L. CRIST DELMONICO
MODERN PAINTINGS
EXCELLENT WORKS BY LEADING MASTERS OF ALL IMPORTANT ART SCHOOLS KEPT IN STOCK
EXHIBITION AND SALESROOMS A T
NO. 166 FIFTH AVENUE, NEW YORK
Between 21st and 22d Streets
-IMPORTERS OF-
Rare China,
r*,^. Rich Cut Glass, Artistic Faiences, Worcester
%l§r Plates, Oriental Porcelains,
and Bric-a-Brac.
Fifth Avenue and 30th Street, New York.R EI CHARD & CO
226 Fifth Avenue
(OPPOSITE HOTEL BRUNSWICK)
NEW YORK
Respectfully invite the attention of Lovers : of Art to their Galleries containing choice
MODERN PAINTINGS
FROM : THE • EASELS • OF • NOTED • ARTISTS
Among the Foreign Paintings are works by
Bovin	Daubigny	Meyer von Bremen	Robie
Beraud	Davant	Max Gabriel	Rousseau
Boudin	Echtler	Mauve	Schreyer
Chialiva	Edelfeldt	Michel	Seifert
Corot	Grison	Mettling	Tissot
Courbet	Gerome	Montenard	Troyon
Cazin	Goubie	Marris, Wm.	Vollon
Diaz	Heilbuth	Pasini	Van March
Decamps	Kowalski	Perault	Wahlberg
De Neuville	Knaus	Pokitincrw	Weisenbruc
Dupre, Jules	Lauplieimer	Pelouse	Zimmermu
Dupre, Julian	Loir Luigi	Perrier Sanchez	Ziem
Detaille	Lerolle	Roybet	
Of the American Artists are examples by
BOGERT CHASE, WM. M. CHASE, HARRY DEWEY DANNA T DA VIS, CHAS. H.
HOVENDEN HELMICK HOMER, WIN SLOW INNESS
JONES, BOLTON JONES, FRANCIS
MINOR
MURPHY
NORTON
WEEKS
WYANT
WIGGINS
AND - MANY ■ OTHERSLOAN EXHIBITION
February, 1893
CATALOGUE
Fine Arts Society Building
215 West 57th Street New YorkEXECUTIVE COMMITTEE.
Henry G. Marquand . Charles T. Barney James A. Garland Edward D. Adams Richard W. Gilder
William M. Chase
Charles B. Curtis
William H. Fuller
Daniel F. Appleton Thomas B. Clarke John Getz
D. D. Parmly Howard Russell Butler, Edward Hamilton Bell,
President.
Vice-President.
Treasurer.
Chairman of Finance Committee.
Chairman of Sub-Committee on Printing, Publications, and Advertising.
Chairman of Sub-Committee on Foreign Modern Paintings.
Chairman of Sub-Committee on Old Masters (Spanish, Dutch, etc.).
Chairman of Sub-Committee on Old Masters (English).
Chairman of Sub-Committee on Old Silver.
Chairman of Sub-Committee on Greek Art.
Chairman of Sub-Committee on Oriental Art, Porcelains, Cloisonnes, Lacquers, etc.
Chairman of Sub-Committee on Insurance.
Chairman of Sub-Committee on Arrangements.
Secretary.
3LIST OF MEMBERS
OF THE
FINE ARTS LOAN EXHIBITION COMMITTEE.
Edward D. Adams.	Clarence Cook.
W. Loring Andrews.	H. H. Cook.
Daniel F. Appleton.	Kenyon Cox.
John D. Archbold.	Charles B. Curtis.
Samuel P. Avery.	W. Bayard Cutting.
Charles B. Alexander.	Beverly Chew.
George F. Baker.	Thomas B. Clarke.
Charles T. Barney.	John B. Cauldwell.
J. Carroll Beckwith.	Charles A. Dana.
Edw. Hamilton Bell.	Lockwood DeForest.
Heber R. Bishop.	W. B. Dickerman.
Cornelius N. Bliss.	William E. Dodge.
Martin Brimmer.	A. W. Drake.
J. G. Brown.	J. Evans.
Howard Russell Butler.	Wm. T. Evans.
William Allen Butler, Jr.	Harris C. Fahnestock.
Perry Belmont.	William H. Fuller.
John Crosby Brown.	James A. Garland.
Frank H. Bosworth.	Theo. K. Gibbs.
John H. Buck.	Richard W. Gilder.
Henry Le Grand Cannon.	Ogden Goelet.
Andrew Carnegie.	Henry Graves.
John Armstrong Chanler.	Henry J. Hardenbergh.
Wm. M. Chase.	J. Henry Harper.
Joseph H. Choate.	Childe Hassam.
William A. Coffin.	Henry 0. Havemeyer.
Samuel Colman.	Theodore A. Havemeyer.
C. T. Cook.	Wm. F. Havemeyer.
4Hiram Hitchcock. Richard M. Hoe. Geo. C. Holt. Richard M. Hunt. C. P. Huntington. Daniel Huntington. Robert Hoe. James S. Inglis. Brayton Ives. J. G. Johnson. A. D. Juilliard. Morris K. Jesup. Luther Kountze. David H. King, Jr. Edward H. Kendall.
C.	Lambert. Charles Lanier. Cyrus J. Lawrence. Will H. Low.
D.	C. Lyall. William M. Laffan. G. P. Morosini. Howard Mansfield. Peter Marie. Montague Marks. Henry G. Marquand. Joseph Milbank. Francis D. Millet.
D.	O. Mills.
E.	C. Moore, Jr.
J. Pierpont Morgan. Charles Parsons.
Oliver H. Perry. Duncan D. Parmly. O. B. Potter. Bruce Price. Alfred E. M. Purdy. J. Harsen Purdy. Whitelaw Reid. Wm. Rockefeller. J. Hampden Robb. L. F. Roos.
Augustus St. Gaudens. Wm. C. Schermerhorn, Jacob H. Schiff. Charles Scribner. John Sloane. Wm. D. Sloane. F. Hopkinson Smith. Edmund C. Stanton. Russell Sturgis. Frank K. Sturgis. Charles L. Tiffany. Louis C. Tiffany. Cornelius Vanderbilt. George W. Vanderbilt. Henry Villard. John Brisben Walker. W. T. Walters. J. Q. A. Ward. Olin L. Warner. W. Seward Webb. Stanford White. William C. Whitney.
5FINE ARTS LOAN EXHIBITION.
The Committee was formed in the autumn of 1891, for the purpose of holding an extensive Loan Exhibition, comprising masterpieces of the English, Dutch, Spanish, Italian, and French Schools of Painting ; Greek vases and terra cottas ; old silver; ceramics ; enamels ; lacquers ; fans, etc., etc.
The object of the Exhibition is to increase the building fund of the American Fine Arts Society. It was originally intended that the exhibition should be held at Madison Square Garden, but the great cost of reconstructing and arranging the Garden for such an exhibition compelled the abandonment of the Garden enterprise.
At this juncture, Mr. Geo. W. Vanderbilt offered to advance the amount necessary to build the beautiful gallery which, on Dec. 30, 1892, was presented by him to the American Fine Arts Society, and which now bears his name. This offer was made on the understanding that the Loan Exhibition should be held in the Fine Arts Building. This involved a postponement of one year.
6AMERICAN FINE ARTS SOCIETY,
215 West 57TH Street, New York.
The American Fine Arts Society, for the benefit of which the Exhibition is held, was incorporated June 20, 1889. It was formed by a combination of the Society of American Artists, the Architectural League of New York and the Art Students' League of New York, for the purpose of erecting a Fine Arts Building in which these three co-operating societies should find a permanent home. These societies have all been established and developed in the past fifteen years, and are daily growing in strength and importance. Each of them is devoted to a special branch of art, but they are all actuated by the same progressive spirit, and together they will form a powerful institution, representing all branches of the graphic and plastic arts, and having a department of instruction as well as a department of exhibition. The plan of organization brings together no less than three hundred men now active in the fine arts and chosen for their ability, and a still greater number of ambitious students of art.
The land on which the main building and four galleries have been erected was purchased May 3, 1890. It is located on 57th Street, between Broadway and Seventh Avenue, in the immediate neighborhood of the Music Hall. It has a frontage of seventy-five feet on 57th Street, and a depth of 143 feet.
The total outlay on the part of the Society amounts to about $400,000, and the mortgage debt is $165,000.
The proceeds of the Loan Exhibition will go to the Institution, but the Society relies mainly for the extinguishment of its mortgage debt upon future subscriptions to the various funds mentioned below.
THE GIFT FUND.
The title to the Gift Fund is to remain for twenty-one years in the Trustees of the Gift Fund, who are to apply the fund for the promo-
7tion of the objects of the Society, including the acquisition and improvement of the property, but so that in the event of the winding up of the affairs of the Society and consequent sale of the property the Gift Fund shall, subject to any mortgage or other prior liens, share pro rata with the stock in the proceeds of such sale—the object being to make the Gift Fund an auxiliary means of promoting the enterprise without giving undue advantage to the stockholders by making it a mere accretion to the stock. So long as the enterprise is successful the duty of the Trustees will be passive. But after twenty-one years the Trustees shall vest the Gift Fund in the Society for the purposes of the Society.
The title of FOUNDER is conferred upon subscribers of five thousand dollars to the Gift Fund.
The title of PATRON is conferred upon subscribers to the Gift Fund of one thousand dollars, or of any greater amount less than five thousand dollars.
