Died at Amsterdam, November 9th, 1677.
"Removed to Amsterdam before 1638. Married Elizabeth Govers.
* * * Scarcely anything is known of his life. He excelled in moonlight
views, generally of towns or groups of cottages, or fishermen's huts on the
banks of a river or canal with boats and figures. He is said to have painted
some two hundred of these without a single repetition. He occasionally
painted sunsets and often winter pieces with figures amusing themselves on
the ice, in which he is scarcely surpassed. His best pictures have a trans
parency of color, a lightness of hand, a general freshness and sincerity and
a mastery of composition which give them a very high rank in the Dutch
School." — Bryan's Dictionary of Painters and Engravers. .
"Was a friend of Cuyp, who occasionally supplied the figures in his land
scapes, and an admirable painter of moonlight and twilight scenes. He repre
sented for the most part canals with towns on their banks, lighted by the
moon, and no other painter has depicted the lights and shadows incident to
such scenes with so much truthfulness and clearness."
— Cyclopedia of Painters and Paintings.

No. 244 — "Canal Scene in Holland, Evening."
2054x2854.
In the foreground, some fishermen have landed with their catch and have
their net stretched for drying while they prepare to load their fish in the
boat. Many other boats are seen along the canal; some tied up for the night
others just returning from their daily tasks. On the left is the fishermen's
cottages, surrounding the quaint old mill, while to the right on a wooded
shore stands the rustic church and pastorage. The full silver moon peeps out
through a rift in the clouds, throwing a weird light over the surrounding
landscape. A splendid example of Neer's somber style.

INDEX AND BIOGRAPHICAL NOTES. 161

NICHOLSON (G. W.).

American School.

No. 245— "A Squally Summer Morning."
23x38.
The low sandy beach of an inland lake is partially o'ergrown with coarse
grass and wild flowers. On the margin of a small grassy knoll, two women
are seated conversing with a man on horseback, while beyond them, we get
a view of a part of the lake with several larger sailboats and many pleasure
craft sailing over its blue waters. A tribe of wandering gypsies are encamped
at the deserted building under the shelter of the grove of green trees, which
all but hide from view the palatial residence situated on the promontory
above. A summer squall seems about to break over the lake, the boisterous
clouds cast a pall over the distant hills and the pigeons hover in the air
near to shelter and safety. The landscape is well drawn and the atmosphere
and the clouds are remarkably true to nature.

OERTEL (Johannes A.). American School.
Studio at Morgantown, N. C.
No. 246— "The Easter Tidings."
18x13.
"After the Sabbath was past, very early on the first day of the week,"
Mary Magdalene, Joanna, and Mary the mother of James, came to the
sepulchre which had held the body of Jesus. As they approach, they find the
great stone rolled away, and hear in astonishment the voice of the angels
coming from the interior of the tomb. "Why seek ye the living among the
dead. He is not here, but is risen."
The word Easter occurs but once in the Bible (Acts XI 1-4), and is
here translated from the Hebrew word meaning the passover, and as the first
passover in Egypt was marked by the death of the first-born, even so in this
last passover, the first born, yea, the only begotten of God, had seen death.
But now comes the glad tidings of great joy, "He is risen indeed," ringing
down through the ages its message of hope and gladness unto untold genera
tions. The figures are finely drawn, and modestly, though remarkably well
painted.

OPIE (John). Born, 1761. Died, 1807.
"The works of Opie are distinguished by great simplicity in the compo
sition, masteriy boldness of effect, and uncommon strength of character,
though sometimes defective in dignity, and faithful expression of individual

162  T. B. WALKER COLLECTION. 
nature. His best works possess, in an eminent degree, what artists term
breadth. Few painters have shown so perfect an eye to the purity of color.
and in some of his works he appears to have emulated the rich and har
monious tones of Rembrandt and Titian; and even Fuseli says that nature
had endowed him with an exquisite eye for color, and pronounces his color
ing in the 'Murder of James I.' unrivalled among the productions of his
contemporaries and approaching the excellence of Titian. His conduct of the
chiarc-scuro was intelligent and masterly." —Spooner's History of the Fine Arts.
"The pictures he painted on these occasions were amongst the most
admired productions of the British school. The works of Mr. Opie are dis
tinguished by a simplicity in the composition, masterly boldness of effect,
uncommon strength, though not dignity of character, and a faithful expres
sion of individual nature. Few painters have shown so perfect an eye to
the purity of color; and in some of his works he appears to have emulated
the harmonious toning of Rembrandt and Titian. His conduct of the chiaro
scuro is masterly and intelligent. He demonstrated by his works how highly
he was endowed by nature with a strength of judgment and originality of
conception. His thoughts were always new and striking, as they were the
genuine offspring of his own mind; and it is difficult to say if his conversa
tion gave more amusement or instruction. The toils and difficulties of his
profession were by him considered a matter of honorable and delightful
contest; and it might be said of him, that he did not so much paint to live
as live to paint." — Bryan's Dictionary of Painters and Engravers.
"His best work was in portraiture. He became an A. R. A. in 1787 and
R. A. in 1788; in 1805 he was chosen professor of painting in the Royal
Academy." — Cyclopedia of Painters and Paintings.
"Untaught, he gained proficiency in portrait painting. Not being cir
cumscribed in talent, he gained great success in various branches; and Boydell's
Shakespeare, Macklin's Poets, and Bowyer's edition of Hume soon afforded .
ample scope for Opie's abilities, who produced upon these occasions some
of his best specimens of the English school. His best pictures possess great
expansions, his coloring is chaste and his chiaro-scuro perspicuous."
— Pilkington's Dictionary of Painters.
'"The Cornish Wonder' grew rich and fashionable, studied diligently,
became professor at the Academy, wonderfully improved his portraits, and
extended his ambition to high art, where his best effort is 'The Assassination
of Rizzio.' To him belongs that often-quoted anecdote of the painter who,
when asked with what he mixed his colors, replied, 'With brains, sir.' "
—Radcliffe's Schools and Masters of Painting.
"As an artist, his works prove his great genius and original powers.
Later his compositions were more simple, his light and shade better under
stood, and his works have a vigorous and manly strength which contrasts
with the feeble inanities of many of his contemporaries."
—Redgrave's Dictionary of Artists of the English School.
No. 247— "Portrait of a Gypsy Girl."
33x25.
From the sale of a fine collection of Robinson & Fisher's, of I ondon

INDEX AND BIOGRAPHICAL NOTES. 163
PARMENTIER (Jacques) called James.
French School.
Born in Paris, 1658; died in London, Dec. 2d, 1730.
History and Portrait Painter. Student of his uncle Sebastian Bourdon.
"On the death of Bourdon he went to England in 1676 and was for
some time employed by Charles de la Fosse to assist him in the works upon
which he was engaged at Montague House. King William sent Parmentier
to Holland to ornament his palace at Loo, but he quarreled with Marot, the
superintendent of the works, and returned to London. Not finding much
employment on his arrival he went to Yorkshire. * * * On the death of
Leguerre in 1721, he returned to London where he died in 1730.
— Bryan's Dictionary of Painters and Engravers.
"His best work is on the staircase at Worksop. He presented a picture
of 'Diana and Endymion' to the Painters' Hall in London. After the death
of Laguerre in 1721, Parmentier returned to London, died there and was
buried in St. Paul's, Covent Garden." — Painters and Their Works.

No. 248 — "Christ Choosing His Disciples."
1954x24.
From a very old English collection.
"And Nathaniel said unto him (Philip), 'Can there any good thing come
out of Nazareth?' Philip said unto him, 'Come and see.' Jesus saw Nathaniel
coming to him and said unto him, 'Behold an Israelite indeed in whom is no
guile.' Nathaniel said unto him, 'Whence knowest thou me?' Jesus answered
and said unto him, 'Before that Philip called thee, when thou wast under the
fig tree, I saw thee.' " As Jesus speaks Philip points in the direction of the
distant fig tree. The sudden conviction causes Nathaniel to grow faint and
he stands in an attitude of absolute surrender. The painting shows some
what the mark of age, but is still beautiful in the rich colors and splendid
pencil of this master painter.

PANNINI (Cavaliere Giovanni Paolo).
Roman School.
Born at Piacenza about 1695.
Died in Rome, Oct. 21, 1768.
Pupil in Rome of Benedetto Luti and of Andrea Lucatelli.
Member of the Academies of San Luca at Rome, and in Paris, 1732.
"Pannini's pictures are often strikingly effective."
— Cyclopedia of Painters and Paintings.
"He also partly adopted the style of Salvator Rosa. He applied him
self to designing the remaining monuments of ancient architecture in the
Roman vicinity. His merit, however, is not confined to architecture; he
decorated his pictures with figures gracefully designed and grouped with taste.
Although he usually confined himself to pictures of an easel size, he was not

164 T. B. WALKER COLLECTION.
incapable of succeeding in works on a larger scale; and Lanzi speaks in
favorable terms of a 'Christ Clearing the Temple' with life size figures in
the church of the Signori della Missibne at Piacenza." — Painters and Engravers.
"This painter was celebrated for pictures of the subjects to which he con
fined himself. He resided some time in Paris about 1732, and was elected
a member of the Academy." —Painters and Their Works.

No. 249— "Coliseum at Rome."
11x16.
This greatest and most magnificent amphitheatre ever erected by the
Romans was commenced by Vespasian, who reigned from 69 to 79 A. D., and
partially finished by Titus in A. D. 80, who dedicated the structure with
shows in which 5,000 animals were killed. It was intended for gladiatorial
combats, fights with wild beasts and less harmless athletic sports, and in the
early days of Christianity, many were martyred here. It was elliptical in
shape, being 1,680 feet in diameter and 157 feet high, while the diameter of
the arena was 285 feet. The three great balconies would hold 100,000 people,
87,000 of whom could be seated. The architecture of the lower balcony was
Doric, the second, Ionic, and the upper one Corinthian. It stood almost
intact until the sixth century, when Theodoric, king of the Goths, took
material from it with which to erect other buildings. This is one of the
earliest pictures of this memorable ruin, and shows the building as it appeared
before any of the sunken ruins of the Forum were unearthed. The painting
was purchased from a cardinal at Rome by Mr. Nicholas Brown in 1845.
There is an unknown coat of arms imprinted on the stretcher frame.

PARTON (Arthur) - New York
Born at Hudson, N. Y., 1842.
Landscape painter.
Pupil of W. T. Richards, of Philadelphia.
Visited Paris and London 1870, and sketched in Scotland
the following summer.
Elected an A. N. A. in 1873. N. A. in 1884.
Studio in New York.

No. 250— "New England Homestead on a Stormy Morning."
1754x2754.
This landscape takes one right into the heart of nature. Fine, sturdy trees
stand boldly out against lowering clouds, indicative of the' approaching
shower. The rendering of the foliage is very minute, and the atmospheric
effects and feeling of the lull before the shower are cleverly and suggestively
realized. There is a sense of subdued sentiment and a true inspiration of the
poetry of nature.

INDEX AND BIOGRAPHICAL NOTES. 165

PEALE (Charles Wilson).
Born at Charleston, Md., April 16, 1741.
Died in Philadelphia, February 22, 1827.
Portrait and Landscape Painter.
Student of Copley and Benjamin West.
"He studied for a time in England under West, and after his return,
settled in Philadelphia, where he soon acquired a high reputation as a por
trait painter. He afterward formed in that city a museum of natural
curiosities, called by his name, and containing the skeleton of a mammoth.
He was also one of the founders of the Academy of Fine Arts to which
he contributed numerous pictures." — Lippincotfs Biographical Dictionary.
"Peale, at the age of six-and-twenty, studied painting under Copley in
Boston. In 1770-1, he was in London studying under West. In 1772, he
painted a picture of Washington, then a colonel, and those of several other
revolutionary officers." — Painters and Their Works.
"He was apprenticed to a saddler, and after being successfully saddler,
harness-maker, watch-maker, carver, naturalist, and taxidermist, at the age
of twenty-six, he took lessons in painting from Copley of Boston. * * *
He opened a picture gallery in Philadelphia, and was instrumental in estab
lishing an academy of Fine Arts in Pennsylvania. * * * His eldest son,
Raphael, also a painter, died at Philadelphia in 1825."
— Bryan's Dictionary of Painters and Engravers.
"He is said to have painted twenty portraits of Washington; one of
the most noted, ordered by La Fayette for the French King was purchased
by the Count de Menou, during the French Revolution and presented to the
National Institute where it is still preserved." — Cyclopedia of Painters and Paintings.

No. 251— "Harper's Ferry About 1795."
39x56*4.
Harper's Ferry, situated in Jefferson county, Va., fifty-five miles south
west from Washington, D. C, at the confluence of the Potomac and Shenan
doah Rivers, just where the former breaks through the Blue Ridge Moun
tains; is one of the most picturesque scenes in America.
The picture was painted about 1795 or 1796, before the building of the
United States' arsenal, which President Washington began in 1796. Up to
1860, the government had expended $1,800,000 for improvements and had in
store about 75,000 stand of small arms. The place came into great promi
nence in 1859, when John Brown erected his fort and defied the govern
ment. When Virginia seceded, Harper's Ferry was held by Lieut. Roger
Jones, with 45 men, and on the night of April 18, 1861, when, finding him
self surrounded by Virginia militia, he set fire to the arsenal and escaped to
Carlisle, Pa., thus preventing the arms and ammunition from falling into
the hands of the Confederacy. Of course, these great events had not been
dreamed of when the father of Rembrandt Peale painted this picture, so he

166  T. B. WALKER COLLECTION 
presents the beautiful landscape unadorned, save by the modest homes of a
couple of the "First Families of Virginia."

No. 252— "Washington at Yorktown."
25x30.
This portrait of Gen. Washington was painted in the summer or early
autumn of 1781. Washington, at this time, was about 49 years of age, and
the face is somewhat fuller than in later portraits. He is attired in dark blue
frock coat, with lapels, collar and cuffs of lemon colored velvet. The shoul
ders are decorated with the epaulets of his rank as commander-in-chief of the
American army. The tight-fitting waistcoat, also of pale yellow velvet, is
trimmed with wide lace, as are the sleeves of the blue coat, as shown by the
left hand which rests upon the handle of his sword. In the back-ground can
be seen a portion of his 15,000 American and French soldiers under the colo
nial flag, and in the distance, Cornwallis' fortifications at Yorktown, under
the British colors.
Washington began his siege of Yorktown, Sept. 28, 1781, and Cornwallis
with his whole army of 7,000 surrendered Oct. 19, of the same year. This
historic portrait, although not so artistically finished as his son's later por
trait, is in historic interest equally important.

PEALE (Rembrandt) - - - - . . America
Son of Charles W. Peale.
Born in Bucks County, Pa., 1778; died, 1860.
Washington sat to Peale for his portrait, when the artist was only
eighteen. In later life, by careful use of the studies made of his illustrious
sitter, Peale painted this portrait.
"Rembrandt Peale obtained a permanent reputation for his very able and
truthful portrait of Washington. He bestowed the best efforts of his mature
years, and it received the compliment of being purchased by Congress for
$2,000— a large sum for an American painting in those days when the pur
chasing power of money was greater than it is now."
— Benjamin's Art in America.
Extract from Peak's lecture on "Washington and His Portrait:"
_ "Washington gave me three sittings. At the first and second, my father's
painting and mine advanced well together; being at my right hand, his was
a little less full than mine. In the third sitting, perceiving that he was
beginning to repaint the forehead and proceed downwards, as was his custom,
I feared he would have too little time to study the mouth and lower part of
the face and therefore I began at the chin and proceeded upwards. The
result of his decision was, that there was something in the upper part of
»fn h-Vwt 7 ? fi I/refe"ed' and something in the lower portion of
mine which better satisfied me. At subsequent periods I made several studies
to combine them. To profit more fully by the occasion, my uncle James
Peale, during the second and third sittings, painted at my'left hand a mix
ture on ivory, and, for a time, my elder brother stood beyond my unde to
make a profile sketch. Mrs. Washington happened to enter the Som art

INDEX AND BIOGRAPHICAL NOTES. 167
moment, and being amused by the circumstances, mentioned it to Stuart, who
jocularly told her she must take good care of her husband, as he was in
danger of being peeled all round.
"Washington gave me three sittings of three hours each, from seven to
ten. By these early visits I had the advantage of seeing his hair in a more
natural manner than the barber arranged it, wig-fashion, after ten o'clock.
In this particular, the hair of Col. Trumbull's portrait is much more easy and
graceful, as he probably saw it in the negligence of a camp. He shaved him
self before coming to me, and the powder being washed from the whiskers
in front of his ears, showed that his hair was dark brown. What there was
of gray on the top of his head was disguised with powder; yet there his hair
was abundant, and the plaited hair behind was long and clubbed, to which
was attached on days of state ceremony, in dress of black velvet, the custom
ary appendage of a black silk bag.
"My portrait, wet from the easel, was packed up and in a few days was
opened in Charleston, where I painted ten copies of it, which were valued
as the most recent likeness. In executing these I became familiar with what
ever good it possessed, but also became still more sensitive to its deficiencies.
"After the death of Washington, neither satisfied with my father's, nor
Trumbull's, nor Pine's, nor Wertmuller's, nor Stuart's, nor my own, I made
repeated attempts to fix on canvas the image which was so strong in my
mind, by an effort of combination, chiefly in my father's and my own studies.
I had made during several years, sixteen of these attempts; and though not
equal to my own expectations, they all found satisfied possessors. I deter
mined, in 1823, to make a last effort; and under an excitement, even beyond
the "poetic frenzy' which controlled me during three months to the exclusion
of every other thought, and to the grief of my father, who considered it a
hopeless effort, I succeeded to his conviction."

No. 253— "Portrait of General Washington."
36x30.
Purchased from the artist by a New York merchant.
"Chief Justice Marshall and others always declared it the best likeness
of Washington ever painted." — Corcoran Gallery Catalogue.
Mr. Sutton, of the American Art Galleries, who is probably the most
competent judge in this country, in speaking of this portrait, said:
"You may say for me that I regard this as the finest portrait of Wash
ington in existence. I have made a special study of Washington's portraits
both in oil and engravings, and have a large number of engraved copies by
various artists, and I consider this the most lifelike and natural of all Wash
ington's portraits. It is similar to, but better than, the one hanging in the
President's room back of the Senate Chamber in the Capitol."
No. 254 — "Portrait of George Washington."
35x2854.
Originally owned by John Isaiah Northrop and at his death about 1870,
became the property of Mr. J. A. Hall, of Copake Falls, N. Y., whose wife
was the daughter of Mr. Northrop.
By reference to Mr. Peale's story as told above, it will be seen that he

168 T. B. WALKER COLLECTION. 
painted several portraits from the sketches made by himself, his father and
his uncle, from personal sittings of the general. He had in his mind the exact
image of Washington, and all his portraits were most natural and lifelike as
is this splendid example, and is probably second to none, except the wonderful
portrait in this collection, which Chief Justice Marshall pronounces the best
ever painted. George Washington was born February 22 (old style Feb. 11),
and died at Mount Vernon December 14, 1799.

No. 255— "Martha Washington."
35x2854.
Companion to the General Washington last described and came from the
same collection. In fact, the two portraits have never been separated since
they came from the easel of this greatest of American portrait painters.
The portrait was painted in the same period as its companion and is not only
considered a most splendid likeness, but is also readily recognized as a work
of art well worthy this great colorist.
Mrs. Martha Custis was married to General Washington on January 17th,
1759. Her maiden name was Daudridge, and at the time of her marriage she
was the widow of John Parke Custis. She was of the same age as Mr. Wash
ington, and although they were childless, they were most happy. They, how
ever, adopted two of Mrs. Washington's nephews, and brought them up as
their own children at Mount Vernon.

PEBBLES (Frank M.).
Born in New "i'ork State, October 16, 1839.
Portraits and Figures in Oil.
Member of the Society of Chicago Artists.
President Chicago Academy of Design.
"Son of S. and Mary J. Pebbles. Studied at the National Academy of
Design (N. R.) and under Edwin White; married to Clara M. Russell, 1861.
Exhibited at the Chicago Art Institute, San Francisco (Calif.), etc. Received
First Prize at the Oakland Exposition; Prize at San Francisco Fair, 1877
(Calif.); and several diplomas in different states. Is represented by portraits
in the permanent collection at the Capitol, Washington (D. C), Gallery of
Emperor of Japan, Crocker Gallery (Sacramento, Calif.), Gallery Independ
ent Order of Foresters (Toronto, Canada). Resides at Oak Park, Illinois."
—Artists' Year Book, 1905-1906.
No. 256 — "Ulysses Simpson Grant."
2954x24.
Painted in 1879 upon his return from a tour of the world.
U. S. Grant, the celebrated American general and eighteenth president of
the United States, was born April 22, 1822, in a little two-room cabin in
Point Pleasant, Ohio. At the age of seventeen his father procured for him
an appointment to the West Point Military Academy. After his gradua
tion, he was breveted second lieutenant of the Fourth Infantry and was at

INDEX AND BIOGRAPHICAL NOTES. 169
St. Louis until 1844. His regiment was then ordered to Natchitoches, La.,
where they remained until May 1845, when the Mexican war opened and in
this his regiment was engaged for three years. After serving several years
more in Oregon and California, he settled on a farm which he called "Hard-
scrabble," near St. Louis, in 1854, where he remained for about six years,
moving to Galena, 111., in 1860. At the breaking out of the rebellion, he
was made a colonel. In 1863, after several successful campaigns, he was
made commander-in-chief of all the armies of the Mississippi. On April 9,
1865, he captured Lee's army, ending the war and became the chief citizen
of the Republic. In 1868, and again in 1872, he was elected President, and
in 1878-9 made his memorable tour of the world. He died at Mt. McGregor,
N. Y., July 23, 1885. .. ,
Pronounced a splendid likeness of Mr. Grant at this period.

PIOMBO (Sebastiano del).
Born in Venice, in 1485. Died in Rome, June 21, 1540.
Venetian School.
Real name, Luciani. Pupil of Giovanni Dellini and afterwards of
Giorgione. A contemporary and strong competitor of Raphael,
Michael Angelo, Giorgione and Giovanni Bellini.
"Sebastiano, under the guidance of Michael Angelo, who in many cases
supplied him with designs, executed pictures which to some eyes equal those
of Raffaelle, and after the death of the latter, won him the name of the best
painter in Rome." — Cyclopedia of Painters and Paintings.
"Sebastiano made himself especially celebrated as a portrait painter. In
the London National Gallery are two fine specimens, one canvas represent
ing the Friar himself, along with Cardinal Ippolito de Medici; another, a
portrait of a lady. He also painted Giulia Gonzago, Marcus Antonio Colonna,
Vittoria Colonna, Ferdinand Marcus Pescara, Popes Adrian the Sixth, Clem
ent the Seventh, Paul the Third, etc." —Encyclopedia Britannica.
"He first distinguished himself as a portrait painter, to which his powers
were peculiarly adapted. His portraits were boldly designed and full of
character. The heads and hands were admirably drawn with an exquisite
tone of coloring and extraordinary relief."
— Bryan's Dictionary of Painters and Engravers.
"'The Flagellation of Christ,' at the Osservanti of Viterbo, is esteemed
the best picture in the city. Pictures for private rooms and portraits he
painted in great numbers and with comparative ease; and we nowhere meet
with more beautiful heads, more rosy flesh tints and more novel accessories
than in these." — Luigi Lansi, in "History of Painting in Italy."
"He first studied with Giovanni Bellini, then far advanced in years, and
afterward with Giorgione, and became the most distguinshed disciple of his
school, the most successful imitator of the harmony of his coloring, the
breadth of his chiaro-scuro, and the fullness of his forms. He first dis
tinguished himself as a portrait painter, to which his powers were peculiarly
adapted. His portraits were admired for the striking resemblance, the sweet
ness of the coloring, and the roundness and boldness of relief, which made
his figures appear to stand out from the canvas."
— Spooner's History of the Fine Arts.

170 T. B. WALKER COLLECTION.
" 'The Raising of Lazarus,' now in the London National Gallery, was
painted in 1517-19 for Giulio de Medici, then Bishop of Narbonne, after
wards Pope Clement VII.; and it remained in Narbonne Cathedral until pur
chased by the Duke of Orleans early in the 18th century — coming to England
with the Orleans gallery in 1792.
" 'Raphael's Transfiguration' was painted for the same patron and the
same destination. The two works were exhibited together, and some admir
ers did not scruple to give the preference to Sebastiano's." — Encyclopedia Britannica.

No. 257— "Portrait of Vittoria Colonna."
32x27.
From the Collection of the Earl of Dudley.
This lady is referred to in the life of Michelangelo, as we find it in the
British Encyclopedia, as follows: "Soon afterwards, Michaelangelo made
the acquaintance of the pious, accomplished and high-souled lady, Vittoria
Colonna, widow of the Marquis Pescara. For twelve years until her death,
which happened in 1547, her friendship was the great solace of Michael-
angelo's life. On her in all loyalty and reverence, he poured out all the
treasures of his mind, and all his imprisoned powers of tenderness and
devotion. He painted her a crucifixion of extraordinary beauty, of which
many imitations, but not the original, have come down to us. She was the
chief inspirer of his poetry, in which, along with her praises, the main themes
are the Christian religion, the joys of Platonic love and the power and
mysteries of art. Michaelangelo's poetical style is strenuous and concen
trated like the man. And so the mighty sculptor, painter and poet reached
old age. An infirmity which settled on him in 1544, and the death of Vittoria
Colonna, in 1547, left him broken in health and heart."
This picture represents one of the most refined portraits by the strongest
competitor and contemporary of Raphael, Michaelangelo, Giorgione and
Giovanni, Bellini, and as a portrait painter, perhaps, at least equal, if he did
not excel, either one of these greatest of the old masters.

PORBUS (Francis, Jr.).
"A skillful painter of portraits and history, a son of Frans the elder, was
born at Antwerp in 1570. He worked mostly in Paris. 'His picture of the
Last Supper,' says the Biographie Universale, 'is one of the finest productions
of the Flemish School.' Died in Paris in 1622."
—Lippincotfs Pronouncing Biographical Dictionary.
"He painted the portraits of the royal family, and the most distinguished
personages of the court. His talents were not confined to portraits; there
are several of his pictures in the churches at Paris, which establish his repu
tation as a painter of history. His most esteemed performance is the 'Last
Supper, formerly in the church of St. Leu, now in the gallery of the Louvre;
it is a grand and simple composition, the figures correctly designed, and the
coloring rich and harmonious. In the Hotel de Ville, are two pictures by
Porbus of the Minority and Majority of Louis XIII., which he has treated
with great ingenuity, and the portraits he has introduced have an admirable

 INDEX AND BIOGRAPHICAL NOTES. 171
appearance of truth and nature. The portrait of Henry IV. was formerly
in the collection of the king of France. It is now in the French Museum."
— Bryan's Dictionary of Painters and Engravers.
"Flemish school; history and portrait painter, son and pupil of Frans
the elder. Free of the guild in 1591; for some time in Brussels, from 1600
court painter to Vincenzo I., Gonzaga at Mantua, then from 1610 flourished
at the court of Henry IV. of France, and painted various pictures of that
monarch and his queen." — Cyclopedia of Painters and Paintings.
"He acquired great distinction, and painted the portraits of the royal
family and many of the most distinguished personages of the court. His
talents were not confined to portraits, and he executed several works for
the churches, which obtained for him a high reputation as a historical painter.
He surpassed his father in elegance and grace, and in the noble simplicity of
his drapery. His design was remarkably correct and his coloring rich and
harmonious." — Spooner's History of the Fine Arts.

No. 25c? — "Portrait of Maria de Medici in Her Twenty-second
Year." 25x20.
From the Collection of Baron de Bourneville, of Paris.
One of the characteristic and important portraits of this master of the
Flemish school. The picture is well preserved, beautifully painted and makes
a very attractive example of this artist's work.
Maria de Medici was "the daughter of Francis, Grand Duke of Tuscany
and the Archduchess Joan of Austria, and was born at Florence in 1573.
She was married in 1600 to Henry IV. of France. After the death of Henry,
became regent, but owing to her bad temper and incompetency she was
deposed, but again took part in the government introducing Richelieu who
afterwards caused her to be imprisoned; she escaped but died in 1642.

POUSSIN (Nicholas).
Born in Le Grand Adelyn, Normandy, probably June 15, 1593.
Died in Rome, November 19, 1665.
Reputed student of Noel Jouvenet de Rouen and Quintin Varin, also
Ferdinand Elle and L'Allemand in Paris.
Appointed first painter in ordinary by Louis XIII. in 1640.
"He has been called the head of the French School. * * * Nicholas
early showed a predilection for art. After some opposition, he succeeded
in obtaining their (his parents') consent to his receiving instruction from an
artist named Quintin Varin. * * * From him, Poussin learned to paint
in distemper and also in oils. This instruction only served to whet his
appetite for art, and to render him desirous of continuing his studies in Paris.
Accordingly, at the age of eighteen, he quitted his home secretly and man
aged to reach the capital unaided by friends and with the slenderest resources.
In Paris he continued his training under Ferdinand Elle, a Flemish painter;
and afterwards under L'Allemand, a Lorrainer. Though doubtless he received

172 T. B. WALKER COLLECTION.
some assistance from these masters, his progress was due rather to the study
of Marc Antonio's engravings after Raphael and Guilio Romano. * * *
He formed an acquaintance with Philippe de Champaigne, like himself a
pupil of L'Allemand, and the two worked for some time under Duchesne on
the decorations of the Luxembourg. But this employment soon became irk
some and Poussin again endeavored to reach Rome. * * * (He only pro
ceeded as far as Florence and painted his way back to Paris, but subsequently
went to that city in 1624.)
Louis XIII. expressed his royal wishes and although Poussin yielded
it was not until 1640 that he arrived in France. * * * At first all went
well. He was presented to the great Richelieu and to the king, and was
received with great favor. * * * His chief opponents were the hitherto
all-powerful Vouet-Feuquieres and the architect Lemercier. Wearied at last
of their cabals, he obtained leave, under the pretense of fetching his wife,
to go to Rome. Thither he set out in the autumn of 1642 and never returned
to his native country. * * * The most striking characteristic of Poussin
is his intimate knowledge and appreciation of classic art. His composition
and drawing are but little obnoxious to criticism, though it must be owned
that there is an occasional stiffness in the latter, the result of incessant study
of statutes and friezes." — Bryan's Dictionary of Painters and Engravers.
"Eustache le Sueur and Nicolas Poussin were the two chief painters
France produced up to the middle of the seventeenth century, and it would
be difficult to find men among their successors whose pictures will bear
comparison with theirs, especially with those of Poussin."
— Painters and Their Works.,
"Raffaelle and Julio Romano had preceded him in study from the
remnants of antiquity, but Poussin's perception of the use that might be made
of them was totally distinct from theirs. It was also more strictly imitative
of ancient forms, customs, dresses, and appropriate scenery; of all which he
has left us a most useful display." — Bryan's Dictionary of Painters and Engravers.
"His noble style, his skill in composition, his elegance in the grouping
and disposition of his figures, and his truly grand and poetic feeling in land
scape, entitle him to the first place among painters of the French School."
— Cyclopedia of Painters and Paintings.

No. 259— "The Flight Into Egypt."
854x654..
"The angel of the Lord appeared unto Joseph in a dream, saying:
'Arise and take the young child and his mother, and flee into Egypt; and be
thou there until I bring thee word; for Herod will seek to kill the voung
child to destroy him.' When he arose, he took the young child and his
mother, by night, and departed into Egypt, and was there until the death
of Herod." (Matthew 11:13-14.)
Mary with the infant Jesus in her arms is seated upon a donkey, which
Joseph, is leading, and a servant with luggage plods along beside. All are
elegantly attired in gold-trimmed garments, no doubt the gift of the wise
men who visited the night of their departure. At the moment they are
passing beneath the shadows of some fine palm trees, while the birds warble
a song of thanksgiving to the "King of Kings and Lord of Lords "

 INDEX AND BIOGRAPHICAL NOTES.  173
RAMSAY (Allan).
Born in Edinburgh, 1713. Died in Dover, Aug. 10, 1784.
Entered St. Martin's Lane Academy, 1733.
Student in Italy of Solimena and Imperiali.
Vice-President Society of Artists, 1766.
Principal Painter to the Court of George III., 1767.
"Son of the author of 'The Gentle Shepherd.' * * * Studied portrait
ure in Rome and on his return to London attained distinction. * * * Was
appointed principal painter to George III., whose portrait he painted so many
times that he was obliged to employ assistants. He died on his return from
a fourth visit to Italy. Walpole praises his portraits of women, preferring
some of them to those of Reynolds." — Cyclopedia of Painters and Paintings.
"In 1758 he was a distinguished painter and very fully employed in Lon
don and Edinburgh. In 1766 he was Vice-President of the Incorporated
Society of Artists. Lord Bute introduced him to the Prince of Wales and
when he became George III., Ramsay was appointed principal painter to the
King. Ramsay was a good linguist, and Reynolds and Johnson praised his
literary acquirements and general knowledge. His portraits are in general
natural and simple, if somewhat deficient in strength." — Painters and Their Works.
"He was a scion of the house of Dalhousie, his great grandfather being
the Laird of Cockpen, a brother of the chief. * * * From that year (1767)
Ramsay conducted a sort of picture factory from which he turned out
Georges and Charlottes by the score. His chief assistants were David Martin,
Mrs. Black, Eikhart Van Dyck, Roth and Vesperier, to whom he added in
later years the well known Philip Reinagle. * * * Of Ramsay, Dr. John
son said, "You will not find a man in whose conversation there is more
instruction or more elegance than in Ramsay's."
— Bryan's Dictionary of Painters and Engravers.

No. 260— "Queen Charlotte."
41x34.
From the Collection of the Marquis of Waterford.
She was Charlotte Sophia, daughter of the Duke of Mecklenberg-Screlitz.
She married George III. of England, Sept. 8, 1761, sharing the throne with
him for fifty-seven years, and bearing him fifteen children, all but two of
which grew up.
This splendid portrait was painted between 1767 and 1775, during which
time Ramsay, as court painter to the king, produced a number of portraits
of Charlotte. She is here shown in her queenly robes, with the imperial
crown and other royal jewels, including two strings of magnificent pearls,
looped on either shoulder and hanging pendant-like to the hem of the gold-
embroidered gown. The painting as a whole shows the work of a master,
but the rich velvet coat trimmed in royal ermine, and the great folds of hand
made lace, have seldom, if ever, been surpassed.

174 T. B. WALKER COLLECTION

RAPHAEL.
Born at Urbino, April 6, 1483. Died in Rome, April 6, 1520.
Umbrian and Roman School.
"Eager only to perfect his work, and incapable of jealousy, he studied
the grandiose style of Michelangelo and the rich color of Sebastiano del
Piombo, that he might improve his own style and color, and to the day of
his death achieved ever-increasing excellence.
"An unrivalled skill in composition, an added power of expression, an
increased grandeur of style, an improvement in the use of color, a mastery
of portraiture and a perception of ideal beauty culminates in the Madonna
di San Sisto. Nor must we, in speaking of this great painter's life-work,
forget to mention the immense number of exquisite studies and designs in
pen and ink, silver point, pencil and chalk, which constitute by no means the
least precious part of the world's inheritance from the Prince of Painters."
— Cyclopedia of Painters and Paintings.
"This illustrious artist has, by the general approbation of mankind, been
styled the prince of painters, and is universally acknowledged to have pos
sessed a greater combination of the higher excellencies of the art than has
fallen to the lot of any other individual.
"If it is allowed that the noblest object of the art is not to accomplish
that which merely pleases the eye, but that which satisfies the mind, and
secures the approbation of the intelligent, Raffaelle must be regarded the
greatest artist with whose works we are acquainted, as he may be said to have
surpassed in this branch everything he could have seen, either ancient or
modern, and as nothing has appeared since that can dispute his title to that
pre-eminence." — Bryan's Dictionary of Painters and Engravers.
"When we consider the immense field over which his labors were spread
and the strong personal individuality which appears in all these varied
branches of art, together with the almost incredible number of paintings that
issued from his studio, it will be seen that he must have labored with an
amount of unflagging industry which has perhaps never been surpassed.
"Among all the painters of the world, none has been so universally
popular as Raphael or has so steadily maintained his pre-eminent reputation
throughout the many changes in taste which have taken place in the last three
centuries and a half. Apart from his combined merits as a draughtsman,
colorist, and master of graceful composition, he owes the constancy of
admiration which has been felt for him, partly to the wide range of his sub
jects, but still more to the wonderful varieties of his style.
"In versatility of power, Raphael (as a painter) remains almost without
a rival." — Encyclopedia Britannica.
"He excelled in portrait, as well as in history, and by his pencil immortal
ized the Popes Julius II. and Leo X., with many of the cardinals, representing
them with such life and nature, dignity of character and expression as sur
passes the power of description. The portrait of the first of these popes is
now in the British National or Royal Gallery. He finished his pictures, espe
cially those in oil, exquisitely, and took every care to give them the utmost
perfection, and yet he is said to have been very expeditious in his method
of working." — Pilkington's Dictionary of Painters.
"Let it be always remembered that the excellence of his style is not on
the surface, but lies deep, and at first view is seen but mistily. It is the

INDEX AND BIOGRAPHICAL NOTES. 175

florid style which strikes at once, and captivates the eye for a minute, without
ever satisfying the judgment. Nor does painting in this respect differ from
other arts; a just poetical taste and the acquisition of a nice discriminative
musical ear, are equally the work of time." — Joshua Reynold's Review of Raphael.
"General opinion has placed Raphael at the head of his art, not because
he possessed a decided superiority over every other painter in every branch,
but because no other artist ever united with his own peculiar excellence all
the other parts of the art in an equal degree with him." — Fuseli.
"Is the third and greatest in the quartet of acknowledged world masters
of painting." — Hoyt's Historic Schools of Painting.
"The name of this illustrious Italian painter is variously spelled: by the
Italians, Raffaelle; by the French, Raphael or Raffaello; by the Germans,
Rafael; by the old English writers, Raphael, and the moderns, Raffaele.
"By the general approbation of mankind, Raffaelle has been styled the
prince of painters, and he is universally acknowledged to have possessed a
greater combination of the higher excellencies of art than has ever fallen to
the lot of any other individual. He has had severe critics, but more able
defenders. It has been remarked by Sir Joshua Reynolds and other authors,
as well as by many travelers, as a remarkable fact, that the most capital fres
coes of Raffaele in the Vatican do not at first strike the beholder with sur
prise, nor satisfy his expectations; but, as he begins to study them, he con
stantly discovers new beauties, and his admiration continues to increase with
contemplation." — Spooner's History of the Fine Arts.

No. 261— "Portrait of Pope Julius II."
From the Collection of Sir Cecil Miles.
43x33.
Dr. Waagen, Director of the Royal Gallery of Pictures in Berlin, in his
celebrated volume, published in 1854, entitled "Art Treasures in Great
Britain," in Vol. 3, page 178, says of Leigh Court: "On my first sojourn in
England, 1835, the fame of the pictures belonging to J. P. Miles, Esq., mainly
induced me to visit that part of the country; and though, from the hurried
manner in which I was driven through the rooms, I saw them to great dis
advantage, yet I had time enough to convince myself that they far exceeded
the expectations I had formed. The collection, indeed, contains a series of
fine works by the most eminent Italian, Flemish, Spanish, and French mas
ters, which would grace the palace of any monarch. I was, therefore, the
more glad, on a later occasion, to avail myself of the kindness of Mr. Harford,
who, being acquainted with the family, drove me over to Leigh Cotirt, when
I enjoyed the liberty of inspecting the pictures at my leisure. I am, there
fore, now better qualified to give a fuller and more exact account of them."
And in describing in particular this painting of Raphael's, "Pope Julius
II.," says, "I would not mention this picture, of which there are such numer
ous repetitions, were it not different from all that I have seen and extremely
excellent. The features are not so large and the genuine Italian nose, in par
ticular, is more finely formed. The treatment' is' masterly. On panel."
A duplicate or replica portrait of a well known, prominent person is not
regarded the same as a replica of an ornamental picture like a landscape or

176 T. B. WALKER COLLECTION.

figure piece, as many of the great artists have reproduced without discredit
portraits of prominent personages, which portraits are all regarded as
originals. The portrait of Pope Julius in the National Gallery in London is
spoken of by Dr. Waagen as "a reproduction from the Falconieri Palace,
and as is often the case with copies, is defective in keeping, the forehead
appears too light compared with the dark heavy tones of the other parts of
the face."
This Leigh Court picture was painted on a heavy oak panel over an inch
and a quarter in thickness and which panel was so badly eaten by the worms
that it was only a shell, being absolutely honeycombed through the paint.
The panel was cut away to about one-half an inch in thickness in order to
straighten and cradle it, which way done after the picture came into the
possession of the present owner. It has always been known in England as
an original painting by Raphael and as pronounced by Dr. Waagen, "differ
ent from all others that I have seen and extremely excellent."

RAEBURN (Sir Henry). Born in 1756, died in 1823.
"Son of a Scotch clergyman, was as highly esteemed in Edinburgh as
Sir Joshua Reynolds had been in London. He was overwhelmed with
sitters, and has left much of the fruit of his labor in the Edinburgh Academy,
which has preserved his portraits of Sir Walter Scott, Dugald Stewart,
Francis Jeffery, and many other eminent Scotchmen. His style was manly,
broad and forcible, and his merits were so justly appreciated that he was
knighted by George IV. and appointed royal painter."
— Radcliffe's Schools and Masters of Painting.
"Both his art and his society were esteemed. He was surrounded by
friends, and painted the most distinguished of his northern countrymen. He
paid only short visits to London and knew little of the art or the artists of
the metropolis. But honors fell thick upon him in his native city. In 1812
he was elected president of the Society of Artists in Scotland; in 1813 an
associate of the Royal Academy, London, and the following year an academi
cian. He held undisputed pre-eminence in art, and was surrounded by
friends." —Redgrave's Dictionary of Artists of the English School.
"He became distinguished as a portrait painter, though he also exhibited
a few historical pieces at the Royal* Academy in London, of which he was a
member. Of that of Edinburgh, he was chosen president and, when George
the Fourth visited his northern capital, the honor of knighthood was con
ferred upon him, and he subsequently received the appointment of first por
trait painter to the king in Scotland. He was equally remarkable for correct
ness of drawing, freedom of penciling, brilliancy of coloring and a personi
fication of character not less vigorous than graceful. He possessed the rare
faculty of producing in every instance the most striking and agreeable like
ness, and of indicating intellectual expression and dignity of demeanor where-
ever they appeared in the original; often approaching in his portraits to the
elevation of historical painting." —Pilkington's Dictionary of Painters.
"For years, application, . improvement and success went hand in hand;
and he might reckon the greater part of the distinguished men of Scotland
of his time among his sitters and friends. In 1814, he became an associate of

INDEX AND BIOGRAPHICAL NOTES. 177

the Royal Academy, and in the following year, R. A., it is said, without the
usual humiliating solicitation. Raeburn could represent, with the force of
truth, men of intellect and genius, but could not condescend to the frivolities
of fashion. His power lay in depicting the mind, not the decorative para
phernalia of the coxcomb, or the millinery and affected air of the beauties of
the salon or drawing room." — Bryan's Dictionary of Painters and Engravers.
"Raeburn was fortunate in the time in which he practised portraitures.
Sir Walter Scott, Blair, Mackenzie, Woodhouselee, Robertson, Home, Fergu
son and Dugald Stewart were resident in Edinburgh, and they were all, along
with a host of others less celebrated, immortalized on the painter's canvas.
Professional honors fell thick upon him. In 1812 he was elected president
of the Society of Artists in Edinburgh, in 1814 Associate and in the follow
ing year, full membership of the Royal Academy. In 1822 he was knighted
by George IV. and appointed his majesty's limner in Scotland. In his own
day, the portraits of Raeburn were excellently and voluminously engraved
by the last members of the great school of English mezzotint. He had the
power of producing a telling and forcible likeness; his productions are dis
tinguished by breadth of effect, by admirable force of handling, by execution
of the swiftest and most resolute sort. Wilkie has recorded that while
traveling in Spain and studying the works of Velasquez, the brush-work of
that master reminded him constantly of the 'square touch' of Raeburn."
— Encyclopedia Britannica.
"In 1780, he set up as a portrait painter in Edinburgh. He soon won
high rank in his art, was elected in 1812 president of the Society of Artists in
Scotland, and in 1813 an A. R. A. and in 1815 R. A. On the visit of George
IV. to Edinburgh, in 1822, he was knighted and the next year he was
appointed his majesty's limner for Scotland Nine of his portraits are in
the National Gallery, Edinburgh, and four in the National Portrait Gallery,
South Kensington." — Cyclopedia of Painters and Paintings.
"Through life he discharged, with blameless attention, all the duties of
a good citizen. His pencil never kept him from his place in church on
Sunday and in the days of trouble he was a zealous volunteer. First and
last, among all the children of art, no one was ever more widely respected
than Sir Henry Raeburn; and his tall, handsome figure, and fine, open, manly
countenance will not be forgotten for many a day in 'the place which knew
him.' His merits as a portrait painter are very great. He aimed at elevation
and dignity of style; he desired to bring out the mental qualities of his sitters,
and considered the nice detail of the features as unworthy of a work of art.
The distant view he took presented nature to him in its grandest expression;
and he caught the ruling passion of the face by taking the broad result and
not the detail. By neglecting the lesser features, all subordinate expression
was sunk; it was the application of the historical style for humble purposes
and Raeburn may be accused of conferring intellectual dignity upon heads
unworthy of such honor. One of his greatest triumphs is in his last portrait
of Sir Walter Scott; the face of this illustrious man is far from expressing
his powers when you are at his elbow; but the distance at which Raeburn
sought the character lent enchantment at once, and in the light and shade of
his masses, the author of 'Marmion' and 'Old Mortality' appeared."
— Cunningham's "The British Painters."

178 T. B. WALKER COLLECTION. 
No. 262— "Portrait of James McGregor."
30x28.
Purchased by Thomas McLane, of London, from the McGregor family.
A very realistic and beautifully painted portrait of a man well known in his
times, but not a conspicuous personage, yet a member of a very reputable
family of England.

No. 263— "The Duke of Sussex."
30x25.
"Augustus Frederick Wilhelm Heinrich, prince of Prussia; born 1779;
died 1843. Was a nephew of Frederick the Great. He fought at Jena in 1806,
having obtained in 1813 the rank of Lieutenant General; he displayed skill
and courage at Dresden, Kulm and Leipsic."
This splendid portrait is characteristic of this noted Scottish painter, and
considered among the best of his productions.

No. 264— "Robert Burns."
28x23.
From the collection of Mr. Smith, author of "Catalogue Raisone."
Portrait was painted in 1786.
Robert (Bobby) Burns was a celebrated Scotch Poet, born near the town
of Ayr, January 25, 1759. Died on July 21, 1796. His person was strong
and robust, his manner though rustic was not clownish, with a sort of digni
fied plainness and simplicity, the effect of which came from one's knowledge
of his extraordinary talents. There was a strong expression of sense and
shrewdness in all his lineaments, the eye alone indicating the poetical charac
ter and temperament. One writer, in speaking of Burns' eye, says, "It was
large and of a dark cast, which glowed — I say literally glowed— when he
spoke with feeling or interest. I never saw such another eye in a human
head, though I have seen the most distinguished men of my time." His
conversation expressed perfect self-confidence without the slightest pre
sumption. His power of concentration was perfectly marvelous, in the two
short lines: "The rank is but the guinea's stamp
The man's the gowd for a' that — "
he says more than many able men could in an elaborate essay. This portrait
was painted in 1786, being the same year his first volume was published at
Kilmarnock. This publication brought him but 20 pounds, but it caused
the country to murmur of him from sea to sea and introduced him to the
literati of Edinburgh.

No. 265— "A Bonnie Scotch Lassie."
35x27.
The portrait is that of a buxom daughter of the Scotch nobility attired
in a simple home costume consisting of a gown of some soft white material

INDEX AND BIOGRAPHICAL NOTES. 179
with small Elizabethan collar. The three-quarter length figure stands erect
with head turned looking over the right shoulder and holding in her left
hand a hat that appears to be the leader of the style of 1912. The waist is
encircled by a sash of orange color silk, and a ribbon of the same color en
circles the well poised head. Some truant locks of the nut brown hair
partially hide the forehead, beneath which look out a pair of large brown
eyes, which with a well shaped nose and a cupid's bow mouth, make up the
charms of a plain but beautifully intelligent face. Sir Henry Raeburn's
faculty of depicting mind and character, rather than a millinery advertise
ment, is plainly evident in this truly charming portrait.