The title of ASSOCIATE is conferred upon subscribers to the Gift Fund of five hundred dollars, or of any greater amount less than one thousand dollars.
FELLOWSHIP FUND.
LIFE FELLOWSHIPS.
Certificates of Life Fellowship are now issued to subscribers of two hundred dollars, which certificates, while creating no interest in the property of the Society or voice in its management, entitle the holder to admission to the private views of all exhibitions given by the Society of American Artists and the Architectural League, and also to five season tickets annually to such exhibitions.
Subscriptions should be accompanied by check payable to the American Fine Arts Society, and by a memorandum of the name of the subscriber, as it is desired to have it appear on the Certificate of Fellowship.
TEN-YEAR FELLOWSHIPS.
Certificates of Ten-Year Fellowship are issued to subscribers of one hundred dollars, which may be paid at once, or in installments of not less
8than ten dollars per annum, which certificates entitle the holder to admission to the private views of all exhibitions give by the Society of American Artists and the Architectural League, and also to two seasons tickets annually to such exhibitions.
Subscriptions should be accompanied by check payable to the American Fine Arts Society, and by a memorandum of the name of the subscriber, as it is desired to have it appear on the Certificate of Fellowship.
9SOUTH GALLERY.
PAINTINGS.
OLD MASTERS. CONSTABLE (JOHN), R.A.
Was born June II, 1776, at East Bergholt in Suffolk, where his father was a miller. His love for the scenery of his native place is shown from the many works painted from its vicinity. He became a student of the Royal Academy in 1799, but devoted himself to the study of landscape. After some delay in acknowledging his merits, Constable was elected an Associate Member of the Royal Academy in 1819. During all the yea'rs of his exhibitions thus far, it is doubtful if he had sold a dozen pictures from public galleries. But the time was soon to come when a picture painted by him was destined to revolutionize the art of landscape painting in France, and to bring to the painter honor and immortality.
This picture was first exhibited in the Royal Academy in 1821, and in the British Gallery in 1822, under the modest title, " Landscape—Noon," but is now known to all the world as " The Haywain," his masterpiece. It was returned from both exhibitions without public recognition or a purchaser. A Frenchman, who had seen and admired the picture, wanted to purchase it to take to France for exhibition there. After two years had passed with no purchaser at home, Constable reluctantly sold "The Haywain" and two other pictures to this persistent admirer for ^270 ; and so, three years from its first exhibition in London, this great picture went to a foreigner for a song. On its arrival in Paris it was exhibited at the Louvre, where it excited mingled consternation and applause. Constable received a Gold Medal from the King and had his pictures hung in the Salon of Honor.
The influence of these English examples upon the landscape art of France has long since been recognized as possessing a far-reaching and controlling power. At the time of this exhibition, Corot was twenty-eight years old, Delacroix twenty-five, Diaz seventeen, Troyon fourteen, Rousseau and Dupre each twelve, and Millet ten years of age, and while some of these painters were perhaps too young to appreciate all that was involved in this new and courageous departure in landscape art, they must nevertheless have come speedily to realize in many ways the full significance and value of that frank appeal to nature as the supreme guide and mistress in landscape art, which a neglected Englishman had taught the world. He was elected an Academician in 1829. He died suddenly in London, April 1, 1837, a few nights after the close of the school of the Royal Academy at Somerset House, in which he was the last visitor.
i. Landscape.
Lent by Hon. G. A. Drummond.
11REYNOLDS (SIR JOSHUA), P.R.A.
Was born at Plympton Earl, Devonshire, on July 16, 1723. His father, the Rev. Samuel Reynolds, was Master of the Grammar School at that place. Having early evinced a talent for art, he was articled to Hudson, the portrait-painter, in 1740, but only served two years, after which he returned to Plymouth, in Devonshire, and painted portraits. He visited Spain, Portugal, and Italy in 1749, and returned to England in 1752. The year 1758 is said to have been the most lucrative of his professional career. " He received six sitters daily who appeared in their turns ; and he kept regular lists of those who sat and of those who were waiting until a finished portrait should open a vacancy for their admission. He painted them as they stood upon his lists and often sent the work home before the colors were dry. His study was octagonal, some twenty feet long, sixteen broad, and about fifteen high. The window was small and square, and the sill nine feet from the floor. His sitter's chair moved on castors and stood above the floor a foot and a half. He held his palettes by a handle and his brushes were eighteen inches long. He wrought standing and with great celerity. He rose early, breakfasted at nine, entered his study at ten, examined designs or touched unfinished protraits till eleven brought a sitter ; painted till four ; then dressed and gave the evening to company."
When the Royal Academy was founded, in 1768, Reynolds was unanimously elected its first President and was knighted by George III. on the occasion. He held the office for twenty-one years without a rival, and retired amid expressions of universal and profound regret. As a rule, his pictures were unsigned. A notable exception is found in his famous painting of Mrs. Siddons as the Tragic Muse, now in the possession of the Duke of Westminster. When the work was finished, the great painter said to the equally great actress, with courtly grace, " Madam, allow me to go down to posterity on the hem of your garment," and on the edge of her dress he traced these words : "J: Reynolds, pinxit."
His Discourses on Art were delivered from 1769 to 1790. D.C.L. of Oxford, and painter to King George III., the friend of Garrick, Burke, Goldsmith, and Dr. Johnson, his career was prosperous and honorable. He died at his residence, 54 Leicester Square, on February 23, 1792, was publicly buried in St. Paul's Cathedral, and a monument by Flaxman was erected to his memory. He is said to have painted more than 1,500 portraits of the beautiful women and eminent men of his time, besides various historical and fancy subjects.
2. Portrait—R. R. Graham, Esq.
Lent by Mr. D. F. Appleton.
GAINSBOROUGH (THOMAS), R.A.
Was born at Sudbury, in Suffolk, in the spring of 1727. After evincing a decided ability for landscape painting, by his unaided attempts from nature, he left Sudbury for London, when he was fourteen years of age, and became the pupil first of Gravelot, the engraver, then of Francis Hayman, at that time a painter of repute, and, like Gainsborough himself, one of the original members of the Royal Academy. Gainsborough set up as a portrait- and landscape-painter, in Hatton Garden, but without success, and, after four years' residence in the metropolis, he returned to his native place. When still a youth he married Margaret Burr, a young lady of some fortune, and settled in Ipswich. His reputation extending, he moved, in 1760, in Bath, as a more suitable field for the exercise of his abilities. At Bath, much of his time was devoted to portraiture, which appears subsequently to have
12divided his attention with landscape painting. In 1774, he settled in London, and rented a portion of Schomberg House, Pall Mall ; from this period his reputation was such that he was considered at the time the rival of Sir Joshua Reynolds in portrait-, and of Wilson in landscape-painting.
He was one of the original members of the Royal Academy, which was founded in 1768, and sent pictures to its exhibitions from the commencement in 1769, but ceased to contribute after 1783. He exhibited altogether ninety-six works at the Academy. He died in London, August 2, 1788, and was buried in Kew Churchyard. Gainsborough is said never to have put his name to any picture. He died in possession of 56 of his pictures and 148 drawings, which were exhibited at his house in March, 1789. Many were sold on this occasion, and the remainder at Christie's, June 2, 1792.
3.	Portrait of Mrs. Scroope Egerton.
Lent by Mr. R. B. Angus.
BARKER (Thomas), of Bath.
Was born in 1769 near the village of Pontypool, in Monmouthshire. His father, also a painter, afterwards settled in Bath, and here the son found a valuable patron in Mr. Spackman, a coach-builder, who furnished the young painter, about 1790, with the means of visiting Rome. This proved of great advantage to him, though Barker's taste was chiefly for landscapes and rustic subjects, following somewhat in the steps of Gainsborough, who had gained a great reputation at Bath. Barker, however, painted also occasionally portraits and religious pieces. His career was a successful one ; he settled at Bath, in the neighborhood of which city his works are still principally to be found, and where he died on the nth of December, 1847.
He exhibited many works at the British Institution, but his name very seldom occurs in the catalogues of the Royal Academy ; his brother Benjamin, also a good landscape-painter, who settled at Bath, was a more frequent exhibitor there.
Thomas Barker's most remarkable work is the large fresco painted in his house at Sion Hill, Bath, representing " The Inroad of the Turks upon Scio, in April, 1822."
4.	Road to the Mill.
Lent by Mr. W. H. Fuller.
GAINSBOROUGH (THOMAS), R.A.
5.	Landscape.
Lent by Mr. P. A. B. Widener.
COPLEY (John Singleton).
6.	Portrait of a Girl with Doves.
Lent by Mr. D. F. Appleton.
CROME (John Bernay).
1793.	(Crome the younger.)	1842.
7. Village on the Yare.
Lent by Mr. C. Lambert.
13BOTH (Jan).
Was born at Utrecht about 1610. He and his younger brother Andries, or Andrew, both learnt the first rudiments of their art under their father, a painter on glass, who placed them afterwards with Abraham Bloemart. The two brothers visited France and Italy together, and spent some time in Rome. Jan returned to Utrecht, and died there August 9, 1652.
8.	Landscape.
Lent by G. Reichard.
GAINSBOROUGH (THOMAS).
9.	Portrait of the Artist.
Lent by Mrs. W. T. Blodgett.
VAN DYCK.
10.	Henrietta Maria.
Bought in London by Benjamin West for Governor Hamilton of Pennsylvania. At his death the picture passed into the hands of his son-in-law, Henry Beckett, British Consul at Philadelphia. After the death of Mr. and Mrs. Beckett the picture was sold in New York.