RAVESTEYN (Jan Van). Born at the Hague about 1572.
Died there, June 21, 1657.
Dutch School. Portrait Painter.
Master of Hague Guild, 1615.
Student of Michael Mierevelt (?).
"It is uncertain under whom he studied painting, but probably under
Frans Hals. Jan became one of the greatest portrait painters of Holland,
as is proved by his two large pictures in the hall of the Company of Arches
at the Hague and a number of single portraits by him there at Amster
dam and elsewhere." — Painters and Their Works.
"Painted assemblies of magistrates and corporations with great skill
in the manner of Mierevelt." — Cyclopedia of Painters and Paintings.
"His works are evidences of his extraordinary merit. He was con
fessedly superior to any of his predecessors among the Flemings, and
with the exception of Rubens and Vandyck, equal at least to the best of
his contemporaries. His composition is good and full of spirit; his atti
tudes are easy and have an agreeable variety; his lights and shadows are
judiciously distributed; his coloring is remarkably clear, and his touch
is broad and firm. His knowledge in perspective, particularly the aerial,
was extensive, nor was there any painter of his time who showed more
skill in the harmonious mixtures of his colors.
— Bryan's Dictionary of Painters and Engravers.

No. 266— "Mrs. Richard Whitehill."
38x29.
From the collection of the Duke of Fife.
The double crest over the coat of arms indicates that she was closely
allied with the family of Wm. Dedel who was Burgomaster of Delft (Born
1552, Died 1641), and the family of Francois Fogel (Bird) who moved
into Amsterdam in 1585. As the coat of arms carries no crown, it is
evident her husband was neither a viscount nor a noble, but likely a burgo
master. The latin inscription on the chair "Modestia in Rebus Novit Ha
bere Modum" (Modesty in affairs is known by its manner or decorum),
would indicate a person intimately connected with the government. The

180 T. B. WALKER COLLECTION.

great value of the portrait, however, is as a work of art. This painter,
second only to Rubens and Van Dyck,' has left in this, ample proof of
his ability as a painter of the first rank. The figure is well drawn, the
features and flesh tints as natural as life, while the drapery and the lace
approaches very nearly to perfection.
RAU (Emil) --- ..... - Munich
"Mention Honorable" at the Royal Academy, Berlin, 1886.
Medal at Vienna.

No. 267— "The Return of the Light Cavalry."
30x3854.
A spruce young cavalryman, in all the splendor of uniform, is making
the most of his short stay. He has a girl on each arm, and is laughing and
jesting to the height of his bent. The green-eyed serpent, however, is
making things dark for the brunette on his left, judging from the lowering
look she gives her laughing companion. But the blonde on his right
smiles up into his face, laughingly oblivious of the soldierly arm that en
circles her waist.
Mr. J. H. Thompson, of Minneapolis, says: "I consider this one of
the finest and most striking pictures in the world. I have seen many
public and private galleries in this country and Europe, but I never saw a
picture that I consider any better than this one."

RENI (Guido). Born at Bologna in 1575. Died at Bologna in 1642.
Pupil first of Denis Calvart and afterwards of the Caracci, and favorite
disciple of Ludovico.
Contemporary associate and competitor for supremacy with Raphael,
Correggio, Parmegiano, Paul Veronese, Caravaggio, The Caracci, Albani,
Riberi and Domenichino.
"Such was the infatuation that prevailed at Rome in favor of the works
of Caravaggio, that when the Cardinal Borghese gave him the commission
to paint his celebrated picture of the 'Crucifixion of St. Peter,' he expressly
stipulated that it should be painted in the manner of that master. Without
departing from his engagement, Guido exhibited in the composition and
design a correctness, dignity and grandeur, far superior to Caravaggio. He
now rose rapidly in public estimation and received such flattering encour
agement as produced many enemies.
"Guido is generally regarded as the most distinguished disciple of the
school of the Caracci, with the exception of Domenichino, and some even
give him the preference. The Italians say of him that 'grace and beauty
dwelt upon his pencil to animate his figures.' The distinguishing charac
teristics of his style are elegance and grace, a singular facility of execution,
a free, but delicate pencil, an exquisite touch, and a great suavity and har
mony of coloring." —Spooner's History of the Fine Arts.

INDEX AND BIOGRAPHICAL NOTES. 181

"A prime master in the Bolognese school of painting, and one of the
most admired artists of the period of incipient decadence in Italy.
"The character of Guido's art is so well known as hardly to call for
detailed analysis, beyond what we have already intimated. His most char
acteristic style exhibits a prepense ideal, of form rather than character,
with a slight mode of handling, and silvery, somewhat cold color. In work
ing from the nude he aimed at perfection of form, especially marked in the
hands and feet.
"His best works have beauty, great amenity, artistic feeling, and high
accomplishment of manner, all alloyed by a certain core of commonplace."
— Encyclopedia Britannica.
"His first works are painted in the style of the Caracci; but he subse
quently adopted in some degree that of Caravaggio. His pictures are models
of grace, delicacy and beauty of expression. He succeeds especially in pa
thetic and devotional subjects." — Lippincott's Pronouncing Biographical Dictionary.
"After painting several years in Bologna, where his pictures excited
admiration, he went to Rome about 1608 with his fellow-pupil Francesco
Albani, and notwithstanding the opposition of Caravaggio and of Annibale
Caracci, then at work in the Palazzo Farnese, he soon won an honorable
position. Caravaggio was then the fashion in Rome, and when Cardinal
Borghese gave Guido an order for the 'Crucifixion of St. Peter' he coupled
it with the command that it should be in the manner of that painter.
Guido obeyed, but he gave his composition a grandeur and dignity beyond
the powers of Caravaggio.
"Guido's productions vary much in manner according to the time of their
execution and may be assigned to three different periods: the first, marked
by strong contrasts of light and shade; the second or transition period,
stronger and more natural; the third, grey tones and insipid sentiment."
— Cyclopedia of Painters and Paintings.
"No fresco in the world is more simply beautiful than his 'Aurora,' nor
any portrait more pathetic than the so-called 'Beatrice Cenci.'
"In his early practice he blended the precepts of the Eclectics with the
maxims of Caravaggio, the chief of the Naturalisti, and so modified both
by mingling them with his own ideal, drawn principally from such antiques
as the Niobe, that he produced a variety of styles; one, in which he strove
to copy the manner of Michelangelo and the powerful shading of the
Neapolitans; another, marked by warmth of color, heightened sentiment, and
flowing lines of form, which comprise his finest efforts; and a third still
later and 'silvery' tone, where the picture seems washed in delicate and
airy but feeble grays." — Radcliffe's Schools and Masters of Painting.

No. 268— "The Last Hours of Cleopatra."
40x34.
This painting was for many years a conspicuous piece in the well known
collection of the Miles family, at Leigh Court, and of Sir Cecil Miles, from
whose collection it was obtained at the sale of those pictures.
One of the best known art critics in Europe, Dr. Waagen, Director of the
Royal Gallery of Pictures in Berlin, in 1854 published an extensive art die-

182 T. B. WALKER COLLECTION. 
tionary, entitled "Art Treasures in Great Britain." In Vol. 3, Page 178, he
says, "On my first sojourn in England in 1835, the fame of the pictures be
longing to J. P. Miles, Esq., mainly induced me to visit that part of the
country," and in describing the collection, when describing those in the
drawing room, he says, "Guido Reni, Cleopatra. The original of innumerable
repetitions. Extremely pleasing in beauty of features, expression, clear
ness of coloring and melting execution." In this it will be seen that he
regards it as undoubtedly the genuine original of the innumerable repeti
tions that are common in Europe. The genuineness of this picture, as
far as we can learn, has never been questioned by the art critics in Eng
land.

REMBRANDT (Van Rijn).
Born in Leyden, on the 15th of July, 1657.
Died October 8th, 1669.
Studied under Swanenburch, a relative of his family, and afterwards
under Pieter Lastmann, a painter of great merit and high standing.
One of the greatest painters the world has seen."
"Rembrandt's high position in European art rests on the originality
of his mind, the power of his imagination, his profound sympathy with
his subjects, the boldness of his system of light and shade, the thorough
ness of his modelling, his subtle color, and above all on the intense human
ity of the man. He was great in conception and in execution, a poet as
well as a painter, an idealist and also a realist; and this rare union is the
secret of his power. From his dramatic action and mastery of expression,
Rembrandt has been well called 'the Shakespeare of Holland.' "
— Encyclopedia Britannica.
"In the early part of, his life he finished his pictures nearly as highly
as those of Gerard Dow, but with a more spirited pencil, and a richer tone
of coloring. He afterwards adopted a greater breadth of light and shadow,
and a more commanding facility of touch.
"He now became the most distinguished and the most employed artist
of his country, and was not less celebrated for his extraordinary produc
tions as a painter, than for his ingenious and interesting engravings which
were also held in the highest admiration. He continued to practice his
art with the most flattering encouragement and success, until the year 1674,
when he died at Amsterdam, aged 68."
— Bryan's Dictionary of Painters and Engravers.
"His style of painting, in the first years of his practice, was very
different from that of his later time; for his early performances were fin
ished highly, and with a neat pencil, resembling those of Mieris; but he
afterwards assumed a style of coloring and handling as opposite to it as
possible — strong, bold and with a degree of astonishing force, in which
he has not been excelled by any artist, though Eckhout and some of his
best disciples have approached very near him.
"As he advanced in the art he took liberties with the pencil, wrought
with all the broad fullness of the brush, and left the touch undisturbed; he
even employed the stick, the palette-knife, or his fingers accordingly as
they were most capable of producing the effect he desired when seen at a
proper distance." — Pilkington's Dictionary of Painters.

INDEX AND BIOGRAPHICAL NOTES. 183
"No one has rivaled him in the management of light and shade; few
in color, in character, in the expression of homely but deep sentiment.
Absolutely original, he taught many able scholars, whose best efforts only
show how unapproachable he is." — Cyclopedia of Painters and Paintings.
"He was undoubtedly the greatest master of chiaroscuro that the world
has ever produced, and one of the great colorists; in the harmony of his
tones no other painter, with perhaps the exception of Titian, has equalled
him. Although his portraits are without dignity or embellishment, they
exhibit so much nature and animation, such truth and force of coloring,
that it is allowed he has never been surpassed in this particular branch."
— Spooner's History of the Fine Arts.
"His coloring is surprising and his carnations are as true and fresh as
those in the work of Titian or any other master, with this difference, that
the coloring of Titian will admit of the nearest inspection, whereas that of
Rembrandt must be viewed from a convenient distance and then ?,n equal
degree of union, force and harmony may be observed in both."
— Pilkington's Dictionary of Painters.
"Rembrandt excelled alike in every style, and treated with equal felicity
the noblest subjects. His works are principally remarkable for perfect com
mand of chiaroscuro, picturesque effect and truth to nature. He combined
the greatest freedom and grace of execution with thorough knowledge of
all the technical processes alike of painting, engraving and etching. He
has been justly called the Dutch Correggio." — D'Anvers' Elementary History of Art.

No. 269— "Landscape."
29x53.
From Colnaghi, London, who testifies to its being a genuine Rembrandt.
Although slightly darkened and considerably mellowed by age, yet
shows to a remarkable degree the broad fullness of pencil and the bold
style of this master's later and more important work. In the foreground,
on a narrow strip of shore, two women and a man are seen walking, while
ahead of them, a woman is riding a horse, followed by an old man with a
staff. On the left, the shore rises abruptly to a great height. Gnarled
trees which find root in the crevices of the rock, project out menacingly
over the narrow bay, while beyond, three men have kindled a fire on the
stretch of sand near the crumbling ruins of an old castle. Imagination
readily turns the overhanging cliff into some horrible monster defying the
mariner to approach the rocky shore, but the whole sombre landscape is
enlivened by the reflected glory of the sun's diminishing rays.
The highly finished painting appeals more readily to the casual observer,
but these broad forceful pictures of Rembrandt, Constable and other great
masters, grow in interest and artistic beauty by a careful study of what in
reality constitutes a great painting.
No. 270— "Joseph Accused by Potiphar's Wife."
45*4x3554.
From collection General Bulwer, Hayden Hall.
When the Ishmaelites, who had bought Joseph from his unnatural

184 T. B. WALKER COLLECTION.

brothers, arrived in Egypt, they sold him to Potiphar, Captain of Pharaoh's
guard. "And Joseph found grace in his sight, and he served him, and he
made him overseer over his house, and all that he had he put into his
hand." Potiphar's wife fell in love with Joseph, but he reproved her and
remained faithful to his master, although she thrust herself upon him con
tinually. Finally she took hold of his coat, but he quickly slipped out of
the garment and went about the work he was expected to perform. Poti
phar's wife, however, used the coat as evidence to her husband against
Joseph, who was then cast into prison.
This splendid painting shows her falsely accusing Joseph to her hus
band, while Joseph in the background protests his innocence, but without
avail. A remarkable example of the artist's middle period, painted in 1654.
Encyclopedia Britanica says, "In the Joseph Accused by Potiphar's Wife
of 1654, we have great dramatic vigor and perfect mastery of expression,
while the brilliant color and glowing effect of light and shade attest his
strength." Potiphar's wife in the picture is no doubt the portrait of Hen-
drickie Jaghers, Rembrandt's housekeeper and mistress.
No. 271— "Rembrandt's Portrait of Himself."
24x2054.
From the collection of Conte Raoul d'Armand.
This splendid portrait was painted when Rembrandt was about twenty-
six years of age, or possibly a year or two earlier, and at or about the same
date that he painted the portrait of his sister (shown in this collection).
The painting shows the fine and delicate finish of his earlier pictures,
besides showing him several years younger than his other portrait in this
collection, and much younger than his portrait (1840) that hangs in the
National Gallery, London.
Rembrandt was one of the six children of Herman Gerritsz, a miller,
and his wife, Neeltgen Willems van Suyddtbroek, daughter of a baker.
They lived at the time of his birth in the Weddersteeg (Street of the
Tank), near the White Poort (White Gate) Amsterdam. The home was
situated immediately back of the mill of which his father was half owner.
His father had his son christened simply "Rembrandt," as the surname was
little used in those days. The affix Van Rijin, Rijn, or Ryjn, was rather a
nick-name given to the father, owing to the fact that his old mill was situ
ated on a tributary of the Rhine; Rijin or Ryjn, signifying "running water."
Dr. Bode says that Rembrandt painted at least fifty portraits of himself.
In these portraits he set himself to master every form of expression; now
grave, now gay, at one time with a smile, another with a frown. Thus
he learned to model the human face, not from without, but from the inner
man. No. 272— "Saskia, Wife of Rembrandt."
10x8.
From the collection, E. Fischof, of Paris.
Formerly of the Lessor Collection, London.
Fully guaranteed by both Mr. Fischof and Mr. Siedelmeyer.

INDEX AND BIOGRAPHICAL NOTES. 185

Saskia was the daughter of a Friesland couple and her maiden name
was Saskia Van Uylenborch, or Ulenburgh. At the time of her marriage to
Rembrandt at t'Bildt, on June 22nd, 1634, she was twenty-two years of age,
and he about twenty-seven. Between 1635 and 1640 a son and two daugh
ters had blessed the union, but all died, the last one in August of the latter
year. In September, 1641, their last child (Titus) was born and Saskia
died in June, 1642. Then truly went out the light and inspiration of Rem
brandt's life.
Titus grew to manhood and in 1668 married his cousin Magdalena,
but died Sept. 4th of the same year. Rembrandt and Saskia lived very
happily in a house in Breedstraat, Amsterdam, and after her death Rem
brandt and Titus continued to live in the same house for fourteen years.
He painted a number of her portraits, and these are considered among the
finest of his works.

No. 273— "Rembrandt's Sister."
2354x20.
From the collection of Comte de Polignac.
Rembrandt had two sisters, both younger than himself, while his three
brothers were older than he. "One of his sisters frequently sat to him, and
Bode suggests that she must have accompanied him to Amsterdam, and
kept house for him till he married. This conjecture rests on the number of
portraits of the same young woman painted in the early years of his stay
in Amsterdam, and before he met his bride."
He not only painted many portraits of his mother, this favorite sister,
and of his wife, but in many of his group or historic pictures, a close in
spection will often reveal some one or all three of them representing some
character in the painting. This portrait was most likely painted prior to
his marriage to Saskia in 1634, and about the beginning of his middle and
best period.

No. 274 — "The Burgomaster."
30x24.
From the collection of Jacob Anthony Van Dimm, of Dorchert.
This was painted after the manner of this great master's most attractive
style. He painted sometimes very broadly, much more so than this picture,
and again more smoothly and with more finish but less beauty of tones
and color. It is difficult to find in the range of all his works a more beau
tiful single portrait than is found in this picture. The tones are soft, refined
and most beautiful in color and withal it is carefully and finely finished.

No. 275— "Portrait of a Woman."
10x8.
This small portrait is from the Olden Barnevelt Collection— one that
was formed away back in the days of Rembrandt, when it would have been
no object in putting that artist's name upon the picture of any artist who

186 T. B. WALKER COLLECTION.
could paint a picture that could be passed on the public for a genuine
painting by Rembrandt.
It represents a plain, prominent woman, perhaps the wife of a mer
chant or an alderman; and, while it does not represent an especially brilliant
or attractive woman, yet a plain, wholesome woman of the times. In the
fine coloring and attractive art of this painter who, during his early years,
was looked upon as only a painter of merit, but who has since come to
take the very front rank of all the portrait colorists of the world.

No. 276— "Portrait of Rembrandt, by Himself."
32x26.
From collection of Colonel Broderick.
A genuine replica of painting now in the Musee du Louvre, Paris.
He painted his own portrait many times, and in numerous cases dupli
cated the same portrait.
From the collection of Colonel Broderick, living in the south of Eng
land, in whose family this picture has been for upwards of a hundred years,
and was always recognized and known as a genuine painting by Rem
brandt. The high finish and tone of coloring would indicate this to have been
painted toward the close of what might be termed his first period. Age
has left its marks upon the canvas; yet after the lapse of almost three
centuries, the outlines are distinct, the coloring beautiful, and the painting
a fine characteristic example.

No. 277— "The Erring Woman Before Christ."
44%x53
"The picture hung for nearly two centuries in Blenheim Castle, in the
famous collection of the Dukes of Marlborough, made by the great Duke in
the time of William III and Queen Anne. When the collection was disposed
of in 1885 the picture was passed into the hands of Sir Charles Robinson,
keeper of her Majesty's pictures, and was re-sold through the Sedelmeyers
to Consul Weber in Hamburg. Through Dr. Paul Mersch, son-in-law of
Mr. Sedelmeyer, the picture came to this country (America), and last May
(1912) was sold to T. B. Walker."
The above quotation is from an interview given the New York Times
Nov. 3rd, 1912, by Dr. Carnelis Hofstede de Groot, the great Dutch art critic,
after a special trip from the Hague to Minneapolis where on Nov 1st he
expertized the painting as it hung in this collection. This distinguished
critic, whose writings on Rembrandt are known the whole art world over
further says, "I consider it one of the most important works of Rembrandt's
middle period. It was probably begun in 1645; the scene was arranged and
the figures of Christ and the Woman were painted at that time Then in
all probability, the master left the picture standing unfinished in his studio
for some ten years, until shortly before his bankruptcy, when he completed it
in his later, broader, freer style, in order to raise money. This conflict of
two distinct styles in addition to foreign influence, explains the difficulties of
the critics. My defense of the picture was based all along on certain parts

INDEX AND BIOGRAPHICAL NOTES. 187
which could not have been painted by any other hand than that of Rem
brandt; notably the brilliantly executed dress of the Woman. Her bright red
silk bodice is a masterpiece of painting, and so is the bracelet of pearls about
her left arm." Dr. De Groot also calls attention to the fact that nearly every
figure in this painting appears in other well known works of this famous
painter. Dr. W. R. Valentine, curator of Decorative Art in the Metropoli
tan Museum (New York) under whose supervision the painting was cleaned,
agrees with Dr. De Groot's opinions in pronouncing it one of the master's
most important works.
The scene is suggested by the first eleven verses of the eighth chapter
of the Gospel of John. The scheming old Pharisee backed up by several
witnesses of the woman's guilt, thought by a cunningly devised plan to entrap
Christ, so after accusing the woman he appeals to Christ in a self righteous
gesture, by reminding him that "Moses in the law commanded that such
should be stoned," then asks the pertinent question, "But what sayest thou?"
As a transgressor, the contrite woman expects no mercy, but could she see
the sweet expression of pity on the Master's face as his great heart goes
out in divine love, she would have realized that one stood in her presence
that was greater than law. After writing with his finger on the ground, a
few of the many sins of the Woman's accusers, he lifted up himself and
said unto them, "He that is without sin among you, let him cast the first
stone." Then again stooping down, he continued to write upon the ground
other unrighteous acts which the hypocritical Pharisees had committed
until conscience smitten, they depart one by one, without further accusa
tions. There probably is not another incident in all the ministry of Christ, that
so graphically portrays the unspeakable love of the Redeemer, and none
other, in which he so forcibly laid down the divine principal of a boundless
charity. Rembrandt wisely chose this historic incident and clothed the
scene in a depth of human sentiment seldom if ever equalled, making al
together, one of his greatest works, not only as a work of art, but one
of the greatest pictures of all times, in point of interest and profound
significance.

No. 278— "Titus, Son of Rembrandt."
3554x30.
From the collection of P. and D. Colnaghi, and Miethke of Vienna, and
from the collection of Festeties, Buda Pest, Austria, Hungary.
Titus, the second son, and fourth and last child of Rembrandt, was born
at Amsterdam in September 1641. The first three children of Rembrandt,
Romburtus, born 1635, Cornelia, born 1638, and a second Cornelia, born
in 1640, all died in infancy. Upon the death of his mother Saskia, in June
1642, Titus was made her heir, but the absolute control of her property
was secured to Rembrandt, during his life, provided he did not remarry. In
1649, Goertje Dircz, who had been acting as nurse to Titus, brought an
action for breach of promise, though without success. In 1852, his father
was in such straitened circumstances that he sold a pearl necklace belong
ing to his wife and for several years following, borrowed considerable
money on the strength of the estate. May 17th, 1656, another guardian
was legally appointed for Titus, and this was followed by the declaration

188 T. B. WALKER COLLECTION.
of Rembrandt's bankruptcy, and the inventorying of the estate. In 1668,
Titus married his cousin, Magdalena, but their happiness was brief, for on
Sept. 4, of the same year, his burial in the Westerkerk is recorded. ^ In
March 1669, Magdalena gave birth to a daughter who was christened Titia,
in honor of her deceased father. The portrait is a fine example of the be
ginning of the last period of the great Dutch master.

No. 279— "The Slav Prince."
11x9.
The portrait is that of a strong determined man of about forty years,
with brown hair and reyes, and wearing mustache and imperial. The figure
stands facing slightly toward the left, but as the head is turned, we get a
full front view of the resolute face. The shapely well poised head is sur
mounted by a broad rolling turban with red satin crown. On the front
of the cap is a gold ornament, set with jewels, and holding in position the
emblem of the order of the three horse tails. His attire consists of a rich
red waistcoat trimmed in gold braid, over which is a dark brown coat with
heavy fur collar. The hands, which probably more than any other portion of
a portrait display the painter's art, are not shown, but the eyes and mouth
clearly show the hand of a master, while the whole composition is won
derfully drawn, and richly and charmingly colored.