Lent by Mr. Alex. W. Drake.
GAINSBOROUGH (THOMAS), R.A.
11.	Landscape.
Lent by Mr. P. A. B. Widener.
REYNOLDS (Sir Joshua), P.R.A.
12.	Portrait of Mrs. Balwin.
Wife of the English Minister to Persia ; in the costume worn by her at a fancy ball given by George III. From the Collection of the Marquis of Hastings.
Lent by Mrs. W. T. Blodgett.
VAN DYCK (Sir Antony). "
Antony van Dyck was born at Antwerp March 22, 1599. His father, Frans van Dyck, was a merchant in that city, and Antony was the seventh of a family of twelve ; his mother, Maria Cupers, died when he was only eight years old, in 1607. He became the pupil of Hendrik van Balen so early as 1609 ; but Van Dyck's great instructor was Rubens, with whom he lived about four years. He was still acting as Rubens' assistant in 1620, although he had been admitted a master of the Antwerp Corporation of Painters early in the year 1618, before his twentieth birthday Having attained sufficient proficiency as a painter, he, by the advice of Rubens, visited Italy in 1623 ; he spent about five years in that country, dividing his time between Genoa, Venice, and Rome ; he paid also a short visit to Palermo. About
T4the year 1630-31 Van Dyck appears to have visited England, but not meeting with that reception which he had anticipated, he returned after a short time to his own country ; he had already visited England before, in 1621, previous to his journey to Italy. In 1632, however, Charles I., who had seen a portrait of Nicolas Laniere, his chapel-master, by Van Dyck, sent an express invitation to the painter to come to England, and, on this occasion, he was most courteously received. He was lodged by the King at Blackfriars, was knighted in the following year, and was granted a pension of £200 per annum for life, with the title of Painter to his Majesty. Van Dyck settled for the remainder of his life in England, where his very successful career as a portrait-painter enabled him to live in great style. He had a country house at Eltham, in Kent, where he spent a portion of the summer ; he kept great state when in town; "he always went magnificently dressed, had a numerous and gallant equipage, and kept so good a table in his apartment, that few princes were more visited or better served." Van Dyck'died in London December 9, 1641, in the forty-third year of his age, and was buried in the old church of St. Paul, near the tomb of John of Gaunt. He left a daughter, his only child by his wife Mary Ruthven, granddaughter of the unfortunate Lord Ruthven, Earl of Gowrie. Notwithstanding his expensive style of living, Van Dyck left property to the value of about ,£20,000 sterling.
13. Portrait of Charles I. of England.
Duke of Hamilton's Collection. Lent by Mr. Durand-Ruel.
REMBRANDT VAN RYN (PAUL).
Rembrandt Hermenz (son of Herman) van Ryn, was born at Leyden, July 15, 1606. He was sent to the Latin school in that town with a view to his studying jurisprudence in the university; but his inclination for the Fine Arts was such that he was placed with the painter Jacob van Swanenburch, with whom he remained three years ; he also studied for a short time under Pieter Lastmann, at Amsterdam. In 1623 he returned to Leyden, and became from that time a diligent and exclusive student of nature. He occupied himself in studying chiaroscuro, and in painting heads from life, and gradually attained in this way a reputation and practice as a portrait-painter. In this direction and in others he produced before he left Leyden some of his most precious works. In 1630, at the age of twenty-two, he settled in Amsterdam, where he remained till his death. He married, June 22, 1634, Saskia Uilenburg, a lady of a good Frisian family, and possessed of some fortune. She died in 1642. Rembrandt's fame quickly rose to its highest point after he settled in Amsterdam. His studio was crowded with scholars, who flocked thither from all parts of Holland ; and every lover of art was eager to obtain some work of his. But notwithstanding the large income which must have thus accrued to him, Rembrandt incurred considerable debts; his difficulties increasing, in 1656 he was publicly declared insolvent. This disaster is partly to be accounted for by the general distress resultant upon the wars with Spain, in which Holland had been involved ; but also by the fact that in his passion for collecting works of art he was sometimes utterly regardless of their cost. This is in itself sufficient answer to the absurd stories of his miserly habits. Another embarrassment must have arisen from the fact that by the will of his first wife, Saskia, the bulk of her fortune was to go to their only surviving son in case Rembrandt should marry again ; and Scheltema distinctly connects his bankruptcy with his second marriage, the actual date of which is uncertain.
The earliest of his dated pictures is 1627. " The Anatomical Lecture," at the Hague, was painted in 1632 when he was only twenty-four years old; the celebrated "Night
15Watch " in 1642 ; and the " Syndics," both in the gallery at Amsterdam, in 1661. His last picture was believed to have been painted in 1669, on October 8th of which year he was buried in the Wester Kirk at Amsterdam.
14.	Portrait of the Wife of Burgomaster Six.
From Sir Simon Clarke's Collection. Lord Northwick's Sale, 1859. Sir R. Napier's Sale, 1877. Leeds Exhibition, 1868. Lent by Mr. Morris K. Jesup.
REMBRANDT VAN RYN.
15.	The Gilder.
De Cavagnac Sale. From the Collection of the Due de Morny. Lent by Mr. H. O. Havemeyer.
HOOGHE (PlETER DE).
16.	Interior.
Lent by Mr. H. O. Havemeyer.
REMBRANDT VAN RYN.
17.	Old Woman.
' Narischkine Sale. Lent by Mr. H. O. Havemeyer.
18.	Portrait of Burgomaster Six.
From Sir Simon Clarke's Collection. Lord Northwick's Sale, 1859. Sir Robert Napier's Sale, 1877. Leeds Exhibition, 1868. Lent by Mr. Morris K. Jesup.
LAWRENCE (Sir Thomas), P.R.A.
Was born May 4, 1769, at Bristol. He early distinguished himself for his ability in drawing. His father was landlord of the Black Bear Inn, Devizes ; and the first efforts of the young painter which attracted notice were some portraits in chalk of his father's customers. At the early age of ten years he set up as a portrait-painter in crayons at Oxford ; but he soon afterwards ventured to take a house at Bath, where he immediately met with much employment and extraordinary success. In his seventeenth year he commenced oil painting ; in 1787, twelve months afterwards, he settled in London, and entered himself as a student in the Royal Academy. His success in London was as great as it had been in the provinces.
In 1791, though under the age required by the law (twenty-four), he was elected an associate of the Academy, and after the death of Sir Joshua Reynolds in the following year, he succeeded him as painter to the King. He painted at this time, in his twenty-third year, the portraits of the King and Queen, which were presented by Lord Macartney to the Emperor of China. In 1794, he was elected a Royal Academician ; he was knighted by the Prince Regent in 1815 ; and at the death of West, in 1820, he was unanimously elected President of the Academy. From the time of his election as a member of the Academy to his death, Sir Thomas' career as a portrait-painter was unrivalled ; he contributed, from
161787 to 1830 inclusive, 311 pictures to the exhibitions of the Royal Academy. He died in London, at his house in Russell Square, January 7, 1830. He was never married. Shortly after his death in 1830, a selection of ninety-one of his works was exhibited at the British Institution. The Waterloo Gallery at Windsor remains a noble monument of the skill of Sir Thomas Lawrence as a portrait-painter. The pictures of the Emperor Francis, of Pius VII., and of the Cardinal Gonsalvi, in that collection, are among the masterpieces of the art of portraiture. These pictures were painted on the Continent in the years 1818-19. excelled chiefly in the portraits of ladies and children. He was a member of the Academy of St. Luke at Rome, and of many other foreign academies ; and in 1825, he was created a Chevalier of the " Legion d'Honneur."
19.	Portrait of Two Ladies.
Collection Daupias. Lent by Mr. Durand-Ruel.
20.	Portrait of a Lady.
Lent by Dr. F. H. Bosworth.
COPLEY (JOHN S.), R-A.
Historical and portrait-painter, was born at Boston, Mass., in 1737. His father was English, his mother Irish. In 1774, having already obtained eminence as a portrait-painter at Boston, he went to Italy, where he remained until the close of the year 1775. He then established himself in London, where he was elected an associate, in 1777, and a member of the Royal Academy, in 1779. He died September 9, 1815.
21.	Portrait of Samuel Ver Planck.
Lent by Mr. Samuel Ver Planck.
STUART (Gilbert).
One of the most distinguished American portrait-painters, sometimes called American Stuart, was born of Scotch parents at Narragansett, near Newport, Rhode Island, U. S., in 1755. He visited Scotland at a very early age, and was educated at the University of Glasgow, where he graduated ; he, however, finally adopted the profession of a painter, and became the pupil of his countryman, Benjamin West, in London, and after having practised with great success as a portrait-painter both in London and Paris, he returned, in 1794, to his native country, where he settled for a time at Philadelphia.
Among the sitters of Stuart in Europe, were three kings, Louis XVI., George III., and George IV. ; the last painted while Prince of Wales. He painted, also, John Kemble, Alderman Boydell, Sir J. Reynolds, West, and many other distinguished English artists. In his own country he painted six Presidents—among them Washington, Adams, and Jefferson.
He retired in 1807 to Boston, where he died in July, 1828.
A collection of about three hundred of his works was exhibited in the Boston Athenaeum, for the benefit of his widow and daughters, which, with the sale of his effects, realized a considerable sum.
Stuart's best portraits are chiefly remarkable for freedom of effect and character, but he excelled exclusively in men's heads.
22.	Mrs. Sargent.
Lent by Mrs. W. Butler Duncan.