REYNOLDS (Sir Joshua).
Born at Plympton, Devonshire, England, July 16, 1723.
Died, Feb. 23, 1792.
Studied under Hudson.
"Sir Joshua Reynolds was, on very many accounts, one of the most
memorable men of his time. He was the first Englishman who added the
praise of the elegant arts to the other glories of his country. In taste,
in grace, in facility, in happy invention, and in the richness and harmony
of coloring, he was equal to the great masters of the renowned ages. In
portrait he went beyond them; for he communicated to that description of the
art, in which English artists are the most engaged, a variety, a fancy, and
a dignity, derived from the highest branches, which even those who
professed them in a superior manner, did not always preserve, when they
delineated individual nature. His portraits remind the spectator of the
invention of history and the amenity of landscape. In painting portraits,
he appeared not to be raised upon that platform, but to descend to it from
a higher sphere. His paintings illustrate his lessons, and his lessons seem
to be derived from his paintings.
"He possessed the theory as perfectly as the practice of his art. To
be such a painter he was a profound and penetrating philosopher.
"In full affluence of foreign and domestic fame, admired by the expert
in art, and by the learned in science; courted by the great, caressed by
sovereign powers, and celebrated by distinguished poets, his native hu
mility, modesty and candor never forsook him, even on surprise or provo
cation; nor was the least degree of arrogance or assumption visible to
the most scrutinizing eye, in any part of his conduct or discourse."
— Bryan's Dictionary of Painters and Engravers.

INDEX AND BIOGRAPHICAL NOTES. 189
"Painting in England fell into a state of barbarism, till Reynolds,
Hke the sun, threw splendor on the department of portraiture. Hence it
may be said that the English school may be of his foundation. To the
grandeur, truth and simplicity of Titian, and the daring strength of Rem
brandt, he united the chasteness and delicacy of Van Dyck. In his repre
sentation of children he was peculiarly happy and indeed unrivalled. His
female portraits are designed with exquisite taste and elegance. His works
in history are comparatively few; but those few are precious and show what
he was capable of performing. The coloring of Sir Joshua has been the
subject of the highest admiration. It was observed by Gainsborough that
Sir Joshua's pictures in their most decayed state, were better than those of
any other artist of his time in their best. On the 26th of April, 1769, was
the first exhibition of the Royal Academy and from that time to the
year 1790, Sir Joshua sent in no less than 244 pictures. On the institution
of the Royal Academy in 1769, the presidency was unanimously conferred
on Reynolds, who at the same time received the honor of knighthood."
— Pilkington's Dictionary of Painters.
"He had a deep sense of character, great skill in light and shade, a
graceful softness and an alluring sweetness, such as none have ever sur
passed. Never before had a painter exercised his art with such delicate
perception and profound understanding, his models saw their very thoughts
revealed on his canvas and their individuality fully preserved. They saw
themselves by the magic of his art lifted above the commonplace into
a realm of poetry and grace. * * * The grace and ease of his compo
sitions were a lesson for the living to study. * * * He sought to restore
nature to the lookn of his sitters. * * * His works diffused a love of
elegance and united with poetry in softening the asperities of nature. * * *
His cold stateliness of character and his honorable pride of art, gave
dignity to his profession. Of historical and poetic subjects he painted
upwards of a hundred and thirty. Those are chiefly in England."
Cunningham's British Painters.
"In 1768, on the establishment of the Royal Academy, he was chosen
its first president, and was knighted by George III. On the death of Allan
Ramsay (1784), he became principal painter in ordinary to the king. He
exhibited 245 works at the Royal Academy, his contributions averaging
eleven annually. Ruskin calls him 'The Prince of Portrait Painters' and
'One of the Seven Colorists of the World,' placing him with Titian, Giorgione,
Correggio, Tintoretto, Veronese and Turner."'
— Cyclopedia of Painters and Paintings.
No. 280— "The Banished Lord."
3054x29
From the collection of the Earl of Egremont.
This is an original painting by Reynolds, of which another edition or
replica is in the National Gallery. It was quite a favorite subject of this
painter, of which the first one was so favorably received that at least two
others were afterwards painted. It was one of the favorite pictures in the
collection of the Earl of Egremont in whose gallery it hung for many years.
"Mr. Blair Hough, art writer, New York City, says of this picture,
"Any artist that could produce this one portrait would by this alone bring
himself into the class of the world's great masters of painting."

190 T. B. WALKER COLLECTION.  >
No. 281— "Portrait of Mrs. Edmund Burke."
33x2754.
From the collection of Viscount Powerscourt.
Mrs. Jane Burke was the daughter of Dr. Nugent, of Bath. She was
married to Edmund Burke, the noted English statesman and orator, in _1757.
The union seems to have been a singularly happy one, since Mr. Burke
was accustomed to say, "Every care vanished the moment he entered
under his own roof."
This has been pronounced the finest portrait painting in America.

No. 282— "Miss Darner."
29x24.
From collection of Mr. R. G. Davis, manager Bank of Africa, Walmer House,
Catford, Kent.
Granddaughter of William Henry Dawson, M. P. for Portarlington and
for Queens County, or Baron Dawson, of Dawson's Court, Queens County
(peerage of Ireland), 1770 to 1779. The family name was Dawson-Damar.
Her father, John Dawson-Damar, was second Viscount or Earl of Portar
lington, 1779 to 1785, and was the only Damar contemporary with Sir Joshua
Reynolds.

No. 283— "Portrait of Himself."
2954x2454.
Joshua, the third son of Rev. Samuel Reynolds, of Devon, was born
on Thursday, July 16th, 1723. He was named for his great grandfather, and
it was his father's intention that Joshua should become a physician. His
brothers and sisters were all quite apt at drawing, but pencils and paper
being really luxuries in the modest home, the children were permitted to
cover the walls of a long hallway through the house with their sketches
executed with charred sticks of wood. In those days Joshua was so pal
pably inefficient that the other children nicknamed him the clown. It was
not long, however, until his drawings began to attract the attention of his
playmates, then his father and finally a Mr. Graunch, who not only induced
his father to send Joshua to London to study painting under Hudson, but
befriended him financially and became his life-long friend. By the time of
his father's death, in 1846, his income from portrait work was sufficient to
keep the wolf from the door and enable him to continue his studies in
London. When grown to full manhood, Joshua was five foot six inches in height,
not really corpulent, but rather so inclined, no doubt from lack of proper
exercise. His complexion was florid, features rather rounded or blunt, but
with a lively, pleasing expression. His eyes were never strong, and in
the Streatham portrait in the National Gallery, the eyes are shaded by the
uplifted left hand, while in the King's portrait, he wears a pair of large
rimmed spectacles.
During his voyage to Rome, in 1749, he stopped at Minoca, and while
out riding, his horse fell over a precipice and Reynolds sustained an injury

INDEX AND BIOGRAPHICAL NOTES. 191
to the upper lip which shows in this and all subsequent portraits. During
his two years' residence in Rome, he sustained a severe cold at the Vati
can while studying the works of Raphael, which permanently injured his
hearing. With all these defects, however, Joshua was ever cheerful and
companionable, rich in courtesy and good nature, and in all those sterling
qualities which endear men to their fellows. Sir Joshua had a host of
friends, and ever retained them. He never married but was a great enter
tainer and a prince of good fellows. Thackeray says of him, "of all the
polite men of that age, Joshua Reynolds was the finest gentleman." He
painted quite a number of portraits of himself, each painted expressly for,
and presented to, some admiring friend.

RICHARDS (William Trost).
Born in Philadelphia, Pa., Nov. 14th, 1833.
"Landscape and marine painter, pupil of Paul Wiles, a German artist in
Philadelphia. In 1855 visited Florence, in 1866-7, France and Germany. In
1878-79-80, London and the coast of England. Exhibited at Royal Academy,
London, in 1869, and 1878-81 Paris Salon, 1873 Honorary Member of National
Academy. Medals, Philadelphia 1876; Temple 1885."
— Cyclopedia of Painters and Paintings.
No. 284— "The Falls."
28x33.
A landscape which not only does honor to the painter, but reflects
credit upon American Art generally.
A mountain stream in its mad career,
Comes rushing down through the canyon's walls;
From snow capped peak, by forests drear,
Eddying and foaming as it nears The Falls.
As the waters leap to the glen below,
With thundering roar, and deafening din;
In fancy the moans and murmurs grow,
Like the cry of a soul, that is lost in sin.
But the mists rise up as repentant tears,
For the angry mood, like an iron fist;
Then, "a small voice," echoes down the years,
And the "bow of promise" adorns the mist.
So the stream flows peacefully on and on,
Hence, from tempting snares set free;
'Till days are past, and years are gone,
And identity's lost in the boundless sea.

RIX (Julian).
An American artist, whose works, exhibited at the American Art Union,
at the National Academy in 1883, and at the San Francisco Art Association

192 T. B. WALKER COLLECTION.

(1883), have attracted general attention. His pictures are finely composed,
well drawn, and full of warm color and verna1 freshness.

No. 285— "The Winding Brook."
14x17.,
A soft, harmonious landscape, representative of the delicate tone and
finish of this artist. A picture that may be hung with credit by the side
of a Rousseau or a Corot.
A sparkling brook, all but hidden by the overhanging grass fringing its
meandering shores. On the left some splendid trees, while farther away
on the right is the border of the woods.

No. 286— "A Scene on the Delaware."
33x42.
One of the most silvery and pearl-like paintings ever produced by an
American painter. Refined in color, tone and finish. A picture in strong
contrast with the characteristic paintings by this foremost of our young
American painters. It represents a shower passing over the hills on the
opposite side of the river, with a bright light coming in at the left, darken
ing the shadows of the rain that has just passed over the hilltops at
the center of the picture and reaching from there to the right of the canvas.
President Shermer, of Cornell University, regards this as one of the
most beautiful of all modern pictures.

RIGAUD (Hyacinthe).
Born in Perpigan, July 18, 1659. Died in Paris, Dec. 29. 1743.
"French school; history and portrait painter, pupil of Pezet, Verdier and
Ranc." — Cyclopedia of Painters and Paintings.
"In 1681 he went to Paris, and the year following gained the prize
at the academy." —Pilkington's Dictionary of Painters.
"By the advice of Charles LeBrun, who discovered in him a decided
talent for portrait painting, he abandoned his project of visiting Italy, and
applied himself particularly to that department. Having seen some por
traits by Van Dyck at Paris, he was so much struck with the admirable
style of that painter, that he ever afterwards made him the model of his
imitation. The success of Rigaud as a portrait painter was most brilliant.
"Hyacinthe Rigaud is considered one of the ablest portrait painters
of the French school. His heads are full of character and expression,
his coloring more chaste than is usual in the artists of this country, and his
touch bold and free." —Bryan's Dictionary of Painters and Engravers.
"He devoted his attention exclusively to portraits. In that department
of art he rose to the highest rank, even the studied nobleness of the atti
tude of the persons he represented being in accordance with the manners
of his time. His portraits are said to have been excellent likenesses. Some
of them, such as the portrait of Bossuet, now in the Louvre, and engraved by
Drevet, will always do honor to the French school of painting."
—James's Painters and Their Works.

INDEX AND BIOGRAPHICAL NOTES. 193
"Hyacinthe Kigaud has been called 'the French Van Dyck,' and the
greatest celebrities of his time sat to him."
— D'Anvers' Elementary History of Art.
"Hyacinthe Rigaud, the so-called 'Van Dyck of France,' was remark
able, like that master, for the emphatic air of dignity which he imparted to
his sitters, and for his extraordinary power in divining and giving expres
sion to the special character of each. In particular, the hand, almost as
expressive a feature in portrait as the face, was treated by him with won
derful variety and insight. His greatest merit, however, was truth to nature.
His portraits of women were more natural than those of men. Scarcely any
artist had a more distinguished or varied array of sitters. Princes and
prelates, artists and literary men, all posed in turn for him."
— Spanish and French Painters.
"He painted Philip V. of Spain in 1700 and Louis XIV. in 1701, soon after
which he received the title of court painter. His touch is bold and free and
his design correct." — Lippincotfs Pronouncing Biographical Dictionary.
"Rigaud was honored with the Order of St. Michael; was appointed a
professor, and afterwards director of the French Academy."
— Spooner's History of the Fine Arts.

No. 287— "Portrait of Madame de Polignac."
29x24.
She was the Duchess of Polignac and a great favorite of Marie An
toinette. The Polignacs were an ancient French family and had their seat
in the Cevennes near Puy-en Valley (Haute-Loire). The duke, her hus
band's father, was Armand XVI. Marquis de Polignae. The picture is a
fine example of the French school painted by one who has been called "The
French Van Dyck," as his portraits were true likenesses as well as being
finely colored and beautifully finished.

ROMNEY (George).
Born at Dalton-le-Furness, Lancashire, England, Dec. 15, 1734.
Died at Kendal, November 15, 1802.
Studied under Steele.
"In 1762 and in 1765, he gained premiums from the Society of Arts,
for his pictures of the Death of Wolfe and the Death of King Edward. In
1773 he visited Italy, and after a two years' absence established himself
in London, where, until 1797, when he removed to Hampstead, he divided
public patronage with Reynolds and Gainsborough. He painted with few
colors, with great breadth of treatment, and in some instances with ex
ceeding grace and sentiment." — Cyclopedia of Painters and Paintings.
"Grandeur and simplicity became the principal objects of his ambition.
He perceived these qualities distinctly and employed them judiciously,
even whilst imitating nature in his occupation of portrait painting. His
style of coloring was simple and broad. In that of his flesh, he was very
successful, exhibiting a great variety of complexion, with much warmth

194 T. B. WALKER COLLECTION.

and richness. The executive part of his works was free and precise,^ with
out being trifling and minute, possessing great simplicity, and exhibiting
a purity of feeling consonant with the style of his compositions. He aimed
at the best of all principles in the imitation of nature, that of generalizing
its effects; and he even carried it so far as to subject himself to the charge
of negligence in the completion of his forms; but the truth of his imitation
is sufficiently perfect to satisfy those who regard nature systematically
and not individually or too minutely." —Pilkington's Dictionary of Painters.
"He was more employed in painting portraits than historical subjects,
and his pictures were esteemed inferior to those of few artists of his time."
— Bryan's Dictionary of Painters and Engravers:,

No. 288 — "The Hon. Mrs. Henry Fynes Chinton-Pelham and
Child." 32x27
Her Christian name was Catherine. * * * She was the daughter
and heiress of the Rt. Rev. Henry Pelham. She married Henry Faynes Clin
ton, K. G. P. S., 9th Earl of Newcastle. He was a gentleman of the bedcham
ber, Lord Lieutenant of Cambridge, High Steward of Westminster, and
Comptroller of Customs of the port of London. Through the death of
her uncle Thomas Pelham-Hollis, Duke of Newcastle, in 1768, her husband
inherited the Dukedom, and by royal decree assumed the additional sur
name of Pelham. The earl died in 1794 and was succeeded by his son
Thomas. The delicate handling of colors and the artistic drawing show the
hand of the master portrait painter.

No. 289— "Lady Hester Amelia de Burgh."
29]/2x26.
John Thomas de Burgh was the 13th Earl of Clanicarde. He was a
general in the army and governor of the County Galway. Created Earl
of Clanicarde (peerage of Ireland) A. D. 1800. He died in 1808 and was
succeeded by his son UHck John de Burgh. This portrait of Lady Hester
Amelia was painted about 1800 or 1801, only a year or two before the
death of Romney at Kendal. An excellent example of Romney's splendid
portraiture. The simplicity of his coloring, the soft tint of his flesh, and
the dignity and easy grace, are pronounced characteristics of his work.

No. 290— "Duke of Newcastle."
31x20*4.
Henry Fynes Clinton-Pelham, K. C. P. S. Ninth Earl of Newcastle. He
inherited the title of duke upon the death of his wife's uncle and by royal
decree, assumed the additional surname of Pelham. He died in 1794.
Another of Romney's pleasing portraits.

INDEX AND BIOGRAPHICAL NOTES. 195
No. 291— "Mrs. Carnock."
49x39.
The Romney Catalogue Raisonne by Humphry Ward and W. Roberts
on page 28 thus describes this fine painting: "Married first John Carnock,
Esq., and secondly at Rossie Castle on Jan. 4, 1807, Thomas Hamilton, Esq.,
of Gilkerzdeugh. (Scots Magazine Vol. 69, Page 156). Nearly whole figure
sitting in a landscape beneath a tree, in a white dress cut low, with short
sleeves, and white turban. Right arm leaning on pedestal, with index finger
resting against face; left arm in lap and finger resting on pedestal. The
eyes are looking directly at the spectator. Long curls hanging on her
shoulders. Canvas 4954x39. Sittings, etc. 1795; Aug. 13, 19, 20, 22, 25 and
31; Sept. 2, 3, 7; Oct. 9 paid in full by herself, 73 £, 10s, and sent to Ham
burg." The easy natural pose, the splendid drawing, the shell like transpar
ency of the skin, the soft graceful folds of the drapery all set in pleasing
environments, make of this painting one of Romney's most elegant por
traits.

ROBIE (Jean Baptitste). - - Paris
Born at Brussels, 1821.
Gold Medal, Brussels, 1848.
Medals at Paris, 1851 and 1863.
Gold Medal, Hague, 1861.
Officer of the Legion of Honor, 1869.

No. 292— "Roses and Objets de Art."
27x1654.
This is a capital example of this modern master in the field of still life.
They are great creamy roses that seem to shake and quiver on their stems,
and soft, dark ones that almost melt in their own richness. They bow on
their stems as though scarcely able to sustain their weight. Rich masses of
color that are never equaled except by nature.

ROSIER (Jean Guillaume). Born in Belgium, 1858.
Studied under Cabanel, Gerome, and Alma Tadema.
Chief director of the Academy of Malines, with its fifteen hundred art
students.
Received a gold medal at Antwerp, 1888; a medal at Cologne, 1889, and
also one in 1890; a gold medal at Munich, 1892; a medal of the first class
(gold), at Antwerp, 1894, for this picture. Also a gold medal at Brussels
in 1897, and a gold medal at Paris in 1897. Grand Prize of Rome in 1883,
and a medal at London. Is Knight of the Order of Leopold. One of the
foremost artists of the times.

f96 T. B. WALKER COLLECTION.
No. 293— "King Charles I After the Battle of Marston Moor."
50x74.
For this picture Rosier received the medal of honor at Antwerp in
1894. It represents King Charles in a castle near the battlefield of Marston
Moore, where, after defeating Cromwell, as was supposed, and routing
his army, King Charles with his staff retired to formulate plans for future
movements. Soon an officer entered and informed him that the tide of
battle had turned, and his army was completely routed and practically de
stroyed. The news has completely overpowered and paralyzed him, and he sits
with the most dejected look that it is possible to depict on canvas. Next,
on the right, is Prince Rupert, and directly opposite is Capt. Stanley,
and behind him the Minister Oliver. The officer who brings the news
stands halting at the doorway as though waiting to see if any orders
are to be given him.
One of the most interesting and realistic pictures that any artist has
ever produced.

ROUSSEAU (Theodore). Paris
Born at Paris, 1812.
, Pupil of Guillon-Lethiere.
First exhibited in the Salon, 1834.
Medals, 1834, 1840 and 1855.
Legion of Honor, 1852.
One of the eight Grand Medals of Honor (Exposition Universelle), Paris,
1867.
Died, 1867.
Diploma to the Memory of Deceased Artists, 1868.
"Among the great French landscape painters who have not only guided
the national art back again to nature, but whose influence was to be so
important over the foreign schools, Theodore Rousseau occupies the high
est place, because he is the most perfect master. The grand aspects of land
scape, and its tenderness, are equally familiar to him. He renders with the
same mastery the smiles of creation and its terrors, the broad, open
plain and mysterious forests, the limpid, sun-bright sky, or the heaping of
the clouds put to flight by storms, the terrible aspects of landscape or those
replete with grace. He has understood all, rendered all, with equal genius.
ihe great contemporary painters have each a particular stamp— Corot paint
ing the grace, Millet the hidden voice, Jules Dupre the majestic strength.
Theodore Rousseau has been by turns as much a poet as Corot as melan
choly as Millet. He is the most complete, for he embraces landscape art
absolutely. ' -Extracts from Notes Sur les Cent-d'CEuvres, by A. Wolff.
No. 294— "Landscape (Sunset)."
8x10.
There is a pensive charm about Rousseau's twilights and sunsets

INDEX AND BIOGRAPHICAL NOTES. 197
that is especially interesting. The sun is setting, and the dark trees
that surround the little lake, loom grandly against the ruddy glare re
flected from the gorgeous red and purple garment of the sky. The little
lake is aglow with light, the sky formation is striking and true, and the
variety of color very bold and effective. Altogether, this is a charming
little picture.

No. 295 — "Fishermen's Homes in Finistere."
12x17.
Another of Rousseau's beautiful compositions. In the foreground is a
small pool or pond. To the left, on a high bank, are a cluster of fisher
men's houses, surrounded by tall, stately trees, whose shadows are vividly
reflected in the tranquil waters of the pond. To the right, the land recedes
in a gentle incline, forming a knoll, on the top of which some graceful
trees balance off the picture. Through the center distance the plain fades
away in perspective as far as the horizon. Far in the distance a man
and woman are seen returning from the fields. Over the landscape the
sky is full of clouds, broken into fleecy masses.

No. 296— "Landscape (Autumn)."
10x13.
Another fine example of this great artist. In the foreground a little
marshy pool, such as Rousseau was so fond of painting. Surrounding the
pool is dense grass and much tall shrubbery in autumnal hues. To the
left the ground rises, forming a little eminence, on the side of which are some
graceful trees, well grouped. To the right other fine trees raise their tops
under the dark and lowering clouds. Through the opening between the trees
on each side of the picture a hazy light brightens up the distant fields.
There is so much power and deep truth in Rousseau's pictures, so
much simplicity, boldness, and sincerity in his manner of seeing and
painting nature, that, by this alone, they have become great works of art.

No. 297— "At the Rising of the Sun."
11x13.
The first reflection from the rising sun is seen in cloud and sky. In
the foreground is a rocky meadow with pools of clear water all but hid by
the reeds and rushes. Beyond on the right, is one of the artist's grand
spreading trees, while on the left is the quaint urban cottage surrounded
by vines and shrubs. The milkmaid sits upon a moss-covered rock watch
ing the cow just turned out to pasture. A beautiful picture.

No. 298— "A Corner of the Meadow."
7x9.
Through the clear pleasant atmosphere of a June morning one sees
the broad meadows stretching away to the line of low blue hills in the

198 T. B. WALKER COLLECTION. 
dim distance. All up and down the broad valley, the expanse of green is
relieved by the darker foliage of oakes and willows which grow here and
there on the higher points of ground. A lone cow has wandered to the
corner of the meadow where she slakes her thirst from a spring of clear
water which here forms a crystal pool ere it starts on its meandering course
through the valley beyond. A perfect little gem, somewhat after the style
of Diaz.

RUBENS (Peter Paul).
Born in Cologne in 1577. Died in Antwerp in 1640.
Studied under Verhaecht and Adam Van Oort, and for four years with
Otto Van Veen.
He was a pre-eminent painter, accomplished scholar and skillful diplomat.
"Rubens was undoubtedly one of the most original painters that ever
lived, and his subjects were unlimited. He painted history, portraits, land
scapes, animals, fruit and flowers with such excellence that it is difficult
to decide in which he most excelled. He possessed inexhaustible fer
tility of invention, never copying himself or any other master. His genius
was adapted to the grandest compositions and his powers appear to
have expanded in proportion to the scale on which they were called to
act. He did not, like Raffaelle, posses that mild inspiration of sentiment
which manifests itself in dignified and noble, or graceful and beautiful
forms, but he was animated with a poetic fire that displays itself in sur
prising and astonishing effects. He is generally allowed to have carried the
art of coloring to its highest excellence." — Spooner's History of the Fine Arts.
"The fame of Rubens had long been established at the court of
France when he was commissioned by Mary Medicis in 1620 to ornament
the gallery of the Palace of the Luxembourg." — Bryan's Dictionary of Painters.
"He brought about a complete reform in Flemish painting. Gifted
with a powerful original genius, Rubens threw into his work something of
the fire and energy which we have noticed in those of Michelangelo's; his
mastery of coloring, his brilliant execution, fertility of imagination, and
vitality of expression, are acknowledged by all."
— D'Anvers' Elementary History of Art.

No. 299— "Rubens' Portrait of Himself."
28x2254.
From the collection of General Bulwer, Hayden Hall.
Rubens painted a number of portraits of himself: a few were replicas,
but, for the most part, they were of different garb, pose and ages and,
as Spooner aptly says, "He never copied himself or any other master."
Each of his portraits is individually different from all the others. This
is believed to be a splendid likeness of the great genius in his character
istic attire. The face is intellectual, dignified and masterly and the painting
is a good example of this pre-eminent painter's work.

INDEX AND BIOGRAPHICAL NOTES. 199
No. 300— "The Madonna and Two Children."
40x33.
From the collection of Lord Northwick.
A portion of the canvas is framed down, making the picture of a smaller
opening and more attractive. Rubens produced many pictures of the
Madonna and the Holy Family. This one shows his strong, vigorous, but
refined coloring and gives us a view of the beautiful example of the
Mother and Child, sitting under the limbs of a tree which covers them and
forms the larger part of the upper background.
No. 301— "Duke de Vic."
42x31%
From collection of Georges de Montangan, Paris.
Duke Dominique de Vic was a French commander and constant adherent
of Henry IV. He rendered important services at the battle of Ivry. In 1602
he became governor of Calais and vice-admiral. Died in 1610. He is here
represented as being about thirty years of age, and seated in an arm chair
facing a table with red cloth. He is dressed in armor, and holds his helmet
in his left hand and a sort of large baton in the other. While the drawing
and composition is all but perfect, yet the coloring is not lacking in any
particular. The hand is remarkably well done, and the features and especial
ly the eyes have not often been surpassed either by Rubens himself, or in
fact by any other of the masters.

No. 302— "Helena Fourment (Rubens' 2nd Wife)."
40x28.
From the Collection of Burgomaster Von Tulden, New Port, Belgium.
Helena was the daughter of Ruben's first wife's sister. At the time of
her marriage to Rubens, Dec. 6, 1630, she was but 16 and he 53 years of age.
She was a niece to his brother Philip's wife, as well as to his own first
wife, Isabella Brant. Helena was a beautiful girl, and Rubens has left a
lasting proof of his appreciation of her pleasing appearance in many of
his later and best works. Her youthful companionship and vivacity seem
to have re-inspired his natural poetic genius to such an extent that his
very latest works show the same brilliant execution as those painted in
the decades immediately preceeding his second marriage, and especially
was this true of all works in which Helena appears either in portrait, or
as one of the characters in some notable figure piece.

SAFT-LEVEN (Herman) Born at Rotterdam, 1609.
Died at Utrecht, 1685.
Dutch School
Landscape painter.
"Pupil of Jan van Goyen, but formed himself chiefly by studying nature.

200 T. B. WALKER COLLECTION.
His views of the Rhine, Meuse and Moselle are well drawn, carefully exe
cuted and enlivened by figures and animals. The pictures of his best period
are distinguished by their clear perspective and a soft bluish coloring."
— Cyclopedia of Painters and Paintings.
"He decorated his pictures with numerous figures and boats which are
correctly drawn and touched with great neatness and spirit. His coloring
is clear and transparent, his skies light and floating, and his distances recede
with a pleasing and natural gradation. His works are highly esteemed and
are found in the choicest collections." — Spooner's History of the Fine Arts.
"He finished his pictures with extraordinary neatness, and by a light,
free touch, as well as by a skillful management of the aerial perspective,
he gave to his hills, grounds and trees a pleasing effect. His skies and dis
tances are generally clear; all of his objects recede with perspective truth."
— Pilkington's Dictionary of Painters.

No. 303— "A Classical Italian Seaport in Olden Times."
16x24.
From an Old English collection.
The river occupies the left of the picture; on the right great mountains
towering high above the water's edge like sentinels. The foreground on the
right shows an old castle half way up the mountain, while far on the distant
slopes are more old buildings, grim and silent. Many large ships are seen
on the river, and, along the shore— some busily engaged in towing in boats,
others getting goods ready for shipment, and still others directing the work
— are groups of men, attired in the quaint costumes of the times. In this
painting one notes at once the fine perspective and rich coloring so char
acteristic of this artist.

SANCHEZ-COELLO (Alonzo) Spanish School.
Born Benyfayro in Valencia about 1513.
Died in Madrid in 1590.
Doubtfully claimed that he studied in Italy.
Court painter to Philip II. of Spain.
"Accompanied Antonio Moro in 1552 to Lisbon, where he remained some
years in the service of John III. and acquired the title of Portuguese Titian.
On the death of the king, his widow, Dona Juana, recommended him to her
brother, Philip II. of Spain, and Coello became his court painter and intimate
courtier, and won honors and wealth. * * * Was especially noted for
his portraits. Works: Don Carlos, the Infanta Isabella Anna of Austria,
Johanna of Austria, Margaret of Parma, and Mary of Austria."
—Cyclopedia of Painters and Paintings.
"He painted many portraits of Philip and of other members of the royal
family. He also painted the Popes Gregory XIII. and Sixtus V and many
grandees of Spam. With such patronage he became rich, and it is said lived
according to his fortune." -Bryan's Dictionary of Painters and Engravers

 INDEX AND BIOGRAPHICAL NOTES.  201
"His chief work is the Martyrdom of St. Sebastian in the church of St.
Geronimo at Madrid, which is a powerful and masterly performance."
— Pilkington's Dictionary of Painters.
"He is said to have copied some of the pictures of Titian. Probably he
made that artist his model. It is certain that by some means Sanchez Coello
became one of the greatest portrait painters of his time."
— Painters and Their Works.

No. 304 — "Margaret de Parma, Daughter of Charles V."
38x27.
From the collection of Comte A. de Ganey, Paris.
Marguerite de Parma, or Margaret of Parma, regent of the Netherlands,
was an illegitimate daughter of Charles V of Spain by a Flemish woman.
She was born at Oudenarde in 1522. She was brought up in Brussels, and
married Alexandro de Medici in 1536, and in 1538 was married to Ottavio
Farnese, to whom she bore a son who became the renowned General Alex
ander Farnese. In 1559 Philip II made her stadtholder of the Netherlands.
There she sided with the notorious Granville, introduced the Inquisition and
provoked the various provinces to revolt. She resigned when Alva was sent
to the Netherlands (1567) and died at Ortona in 1586.
This painting was included in the Lord Northwick sale in 1759. The
picture is a three-quarter length portrait, and as she was but sixteen years
of age at the time of her second marriage, this picture was most likely painted
after that event, as the portrait is that of a woman between twenty and
thirty. Her gown of light blue and brown is elegantly trimmed with gold
braid and hand-made lace, and has Queen Elizabeth collar. The face is
rather long and thin, but with regular features inclining toward the classic.
The whole picture, including the artistic hands, shows plainly the work of
a master portrait painter.

SWANEVELT (Herman).
Born at Woerden near Utrecht about 1600 or earlier.
Died in Paris or probably Rome about 1655 or later.
Student perhaps of Gerard Douw and Claude Lorraine.
Dutch school landscape painter.
Member of the Royal Academy 1653.
"The particulars of the life of this artist are almost unknown. The
dates given of his birth and death (1600-1655) are those usually to be
found in dictionaries. * * * He introduced much yellow into his skies,
avoided dark foliage and kept the browns and reds for buildings and fore
grounds. The composition and drawings in his pictures are often excellent."
— Painters and Their Works.
"On his arrival at Rome, he was indefatigable in his studies, studious
and solitary promenades procuring him the nickname of 'The Hermit.' In
1640, he became the disciple of Claude Lorraine, with whose help he soon

.202  T. B. WALKER COLLECTION, 
became one of the most celebrated painters of landscape of his time. His
better works are not seldom ascribed to his master."
— Bryan's Dictionary of Painters and Engravers.
"He studied nature incessantly and very frequently with Claude observed
the tinging of different objects, mountains, rocks, trees, skies and water and
the various effects of light at noon and evening; which gave his works so
much beautiful truth and nature as will forever render them extremely
estimable. Herman also took great delight in frequenting the elegant
remains of antiquity about Rome to observe and design after the finest
ruins, in which entertainment he spent all his leisure hours and from
this studious and retired manner of life obtained the name of the 'Hermit of
Italy.' " — Pilkington's Dictionary of Painters.

No. 305— "Wooded Landscape."
55x64.
From the collection of Lord. Buckland.
In this important work, the artist produced one of his best and most
characteristic paintings. At a glance, one sees the influence of his renowned
master, Claude Lorraine, and one readily realizes why it has often happened
that his paintings have passed for the work of that great landscape painter.
In the foreground upon the rugged shore of a winding river, two
shepherds are attending a herd of cattle. On the left, a rugged brown
cliff with gnarled trees growing from crevices in the rock, stands out
abruptly, while at its base near the river's bank, their tops reaching above
the summit of the cliff, stand a group of magnificent trees. On the right,
a wooded promontory terminates at a bend in the river where a grea,t
castle rears its massive walls and picturesque tower against the broad
valley lying beyond. On the opposite shore, the hills rise one above another
like great billows, their summits tinted to mellow gold, reflected from the
subdued light of the setting sun.
"'Tis the end of the day and the shadows grow deep,
Soon the twilight will end— then the world is asleep;
The river flows silently down to the seas,
And the birds fly away to their home in the trees."

No. 306— "Ancient Rome."
27%x34.
From a very old family collection in Italy. This interesting example is
one of Swanevelt s earlier paintings, the coloring and tone following more
nearly the style of the Dutch painters than those of his later period It
was no doubt one of his first productions after arriving in Rome painted
-before he became a student of Claude Lorraine. He shows the portico
of some historic building with a number of soldiers approaching on horse
back, one of which on a white horse appears to be a person of rank as all
attention is turned in his direction and all seem inclined to show him homage.
This is considered a most splendid example of this master, done under
his early training as a student of Douw.

INDEX AND BIOGRAPHICAL NOTES. 203
SCHREIBER (Charles Baptiste) ... - - Paris
Born at Paris.
Pupil of M. Brandon and L. Bonnat.
Member of the Society of French Artists.
Picture is No. 259.

No. 307— "The Duett."
(Cardinal and Bishop.)
205f_xl7*4.
In a luxurious apartment in the palace, surrounded by handsome tapes
tries, rich rugs and flowers, the cardinal and bishop are enjoying some music
together. On the right is seated the cardinal earnestly fingering his violon
cello, his eyes intently following the music which is propped up on a small
table before him. Directly opposite and facing the cardinal, stands the
bishop who is playing the violin, which he appears to be doing without
regard to the music on the stand. There is a soulful expression on the
faces; one of intense earnestness and satisfaction. As fine a picture as
Vibert ever painted.
SCHREYER (Adolphe). - Paris
Born at Frankfort-on-the-Main, 1828.
Pupil of Stadel Institute, Frankfort.
Studied at Stuttgart, Munich and Dusseldorf.
Traveled with Prince Thurn through Hungary, Wallachia and Russia.
Accompanied the Austrians in their march through the Danubian
Principalities, in 1854.
Visited in Algiers in 1861, Syria and Egypt in 1865.
Medal. Exposition Universelle, 1867.
Hors Concours.
Created court painter to the Grand Duke of Mecklenburg.
Member of the Academies of Antwerp and Rotterdam.
Honorary member of the Deutches Nochtstift.
"Another famous student of the Stadel Institute is Adolphe Schreyer,
whose spirited equestion pictures are everywhere in demand. He has treated
the horse in all semi-barbarous localities. His treatment is highly dramatic,
original and free." — Radcliffe's Schools and Masters of Painting.
"As an animal painter he obtained absolute mastery over the horse.
Some artists have chosen for their special favorites cattle, as Paul Potter,
for instance; others sheep, as the Belgian Verboeckhoven, and our English
Cooper; and others again dogs, as supremely, Sir Edward Landseer; but
Schreyer has shown a preference for the horse as the companion, the faith
ful servant, and sometimes the suffering slave of man. The horse as de
picted by him is not highly trained or groomed, but rather a wild creature,

204 T. B. WALKER COLLECTION.
flying full tear across the wild waste, with a cart or carriage rattling at
his heels." — Atkinson.
"Adolphe Schreyer is another painter who, like Barye, Delacroix and
Schenck, likes to paint the stormy side of life. He produced in rapid suc
cession those pictures of wild life in Eastern Europe in which horses play so
conspicuous a part, and which are so associated with his name by their
subjects that a 'Schreyer,' without a horse or horses, would indeed be
the play of Hamlet with Hamlet omitted. We know a 'Schreyer' as far as
we can see it. These scenes transported from the half-barbarous lands of
the Slavs have an air of exaggeration, but those who know the people and
their manners assure us that all the storm and stress, this plunging and rear
ing of wild or half-tamed horses — hoofs pawing the air, manes and tails
streaming to the wind, these swarthy men in queer, outlandish garb — all
these things, we are assured, are the everyday sights and scenes of these
countries so far removed from the route of the ordinary traveler."
— Tuckerman's Book of the Artists.

No. 308— "Evening in Arabia."
19x3254.
Over the russet hills a party of Arabs on horseback take their way at
evening. The light of the warm, pink sunset floods landscape and rider, and
adds its tint to the low horizon and the sky overhead. Three riders in the
immediate foreground, while others can be seen in the distance.
Of this painting Mrs. Schreyer wrote: "My husband has nearly fin
ished your picture. I think it is one of the finest he has ever painted—
the most color, and full of light.
No. 309— "Scene in Wallachia."
32x5054.
This represents a party of hardy Wallachian teamsters unhitching their
horses at a country hotel or station, in the early springtime, or in the
fall of the year, when a light, fresh snow had been falling, covering the
ground and buildings. The soft, warm coloring of the snow and sky makes
a very agreeable, beautiful picture, different from the colder snow scenes
which sometimes are enough to give a person a bad cold to look at them.
It is regarded as one of Schreyer's most successful, agreeable and sat
isfactory paintings.
No. 310— "Original of Schreyer's Black Arabian Horse."
754x9.
This small panel shows the original from which this artist painted the
varied compositions of his black Arabian horse. As Tuckerman aptly re
marks, "A 'Schreyer' without a horse or horses would be like the play of
Hamlet with Hamlet omitted." This well-groomed, half-tamed horse was
transferred to many canvases, making one of a group or troupe of horses
and was used in the composition of many of his best works The rider is
attired as a native sheik (chief) of the Bedouin Arabs of Western Asia and
the landscape depicts his native haunts. '

 INDEX AND BIOGRAPHICAL NOTES.  205
STRIJ or STRY (Abraham Van).
Born at Dordrecht, Dec. 31, 1753.
Died there March 7, 1826.
Student of his father, A. C. Lens and Joris Ponse.
Landscape, animal and figure painter.
Influenced by Albert Cuyp.
Member of the Institute of the Netherlands and of Antwerp Academy.
"His coloring is warm and his pictures give a true representation of na
ture. His drawings approach very nearly those of Cuyp and Hobbema."
— Painters and Their Works.
"He afterwards turned to the painting of portraits, landscapes and cattle
in the manner of Cuyp, and the interiors of shops and kitchens. In such
subjects, he arrived at much excellence, especially in chiaroscuro. In 1774,
he founded the "Pictora" Society of Dordrecht and was its first president."
— Bryan's Dictionary of Painters and Engravers.

No. 311— "Landscape and Cattle."
27x38.
From the collection of Lady Cartwright.
The scene is midsummer in Holland. On the right, beneath the shadow
of some gnarled trees broken and bent by many passing storms, stands a
neat brown cottage, the thatched roof moss grown in the shadows of trees
and shrubbery. The housewife, barefooted and bare armed, sits sewing be
neath the trees while the husbandman lies face downward in the grass near
by. Two fine cows and three sheep have sought the same friendly shade,
while beyond, many cattle and the family horse are feeding in a wooded
pasture. On the waters of the dyke, a small boat is sailing and in the dis
tance is seen the familiar Dutch mill.
As in all of this master's later works, the atmospheric effects are really
wonderful, his colors are mellow and his drawing excellent.

STUART (Gilbert).
Born in Narrangansett, Rhode Island, December 3, 1755.
Died in Boston, July 27, 1828.
"An Anglo-American painter of great talent, * * * soon after reach
ing manhood, he came to England and was introduced to Benjamin West,
with whom he worked for some time. He showed great ability and some
portraits that he exhibited brought him into public notice. He rose into
eminence and his claims were acknowledged even during the life of Sir Joshua
Reynolds. * * * He returned to America in 1793. * * * Of his Amer
ican portraits, that of Washington is the chef d'ceuvre. He painted the
president several times— once for the late Marquis of Landsdowne."
— Bryan's Dictionary of Painters and Engravers.
"His portraits show great insight into character and are remarkable for
their simplicity of means. They have great individuality, excellent balance

206 T. B. WALKER COLLECTION.
of light and shade, and generally pure color. Among the list are those of
Washington, of whom Stuart was the painter par excellence."
—Cyclopedia of Painters and Paintings.

No. 312— "George Washington."
29x24.
From the collection of Trevalyan Turner, London.
Nearly all cuts in encyclopedias, histories, etc., are taken from some
one of the Stuart portraits.
George Washington was born in Westmoreland county, Virginia. He
was a son of Augustine Washington by his second wife, Mary Ball. His
greatgrandfather, John, emigrated from England about 1657. At the age of
nineteen, he was appointed Adjutant General (with rank of Major), and took
active part in the Seven Years' War (1754-1761). On June 15, 1775, he was
unanimously chosen as commander-in-chief of all the American forces, but
did not take command until July 2 following. At the close of the Revolu
tionary War (Dec. 23, 1783), Washington resigned his commission and, on
March 4, 1787, was elected without opposition President of the United States.
In 1792 he was re-elected. He was six feet two inches in height, with a frame
well proportioned and firmly knit. His hair was brown, his eyes blue and
quite far apart. From boyhood, he was renowned for his great physical
strength, and it is related that in his youth he threw a stone across the
Rappahannock, a feat which it is claimed has never been performed since
by anyone. He was proverbial for punctuality and truthfulness and scrupu
lously attentive to his dress and his personal appearance.

No. 313— "Washington and Horse."
36x285-4.
Obtained from an old family of Virginia.
General Washington in the full uniform of an American Revolutionary
general, is represented as standing on a hill, immediately beyond which a
naval battle is in progress. With his left hand he holds the reins of his
white horse, and his hat is held in the right hand. Washington stands erect,
with determination and righteous resolve written upon every feature, while
his horse sniffs the air and seems impatient to do his humble part in his re
nowned master's service. The face of Washington follows closely the
original portraits by the same artist.

No. 314 — "Original Portrait of Washington."
2954x25.
This wonderful old painting was found only a few years ago in England
and is without doubt one of Stuart's two first original portraits of Wash
ington, or what is sometimes called the Sam'l Williams picture. The Athe
naeum portraits now in the Boston Art Museum are recognized and ad
mitted as having been painted from life. On the other hand, when Stuart

INDEX AND BIOGRAPHICAL NOTES. 207
died he put the following note at the bottom of a manuscript which bore the
signature of George Washington: "In looking over my papers to find one
that had the signature of George Washington, I found this, asking me when
he should sit for his portrait, which is now owned by Samuel Williams of
London. I have thought it proper that it should be his, especially as he
owned the only original painting I ever made of Washington, except one I
own myself. I painted a third, but rubbed it out. I now present this to his
brother, Timo Williams, for said Samuel."
(Gilbert Stuart, Boston, March 9, 1823.)
This is positive proof that Stuart had painted another portrait from life
of Washington, in addition to the Athenaeum portrait. This portrait gives
the impression of Washington being a little younger and that it was painted
earlier than the Athenaeum picture.
The canvas is the same as those used by Stuart in the other portraits
df that period.
It was sold in a prominent art sale as an original life portrait by Stuart.

SCHIRMER (Johann Wilhelm) Prussia
Born at Julich, Rhenish Prussia, 1807.
Died at Carlsruhe, 1863.
Pupil of Dusseldorf Academy, under Schadow.
Professor at Dusseldorf Academy, 1839.
Director of the Carlsruhe Art School, which he reorganized.
Member of Berlin and Dresden Academies.
Became famous as a representative of historical landscape in the style of
Poussin.
The leader of the Modern German School of Landscape Painting.

No. 315— "Landscape."
31x32*4.
A heroic landscape, and an exceptionally fine example of the work of
this noted artist. In the foreground is a pool or pond surrounded by high
and rugged banks, on the edges of which tall reeds and rushes grow. On a
little shoal near the shore, a couple of storks stand, their forms mirrored in
the clear water. Fine old trees in full foliage crown the opposite bank, some
of them overshadowing the pool. Midsummer brightness is mirrored all
round and indicated in the luxuriant vegetation. Particularly noticeable in
this picture are the grand old trees —
* * * "That like giants stand
To sentinel enchanted land."

SCHUSSELLE (E.). Philadelphia, Pa.
For many years the art director of the Academy in Philadelphia and one
of the best known painters of his time.

208 T. B. WALKER COLLECTION.

No. 316— "General Jackson Before Judge Hall."
42x62.
(Fined for contempt of court, at New Orleans, in 1815;)
Painted in 1859. Schusselle devoted ten years of careful work to
reproducing this scene. The characters are all reliable portf aits _ of the
parties and the painting is a correct historical reproduction of this cele
brated scene.
"General Jackson, like a true soldier, did not relax his vigilance after
the victory that saved Louisiana from British conquest. He maintained
martial law in New Orleans rigorously, even after rumors of a proclamation
of peace reached that city. When an official announcement of peace was re
ceived from Washington, he was involved in a contention with the civil
authorities, who had opposed martial law as unnecessary. In the Legis
lature of Louisiana was a powerful faction opposed to him personally,
and when the officers and troops were thanked by that body (February
2d, 1815), the name of Jackson was omitted. The people were very in
dignant. A seditious publication soon appeared, which increased their
indignation, and, as this was a public matter, calculated to produce dis
satisfaction in the army, Jackson caused the arrest of the author and his
trial by martial law.
"Judge Dominic A. Hall, of the Supreme Court of the United States,
issued a writ of habeas corpus in favor of the offender. Jackson consid
ered this a violation of martial law, and ordered the arrest of the judge
and his expulsion beyond the limits of the city. The judge in turn, when
the military law was revoked in consequence of the proclamation of peace,
required Jackson to appear before him and show cause why he should not
be punished for contempt of court. He cheerfully obeyed the summons,
and entered the crowded court-room in the old Spanish-built court house in
citizen's dress. He had almost reached the bar before he was recognized,
when he was greeted with huzzas by a thousand voices. The judge was
alarmed and hesitated. Jackson stepped up, procured silence, and then,
turning to the trembling judge, said: 'There is no danger here — there
shall be none. The same hand that protected this city from outrage
against the invaders of the country will shield and protect this court, or
perish in the effort. Proceed with your sentence. The agitated judge
pronounced him guilty of contempt of court and fined him $1,000. This act
was greeted by a storm of hisses. The general immediately drew a check
for the amount, handed it to the marshal and then made his way to the
court house door. The people were intensely excited. They lifted the hero
upon their shoulders, bore him to the street, and there an immense
crowd sent up a shout that blanched the cheek of Judge Hall. Jackson
was placed in a carriage from which the people took the horses, and
dragged it themselves to his lodgings, where he addressed them, urging
them to show their appreciation of the blessings of liberty and a free gov
ernment by a willing submission to the authorities of their country. Mean
while $1,000 had been collected by voluntary subscriptions and placed
to his credit in a bank. The general politely refused to accept it and
begged his friends to distribute it among the relatives of those who had
fallen in the late battles.
"Nearly thirty years afterwards (1843) Congress refunded the sum
with interest, amounting in all to $2,700." —Cyclopedia of United States History.

INDEX AND BIOGRAPHICAL NOTES. 209

BY STUDENTS in Perugino's Studio.

No. 317— "Raphael and Perugino."
21x15.
These portraits were painted by the students in Perugino's school, at
Perugia, about 1503. In the year 1500, Raphael, who had already won
honors and renown as a painter, entered the studio of Perugino, and no
doubt acquired much of Perugino's manner, yet each seemed to work inde
pendent of the other, as their works (1500 to 1505) each bear the individual
name of the artists. Raphael is the younger of the two men and his por
trait is immediately back of Perugino.

THAULOW (Fritz). ...  Norway
Born Oct. 20, 1845, in Christiania, Norway. Died September, 1906, in
Holland, where he was on a visit. His studio was in Paris, where he gen
erally resided during the last fifteen years. He studied under Von Soren-
sen, at the Academy at Copenhagen. Afterwards he studied with Gude in
Carlsruhe. His pictures have been purchased by the principal national
galleries of Europe. There are several in the National Gallery in Berlin,
and one is hung in the Luxemberg Museum, Paris.