17STUART (Gilbert).
23.	Mrs. Murray.
Lent by Mrs. W. Butler Duncan.
24.	Gov. Winthrop Sargent.
Lent by Mrs. W. Butler Duncan.
24A. Robt. Thier, Engraver.
Lent by Mr. D. F. Appleton.
COPLEY (J. S.).
25.	Portrait of Daniel Crommelin Ver Planck.
Born in New York, March 19, 1762. Died at Fishkill, March 29, 1834. Painted about 1770, under the direction of Samuel Ver Planck, the father of the subject, the latter being represented as a boy playing with a tame squirrel. Lent by Wm. Edward Ver Planck a great-grandson.
LAWRENCE (SIR THOS.).
26.	Nature.
Lent by C. P. Huntington.
RIGAUD (Hyacinthe).
A distinguished French portrait-painter, was born at Perpignan on the 20th July, 1659, and died at Paris on the 27th of December, 1743. He was the son of Mathias Rigaud, a painter, who died when his son was still a child. Hyacinthe settled in Paris in 16S1, was made a member of the Academy of Painting in 1700, and a Chevalier of the Order of St. Michel in 1727.
27.	Portrait of the Marquise de Favarasse.
(The portrait belonged to the Marquise, who was banished, during the French Revolution, to Martinique, where she died and bequeathed the picture to a Scottish gentleman who had befriended her, and he in turn left the picture to the family of the present owner. It has been pronounced by the director of the Louvre as one of the best examples of the artist's work.) Lent by Dr. Charles Hitchcock,
STUART (Gilbert).
28.	Portrait—George Washington.
Lent by Mr. D. F. Appleton.
29.	Portrait of Senator Young, of Virginia.
Lent by Mrs. John Pope. 18STUART (Gilbert). 30. Mrs. Bingamen.
Lent by Mrs. W. Butler Duncan.
GAINSBOROUGH (Thomas), R.A.
31.	Portrait—Richard B. Sheridan.
Lent by Mr. D. F. Appleton.
CONSTABLE (JOHN), R.A.
32.	River Stour, Suffolk.
This picture has been engraved by David Lucas. (See Leslie's Life of Constable.) From it with slight changes Constable painted the large picture which, it is said, secured his election as an Associate Member of the Royal Academy in 1819. Lent by Mr. W. H. Fuller.
CONSTABLE (JOHN), R.A.
33.	In Dedham Vale.
Lent by Mr. W. H. Fuller.
REYNOLDS (Sir Joshua), P.R.A.
34.	Portrait of the Duchess of Ancaster.
Lent by Mr. W. H. Fuller.
CONSTABLE (JOHN), R.A.
35.	Summer Morning—Dedham Vale.
This picture has been engraved by David Lucas. (See Leslie's Life of Constable.) Lent by Mr. W. H. Fuller.
CONSTABLE (JOHN), R.A.
36.	River Stour, Suffolk.
From Collection of Marquis of Hastings. Lent by Mrs. W. T. Blodgett.
CROME (John), "Old Crome."
Commonly called Old Crome, to distinguish him from his son, who was also a painter. He was born at Norwich, where his father kept a public-house, December 21, 1769, and was brought up as a coach painter ; this occupation, however, he soon forsook for that of a drawing-master, devoting his leisure time to making sketches in oil colors, chiefly from the vicinity of his native city.
19In 1803, when Crome was thirty-four years of age, he gathered about him a number of local amateurs and artists, and founded " The Norwich Society of Artists," which comprised a little group of painters who have since become as popular in England as the more celebrated " Barbizon School " has in France. He was its president and leading spirit and most distinguished member. He occasionally sent a picture to the Royal Academy, but his interests were centred in his native Norwich, where he had become a recognized authority on art. He was a liberal contributor to the exhibitions of the Norwich Society, to which he sent as many as 290 pictures.
John Crome shares with Thomas Gainsborough and John Constable the high honor of being the true founders of the English school of painting. It was this triumvirate of painters who exercised upon English landscape art a more wholesome and potent influence than all other artists of their day combined.
The materials of Crome's pictures are generally exceedingly simple, but he has often produced an admirable effect with them. He exhibited occasionally at the Royal Academy in London; twelve of his works were hung between the years 1807 and 1818, both inclusive, all "views" or "landscapes," with one exception, in 1809, when he exhibited " A Blacksmith's Shop." Crome died at Norwich in 1821.
37.	Road to the Lime-Kiln.
Lent by Mr. W. H. Fuller.
REYNOLDS (Sir Joshua), P.R.A.
38.	Portrait of Mrs. Knapp.
Lent by Mr. W. H. Fuller.
CONSTABLE (John), R.A.
39.	A Suffolk Water-Mill.
Lent by Mr. W. H. Fuller.
GAINSBOROUGH .(Thomas), R.A.
40.	The Market Cart.
Lent by Mr. W. H. Fuller.
REYNOLDS (Sir Joshua), P.R.A.
41.	Portrait of the Hon. Mrs. Barrington.
Lent by Mr. W. H. Fuller.
CONSTABLE (John), R.A.
42.	The Lock.
Exhibited at the Grosvenor Gallery Winter Exhibition, 1887-8, "A Century of British Art " from 1737 to 1837. Lent by Mr. W. H. Fuller.
20CONSTABLE (John), R.A.
43.	wlnander-mere lake.
Exhibited in the Royal Academy in 1808. Lent by Mr. W. H. Fuller.
ROMNEY (GEORGE), R.A.
Historical and portrait-painter, was born at Dalton-le-Furness, Lancashire, December r734- His father was a cabinet-maker of that town, and brought Romney up to his own business ; but the son having shown a decided ability for drawing, the father was induced to place him, at the age of nineteen, with a portrait-painter, of the name of Steele, then established at Kendal.
In 1756 Romney married and in the following year commenced painting on his own account. His first production, a hand holding a letter for the post-office window at Kendal, remained there for many years. For five years Romney practised, at Kendal, portrait and fancy subjects ; and ultimately with such success, that in 1762 he ventured to try his fortune in the capital. In London he rose rapidly to fame and fortune ; and in 1773 he visited Italy ; he returned to London in 1775, and took a house in Cavendish Square. From this time he divided the patronage of the great and wealthy with Reynolds and Gainsborough ; but his wife and family were never called to share his success ; they remained at Kendal, and during thirty-seven years he paid only two visits to the north. In 1799, however, he broke up his establishment at Hampstead, where he had latterly resided, retired to his native county, arid rejoined his family at Kendal. He died at Kendal, November 15, 1802, and was buried at his birthplace, Dalton.
44.	Portrait of Mrs. Fitz-Herbert, Wife of George IV.
From Collection of Marquis of Hastings. Lent by Mrs. W. T. Blodgett.
TURNER (J. W. M.), R.A.
Joseph Mallord William Turner was born in the spring of 1775, in Maiden Lane, Covent Garden, where his father carried on the business of a hair-dresser1 ; he was christened in St. Paul's, Covent Garden, in May of that year. The friendship of Girtin, the water-color painter, and the privilege of copying a collection of drawings in the possession of Dr. Monroe, of the Adelphi, gave facilities for the development of the.young painter's talent at an early age.
Turner entered as a student of the Royal Academy in 1789, and he exhibited a drawing of Lambeth Palace in the following year ; in 1799 he was elected an Associate, and in April, 1802, he became a member of the Academy. In this year he visited France and Switzerland. In 1807 he was elected Professor of Perspective in the Royal Academy, succeeding Edwards,— an Associate of the Academy, — who had for many years filled the office of Teacher of Perspective in that institution. In 1807 also he began to publish his Liber Studiorum, or Book of Sketches, in imitation of Claude's Liber Veritatis ; and for a few years during this period of his life he painted in emulation of the style of Claude. In 1812 he built a house in Queen Anne St., West, No. 47, which he retained until his death, and in which he had a gallery, where he for many years exhibited some of his pictures.
Turner visited Italy three times, in 1819, in 1829, and about 1840.
After a life of almost unrivalled success and an industry unsurpassed, this great land-scape-painter died unmarried and under an assumed name, in an obscure lodging at Chelsea,
21December ig, 1851. He was buried by the side of Sir Joshua Reynolds, in the crypt of St. Paul's Cathedral. His large fortune, both in pictures and in funded property, he bequeathed to his country.
45.	Mercury and Argus.
Lent by Sir Donald A. Smith.
ROMNEY (George), R.A.
46.	Portrait of Mrs. Wright.
Lent by Mr. R. B. Angus.
WILSON (Richard), R.A.
Was born in 1713, at Pinegas, Montgomeryshire, where his father was a clergyman. He showed an early taste for drawing, and attracted the notice of Sir George Wynne, who took him to London, and placed him with an obscure portrait-painter of the name of Wright.
Wilson commenced his career as a portrait-painter, and attained as such considerable eminence ; but in 1749, when he went to Italy, he turned his attention, by the advice of Zuccarelli and Joseph Vernet, wholly to landscape painting, and soon acquired the reputation, even during his residence in Italy, of one of the principal landscape-painters of his time. He returned to London in 1755, after an absence of six years, but it was not until 1760, when his picture of " Niobe " was exhibited in the great room at Spring Gardens, that his talents were appreciated in England ; he, however, never attained general popularity, and his life affords an example of the caprice of the public taste. He was one of the original thirty-six members of the Royal Academy, which was founded in 1738, and after the death of Hayman, in 1776, he, succeeded him as librarian. Wilson solicited this place, for, though the emolument connected with it is small, the great landscape-painter was in such comparatively indigent circumstances, that even this small salary was of the utmost importance to him.
For some few of his pictures he was fortunate enough to find liberal purchasers, and these subjects he generally repeated two or three times ; other works he was compelled to hawk about to the various picture dealers, and accept whatever trifling sum they might offer for them. Towards the close of his life his circumstances were considerably improved, in consequence of a legacy from a brother.
He retired in 1780 to the village of Llanberris or Llanferras, in Denbighshire, where he died in 1782, in the seventieth year of his age.
Wilson exhibited altogether only thirty-one pictures at the Royal Academy, from 176$ to 1780, both inclusive.
47.	Temple of Venus at Bai^£.
Lent by Mr. W. H. Fuller.
CROME (John), " Old Crome."
48.	Landscape.
Lent,by Mr. P. A. B. Widener.
22GAINSBOROUGH (Thomas), R.A.
49. Portrait of the Countess of Buckinghamshire.
Lent by Mr. W. H. Fuller.
NASMYTH (Patrick).
50.	Woods.
Lent by Mr. Morris k. Jesup.
CONSTABLE (John), R.A.
51.	Weymouth Bay.
Formerly in the possession of Miss Isabel Constable, the painter's sister. Lent by Mr. W. H. Fuller.
WILSON (Richard), R.A.
52.	Landscape.
Lent by Mr. Morris k. Jesup.
REYNOLDS (SIR JOSHUA), P.R.A.
53.	Portrait of a Lady.
Lent by Mr. D. F. Appleton.
CROME (John), " Old Crome."
54.	Yarmouth Pier.
Lent by Mr. W. H. Fuller.
REYNOLDS (Sir Joshua), P.R.A.
55.	Contemplation.
Portrait of the Hon. Mrs. Spencer. Lent by Mr. R. B. Angus.
CROME (john), "Old Crome."
56.	Landscape.
Lent by Hon. g. A. Drummond.
GAINSBOROUGH (THOMAS), R.A.
57.	Edge of the Common.
Lent by Mr. W. H. Fuller.
23COTMAN (John Sell).
Was born at Norwich about the year 1782, and received his early education at the Free Grammar School in that city. It was originally intended that he should follow his father's business, that of a linen-draper, in London Lane ; but the boy showed such a decided taste for art that this intention was abandoned, not without reluctance on his father's part, and young Cotman went to London, where he spent some years in studying design in company with Turner, Girtin, and Munn, and applying himself especially to the illustration of architectural subjects which he painted in water colors and etched with great skill.
In 1803 the Norwich Society of Artists was founded by " Old Crome," and shortly after this Cotman appears to have returned to his native town, where he contributed no less than sixty-seven pictures to the exhibition, several of them being portraits.
It is probable, however, that the sale of his works was at this period not very remunerative, and an early marriage rendered it necessary that he should add to his income by giving lessons in drawing and painting. This occupation gave him access to the parks and mansions of country gentry resident near Norwich, and helped him to fill his portfolio with valuable studies of architecture and landscape.
After a time he left Norwich and went to live at Yarmouth, where he made the acquaintance of Mr. Dawson Turner, a distinguished antiquary, with whom he subsequently became associated in more than one literary work : The Architectural Antiquities of Norfolk, 181 r ; Engravings of Sepulchral Brasses ; The Architectural Antiquities of Normandy, 1820. In 1825 Cotman, who by this time had returned to live in Norwich, became an Associate of the London Society of Painters in Water Colors, to whose exhibition he constantly contributed for many years. In 1834, having been appointed teacher of drawing at King's College School, he removed to London, and resided in Hunter Street, Brunswick Square.
Cotman painted in oil as well as in water colors, but it is as a water-color artist and etcher that his name is best known. He drew architecture with great vigor and dexterity, and his studies are especially successful in the treatment of light and shade. He formed with Crome and other painters of his native country a local coterie which is still remembered as the " Norfolk School," and has exercised some influence on British art. Cotman's health seems to have declined after he took up his residence in London. He suffered severely from mental depression, and died on the 28th of July, 1842.
58. Moonlight on the Yare.
Lent by Mr. W. H. Fuller.
24SCULPTURE GALLERY.
Attributed to ORCAGNA (Andrea).
Andrea di Cione Arcagnuolo—corrupted into Orcagna—was born about 1308. He attained celebrity as a painter, sculptor, and architect. He shared in the famous decorations of the Strozzi Chapel in Santa Maria Novella at Florence, painting the frescos of the " Last Judgment " and " Paradise." He also painted the altar-piece of the same chapel in 1357. The great tabernacle for the church of San Michele was finished in 1359. In this great work he showed his mastery of all the three arts for which he was famous. He died in 1386.
59.	Madonna.
A fac-simile, in drawing and composition, of one of the worshipping heads in the " Paradiso" of the Strozzi Chapel, Florence. Colors of draperies and background are different.
Lent by Mr. W. Lewis Fraser.
Attributed to PALMA (VECCHIO).
60.	Marriage of Sta. Cattarina.
Lent by Mr. S. L. Parrish.
Painter unknown (probably old French).
61.	Portrait of Lady.
Lent by Mr. Alexander W. Drake.
IMOLA (Innocenzio Francucci da).
Imola, Innocenzio da (properly J. Francucci), was born at Imola in 1494 and died in 1548. He was first instructed by F. Francia, and from him went to Mariotto Albertinelli, at Florence ; nevertheless he became an ardent follower of Raphael without, however, always imitating him.
62.	Virgin and Child.
Lent by Mr. S. L. Parrish.
Painter unknown.
63.	Mary Tudor.
Lent by Mr. Stanford White.
25BUONCONSIGLIO (Giovanni).
Giov. Buonconsiglio, also called II Marascalco, of the Venetian School, was born at Vicenza about 1460 ; was a contemporary of Giovanni Bellini and came under his influence, but probably acquired the love of antiquity exhibited in his pictures from the Paduan School of Squarcione. His most important picture in Venice is a St. Sebastian in San Giacoma dall' Orio, almost ruined by restoration, as indeed are all his works in Venice. Those at Vicenza have suffered less. Two pictures of his are at Montagnana dated respectively 1511 and 1514.. He probably revisited Venice in old age, where he died.
64.	Holy Family.
Signed in lower left-hand corner. Lent by Mr. S. L. Parrish.
TUSCAN SCHOOL. Attributed to CREDI (Lorenzo di).
Lorenzo di Credi was born at Florence in 1459, and was the fellow-pupil of Leonardo da Vinci and Pietro Perugino, in the School of Verocchi. He owes his celebrity to his work in painting ; it appears, however, that he was not unskilled in sculpture also, since his master, Verocchio, expressed a desire in his will (in 1488) that Di Credi might finish the colossal statue of Bartolomeo Colleoni at Venice. Lorenzo di Credi died at Florence on January 12, 1537.
65.	Holy Family.
Lent by Mr. S. L. Parrish.
BELLINI (Giovanni).
"Was born about 1428. He and his brother, Gentile, were sons of the Venetian Jacopo di Piero Bellini, an artist of great talent, and originally a pupil of Gentile da Fabriano, whose pupil he became when the latter was in Venice, and whom he accompanied to Florence as an apprentice. He afterwards resided chiefly at Padua. Giovanni the younger studied in his father's school at Padua, having his brother for a fellow-pupil. They made great friends with Andrea Mantequa, who was just emerging from the School of Squarcione, and who subsequently married their sister Nicolosa. The influence of Mantequa is very noticeable in the works of Giovanni Bellini's middle period. It may have been soon after 1460 that Bellini settled in Venice. In 1479, when his brother, Gentile, departed on his famous mission to Constantinople, Giovanni was appointed in his place to finish the great series of pictures which his brother had begun in the Hall of the Great Council in the Doge's Palace. These were destroyed by fire in 1577.
His earlier works were executed in tempera, but the use of oil as a medium having been introduced into Venice by Antonello da Messina, Bellini was one of the first to master the new method which before his death he carried far towards that perfection which it attained in the hands of his great pupils Giorgione and Titian.
He was the greatest figure in the Venetian School of his time, and was so considered even until the end of his life, as we learn from Albert Diirer, who visited Venice in 1506, when he was at least eighty years of age. His powers remained unaffected until the end. The masterly altar-piece in San Zaccaria was painted in 1505; another in San Giovanni Crisostomo in 15x3 ; and the wonderful " Baccanall," which he left to be finished by his pupil Titian, not begun until the year following. He died November 24, 1516, being then at the lowest possible computation in his ninetieth year.
26He signed his pictures on a cartellino or scrap of paper unfolded and always in Roman characters ; those signed in script are always forged.
66.	Virgin and Child and two Saints.
Taken from a gallery in Silesia by the troops of Napoleon I., but afterwards returned. Bought by the advice of Sir Charles Eastlake.
S. L. M. Barlow Sale. Lent by Mr. S. L. Parrish.
Old DUTCH.
67.	Holy Family.
Lent by Mr. A. W. Drake.
CASTIGLIONE (Giovanni Benedetto).
Called 11 Grechetto or II Benedetto, was born at Genoa in 1616, and died at Mantua in 1670—learned the rudiments of his art under Paggi, after whose death he entered the school of Giov. Andr. de Ferrari, and later had the benefit of the instruction of Van Dyke, who was just at that time active in Genoa. After having visited Florence, Venice, Rome, and Naples, he entered the service of Duke Charles I. of Mantua. Castiglione also etched on copper and imitated Rembrandt.