No. 318— "Night Scene in Holland."
25x31.
The artist presents a small hamlet by night. By the narrow roadway
skirting the shore of the dyke, a young man and his fraulein stand talking
in the starlight. Beyond the walled dyke a row of quaint old buildings
cast their shadows in the riffling waters, while lights, shining from distant
windows, mark the location of a friendly inn.
Then hail to the night, when the sky's clear and bright;
And a myriad of worlds are at play,
And suns run apace, through fathomless space;
From twilight till dawn of the day.
A million stars peep from the canopied deep;
As lights of the June fire-fly.
Some mark the outposts, of the numerous hosts,
As God's universe passes by.

No. 319— "Lovers' Retreat."
1754x20.
Another of Thaulow's unique conceptions. A dyke occupies the center
of the picture, while in the distance is seen a quaint dwelling with green
blinds drawn down for the night, while still farther on a light is seen
in the windows of the village inn. On the right, in the shadow of the little
brown church, two lovers are taking advantage of the beautiful night for
a stroll along the canal.

210 T. B. WALKER COLLECTION. 
TENIERS (David), The Younger, /
Flemish school.
Born at Antwerp, 1610.
Died at Brussels, April 5, 1694.
Master of the Corporation of St. Luke, 1633.
Dean of the Guild of St. Luke, 1644-45.
One of the founders of the Academy of Fine Arts at Antwerp, 1663.
"On July 22d, 1637, he married Anne, the daughter of Jan Brueghel and
a pupil of Rubens. She had been baptized in 1620, so cannot have been more
than seventeen years of age. * * * Anne died in 1656 and six months
later Teniers married Isabel, the daughter of Andreas de Fren, secretary
to the council of Brabant. * * * Was appointed painter to the goyernor
Archduke Leopold William, who loaded him with gifts and commissions
and named him Director of his Picture Gallery at Brussels. * * * He
painted nearly every kind of subject, but his finest art is confined to scenes
from peasant life which lend themselves most thoroughly to his faculty
for rapid creation, for incisive, dextrous handling, and for the cooler har
monies of color." — Painters and Engravers.
"He holds the first position among the genre painters of Flanders.
Picturesque arrangement, exquisite harmony of coloring in all details, and a
light and sparkling touch, characterize his pictures in which two periods
may be distinguished, — the earlier, up to 1640, in which a somewhat heavy
brown tone prevails, gradually attaining, up to 1644, a luminous golden
tone, and the latter, up to 1660, in which he changed into a cool silvery hue-
after that he again adopted a decided golden tone."
— Cyclopedia of Painters and Paintings.
His pictures are "remarkable for richness and skill in composition, which
render the scenes they represent, natural and animated; and these qualities
are enhanced by the life infused into the figures, and the light, though
correct, touches with which they are painted." — Painters and Their Works:
No. 320— "Winter Night at the Inn."
7x9.
From the collection of A. T. Stuart; later collection of Judge Hilton.
Three congenial fellows, seated on benches and an inverted tub, are
grouped around a rustic table smoking their pipes. A cheerful fire glows
on the hearth which is being enjoyed by other two men, one standing and
one sitting looking intently into the fire, while the barmaid, with an eye
to business, stands in the door of the adjoining room awaiting an order for
further refreshments. One of the group about the table has removed his
coat and let his pipe fall to the floor, while he sits on the inverted tub
resting his elbows upon the table. One of Teniers' characteristic peasant-
life pictures. No. 321— "Reading the News at the Country Inn."
7x9.
From the collection of A. T. Stuart; later collection of Judge Hilton. <

 INDEX AND BIOGRAPHICAL NOTES. 211
A group of five peasants, smoking their pipes and sipping their beer,
are seated and standing around a rustic table listening while one of their
number, seated upon a tub, reads the current news. A small dog anxiously
awaits the opportunity to regale himself with a fallen pretzel, and the bar
maid as anxiously, awaits the word to further serve the assembled guests.
One can almost imagine the man with feather in hat to be no other than
Teniers himself disguised as a boor, studying the peculiar pastimes of
neighboring peasants.

TIEPOLO (Giovanni). Born in Venice, April 16, 1696.
Died in Madrid, March 27, 1770.
Venetian School.
Pupil of Gregorio Lazzarini and his father, Giovanni Battista Piazzetta
(Tiepolo).
First director Academy of Painting, Venice (1753).
Called to Spain in 1761 by Charles III.
"The careful study of the work of Paul Veronese and Titian worked
upon his genius with most successful results. * * * The amount of work
accomplished by him principally in fresco, on the vast ceilings and wall-
spaces of the magnificent palaces and villas at Venice and in Venetio —
and subsequently also at Wurzburg and in Spain — with the assistance of his
two painter sons, Giovanni Domencio and Lorenzo, is stupendous. * * *
The wonderful merits of Tiepolo as a draughtsman and colorist have scarcely
been recognized until now. Viewed by the side of his celebrated prede
cessors' achievements his paintings no doubt suffer by comparison, but
when studied at Wurzburg for example, apart from the inevitable parallels
suggested at Venice, they cannot but surprise and charm the beholder."
— Bryan's Dictionary of Painters and Engravers.
This1 artist was the most distinguished painter of the Venetian School
in the last century (18th). He is said to have been a good artist when only
sixteen. The works of Paolo Veronese were his models and he painted
with spirit and facility. After executing a great number of works of im
portance at Milan and other cities in Italy, he went to Spain where he pro
duced some of his best pictures." —Painters and Their Works.

No. 322— "The Last Supper."
12x24.
(Oval Top.)
"Then came the day of unleavened bread, when the Passover must be
killed. And he sent Peter and John, saying: "Go and prepare us the Pass
over that we may eat." And they said unto him: "Where wilt thou that
we prepare?" And he said unto them: "Behold when ye are entered into
the city, there shall a man meet you, bearing a pitcher of water; follow
him into the house where he entereth in, and ye shall say unto the good man
o'f the house: "The master saith unto thee, 'Where is the guest chamber,

212  T. B. WALKER COLLECTION.  [ 
where I shall eat the passover with my disciples?' And he shall show you
a large upper room furnished. There make ready. And they went and
found as he had said unto them; and they made ready the passover. And
when the hour was come, he sat down, and the twelve apostles with him."
(Luke XXII. 8-14.)
Jesus is in the act of blessing the wine and the bread. John, "the dis
ciple whom Jesus loved," sits at his right and Peter at his left; while im
mediately across the table from John, is Judas, who betrayed him. Back of
Jesus the artist has placed a dim outline of the cross, upon which he was
so soon to be crucified, as the everlasting passover, — the Lamb of God
whose blood should wash away the sins of the world, without further media
tion or further offerings. Intense interest is written upon every face, each
mortal mind endeavoring to fathom the divine significance of the Master's
magic words. In the study of a subject so interesting, one is liable to lose
sight of the faultless drawing, and the delicate and pleasing color arrange
ment.

TINTORETTO (Jacopi). (Real name Giacomo Robusti.)
Venetian School.
Born in Venice, September 29, 1512.
Died there May 31, 1594.
Student of Titian.
"His original name was Robusti, but he assumed that of Tintoretto
from the occupation of his father, who was a dyer (Tintore). He made
Titian his model in coloring and Michael Angelo in design. He painted
with great rapidity and his works, both in oil and fresco, are very numerous.
* * * All landscape grandeur, says Ruskin, vanishes before that of Titian
and Tintoret and this is true of whatever these two giants touched."
— Lippincott's Biographical Dictionary.
"He may be considered the culminating genius of the Venetian School,
combining in himself the several excellencies of his cotemporaries. He is
said to have shown his inclination for art, almost from his infancy, and to
have covered the walls of his father's house with his childish sketches.
There is reason to suppose that he studied an unappreciable amount of
time under Titian. But the jealousy of the latter was roused by the vigor
and promise of the newcomer's drawings and Robusti remained only a few
days before he was dismissed. (He made a deep study of Titian's and
Michaelangelo's works, however.) He was even at pains to obtain models
by Daniello da Volterra of the famous figures by Michaelangelo's from the
Medici tombs— Dawn, Twilight, Night and Day. These he carefully studied,
using for the most part artificial light, in order to obtain a bold chiaroscuro;
and he thus acquired an extraordinary facility in dealing with objects in
relief. To his capacity for taking pains, he united a genius, which Vasari
has described as terrible; an extraordinary range and wildness of imagina
tion, and a faculty and dispatch in execution which appeared to his cotem
poraries little short of miraculous. It was this which earned him his nick
name of II Furioso * * * But his unusual readiness and dispatch did
sometimes result in the production of works unworthy of his powers that
more or less justify the witticism of Annibal Carracci, that Tintoretto was

INDEX AND BIOGRAPHICAL NOTES. 213

sometimes equal to Titian and often inferior to Tintoretto. * * * It is
difficult to assess him at his true value; his extraordinary excellence in every
department of his work is reason for many critics assigning him the topmost
place in the world of art." — Bryan's Dictionary of Painters and Engravers.

No. 323— "Madonna and Child.;'
40*4x35*4.
From Spada Palace, Rome.
Tintoretto's .Madonna is a young woman with pure classic features,
beautiful oval face, well shaped nose, a sweet pure mouth, and a pair of
splendid brown eyes. The well poised head is turned slightly to the left
as she looks, with loving affection, at the divine infant held upon her lap.
The fleecy veil-like covering of the head, falling in soft folds over the
shapely shoulders, partially covers the dark blue wrap, and the plain red
dress with which she is clothed. The child in addition to being remarkably
well formed, has a pleasing infantile grace and elegance, not often met
with in works of the early masters. Cherub angels peeping through the
divine halo, shout the glad tidings to earth from heaven, "Joy to the world,
the Lord is come." The pure innocent face of the woman, radiant with a
mother's love, will live as a sweet memory in the heart of those who
study this great painting.

No. 324— "Christ Healing the Sick."
42x6154.
Bought from a Cardinal in Rome about 1832.
"And they came unto him bringing one sick of the palsy, which was
borne by four. And when they could not come nigh unto him for the
press, they uncovered the roof where he was; and when they had broken
it up, they let down the bed wherein the sick of the palsy lay. When
Jesus saw their faith, he said unto the sick of the palsy, Son, thy sins be
forgiven thee. But there were certain of the scribes sitting there and
reasoning in their hearts, Why doth this man thus speak blasphemies?
Who can forgive sins but God only? And immediately when Jesus per
ceived in his spirit that they so reasoned within themselves, he said unto
them, Why reason ye these things in your hearts? Whether is it easier
to say to the sick of the palsy, Thy sins be forgiven thee; or to say, Arise
and take up thy bed and walk? But that ye may know that the Son of
man hath power on earth to forgive sins (He saith to the sick of the palsy),
I say unto thee, Arise and take up thy bed and go thy way unto thine
house. And immediately he arose, took up his bed and went forth before
them all." Jesus is shown as seated in the act of rebuking the scribes for
their evil thoughts. The sick, the maimed, and the blind are being carried
to him from every direction. A grand subject wonderfully treated by this
great Venetian colorist.

214 T. B. WALKER COLLECTION. 
THOM (James Crawford). Genre Painter.
Pupil in Paris of Edouard Frere, Paris.
First exhibited at Royal Academy, London, 1864.
(British America.) A native of America, of Scottish descent. He was
a pupil of Edward Frere in Paris. He has lived and practiced his profession
in England and in tjie United States. He first exhibited in London at
the Royal Academy, in 1864, "Returning from the Wood," followed by "Tired
of Waiting," "Going to School," and "The Monk's Walk." In the French
Gallery, London, he exhibited at different times, "Children Returning from
Church," "Love in the Kitchen," etc. He sent to the National Academy,
New York, in 1878, a winter landscape with figures and "Le Jour de la
Toussaint." * * * A number of his landscapes were at the Mechanics'
Fair, Boston, in 1878. — Artists of the Nineteenth Century. .¦¦

No. 325 — "Approaching Storm."
20x30y2.
A bank of angry clouds o'erspread the western sky, and already a pall
of darkness hangs over the line of low hills beyond the meadow. Up the
winding pathway an aged man with staff in hand hurries on to the shelter
of his home, while the wild birds seek refuge in the friendly trees. The
smooth waters of the lake mirror back the shadows of the rocky shore, and
reflect the glory of the white capped clouds, while a peculiar silence pervades
the air, broken only by the shriek of birds, and the low rumble of the
coming storm. The artist selected a difficult subject, but with almost fault
less drawing, pleasing color arrangement, and remarkable atmospheric effect,
has produced a most realistic picture, full of life and truth.

TOQUE (Jean Louis). Born in Paris, November 19, 1696.
Died there, February 10, 1772.
French School.
Portrait painter.
Member of the Paris Academy, 1734.
Councillor, 1744.
Associate Copenhagen Academy, 1769.
Pupil of Nicolas Bertin and Nattier and later of Hyacinth Rigaud.
"He was invited by the Empress Elizabeth to the Russian court where
he painted the portrait of that princess and met with general encouragement.
He spent two years at St. Petersburg, moving thence to Copenhagen where
he painted several members of the Royal Family of Denmark. He married
the daughter of the painter, Nattier." —Bryan's Dictionary of Painters and Engravers.
"Portraits by this painter are remarkable for the grace of the figures
which are well drawn and true in color." —Painters and Their Works.

INDEX AND BIOGRAPHICAL, NOTES. 215

No. 326 — "Catherine I, Empress of Russia."
36x27.
She was born of poor parents at Marienberg, in Livonia, about 1688.
She was taken prisoner by the Russians in 1702, after having been married to
a subaltern Swedish officer. Peter The Great was attracted by her beauty,
paying her marked attention, until 1711 he recognized her as his wife. In
the same year, she accompanied him in a campaign against the Turks and,
when the Russians were hard pressed, she negotiated a treaty. In 1724 Peter
caused her to be crowned and, at his death, in 1725, she was proclaimed
Empress. She had several children by her second marriage, one of which
became Empress Elizabeth. She died in 1727.
This fine portrait was painted about 1726, soon after her ascension to
the throne.

TROYON (Constant). Born at Sevres, August 28, 1810.
Died at Paris, March 20, 1865.
Landscape and animal painter.
Modern French Landscape School.
Pupil of Riocreux, and Poupart. and influenced by Roqueplan.
Chevalier of the Legion of Honor, 1849.
Member of Amsterdam Academy, 1847.
Cross of the Belgian Order of Leopold, 1861.
"His father was employed in the porcelain manufactory, but, dying when
his son was only seven years old, he left him to the care of his mother and
of a relative, M. Riocreux, who was the keeper of the Porcelain Museum.
Madame Troyon was a skillful artist in feathers and made beautiful little
artificial birds, resplendent with gems for the decoration of ladies' toilets.
She taught her son the values of color and form whilst M. Riocreux gave
him his first serious lessons in drawing. Flower subjects and foliage first
engaged his attention, but he aimed at higher things and devoted himself to
landscape. One day, however, as Troyon was sketching at St. Cloud, he
fell in with Camille Roqueplan who later on introduced him to Theodore
Rousseau, Camille Flers, Diaz and Jules Dupre. His first appearance at
the Salon was in 1833. * * * A trip to Holland and Belgium in 1843
introduced him to the famous animal painters of those countries, but it was
primarily due to his Sevres friends, MM. Louis, Robert and A. Charropin,
that he began at Barbizon to introduce animals into his compositions.
At Pere Gane's he was thrown in contact with Jean Francois Millet and
Charles Jacque. * * * He was most careful about his brushes; he liked
old ones better than new. He preferred to draw with his brush and made
little use of his pencil and crayon. The painter par-excellence of impres
sions and sentiments, he worked very rapidly and cared very little about
aesthetic effects." — Bryan's Dictionary of Painters and Engravers.
"In some of his works, the animals, which he painted with so much skill,
form the principal objects; in others, the landscapes; yet neither ever caused
him to neglect the other, and it is this, above all things, that gives them

216 T. B. WALKER COLLECTION.
such a peculiar appearance of truth. The figures he introduced into them
are also thoroughly well drawn and characteristic of the peasantry in that
part of France where such scenes as those he represents exist."
— Painters and Their Works.
"Rose to be one of the greatest, if not the first of modern French land
scape painters." —Cyclopedia of Painters and Engravers.

No. 327— "Cattle at Pasture."
2954x50.
From the collection of Conreid Meyer.
This is one of Mr. Troyon's wonderful landscape and cattle pictures,
painted about 1850 after his return from Holland and Belgium. The picture
was painted at Barbizon and the beautiful landscape is no doubt from quaint
Normandy. The scene is that of a broad expanse of meadow, watered by a
winding brook and bordered on either side by low. wooded hills. A herd
of cattle are pasturing some distance to the right, while in the foreground
are two magnificent cows; one lying down, the other standing lazily chewing
the cud, hard by, an old tree trunk made to serve as a crude land roller.
On the left, the edge of the woods no doubt hides from view the modest farm
house of the Normandy peasant. The sky is partially obscured by misty
clouds and the sunlight and shadows follow each other in rapid succession
across the beautiful landscape. It would be difficult to determine whether
this splendid painting is a landscape with cattle or cattle at pasture, as
both the cattle and the landscape are equally well painted, neither one
detracting from the other, and this peculiarity was what made Troyon's
pictures superior to nearly all other masters.

No. 328— "Cattle in the Twilight."
18^x25.
From the collection of Baroness Kaula, Paris.
In the foreground are three cows, two standing and one lying down
between them. The sun just setting tints the western sky to gold, which
in turn reflects the subdued and sombre light through openings in the
foliage of the forest, one kindly ray of early twilight dispelling the heavy
woodland shadows, showing forth in distinct outlines the cattle and trees
beyond. Farther on, in the gloom of the oncoming night, and almost hidden
from view by foliage and the tall waving grass, stands the quaint cottage
of the peasant. A friendly light from the window and the smoke coiling
lazily from the low chimney betoken hospitality and the preparation of the
evening meal.
A difficult subject most artistically handled.

No. 329— "Bringing Home the Lambs."
18}4x25.
Purchased from Troyon and brought to America in 1860.
The shepherd is just starting home from the pasture driving the sheep

 INDEX AND BIOGRAPHICAL NOTES. 217
before him, while the lambs are tucked snugly away in large baskets
strapped on either side of the faithful donkey who leads the way. One
sheep strays away to a small puddle of water left by the passing shower,
while the old white cow, jealous of the attention being given to sheep and
lambs, comes from the lake shore and seems inclined to join in the pro
cession. The drawing is most natural and although the tone may fall
slightly below his later works, they are nevertheless harmonious and truly
pleasing. No. 330— "Contentment."
2854x35.
Still another of this master's splendid pasture scenes, unique however, in
that he introduces a single cow accompanied by the peasant's faithful
donkey. The well kept appearance and perfect docility of both, show
plainly that their worth is fully appreciated, and that in return for faithful
services, they are accorded the kindliest treatment and the best care. The
whole picture is a vision of simple contentment. The kind peasant is
happy in two such valuable assets, coveting nothing more of earthly pos
sessions, craving only health and strength, that will enable him, with the
aid of his donkey and cow, to provide for his good wife, until younger and
stronger hands shall be able to take over the reins and carry on the work.
It cannot be said that simplicity and contentment are synonymous, but
we are assured that "the meek shall inherit the earth," and it must be plainly
evident to the most casual observer, that the most perfect happiness, and
the greatest measure of contentment comes to those whose pathway leads
through the simpler walks of life.
No. 330A— "At Pasture."
20x36.
Another of Troyon's landscapes with cattle pictures, and like all his
numerous works in this line, he does not subordinate the landscape to the
figures of the cattle, but cleverly makes each a part of the whole composi
tion. In this work the three cows in the foreground are prominent features,
and are extremely well formed, and artistically colored. Yet the pool of
crystal water, the broad green meadows, the peasant, and the distant wooded
hills, make up the necessary environments which with a wonderful perspec
tive, and a background of splendid clouds, constitute on the whole, a most
pleasing and satisfactory picture.
TURNER (Joseph Mallord William) - - England
Born at London, 1775.
Died December 19, 1851.
Entered Schools of Royal Academy in 1789.
Became A. R. A. in 1799; R. A, 1802.
Professor of Perspective in Royal Academy in 1807.
Turner's genius was early recognized by the Royal Academy, for in
1799, when only twenty-four, he was elected an Associate, and three years
later became an Academician. His famous "Liber Studiorum," ranks among
the important labors of his life. The Turner Room in the National Gallery,

218 T. B. WALKER COLLECTION. 
London, contains seventy of his best works. He died at Chelsea and was
buried in St. Paul's Cathedral.
"Turner was not only the greatest English landscape painter, but the
greatest interpreter of nature of any time or country. No landscapes convey
so natural and complete a sense of light and shadow and atmosphere, or so
entire a mastery of color as his." — D'Anvers" Elementary History of Art.
"The exhibition of 1815 was a remarkable one as regards Turner. Of the
eight works by him contained in it, four were in their several characters of
the utmost degree masterly— 'The Battle of Ford Bard in the Vale of Aosta,'
a large water-color drawing; 'Blind Sand,' 'Crossing the Brook,' and 'Dido
Building Carthage' — all different and each sufficient to have made a painter's
reputation. They are all four now in the National Collection." — The Turner Gallery.
"Turner, the best known name in English art, is represented (in the
Alaska- Yukon-Pacific Exposition) by one of his famous Venetian scenes and
a classic landscape in the tropics. He renders the poetry of nature as no
other artist, and the composition of his pictures is faultless; in portraying
gorgeous effect, and the phenomena of nature, he excels. He was the apostle
of light, and an artist of sublime genius."
— Chas. D. Pratt, Art Critic Alaska-Yukon Expo. 1909,
No. 331— "Venice."
44x56.
From the collection of Lord Townsend.
Mr. Turner was engaged by Lord Townsend to paint this large picture
for his private galleries. It is without doubt one of the best and largest
of this master's many Venetian scenes. There is not likely extant another
painting more respresentative of Turner's peculiar and attractive style than
this Townsend picture. His colorings run from rich deep reds to the most
delicate shades of pink and green, all blended with such harmony as to be
most pleasing and beautiful. The vari-colored reflections in the waters of
the canal have probably never been equaled by himself or any other master
of the brush.

No. 332— "The Ancient City."
36x42.
From the collection of James Orrick, Bedford Square; one of the most
important collections in London, England.
Originally, Mr. Orrick's collection contained four very fine Turners.
First this one was selected as being the finest and most important of the
quartette; afterwards the balance were secured for the Yerkes collection and
these are the Turners that brought such very high prices in the sale of Mr.
Yerkes' collection in May, 1910. D'Anvers says, "No landscapes convey so
natural and complete a sense of light and shadow and atmosphere or so
entire a mastery of color as his;" and this splendid example emphasizes
these facts to a marked degree.
On the right of the harbor, partially hidden by the trees, stands the
sombre ruins of a great castle; the vine-clad walls o'ergrown with moss
and the once magnificent interior, now the habitation of owls and bats.

INDEX AND BIOGRAPHICAL NOTES. 219
Just beyond is the fine stone bridge with triumphal arch in its center, while
in the distance are great columns, arches and spires and what seems to be a
magnificent marble palace rearing its resplendent domes against the deep
blue of a southern sky. The great throng of people, occupying the landing
and the numerous boats would indicate a great fete day and, as one boat
carries a priest, the occasion is no doubt an important religious festival.
The placid waters mirror back not only the palaces and the bridge, but
most artistically the blue sky and the fleecy clouds, painted in Mr. Turner's
inimitable style.

No. 333— "Crossing the Brook."
2354x19.
This picture is the original painting made by this celebrated artist, and
from which was painted the large canvas that is now in the Turner Collec
tion in the National Gallery in England.
A view of the banks of one of the most beautiful rivers in England —
the Tamar — which divides Devonshire and Cornwall. In the middle fore
ground is a brook, and there are two girls with bundles. One of them is
seated by the water side, the other is wading the brook, followed by a
dog carrying a small parcel in his mouth. On the right is a high and richly
wooded bank, with a dark arch at its base; on the left, two fine examples
of Turner's favorite stone-pines. In the middle is the winding Tamar.
In the distance is Poulston bridge, Calstock in the middle distance, and
beyond this is Calstock church. The landscape is most extensive and
beautiful, with high banks exceedingly rich in wood.
The picture is from the collection of Lord Jersey, where it remained
until dispersed a few years ago by his son, through the executor of Lord
Jersey's estate.