68.	Allegorical Painting.
Lent by Mr. R. Ingalls.
TENIERS (David) the Younger.
Was baptized at Antwerp, December 15, 1610. He was taught painting by his father, the elder Teniers, whose style he adopted ; but the influence of Rubens is perceptible in his pictures, and still more strongly that of Adriaan Brouwer. He was admitted a Master into the Antwerp Guild of Painters in 1632-3. Teniers died at Brussels, April 25, 1690, and was buried at Perck.
69.	Village Scene.
Lent by Mrs. S. G. George.
CUYP (Aelbert).
Aelbert, the son of Jacob Gerritz Cuyp and his wife Aertken (van Cooten, of Utrecht), was born at Dort, his father's native town, in October, 1620. He became a pupil of his father. Particulars of his earlier life are wanting, but it is probable that he visited other parts of Holland before beginning to practise on his own account at Dort. On the 30th of July, 1658, he married Cornelia (born Bosman), widow of Johan van den Corput. She died in 1689. Her husband survived her but two years, and was buried at Dort, Nov. 7, 1691.
70.	Landscape with Cattle.
Lent by Mr." F. E. Hassard. 27TENIERS (David) the Younger.
71.	An Old Woman in a Kitchen.
Lent by Mr. John G. Johnson.
OSTADE (Adriaan van).
Was baptized at Haarlem on the 10th of December, 1610. He became the pupil of Frans Hals. He was twice married, the second time to a daughter of Jan van Goyen. He lived and died at Haarlem, and was interred there May 2, 1685.
72.	Interieur de Tabagie.
Collection Soultzener. Lent by Mr. Durand-Ruel.
GUARDI (Francesco).
Born in Venice in 1712, was the scholar and imitator of Canale, but remained far behind him in the accuracy of his architectural details, and was careless and sketchy in the execution of his figures. Died at Venice in 1793.
73.	Venice.
Lent by Mr. R. Ingalls.
CUYP (Jacob Gerritsz).
The father of Aelbert, was born at Dordrecht in 1575, and died some time after 1647. He was a pupil of Abraham Bloemaart, and painted landscapes, particularly views of the environs of his native town—battle and camp scenes ; but particularly distinguished himself in portrait painting. He was, in 1642, the founder of the Painters' Guild of Dordrecht.
74.	Portrait.
Came to this country with " The Gilder " by Rembrandt. Lent by Mr. W. M. Chase.
HALS (Frans).
Was born in 1580 or 1581 at Antwerp, of parents who were then temporarily resident there, but who belonged to an old patrician family of Haarlem. They seemed to have returned to Haarlem within the century, and Frans became the pupil of Karel van Mander, an eminent painter and art historian. He was twice married, the second time in 1617. He led an irregular and improvident life, and in his old age was supported by the communal magistracy, and he left his widow a charge upon the poor-rate. Yet his fellow-citizens seem to have looked leniently upon his eccentricities. He died in 1666, and was buried on the 1st of September in the church of St. Bavon. He left four sons, all painters.
75.	Portrait de l'Artiste.
Collection Herz. Lent by Mr. Durand-Ruel.
COQUES (Gonzales).
Was born at Antwerp in 1618. He became at an early age the pupil of Peter Brueghel (the third painter of that name). He was afterwards the scholar of David .Ryckaert the
28younger, whose daughter he married in 1643. Coques was received as a Master of the Guild of Painters in 1640-41, and served as Dean twice, in 1665-66 and 1680-81. He died at Antwerp on the 18th of April, 1684. He was an imitator of Van Dyck, and is sometimes called the " little Van Dyck." Flemish School.
76.	Dutch Interior.
Lent by L. A. Lanthier.
OSTADE (Adriaan van).
77.	Interior.
Lent by Mr. S. M. Knoedler.
KEYSER (Thomas de).
Son of the eminent sculptor and architect, Hendrick de Keyser, was born 1596 or 1597, at Amsterdam ; until recently his name was believed to be Theodore ; under whom he studied is not known. Among his finest pictures are the Burgomasters of Amsterdam, and a single figure of a Burgomaster dated 1631, both in the Museum of The Hague. He died at Amsterdam on June 7, 1667.
78.	Portraits of a Burgomaster of Haarlem, his Wife,
and Child.
From the Collection of Prince Galitzin. Mrs. P. L. Detmold Sale. Lent by Mr. Wm. M. Chase.
OSTADE (Adriaan van).
79.	Le Fumeur.
Collection Soultzener. Lent by Mr. Durand-Ruel.
VAN DER HELST (Bartholomews).
One of the most distinguished of the Dutch portrait-painters, was born at Haarlem in 1611 or 1612. He is supposed to have removed to Amsterdam while yet young, and there to have become the pupil of Nicolas Elias, an eminent master in the art of portraiture.
Van der Heist married in 1636. He died at Amsterdam, where he had continued to reside, and where he was buried Dec. 16, 1670. His son Lodewyk was also a portrait-painter.
80.	Portrait.
Lent by Mr. C. T. Barney.
WOUWERMAN (Philips).
The son of Paulus Joosten Wouwerman—a painter of whom only the name is known—was born at Haarlem, and baptized there May 24, 1619. He learned the practice of his art from his father, and studied landscape painting under Jan Wynants ; but he is
29supposed to have also profited by the example of Andries Both and Peter van Laer. In 1640 he entered the Guild of Painters of his native town, and was elected Dean of the same for the year 1645-6. He is said to have remained resident at Haarlem during his lifetime. He died at Haarlem on the 19th of May, 1668.
81.	The Trumpeter.
From Collection of Duchesse de Berry, 1837 ; San Donato Collection, 1880. Lent by Col. E. F. Shepard.
VELDE (WlLLEM VAN DE) THE YOUNGER.
A distinguished Dutch marine-painter, was the son of the elder Willem van de Welde, and was born at Amsterdam in 1633 ; he was instructed by his father, and by the marine- and landscape-painter, Simon de Vlieger. These painters lived at Greenwich, where the father died in 1693, aged eighty-three ; the son in 1707, April 6th.
82.	Marine.
Collection DemidofT. Lent by Mr. Durand-Ruel.
REMBRANDT VAN RYN.
83.	Boy Buckling on his Armour.
From the San Donata Sale. Lent by Mr. Richard Mortimer.
TENIERS (David) the Younger.
84.	The Five Senses—Smell.
Lent by Mr. C. Lambert.
TERBURG (Gerard).
Was born in 1608 at Zwolle, where he was taught drawing by his father. In 1632 he was at Amsterdam, under whose tuition does not appear ; but before long he went to Haarlem to become pupil of the elder Pieter Molyn, and, as it turned out, to take example by Frans and Dirk Hals and their scholars. He matriculated in the Guild of S.t. Luke of Haarlem, in 1635 ; in the same year he visited England. From this country he set out on further travels, passing through Germany into Italy, where he studied the works of Titian, and returning to Holland, probably by way of France. He remained some time working at Amsterdam, and there learned much from the works of Rembrandt. In 1646 he repaired to Minister, where the memorable Congress was then sitting ; and it was there that he painted the marvellous little picture of the "Ratification of the Treaty of Peace." After the conclusion of this treaty in 1648, the Conde de Peneranda, Spanish Plenipotentiary at the Imperial Court, took Terburg with him to Spain, and thus enabled the still young painter to see what the great Velazquez had done and was doing. Terburg was again in Holland in 1650, and in T654 he married at Deventer, of which town he became citizen, and, at a later period, burgomaster. There he passed the remainder of his life in quiet work until his death, on the 8th of December, 1681. His body, in accordance
30with the terms of his will, was taken to Zwolle for burial. It was at Deventer that he painted the greater number of his pictures of social life, and of those portraits on a small scale, full of distinction, in which his finest qualities are exhibited.
85. The Artist's Wife.
Lent by Mr. W. M. Chase.
TENIERS (David) the Younger.
86.	The Five Senses—Taste.
Lent by Mr. C. Lambert.
Old DUTCH.
87.	Burgomaster.
Lent by Mr. A. W. Drake.
BROUWER (A.).
Was born probably about 1605, at Oudenarde, and died March 30, 1640, at Haarlem. Many incredible anecdotes about his life have been circulated ; it is certain, however, that he went to Antwerp about 1632, and that the elder Bruegel influenced his work.
88.	A Game of Cards.
Lent by Mr. r. Ingalls.
TENIERS (David) the Younger.
89.	The Five Senses—Sight.
Lent by Mr. C. Lambert.
HOOGHE (Pieter de).
Pieter de Hooch or Hooghe. Born in 1630, it is not known where. Little is known of his life beyond the facts that he was at Delft between 1653 and 1656, and from about 1668 resident at Amsterdam, where he died probably after 1677.
90.	La Partie de Cartes.
Collection du Due Morny, 1868. Lent by Mr. Durand-Ruel.
Old DUTCH.
91.	Woman.
Lent by Mr. A. W. Drake.
HALS (Frans).
92.	Portrait of Scriverius.
Lent by Mr. R. Ingalls.
31TENIERS (David) the Younger.
93.	The Five Senses—Feeling.
94.	The Five Senses—Hearing.
Lent by Mr. C. Lambert.
Old DUTCH.
95.	Interior.
Lent by Mr. A. W. Drake.
TENIERS (David) the Younger.
96.	Village Scene.
Lent by Mr. George H. Butler.
TERBURG (Gerard).
97.	The Musical Rehearsal.
Lent by Mr. T. E. Hassard.
CUYP (Aelbert).