No. 334— "The Shipwreck."
24x35.
From a famous old English collection.
The great ship, unable longer to withstand the combined fury of the
storm and the sea, has foundered in the overwhelming billows and is fast
being engulfed. The angry sea is strewn with wreckage from the deck and
rigging of the unfortunate ship, torn and broken by the furious wind. For
tunately nearly all have succeeded in reaching the life boats, but the storm,
still unabated, churns the sea into madness and these small crafts seem about
to be swallowed up by the mountainous waves. The sea is transformed into
a boiling caldron, great troughs seething and eddying and huge waves
roaring and breaking into silver foam. The pall of darkness and the roar of
the sea, mingled with the din of thunder and the awful moaning of the
wind, all but turn the mind to madness, yet "'as hope springs eternal in the
human breast," each with tender thoughts of loved ones bends manfully
to the task until the storm is past.
Now the storm is past, one ship is a wreck,
The billows are sweeping across her deck;
And luckless men tonight will sleep,
Beneath the waves of the boundless deep.

220 T. B. WALKER COLLECTION 
No. 335— "Ancient Italy."
2754x3554.
From the collection of the Marquis d'Arjuzon, obtained by him when
he was attached to the service of Queen Victoria when she came to France
in 1842. It was afterwaids presented to the Marquis by the Court of Eng
land as a present from Queen Victoria to him.
The painting is one similar to the "Ancient Italy," painted byTurner
for Mr. Monroe and sold with his estate in 1838, the picture being substan
tially the same scene, but taken from a different point of view, showing a
little more in the front ground with the two characteristic Italian trees of
Turner, one on each side, that are not found in the "Ancient Italy" painted
for Monroe. The pictures are evidently taken from a little difference in
height for the front view.
The following certificate from Georges Mesnier, the art expert of the
government of France, under whose administration it was sold iri 1899 at
the sale of the personal property then in the Chateau d'Arjuzon near Dreaux:
"Sir: You have done me the honor of asking my opinion about a paint
ing representing "An Evocation of Ancient Italy," with a Venetian Fete,
by the celebrated English Master, William Turner (1775-1851), which was
shown to me a first time in 1899, when it was bought at the sale of the
Chateau d'Arjuzon, near Dreaux, the proprietor having been Court Chamber
lain of King Louis Philippe I., and, as such, was attached to the service of
Queen Victoria, when she came to France in 1842.
It appears that it is after said voyage of the queen that the Marquis
d'Arjuzon received as a gift the painting by Turner from the Court of Eng
land. Such is the origin of this painting as it was given to me with docu
mental proofs.
I examined it from the technical standpoint and found:
1. That the picture was painted on old canvas and mounted on old
stretchers, both of English manufacture.
2. That the painting had the density of paste over 50 years old.
3. That it bore trace of date and signature.
There is no doubt in my mind that the painting was the work of Will
iam Turner, who like our Watteau for his 'Embarking of Cyther' executed in
different conceptions and sizes this remarkable composition 'Ancient Italy,'"
etc. I am Sir, etc.,
Signed, GEORGES MESNIER,
Expert to the Civil Tribune of Paris, Oct. 4, 1901.

No. 336— "Sacrifice to Taurus."
39x52.
From collection of Lord Northwick.
Obtained direct from Turner's studio, by Northwick.
The Greeks and Romans took from Egypt much of their methology,
among which was the worship of the Sacred Bull (Taurus) and which they
made second in the signs of the zodiac after Aries.
In times of war or famine offerings were made to Taurus, which were
attended with great pomp and solemnity. The artist has represented such

INDEX AND BIOGRAPHICAL NOTES. 221

an offering in front of the temple, while the multitude on verandas, on the
house tops and aboard richly bedecked vessels view the proceedings. In
the center of the picture are the castle gardens and beyond the main temple
one sees temple after temple until their domes are lost to view in the hazy
sky. The fronts of the temples are almost hidden from view by beautiful
vines and the shadows of great trees.
No. 337— "The Tower of London."
30*4x43.
From collection of Lady Penelope Gage.
Engraved by Longman, Rees, Orme, Brown & Green, 1831.
A celebrated ancient fortress in London, consisting of a collection of
buildings of various ages on an elevated position on the north bank of the
Thames, outside of the old city walls. It covers about thirteen acres and is
surrounded by a battlemented wall flanked with massive towers and encircled
by a moat. In the center is the white tower built by Gundulf, Bishop of
Rochester, for William I, in 1078. It was successively strengthened by vari
ous English sovereigns. In the part called "The Bloody Tower," the two
young princes, sons of Edward IV, were murdered. The Royal Regalia,
crowns, scepters, etc., are kept in the Jewel House, and in other portions
are kept armours, weapons, etc. The Tower is now chiefly used as an
arsenal. No. 338— "Scene in Italy."
30x40.
Procured from the Cyrus Field Estate.
On a promontory overlooking a beautiful valley, stands a grand old pal
ace almost hidden by a clump of Turner's magnificent trees, o'ergrown with
a tangle of long climbing vines. The domes and chimneys alone are visible
above the trees, while the massive portico with its great marble columns,
projects beyond the cover of the trees in the direction of the broad fertile
valley extending on, and away to the sea. A number of persons in gay
costumes come from the place through what seems to be an underground
passage barely visible through the foliage of the shady wood. Picturesque
ruins and village hamlets adorn the broad valley and the neighboring hills
almost as far as the eye can penetrate; yet beyond, the sea, like a great
blue plain, reflects the color of the southern sky, and supplies a fitting back
ground to one of this master's most beautiful and characteristic landscapes.
No. 339— "Grand Canal, Venice."
7x9.
Venetian scenery seemed an inspiration to Turner. The brilliant cos
tumes, the picturesque gondolas, the unique architecture, and the grand
canals, were well suited to his natural sense of light and shadow, and his
entire mastery of tone and color. On this small canvas he presents the
"Grand Canal" in his own inimitable style, in atmosphere and colors unlike
any other painter, of the past or the present.

222 T. B. WALKER COLLECTION.

No. 340— "Scene on the Grand Canal."
17x2954.
From collection of Lord Northwick, guaranteed a genuine Turner.
This Canalazzo divides the city into two parts and is spanned by numer
ous bridges, the most important being the Rialto. This canal is also the
main artery of commerce, and is seen dotted with gondolas and other
pleasure craft as well as larger vessels of commerce. On the left is seen
qne of the many imposing buildings, and the domes and spires of numerous
churches and palaces may be seen almost as far as the eye can reach. The
delicate tints of the southern sky making a fit background for a striking
picture. No. 341— "Scene in Venice."
7x9.
Gondolas and other pleasure craft with gaily attired Athenians, drift
down the Grand Canal, while the gondolier sings as he plays his gay guitar.
"Then come and we'll glide o'er the silvery tide,
And watch the gay throng on the shore;
And my gondolier song, as our boat wafts along,
Shall keep time to the plash of the oars."
No. 342— "A Storm Along the Coast."
35x5554.
Storm clouds of inky blackness shut out the light, and in the pall of
darkness, the maddened sea aided by the power of the wind, makes a
determined effort to break her everlasting bounds. Mighty waves in rapid
succession vent their fury upon the rock-ribbed shore, their defiant roar
gradually decreasing to a sullen moan, as torn and broken they return again
to their place in the ocean's mighty depths. As the ear is rent with the
awful din, fancy separates the accompanying murmur of the storm into
the prophetic words, "He has compassed the waters with bands, until the
day and the night come to an end." "Hitherto shalt thou come, but no
further; and here shall thy proud waves be stayed." In this single work,
even though Turner had painted no other, is sufficient merit to establish
for him an enviable reputation as one of the greatest of the landscape
painters. No. 343 — "Classic Landscape, Central Italy."
40x50.
The beautiful fertile valleys spreading out to right and left are tra
versed by the rivers Pagalia and Chiani. The isolated city perched high
on the precipitous rock in the center of the picture is the historic cita
del of Orvieto noted principally for the cathedral of Duomo commenced
in 1290 by the great architect Lorenzo Maitani of Sierra, Pope Nicholas
VI laying the corner stone. From that time up to the beginning of the
seventeenth century, about every artist and sculptor of repute contrib
uted to its architectural beauty. The sculptures include the wonderful
bas reliefs which adorn the bases of the four pilasters of the facade, colossal
statutes of the twelve apostles standing on lofty pedestals in front of the

INDEX AND BIOGRAPHICAL NOTES. 223

six columns which divide either side of the nave from the aisles. In ad
dition to these, there is on the altar, the "Annunciation," the "Archangel,"
"Adoration of the Magi" and "Visitation," and wonderful paintings by Luca,
Zuccari, Circiquani, Fabriano and others. The cathedral is constructed
entirely of black and white marble.
Back of the city the mountains arise peak upon peak against a back
ground of an ideal southern sky. The rivers are spanned by numerous
bridges and in the foreground a bevy of people in holiday attire, enjoy
themselves on the verdant hill near the classic fountain, and beneath the
shadows of the lofty pines. It is not likely that the scene is technically
correct, but is presented in Turner's dream-like style calculated to im
press upon the mind the real facts, and indelibly fix them in the memory.

No. 344— "A Vision of Ancient Carthage."
32x46
The artist's conceptions in this beautiful picture are somewhat similar,
yet materially different from his "Dido and Aeneas Leaving Carthage on
the Morning of the Chase," exhibited at the Academy in 1814, or during
the short period wherein Turner gave himself up to the imitation of Claude.
Very soon after, however, he made his first visit to Rome, returning in
1820, which latter date is generally considered the beginning of his mid
dle and best period, and the effect of light, the clear harmonious colors,
and charming richness of this picture, show it to have been painted in this
period. The beholder gets but a glimpse of the magnificent palace of Dido,
occupying a wooded promontory on the right. A flight of broad stone steps
descending from the palace, form a bridge over the river; the last section
leading down to the shore, where a bevy of women from the royal house
hold, bask in the subdued sunlight of the late afternoon. On the left, just at
the foot of the stairway leading up into the gardens, we are given an intro
duction to the sylvan forests by the beautiful stone pines, the painter's
favorite tree. Farther on, the river is spanned by a great arched bridge
leading to -a small peninsula, adorned with important buildings, while be
yond the bridge may be seen the dim outlines of the magnificent city,
and the emerald waters of its broad harbor.
Carthage, which was one of Turner's favorite subjects, was founded,
and built by Dido, a Phoenician princess, and sister of Pygmalion, King of
Tyre, in the ninth century before Christ, and as the artist must, of ne
cessity, draw upon his imagination almost entirely, it is not strange that
his pictures of this, his favorite theme, should differ according to his
varying moods as well as upon his ability to produce them.

No. 345 — "Laggo Maggiore."
45x61.
This beautiful lake, is the westmost of the great lakes of northern
I Italy. It is from two to seven miles wide, and 38 miles long, the northern
end extending into the Swiss Canton Ticino. Ordinarily the surface of the
lake is 640 feet above the sea, but as there are many rivers flowing into
it, the surface varies at different seasons as much as twelve feet. The

224 T. B. WALKER COLLECTION.

shores are dotted by scores of beautiful villas and a number of small cities,
the most important of which are Pallanza, Intra, Locarno, and Luino, the
latter being the original home of the Luini family, and has a statue of the
great liberator, Garibaldi, commemorating his exploits in 1867. Ihe lake
receives several considerable streams, among which are the Toce, Maggia,
Verzasca, and the Tresa, and some of these bring down the surplus waters,
from lakes Lugano, Verese and Orta. Lugano, only a few miles distant,!
is 269 feet above the level of Maggiore, and is drained into the latter by
the Tresa river. The painting is an important example of the early part of
his later and best period and his handling of light and shadow, his charm
ing combination of colors and his wonderful atmosphere entitles him toj
the soubriquet "The apostle' of light."

No. 346— "View Down Canal Grande, Venice."
40x6354.
This view of Venice is no doubt from the "Ponte Sierra della Ganita" i
looking down the Grand Canal, but like many of Turner's dream-like scenes,
is not technically correct. The great archway and wharf in the left fore*-
ground is no doubt the eastern end of the Sierra della Ganita bridge, as
people are seen passing over it. On either side of the canal are brick, and
stone buildings of more or less importance, ending on the right with the
church of St. Maria della Saluta built by Baldassre Loughena in 1632, as a
thank offering for the end of the great plague of 1630. Other towers and
domes seen on the right, no doubt mark the location of the palace Damo,
the church of St. Gregorie, etc., while those on the left are the palaces and
churches in the vicinity of the square, and church of St. Mark and the _
wonderful Ducal palace, or palace of the Doges. The larger and farther
square tower being the Campanile of the church of St. Mark, built in the
square west of the church. This great tower was founded about 900 A. D.
by Doge Pietro Tribuno and finished about 1131. It is a very massive square 1
of brick, 325 feet high and 42 feet square. The canal is alive with gondolas,
barcas, sailing boats, etc., some of which are for hire, but many are the
private pleasure craft of the nobility. Besides the Grand Canal and the
Canal Gindecca, there are no less than 178 smaller canals, practically all
streets being canals. And as the city is connected to the mainland only by
the great 222 arch Railway bridge, a boat of some character becomes a posi
tive necessity to every household. Is it any wonder that artists paint dream 1
pictures of this most peculiar city, whose very outlines are that of the ,
painter's right hand holding his brush, and whose palaces, churches, mu
seums, and even private dwellings, are literally laden with the art treasures
of the ages?

UNTERBERGER (Franz) - - Austria
Born at Innspruck, 1838.
Pupil of Munich Academy, and of Albert Zimmermann, in Milan.
He studied in Dusseldorf, under Andreas Achenbach.
Visited Norway in 1860.
Afterwards settled in Brussels, where he followed the Belgian School.

 INDEX AND BIOGRAPHICAL NOTES.  225
Later, visited Southern France and Italy, and several times the coasts of
England and Scotland.
Several Medals.
Order of Francis Joseph.
No. 347— "Scene on the Coast of Italy (Terra del Grecco)."
24x37.
An old castle situated on a point of land jutting out into the ocean,
and well into the center of the picture. A fishing party is seen on the
rocky shore to the left. The full moon in the open space between the
clouds casts a long line of bright reflections over the rippling water. A fine,
strong, well-toned sky and a softly painted ocean surface, together form a
very attractive picture.

VAN MARCKE (Emile) - - - - - Paris
Born at Sevres, France, 1829.
Pupil of Tryon.
First exhibited in Salon, 1857.
Medals, 1867, 1869, and 1870.
Legion of Honor, 1872.
Medal, Exposition Universelle, 1878.
. "He was Tryon's pupil, his dear friend, and his son-in-law. Under
such circumstances, and given his remarkable talent, it is not wonderful
that he developed very rapidly into an admirable artist. His handiwork is
so admirable, his impulse so vigorous, his animals so splendidly alive, and
his landscapes so finely conceived, that he well deserves the epithet, a
great painter." — Mrs. Van Renssalaer.
. Tryon's fellow townsman and pupil, Van Marcke, has attained high rank
in the line of his master's successes. He is, indeed, a master of brush work
and vivacious effect. He groups and models with excellence, usually making
marked contrast of color, as a vt-hite cow against a black one. His pictures —
forjry-three in all, up to 1882 — have been conspicuous in every annual Salon
since he made his debut in 1857. They form a series of varied pasture
scenes and milking times." — History of French Painting.

No. 348— "At Pasture."
\ 2754x36%.
In an extensive prospect of pasture land, and in the immediate fore
ground, are three cows. Standing in full view facing the spectator is a red
cow with white markings. Just beyond her is a black cow seen in profile.
At the right, another cow is lying. They are attended by a blue-frocked
bay, who is standing near by. The fine drawing, beautiful coloring* solid
execution and splendid lights and shadows make this painting as fine as any
one Tryon, his friend and master, has ever produced.

226 T. B. WALKER COLLECTION. 
No. 349— "Homeward Through the Forest."
25x31.
Van Marcke, like Troyon, his illustrious tutor and father-in-law, was pre
eminently a cattle painter, and while it would be difficult to determine which
of the two painted the most successful pictures, yet it is safe to say that no
artist, either ancient or modern, has ever surpassed Van Marcke in this
class of work. In this beautiful example he introduces the husbandman
bringing home his cows from the pasture. The way leads through the
shady woods, where even now the shadows deepen, as the sun drops low in
the western sky. But just as we meet the herd, the soft rays of the sun
break through an opening in the overhanging branches, tinting the foliage
with its golden glory, while the lengthening shadows of the lazy cows move
like phantoms across the pale green carpet of the witching woodlands.
The youngest of the little herd, more curious than her mates, listens intently
to the noisy cat-bird, and the merry song of the lark, as alone he conducts
his vesper service from the pinnacle of the loftiest tree.

VASARI (Giorgio). Born at Arezzo, Tuscany, Italy, 1511.
Died in Florence, 1574.
"Florentine School; pupil of his father, Antonio Vasari, and afterwards
of Andrea del Sarto and of Michelangelo. In Florence he was patronized
by the Medici, for whom he executed many works both agricultural and
decorative." — Cyclopedia of Painters and Paintings.
"He was taught the rudiments of drawing by his father, and the first
principles of painting by William of Marseilles, a Frenchman and a painter
on glass; but being taken to Florence by Cardinal da Cortona, he improved
himself under Michelangelo, Andrea del Sarto, and other great masters. ' By
the Cardinal he was introduced into the Medici family; but when they were
driven from Florence, he returned to his native city."
— Pilkington's Dictionary of Painters.
"There are many works by Vasari in the different churches in Italy,
among which the most remarkable are three sacred subjects in the refectory
of S. Michele, in Bosco, at Bologna; the Feast of Ahasuerus, in the church of
the Benedictines, at Arezzo; the Adoration of the Magi, at the Conventual.,
at Rimini. "He is allowed to have been an able designer, and to have been a
competent master of the ornamental style."
— Bryan's Dictionary of Painters and Engravers.
"He was instructed in design by Michelangelo and Andrea del Sarto; in
painting by Rosso and Guglielmo da Marcilla, an eminent glass painter of
that age. His chief improvement, however, was at Rome, whither he was
brought by Cardinal Ippolito de Medici, and introduced by that nobleman
to his family, who afterwards loaded him with riches and honor. According
to Lanzi, after having designed all the works of Michelangelo and Raffaelle
at Rome, and much after other schools, and the antique marbles, he formed a
style in which we discover traces of his studies; but his predilection for
Buonarotti is apparent.'
"Lanzi further says, 'He could, unaided, direct the construction of'1 a

 INDEX AND BIOGRAPHICAL NOTES.  227
grand fabric, adorn it with figures, grotesques, landscapes, stuccos, gilding,
and whatever else was required to ornament it in a princely style.'
"By this means he became known in Italy and was employed to exer
cise his talents in various cities. He painted a number of pictures in the
Vatican, also in the Hall of the Chancery, where he executed a series of
historical frescos from the life of Paul III, at the desire of Cardinal Farneso.
"Besides his works at Rome and Naples, Vasari executed many others,
among which are the Adoration of the Magi, in the Conventuali at Rimini;
the Feast of Ahasuerus, in the church of the Benedictines at Arezzo; and
three sacred subjects in the refectory of S. Michele, in Bosco, at Bologna.
Brought into public notice by these works, honored by the esteem and
friendship of Buonarotti, and recommended by his multifarious abilities, he
was invited to the court of Cosmo I, at Florence, whither he went with his
family in 1553.
"Vasari conducted several works with sufficient care to evince abilities
of uncommon order. Battari does not scruple to compare some of his por
traits to Giorgione; Berghim extols his Conception in S. Apostolo, at
Florence; Lanzi praises his Decollation of St. John in the church at Rome,
dedicated to that apostle, and says that if all his work had perished bu-t
the above and some of those in the Palazzo Vecchio at Florence, his reputa
tion would have been much greater.
"He was the father of the history of painting and has transmitted to
us its most precious materials." — Sfooner's History of the Fine Arts.

No. 350— "The Holy Family."
35x25.
The artist represents the portraits of the infant Jesus and John the Bap
tist, each upon the knee of his mother, and in the background Joseph, the
carpenter. The portrait of Mary is exceptionally well drawn and beautifully
colored; but the chief features are the soft, dimpled forms and childish sim
plicity of the two children. In beholding the two innocent faces, John with
a smile and Jesus' face serious, we are reminded that in after life "John
came eating and drinking," while Jesus was often known to weep, but never
known to laugh; and the great painter seems to foreshadow the lives of
the two men in the splendid portraits of the infants.

VERONESE (Paolo). Born in Verona in 1528.
Died in Venice in 1588.
Venetian School.
Real name was Paolo Caliari or Cagliari.
"As Titian was then very old, Veronese shared with Tintoretto the
most important commissions. He received orders from the Emperor Ru
dolph II, Duke of Savoy, and the Duke of Modena."
— Cyclopedia of Painters and Paintings.
"His first works in Venice were for the church of San Sebastiano. Here,
after painting the ceiling of the Sacristy, he was commissioned to undertake

228  T. B. WALKER COLLECTION. 
the ceiling of the church itself, which he decorated with gorgeous scenes
from the history of Esther. These were so much admired that the prior
further employed him to paint a beautiful altar piece of the Madonna in
glory, and several smaller works. * * * Indeed, the whole church of
San Sebastiano glows with his work and remains a splendid monument of
his masterly power and skill." — Bryan's Dictionary of Painters and Engravers.
"His taste was better adapted to large than small compositions, for
though in the latter his merit in coloring and design was evident, yet in
the former he displayed all the fire of his imagination and the versatility and
magnificence of his invention. In most of his large works he was either
the associate or competitor of Tintoretto; nor was the prominence of either
ever determined. If Tintoretto was allowed to imitate nature with superior
force and vivacity and more truth of color, Veronesp was acknowledged to
have a finer invention, more grace in his figures, more dignity in his char
acters and more elegance. His composition is grand, his design noble, and
executed with truth and spirit." — Pilkington's Dictionary of Painters.
"Paolo Veronese rivaled even Titian in the grandeur of his individual
forms, and Tintoretto in the magnificence of his compositions.
Paolo worshipped beauty for its own sake only, and was thoroughly in
touch with it in its every manifestation. His imagination was, it has been
somewhat carpingly said, neither exalted or profound; but even if this be
true, he was undoubtedly able to 'reproduce what he saw with a truthfulness
and skill rarely, if ever, surpassed. To interpret faithfully the relations and
mutual effect of the various figures and objects brought together in one
scene; to translate successfully every subtle effect of light on an infinite
variety of surface and gradation of color; to immortalize the lovely women
and noble-looking men with whom he was brought into contact, and to
transmute into one harmonious whole, in which there was never any con
fusion, all the scattered and conflicting elements of charm in the great ban
queting scenes, at which he himself often assisted, were the chief aims of
the Master, and that he fully realized them not even the most grudging critic
can deny." —Biography of Paolo Veronese, by Mrs. Arthur Bell.
No. 351— "Arranging the Toilet."
2454x35.
In an ancient Roman bath, surrounded by marble walls, a couple of maids
are giving the finishing touches to the princess' bath, while two other maids
bring m the gowns ready to complete the toilet. A colored servant brings a
message announcing that he whom she is expecting, has already arrived
and awaits her in the beautiful palace gardens, indicated by the pointing
messenger. The whole composition is grand, the designs noble, and the
colorings soft and pleasing. The modest grace of the figures show the
characteristic dignity and perfect purity in Veronese's art.
VERBOECKHOVEN (Eugene Joseph) - Brussels
Born at Warneton, West Flanders, 1799.
Died, 1881.
Medals at Paris, 1824, 1841, and 1855.
Legion of Honor, 1845.

 INDEX AND BIOGRAPHICAL NOTES.  229
Chevalier of the Orders of Leopold, St. Michael of Bavaria, and Christ of
Portugal.
Decoration of the Iron Cross.
Member of the Royal Academies of Belgium,. Antwerp and St. Petersburg.
He stands in the first rank of cattle painters of the present day (1880),
and is so full of commissions that it is difficult to get anything from him
without infinite patience." — Ottley's Painters and Engravers.