Born in Dordrecht in 1620. Died 1691.
98.	The Watering-Place.
Collection Hon. Edmund Phipps, England. Collection Baron Kolisch, Vienna. Lent by Mr. W. H. Fuller.
METSU (Gabriel).
Was a native of Leyden, and was born in 1630. He had the advantage of Gerard Dou's tuition, and already in 1644 became a member of the Leyden Guild of Painters. In 1650 he removed to Amsterdam, and there fell under the influence of Rembrandt.
The painter died at Amsterdam at the early age of thirty-seven, and was interred there Oct. 24, 1667.
99.	The Music Lesson.
Lent by Mr. S. M. Purdy.
VELAZQUEZ (Diego de Silva y).
Was born in June, 1599, an Portuguese family settled at Seville. His father's name was De Silva, but in accordance with an old Andalusian custom he was known by his mother's family name.
Pupil of Francisco Herrera the elder, whose harsh manners drove the young Velazquez to the studio of Francisco Pacheco, who so highly appreciated the genius of his pupil that
32he gave him his daughter Juana to wife. He gained, however, less from Pacheco than from Herrera and from the example of Ribera and Luis Tristan.
In 1622 Velazquez paid a visit to Madrid ; and in the following year was established there as court painter to Philip IV. In the summer of 1629 he paid his first visit to Italy ; spent a year in Rome, and some time in Naples ; returning in 1631 to Madrid. He was presented by Philip IV. with a painting-room in the palace. At the close of the year 1648, the King sent him again to Italy to purchase works of art for him, and on this occasion Velazquez painted the celebrated portrait of Pope Innocent X. now in the Doria Gallery in Rome. After his return the King created him his Apostutador Mayor and decorated him with the Cross of St. Iago. The duties of his post rendered it necessary for Velazquez to attend the King in person whenever he left the capital ; which duties were the immediate cause of the painter's death. It was in consequence of his exertions in providing the royal quarters at Irun, in June 1660, on the occasion of the conference which led to the marriage of Louis XIV. with the Infanta Maria Teresa, that he was taken ill a few days after his return to Madrid. This was 011 July 31st, and he died on August 6, 1660, in the sixty-first year of his age. He was buried with great pomp in the Church of St. Juan ; his wife followed him to the grave seven days afterwards.
100.	Portrait of Marianna of Austria, Wife of Philip IV.
Lent by Mr. W. Lewis Fraser.
101.	Genoese Gentleman.
From the Brignole Sale (1850). Lent by Mr. Richard Mortimer.
VELAZQUEZ.
102.	Marquis de Spinola.
Lent by Mr. M. Knoedler.
103.	Boy Eating Soup.
Lent by Mr. Chas. B. Curtis.
Painter unknown.
104.	Young Girl.
Old Spanish. Lent by Mr. Alexander W. Drake.
CANO (Alonzo).
Painter, architect, and sculptor, was born March 19, 1601, at Granada, where he died October 5, 1667. He learned building from his father, sculpture from J. M. Montanes in Seville, and painting from Pacheco and Juan del Castillo in the same town. In 1637 he went, as the result of a quarrel, to Madrid and painted in the palace of the Duke of Olivarez. In 1643 he painted three pictures for Porta Coeli in Valencia. In 1652 he joined an ecclesiastical order in Granada in order that he might devote his life to his art.
105.	Portrait of Nicolas Antonio.
Lent by Mrs. Salvadora G. George.
33RUBENS.
106. Le Mage Assyrien.
Lent by Mr. M. Knoedler.
RUBENS.
107.	Le Mage Grec.
Lent by Mr. M. Knoedler.
BAROCCIO (F.).
Born in 1528. Died in 1612
108.	Holy Family.
Lent by Mrs. S. L. Parrish.
GUARDI (Francesco).
109.	Venice.
Lent by Mr. John g. Johnson.
CAPELLE (Jan van de).
Was a marine- and landscape-painter of Amsterdam, of great excellence, and supposed to have been a scholar of Simon de Vlieger ; but scarcely anything is known of him. He painted as late as 1680 or perhaps 1686.
no. The Meuse.
Lent by Mr. John g. Johnson.
in. Madonna, Bas-Relief of the 15th Century in Gesso Duro.
Lent by Mr. Stanford White.
34G. W. VANDERBILT GALLERY.
PAINTINGS.
MODERN MASTERS
STEVENS (A.).
1.	New Bonnet.
Lent by Mr. M. Knoedler.
CAZIN (J. C.).
2.	Marais.
Lent by Mr. Wm. Schaus.
RICO.
3.	S. M. della Salute—Venice.
Lent by Mr. J. J. Hagerman.
COFFIN (WM. A.).
4.	September Afternoon.
Lent by Mr. Wm. A. Coffin.
PASINI (A.).
5.	The Retreat.
Lent by Mr. T. J. Blakeslee.
CHURCH (F. E.).
6.	The ^Egean Sea.
Lent by Mr. W. H. Osborn.
35STEVENS (Alfred).
7.	Summer-Night at Trouville.
Lent by Mr. L. C. Delmonico.
COROT (J.-B. Camille).
8.	L'Etang.
Lent^by Mr. Wm. Schaus.
STEVENS (Alfred).
9.	The Fortune-Teller.
Lent by Mr. L. C. Delmonico.
VOLLON (Antoine).
10.	Lobster.
Lent by Mr. L. C. Delmonico.
CAZIN (J. C.).
11.	Chaville.
Lent by Mr. L. C. Delmonico.
FORTUNY (Maria-no, y Carbo).
12.	Beach at Portici.
Lent by Mrs. Prescott Hall Butler.
VOLLON (Antoine).
13.	Still Life.
Lent by Mr. William Schaus.
BOLDINI (G.).
14.	The Artist.
Lent by Mr. C. T. Barney.
HENNER(J. J.). 15: Brunette.
Lent by Mr. M. Knoedler.
36MAUVE (Anton).
i6. Landscape and Sheep.
Lent by Mr. W. H. Fuller.
MESDAG (H. W.).
17.	A Stormy Day.
Lent by Mr. s. p. Avery, Jr.
MONET (Claude).
18.	Still Life.
Lent by Mr. M. Knoedler.
BOLDINI (G.).
19.	Les Lavandieres des Carrieres.
Lent by Mr. C. T. Barney.
CAZIN (J. C.).
20.	September Night.
Lent by Mr. L. C. Delmonico.
JEFFERSON (Joseph). 20A. The Cave.
Lent by Yale University.
TROYON.
21.	Paturage au Bord de la Mer.
Lent by Mr. Durand-Ruel.
ARTZ (A.).
22.	Going Home.
Lent by Mr. s. p. Avery, Jr.
COROT (J.-B. Camille). 23. Garden Gate.
Lent by Mr. M. Knoedler.
37RIBOT.
24. La legon de Musique.
Lent by Mr. Durand-Ruel.
CHAVANNES (Puvis de).
25.	Autumn.
Lent by Mr. C. Lambert.
SARGENT (John S.).
26.	Luxembourg Gardens, Paris.
Lent by Mr. John G. Johnson.
SISLEY.
27.	Raisins et Noix.
Lent by Mr. Durand-Ruel.
ROBINSON (T.).
28.	Banks of the Seine.
Lent by Mr. T. Robinson.
RIBOT.
29.	Mignonne.
Lent by Mr. Durand-Ruel.
SISLEY.
30.	Le Matin aux Bords du Loing a Moret.
Lent by Mr. Durand-Ruel.
MONET (Claude).
31.	Prairie a Giverny.
Lent by Mr. Durand-Ruel.
FORAIN.
32.	Courses a Longchamps.
Lent by Mr. Durand-Ruel.
38PISSARRO.
33. Paysage pres Pontoise.
Lent by Mr. Durand-Ruel.
RAFFAELLI.
34.	L'Avenue des Ternes.
Lent by Mr. L. C. Delmonico.
MONET (Claude).
35.	Entree du Petit Bras A Vetheuil.
Lent by Mr. Durand-Ruel.
CHAVANNES (Puvis de).
36.	Dream of the Reaper.
Lent by Mr. C. Lambert.
MONET (Claude).
37.	Antibes.
Lent by Mr. L. C. Delmonico.
BROWN (J. L.).
38.	Cavaliers.
Lent by Mr. Durand-Ruel.
MONET (Claude).
39.	Vetheuil.
Lent by Mr. L. C. Delmonico.
MONET (C&aude).
40.	Champ des Coquelicots.
Lent by Mr. Durand-Ruel.
MONET (Claude).
41.	The Hay-stack—Thaw.
Lent by Mr. M. Knoedler.
39UHDE (Fritz von).
42. Evening in the Dachau, near Munich.
Lent by Mr. L. C. Delmonico.
PISSARRO.
43.	Le Scieur de Bois.
Lent by Mr. Durand-Ruel.
RENOIR.
44.	Deux Jeunes Filles Assises.
Lent by Mr. Durand-Ruel.
BERAUD (Jean).
45.	St. Phillipe du Roule, Paris.
Lent by Mr. S. P. Avery, Jr.
EDELFELT (A.).
46.	Young Mariners.
Lent by Mr. M. Knoedler.
CAZIN (J. C.).
47.	Winter.
Lent by Mr. Wm. Schaus.
JONKIND.
48.	Cours d'Eau en Hollande.
Lent by Mr. Durand-Ruel.
WEIR (J. Alden).
49.	May Blossoms.
Lent by Mr. J. Alden Weir.
VOLLON (Antoine).