No. 352— "Loch Lomond."
28x4754.
From the collection of A. T. Stuart.
A flock of sheep, attended by a Highlander and his dog, are being
hurried home to escape the threatening storm. The painting of the sheep
is particularly fine. Each one has its individuality retained and expressed.
Their wool is soft and fleecy, their eyes shine, while their hoofs seem to
clatter along the pebbly road.
The figures are painted by Verboeckhoven, while the landscape was the
work of Hoffiaen, one of the best known landscape artists of his time.

VUILLEFROY (Dominique Felix de).
Born in Paris, 1841.
Animal and landscape painter.
Pupil of Hebert, Bonnat and Tryon.
Medals, 1870 and 1875.
Legion of Honor, 1880.
Hors Concours.

No. 353— "Swiss Mountain Cattle."
31*4x39.
Obtained direct from the Artist.
In a narrow, verdant valley, surrounded by beautiful green tree-capped
hills, a herd of hardy mountain cattle are feeding. Some are drinking at a
quiet pool, that reflects the hills, the sky, and the faces of the cattle. The
drawing, coloring and grouping of the cattle, and the fine landscape and
misty sky are worthy of especial notice.

WALKER (James Alexander).
Born at Calcutta, India, of French Parentage.
At present residing at Paris, France.
Exhibited in Salon, 1884.

230  T. B. WALKER COLLECTION. 
No. 354 — "Scene in the Franco-Prussian War."
26x37.
Through the narrow streets of a French village, the Prussian White
Cuirassiers are charging in full force, their horses galloping at a mad pace,
while from the windows, roofs and balconies of the houses; — in fact, from
every conceivable point of vantage, the French soldiers at close range, are
firing upon them. Some of the horses are down, others have lost their riders.
On they come, their valiant general in the lead. Certainly, not the least of
the horrors of war are the sufferings of the poor animals, which are made to
share its disasters and its chances. The background is one of smoke and
inextricable confusion. Nothing could be more realistic than the scene here
depicted.

WATSON (William) - .... . London
An English Painter.
Pupil of Edwin Landseer and Rosa Bonheur.
Regarded by many as the finest of all modern sheep painters.

No. 355— "Highland Sheep."
. 24x3554.
This Highland sheep scene is beautifully drawn, rich and harmonious in
color, finely balanced, very soft in tone, and generally regarded as one
of the finest sheep pictures in America. The landscape is as soft and rich
in color as a Daubigny; the sheep are as natural, as well drawn, and as
beautifully colored as could be done by either Landseer or Rosa Bonheur.
The positions are all natural, and the sheep themselves look like real life.
The cattle on the farther hills, the valley with the river in the distance, and
th blue mountains away beyond, blending with the gray and light yellow
sky and mixed fleecy clouds, together make it one of the most generally
attractive and popular pictures of the collection.

WESTERBEEK (C).
No. 356— "Pastoral Scene in Holland."
26x45.
Here we have a rural scene in Holland. Occupying the left of the
canvas is a river on whose shallow edges grow long brown grasses which
are reflected in the still water. Several cows are lazily feeding on the green
grass. Farther on is a meadow of shrubbery running out into the water,
while away in the distance can be seen on the bank of the river an old Dutch
windmill. The sky is a deep blue, gradually growing paler as it stretches
off to the horizon. A pastoral scene as soft and beautiful as though painted
by Mauve or Troyon. ' ; ";.

INDEX AND BIOGRAPHICAL NOTES. 231

WILSON (Richard). Born at Pinegas, Montgomeryshire, Aug. 1, 1713.
Died at Llanberris, Carnarvonshire, May, 1782.
Landscape and portrait painter.
Pupil of Thomas Wright.
Later studied in Italy.
His picture of "Niobe" gained him recognition on its exhibition at the
Society of Fine Arts. It was purchased by the Duke of Cumberland. Wilson
was one of the original members of the Royal Academy, and, in 1776, was
appointed its librarian.
"Long after his death the popular taste became educated to his standard,
and he is now regarded as one of the greatest of English landscape painters."
— Cyclopedia of Painters and Paintings.
"In 1749 he was employed by Dr. Hayter, then their tutor, to paint
portraits of the Prince of Wales and the Duke of York. There are many
portraits by him at the Garrick Club and in private collections. Richard
Wilson was the greatest landscape painter which the British School produced
up to the end of the last century." — Painters and Their Works.
"The style of Wilson is altogether original. Following nature as his
guide, he adopted a varied and interesting manner, distinguished for its
boldness and fidelity to nature, yet entirely classical. He avoided the acquisi
tion of all adventitious beauties and escaped the mannerism which generally
arises from the too partial study of favorite masters."
— Spooner's History of the Fine Arts.
"Of the style of Wilson it might be sufficient to observe, that it formed
an epoch in English landscape painting; being equalled by none before, and
perhaps not surpassed by any who have followed in the same line. His
claims to praise are grandeur in the choice or invention of his scenes, felicity
in the distribution of his lights and shadows, freshness and harmony in his
tints. Mr. Fuseli says, in his figurative manner, that 'Wilson's taste was so
exquisite, and his eye so chaste, that whatever came from his easel bore
the stamp of elegance and truth. The subjects he chose were such as did
credit to his judgment; they were selections of taste; and whether of the
simple, the elegant, or the sublime, they were treated with an equal felicity.
Indeed, he possessed that versatility of power, as to be one minute an eagle
sweeping the heavens, and the next a wren twittering a simple note on the
humble thorn.' His coloring was in general vivid and natural; his touch
spirited and free; his composition simple and elegant; his lights and shadows
broad and well distributed; his middle tints in perfect harmony; while'
his forms in general produced a pleasing impression."
— Pilkington's Dictionary of Painters.
"Richard Wilson was the greatest landscape painter which the British
School produced up to the end of the last century. Fashion may at one time
cause works of an artist to rise artificially above, and at another to sink
below, their real value, but where, as in case of Wilson's, the prices paid
for them at auctions have remained about the same for a century, no amount
of .adverse and prejudiced criticism will prove that they are worthless, or
that the favorable opinion of those who purchased them was wrong."
— Painters and Their Works, Vol. 3, Page 308.

232 T. B. WALKER COLLECTION.
No. 357— "On the Banks of the Tiber."
33x4454.
Painted in the style of Claude, and, by general assent, as fine and beau
tiful as any landscape ever produced by that artist.
On the right, almost hidden from view by stately trees, is seen the
ruins of a magnificent palace, with approaches leading down to an arched
bridge crossing the river. Farther away, on the left shore of the river, are
the remains of other castles, with rugged hills rising abruptly in the
background. The magnificent valley is visible almost as far as eye can reach, while
shepherds occupy the historic ruins as sheepfolds, and the fertile valley as
pastures. The distribution of lights and shadows is unsurpassed — the outlines
pleasing, the coloring most har-nonious, soft and beautiful.

No. 358— "Landscape Near Tivoli."
37x49.
From Howard's sale in 1872.
Tivoli is an Italian city of about 10,000 inhabitants, situated seventeen
miles northeast from Rome on one of tbe spurs of the Monte Ripoli, 830
feet above the sea.
The bridge in the picture spans the river Anio, whose great mass of
waters fall over a lofty cliff near the city of Tivoli, but at this point we
behold the rapids below the falls. In the foreground three men stand
conversing while one points in the direction of the roaring cataract back
of the grand trees which border the shore.
A quaint old building occupies a small wooded plain on the opposite
shore, while beyond, the foot hills rise one above another, overshadowed by
the towering mountain whose summit is partially hidden by the fleecy, white-
capped clouds. The tone is somewhat after the style of Vander Mueller,
although much more fresh and harmonious.

WYANT (Alexander H). American School.
Born in Fort Washington, Ohio, Jan. 11, 1836.
Academician in American Academy, New York, 1869.
Landscape painter.
Pupil of Hans Gude in Carlsruhe, 1866.
Studied Turner and Constable in London.
"Exhibited first at the National Academy, New York, in 1865. Elected
an A. N. A in 1868 and N. A. in 1869. Studio in New York."
— Cyclopedia of Painters and Paintings.
"Mr. Wyant's landscapes in recent years have received a great deal
of attention and intelligent admiration, and the spectator who appreciates
them would think it almost incredible that their maker ever studied at

INDEX AND BIOGRAPHICAL NOTES. 233
Dusseldorf. * * * It is to the influence of Constable primarily that the
pictures of Mr. Wyant, like those of the best French landscape painters, owe
their breadth and freedom of treatment. * * * His soft far distances and
immediate foregrounds are alike impressive in contradistinction to being
didactic. * * * And his art, like all good art, is delicate, simple and
direct. * * * He interprets the beauty of the unseen and the lasting,
and if he is sometimes less perspicacious than he might be, the failing is
one that leans to virtue's side:" —American Painters by G. W. Sheldon.

No. 359— "A New England Landscape."
17%x2554.
A broad breach in the dense hedge of water, beach and hazel bordering
the rocky shore of a crystal brook, brings to view the green meadows and
distant hills of a New England landscape. On a grassy knoll to the right,
two sturdy elms stand as sentinels o'erlooking the broad meadow land
beyond. At this point an unfrequented roadway fords the stream, winding its
devious way to the hilly country beyond. The threatening clouds and the
peculiarly ominous light, all but obscuring the distant hills, portend a coming
storm. A splendid painting by one of America's leading landscape painters.

ZAMPIERI (Domenico). Commonly known as "Domenichino."
Belognese School.
Born in Bologna, Oct 21, 1581. Died in Naples, April 15, 1641. Pupil
of Denis Calvaert and later of Carracci. Appointed architect of the Apostolic
Chamber by Gregory XV., 1620.
"Was placed, when young, under the tuition of Dionysius Calvaert; but
being treated with severity by that master for copying a drawing by Anni-
bale Carracci, he prevailed on his father to remove him to the Academy of
Carracci, where Guido and Abbani were students. On the first award of a
prize after his admission, Domenichino was hailed, much to his own aston
ishment, as the successful candidate, and this triumph incited him to greater
assiduity. He contracted an intimacy with Albani, and on leaving the
school of the Carracci, they visited together Parma, Modena, and Reggio,
to study Correggio and Parmigiano. On their return to Bologna, Albani
went to Rome and was soon afterwards followed by Zamprieri. * * *
In the first half of the nineteenth century, his reputation with amateurs al
most rivalled that of Raphael." — Bryan's Dictionary of Painters and Engravers.
"After studying works of Correggio and of Parmigiano at Parma, and
Modena, went to Rome and aided Annibale Carracci in the Farnese frescoes.
He soon became distinguished as an accurate designer and a true colorist,
and was employed in painting frescoes by Cardinals Borghese, Farnese, and
Aldobrandini. In 1630, * * * he went to Naples to decorate the chapel
of S. Januarius in the Cathedral with frescoes of events in the Saint's life,
but before they were finished, he was so persecuted by the notorious cabal,
—the painters Corenzio, Spagnoletto, and Caracciolo— that he worried him
self to death, or as is suspected, died of poison."
— Cyclopedia of Painters and Paintings.

234  T. B. WALKER COLLECTION. 
"His great picture in oils> is that by which his talents are usually esti
mated, and it is therefore as well to recall the fact that Nicolas Poussin, a
man who knew what is bad or good in art, gave it as his opinion that among
the pictures in oil in Rome, it (The Last Communion of S. Jerome) was the
next best to the "Transfiguration," by Raphael. * * * It is only neces
sary to examine the volumes devoted the works of Domenichino in London's
"Vie et Oeuvres des Peintres les plus celebres," 1803-1834, to be convinced
that he was one of the greatest artists that Italy has produced."
— Painters and Their Works.

No. 360— "Saint Cecelia."
45x38.
From the collection of Lord Buckland.
One of the many circumstances related in the legends concerning St.
Cecelia is that she often accompanied her voice with instrumental music in
singing praises to the Lord. Upon this all her fame. has been founded and
she is regarded as the special patroness of music and musicians the world
over. One legend describes her as a rich Roman lady, who lived in the
time of Emperor Alexander Severus about 230 A. D. Bishop Portiers, how
ever represents her to have died in Sicily between the years 176 and 180 A. D.
The Church of St. Cecelia, it is alleged, was built by Urban I., on the
site of the house inhabited by. Cecelia, in a part of the city called Trastevere,
near the Ripa Grande, the traditional "Fero degi Eberi," or quarters as
signed to the Jews. In the picture she is seated by a table playing upon an
ancient lute or guitar. On the velvet covered table in front of her lies a violin,
two music books, an ink stand, and another instrument of the same variety
as the one upon which she plays. The composition is all but faultless, the
colors pleasing, and the finish in the style of his great master, the Carracci.

ZIEM (Felix) .... .... France
Born at Beaune (Cote-d'Or), 1821.
Died at Paris, Nov. 10, 1911.
Architectural and marine painter.
Pupil of Art School at Dijon.
Traveled in 1845-1848 in Southern France, Italy and the East.
Medals, 1851; 1852, and 1855.
Legion of Honor, 1857; Officer, 1878.
¦ "His pictures, especially his views of Venice, have won for him a
world-wide reputation." —Cyclopedia of Painters and Paintings.
"Felix Ziem must not be forgotten for the glowing Venetian views,
architectural and marine, which we owe to his brush. His tastes are all
Oriental, though he has painted a splendid 'View of Antwerp,' as well as
'View of Constantinople.' " — Radcliffe' s Schools and Masters 'of Painting.

INDEX AND BIOGRAPHICAL NOTES. 235

No. 361— "Looking Up the Grand Canal."
1254x16.
The blue waters, slightly rippled by the soft morning zephyrs, reflect in
varied tints the glories of the eastern sky. The sun, like a golden sphere, is
just rising above the horizon and as yet few gondolas are afloat on the
grand canal. On the right, the resplendent white dome of a great cathedral
and the spires and roofs of other important buildings are dimly discernible
through the mellow light of the early morning. Venice was Mr. Ziem's
inspiration, and his most characteristic works, therefore, are his glowing
views of this historic city.

No. 362— "On the Grand Canal, Venice."
32x48.
This is regarded by many as the best, picture painted by this artist.
The water appears so liquid, semi-transparent, soft and rich in color. The
boats are painted in the rich colors commoH to this artist, although much
finer and better than in his more rapidly executed work. The sun shines
down the center of the Grand Canal from the far distance. The sky is
colored with a rich yellow tinge around the sun, and graduating off into the
fleecy clouds in the upper and outer background. The Palace of the Doges
is on the right side, and a large gondola on the left side balances up the
picture. There are many boats along the shore line and farther out into
the canal, with numerous persons gathered on the wharf on the right and in
the foreground. It is a picture as soft and rich in color as a Turner,
although not by any means an imitation of the work of that artist.

No. 363— "The Piazza, or Square of St. Mark."
27x42.
This great square is 200 feet broad by 570 feet long, and fronts on
the sea. Many of the largest buildings have their frontage on this piazza,
and may be seen on the left far into the distance. All manner of vessels are
seen on the water front, and all business seems to be forgotten, as the
city is given over to a grand holiday fete. The people throng the streets,
and the whole city seems clad in gala attire. There are two large columns
in this square called "The Columns of St. Mark." On top of the one seen
in the picture is a winged green Lion, while the other is surmounted by a
knight holding a shield bearing a cross. The resplendent coloring of the
building and other objects set in a background of magnificent blue makes
an exceedingly pleasing and interesting picture.
No. 364— "Venice, the Queen of the Sea."
23x31.
On the left of the Grand Canal are many large buildings, and still
further one sees the polished domes of temples and the towering spires of
churches until the outlines are lost to view in the declining twilight.
The larger ships have anchored for the night and the sun dips low in

236 T. B. WALKER COLLECTION.
the west, his slanting rays turning the blue waters to gold and adding glory
to a beautiful southern sky. A few pleasure craft are already seen, and soon
we may hear the gondolier's song:
"My gondola's lying below, love,
Come open thy lattice tonight,
The waters invitingly flow, love,
The moon on their bosom shines bright."

No. 365— "Venice."
25x39.
The artist here gives us a splendid view of the Grand Canal, its limpid
waters reflecting the blue and gold of the southern sky, and the outline of
numerous craft floating upon its crystal surface.
To the right is the magnificent Palace of the Doges, or Governors of
Venice, while far away on the left is seen the domes and towers of numer
ous churches and palaces rising one above another until lost to view in
the dim distance.

No. 366— "On the Coast of Morocco."
21x32.
Pronounced one of the best of Ziem's smaller paintings. Emerging
from the shadows of a clump of trees bordering the ' shore, is a typical
Moorish boat laden with no less than fourteen native Berbers, Arabs and
Moors, each dressed in his own peculiar garb. The waters mirror back the
deep blue of the southern sky, and the brilliant colors of the costumes worn
by the occupants of the boat. The mellow rays of the setting sun lend a
soft glow to the distant clouds, and shed their glory over the great white
mosque, and the quaint city which clusters about it. Sea-fowls hurriedly
scan the waters in search of their evening meal, while the sun like a great
ball of fire slowly sinks from view behind the watery expanse of the broad
Atlantic.

No. 367— "Celebrating on the Grand Canal."
2654x41.
Considered by art critics as one of Felix Ziem's choicest Venetian scenes.
The occasion is thought to be the Doge's annual fete, and the splendid boat
carrying the profusion of penants, the flag ship of his honor the governor
(Doge) of Venice. The surface of the water slightly "choppy" from a
freshening breeze, and o'ershadowed by a partially cloudy sky, does not show
the clear mirror-like brilliancy so noticeable in others of this artist's works,
but this fact only adds to its merit. For although he has chosen a much
more difficult composition, produces in the water a combination of tones
and colors that are not only true to nature, but have in themselves a
charm peculiarly their own, and a beauty as pleasing as those more clear and
transparent. The lines of imposing buildings stretching away on either side
mark the course of the Grand Canal, the principal highway of ancient Venice.

INDEX AND BIOGRAPHICAL NOTES. 237

No. 368— "Boat Racing, Venice."
2654x45.
The' long line of buildings on the right, ending with the great white dome
in the distance, includes the Doge's and other palaces, and a number of grand
old churches, for which the city is famous. In the foreground a multitude
of boats and small crafts, some as contestants, other as spectators to the
grand fete, dot the city's grand highway. The promising breeze that fans
the sails of the larger craft, has not as yet ruffled the surface of the water,
and mirror-like they reflect into their depths the deep blue of the southern
sky, the brilliant pennants of the boats, and the gay attire of the numerous
merrymakers. The whole composition is charming and the water simply
marvelous.

No. 369— "A Venetian Revery."
2854x3854.
It is late afternoon when the slanting rays of the sun are tempered by
the soft evening breezes coming in from the sea, and gay throngs already
begin to congregate under the shadows of the buildings, ready for a glide
on the canal in some one of the numerous gondolas, barcas and launches
lying at anchor in the vicinity. On the right is the Palazzo Ducabe, or
Palace of the Doges, first erected in 800 A. D. and rebuilt in styles of ever-
increasing grandeur after five destructions. The interior is exceptionally
fine and contains many works of the old masters, including "Paradise" by
Tintoretto, the largest oil painting in the world. The famous "Bridge of
Sighs" leads from the Ducal palace to the Prigioni Criminali (prison for
ordinary criminals). Among the other palaces along the Grand Canal are
Corner della Ca Grande, Grimani, Farsetti, Lovedan, Rozzanico, Foscari,
Cappello, Layard, Bernardo, Ca Doro, etc., some of which are shown in
this interesting painting. The Grand Canal is about two miles long, but as
its course is somewhat like a letter S, it is impossible at any point to secure
a general view. In the picture the waters mirror back the deep golden color
of the summer clouds and sky and the shadows and tones of the objects
floating on its surface.

ZUCCARO (Frederigo) "Zucchero."
Born at St. Angelo in Vado, 1543.
Died at Ancona, 1609.
Placed under the tuition of his brother Taddeo at Rome when but seven
years of age.
Established the Academy of St. Luke, at Rome, under letters patent
from Sixtus V.
"He was employed by Pope Pius IV. in conjunction with Borocci in
the Belvedere where he painted 'The History of Moses and Pharaoh,' 'The
Marriage in Cana,' and 'The Transfiguration.' These works gained him great
credit; and Taddeo furnished him with further opportunities of distinction by
making him his coadjutor in the Vatican, and in the Villa Farnese at
Caprarola. * * * On the death of Taddeo, in 1556, Gregory, XIII. en
gaged Frederigo to paint the vault of the Capella Paolina, but quarreling

238 T. B. WALKER COLLECTION.
with some of the Pope's officers, the painter took refuge in France. * * *
From France he went to Antwerp where he painted several cartoons for
tapestry; then to Amsterdam, and in 1574 to England. * * * It is affirmed
by Lord Orford that Mary Queen of Scots sat to him." — Painters and Engravers.
"In 1572 he went to France and soon after to Flanders, Holland, and
England. He painted several portraits of Queen Elizabeth and other dis
tinguished personages. He was the author of a treatise on painting, sculp
ture and architecture." — Cyclopedia of Painters and Paintings.

No. 370— "Mary, Queen of Scots."
18x13.
From the collection of the Duke of Portland.
Mary Stuart, Queen of Scots, was the only surviving daughter of James
V. and Mary of Guise (or Lorraine), who was a daughter of the French
Duke of Guise. Mary Stuart was born at Linlithgow, about December 7,
1542, and as her father, James V. died only a few days after her birth, Mary
was, in September, 1543, crowned by Cardinal Beaton, a prelate of the Roman
Catholic party, who had usurped the office of regent. Henry VIII., of
England, determined to obtain the hand of Mary for his son, hoping thus
to unite the two countries, but an arrangement had been made whereby she
was to marry the Dauphin of France. She was, therefore, in 1548, sent to
Paris to complete her education and before her marriage to the Dauphin,
in April, 1558, she was not only the most brilliant, but the most beautiful
woman in all Europe. On the death of Henry II. her husband ascended
the throne of France as Francis II. (1559) ; then, following the death of the
English Queen Mary, Francis and Mary assumed the titles of King and
Queen of England, refusing to recognize the right of Elizabeth. Francis'
sudden death, in December, 1560, however, clouded Mary Stuart's brilliant
prospects. She went to Scotland in August, 1561, but her marriage to her
cousin, Lord Darnley, and intriguing with the King of France for the exter-
pation of heresy, made her extremely unpopular. It is believed that she
plotted the killing of Darnley, by blowing up the house in which he was
lying ill, and soon after married the Earl of Bothwell, her partner in the
crime. In June, 1567, she was taken prisoner and confined on a little
island in Lock Leven. She abdicated in favor of her son, then escaped and
threw herself upon the mercy of her rival Elizabeth, and was tried and be
headed, February 8, 1587. All contemporaries agree in ascribing to her
the utmost beauty of countenance and elegance of shape of which the human
form is capable. She had black hair, dark grey eyes, exquisite hands and
arms, and a stature that rose to the majestic. Zuccaro, without doubt,
produced the portrait in France between 1558 and 1561.

No. 371— "Queen Elizabeth."
Oval Panel— 1954x13.
From the collection of the Duke of Portland.
She was the daughter of Henry VIII, and of Anne Boleyn and was born
at Greenwich, September 7, 1533. She was endowed with superior mental

INDEX AND BIOGRAPHICAL NOTES. 239
powers, which were diligently improved by study, and under the tuition of
Roger Ascham, she attained a proficiency in classical learning. Before the
age of seventeen, she was mistress of the French, Latin and Italian languages,
and had read several works in Greek. She was attached by her education to
the Protestant faith, and her sister, Queen Mary, regarding her with jealousy,
had her imprisoned in the tower in 1554, but public sentiment caused her
release after a few months. Upon the death of Mary in 1558, Elizabeth was
proclaimed Queen, but this act was ignored by Mary Stuart and her consort,
Francis IL, King of France, who assumed the title of King and Queen of
England. Elizabeth endeavored to reform religious service without offense
to the warring factions, but when her good offices were scorned, parliament,
in 1559, vested in the crown supremacy in religion as well as in civil mat
ters. Her reign was considered eminently beneficial and glorious to the
nation and although her personal character was deformed by selfishness,
inconstancy, deceit, heartlessness, and other unwomanly faults, yet she has
generally been regarded as a ruler of eminent ability and courage. She
died in 1603. The painting, although somewhat lacking in tone, is considered
a remarkable likeness.