50.	Treport.
Lent by Mr. John g. Johnson.
40BOGGS (Frank).
51. Thames near Greenwich.
Lent by Mr. G. Reichard.
DUPRE (Jules).
52.	After Sundown.
Lent by Mr. M. Knoedler.
RIBOT.
53.	Head of a Boy.
Lent by Mr. M. Knoedler.
ISRAELS (Josef).
54.	Family Cares.
Lent by Mr. wm. C. Cottor
DUPR& (Jules).
55.	La Mare.
Lent by Mr. Durand-Ruel.
COROT (J.-B. Camille).
56.	Near the Lake.
Lent by Mr. M. Knoedler.
DELACROIX (Eugene).
57.	Don Quichotte.
Lent by Mr. Durand-Ruel.
COROT (J.-B.*Camille).
58.	The Fisherman.
Lent by Mr. M. Knoedler.
DUPRfi (Jules).
59.	Marine.
Lent by Mr. Durand-Ruel.
41DUPRE (Jules).
60. Sunset Clouds.
Lent by Mr. M. Knoedler.
VOLLON (A.).
61.	Corner of a Kitchen.
Lent by Mr. M. Knoedler.
WALKER (Horatio).
62.	Cattle.
Lent by Mr. H. Walker.
COURBET (G.).
63.	Sea Shore.
Lent by Mr. John G. Johnson.
LEROLLE (Henri).
64.	The Sower.
Lent by Mr. G. Reichard.
MONTICELLI.
65. Autumn Landscape.
Lent by Mr. C. Lambert.
DAUBIGNY (C.).
66.	Dieppe.
Lent by Mr. Joseph Jefferson.
MAUVE (Anton).
67.	Changing Pasture.
Lent by Mr. Benjamin Altman.
ISRAELS (Josef).
68.	Mother and Child.
Lent by Mr. Joseph Jefferson. 42MICHEL (G.).
69. Landscape.
Lent by Mr. C. Lambert.
LAURENS (Jean Paul).
70.	Ophelia.
Lent by Mr. M. Knoedler.
MAUVE (Anton).
71.	Sheep on the Heath.
Lent by Mr. Wm. C. Cotton.
DECAMPS (A. G.).
72.	The Good Samaritan.
Lent by Mr. T. J. Blakeslee.
MAUVE (Anton).
73.	The Flock.
Lent by Mr. Joseph Jefferson.
MICHEL (G.).
74.	Waterfall.
Lent by Mr. C. Lambert.
STEVENS (A.).
75.	In the Park.
Lent by Mr. Etienne Boussod.
MAUVE (Anton).
76.	Left in Charge.
Lent by Mrs. C. B. Kimball.
COROT (J.-B. Camille).
77.	Jeune Fille Couch£e.
Lent by Mr. Durand-Ruel.
43MONTICELLI.
78. Jolly Cooks.
Lent by Mr. C. Lambert.
ISRAELS (Josef).
79.	King of the Chicks.
Lent by Mrs. C. B. Kimball.
BONNAT (Leon).
80.	Mother and Child.
Lent by Mr. M. Knoedler.
DAUBIGNY (Charles Francois).
81.	Borders of the Oise.
Lent by Mr. M. Knoedler.
DUPRE (Jules).
82.	Marine.
Lent by Mr. M. Knoedler.
WYANT (A. H.).
83.	New England Landscape.
Lent by Mr. G. Reichard.
FROMENTIN (E.).
84.	Wind Storm (l'Orage).
Lent by Mr. Etienne Boussod.
COURBET (G.).
85.	Effet de Neige.
Lent by Mr. Durand-Ruel.
COROT (J.-B. Camille).
86.	Early Morning.
Lent by Mr. M. Knoedler.
44COROT (J.-B. Camille). 87. Moulin d'Eragny.
Lent by Mr. Durand-Ruel.
MESDAG.
88.	Morning—Fishing Boats at Anchor.
Lent by Mr. M. Knoedler.
MAUVE (Anton).
89.	Red and White Cow.
Lent by Mr. Joseph Jefferson.
DAUBIGNY (C. F.).
90.	Apple Orchard.
Lent by Mr. T. J. Blakeslee.
BOLDINI.
91.	A Chilly Day.
Lent by Mr. M. Knoedler.
BONVIN (Francois).
92.	The Engraver.
Lent by-Mr. John g. Johnson.
BOCKLIN.
93.	Nymph and Satyr.
Lent by Mr. John g. Johnson.
RIBOT.
94.	La Recureuse.
Lent by Mr. Durand-Ruel.
TROYON (Constant).
95.	Shepherd and Sheep.
Lent by Mr. Durand-Ruel.
45VOLLON (A.).
96.	Copper Kettle, etc.
Lent by Mr. M. Knoedler.
MONTICELLI.
97.	Feast of the Vestal Virgins.
Lent by Mr. C. Lambert.
ROBINSON (T.).
98.	Study.
Lent by Mr. T. Robinson.
ROYBET.
99.	Cavalier.
Lent by T. J. Blakeslee.
DUPRE (Jules).
100.	Sunset on the River.
Lent by Mr. W. H. Fuller.
DUPRE (Jules).
101.	Vaches s'Abreuvant.
Lent by Mr. W. H. Fuller.
DAUBIGNY (Charles Francois).
102.	The Cliff at Villerville.
Lent by Mr. W. H. Fuller.
MICHEL (Georges).
103.	The Windmill of Montmartre.
ROUSSEAU (Theodore). 104. Plaine et Marais.
Collection Laurent-Richard. Lent by Mr. W. H. Fuller.
46MICHEL (Georges).
105. The Plain of Montmartre.
Lent by Mr. W. H. Fuller.
DUPRE (Jules).
Born in Nantes 1812. Diedjin Paris 1890.
106.	The Open Sea.
Lent by Mr. W. H. Fuller.
MILLET (J. F.).
107.	Landscape.
Collection Tillot. Lent by Mr. Durand-Ruel.
TROYON (Constant).
Born in Sevres 1810. Died inJParis 1865.
108.	Cows in the Pasture.
Collection Baron Liebermann. Collection e. Secretan. Lent by Mr. W. h. Fuller.
COROT (J. B. C.).
Born in Paris 1796. Died 1875.
109.	Dance of the Nymphs.
Lent by Mr. W. h. Fuller.
MICHEL (G.).
no. Horseman.
Lent by Mr. W. h. Fuller.
DAUBIGNY (Charles Francois), hi. Apple Blossoms.
Lent by Mr. W. h. Fuller.
DAUBIGNY (Charles Francois). 112. Evening on the Marne.
Lent by Mr. W. h. Fuller.
47ROUSSEAU (Theodore).
Born in Paris 1812. Died 1867.
113.	Charcoal Burners' Hut.
Collection Van den Ende. Collection Guntzburg. Exposition des^Cent Chefs-d'oevre, 1883. Secretan Collection.
Lent by Mr. W. H. Fuller.
ISABEY (E.).
114.	On the Jetty.
Lent by Mr. L. C. Delmonico.
TROYON (C.).
115.	Going to Market.
Lent by Mr. M. Knoedler.
DIAZ (Narcisse).
Born in Bordeaux, 1808. Died in Etretat, 1876. Medals, 1844, '46, '48. Legion of Honor, 1851.
116.	Pool at Fontainebleau.
Lent by Mr. W. H. Fuller.
ROUSSEAU (Theodore).
117.	Le Carrefour de la Reine Blanche.
DAUBIGNY (C. F.).
118.	The Coast of France.
Lent by Mr. T. J. Blakeslee.
GfeROME (Jean Leon).
119.	Collaboration.
Lent by Mr. Stanford White.
MEISSONIER (J. L. E.).
120.	En Vedette.
Lent by Mr. M. Knoedler.
48DELACROIX (E.).
121. Horse Attacked by Panther.
Lent by Mr. L. C. Delmonico.
MARIS (Wm.).
122.	Cattle in a Pool.
Lent by Mr. M. Knoedler.
DAUBIGNY (Charles Francois).
123.	Summer-Time after Rain.
Lent by Mr. R. M. Knoedler.
BASTIEN-LEPAGE (JULES).
124.	Early Morning.
Lent by Mr. John G. Johnson.
COCK (Cesar de).
125.	After the Rain.
Lent by Mr. S. P. Avery, Jr.
MILLET (Jean Francois).
126.	November.
Lent by Mr. Etienne Boussod.
UHDE (Fritz von).
127.	Sewing-Bee in Holland.
Lent by Mr. L. C. Delmonico.
COROT (J.-B. Camille).
128.	Femme a la Mandoline.
Lent by Mr. Durand-Ruel.
VOLLON (Antoine).
129.	Flowers and Fruit.
Lent by Mr. G. Reichard.
49DAGNAN-BOUVERET.
130.	The Accident.
Lent by Mr. Etienne Boussocl.
DELACROIX (Eugene).
131.	Chasse au Lion.
Lent by Mr. Durand-Ruel.
STEVENS (A.).
132.	A Reverie.
Lent by Mr. M. Knoedler.
BOUDIN.
133.	Le Port de Portrieux.
Lent by Mr. Durand-Ruel
MEYER (Claus).
134.	Dutch Interior.
Lent by Mr. Wm. Schaus.
COUTURE (T.).
135.	Love Drives the World.
Lent by Mr. T. J. Blakeslee.
FRENCH (Daniel C.).
136.	"The Republic."
Model for the colossal statue which stands in the centre of the Lagoon at the World's Columbian Exposition, Chicago. Lent by Mr. Daniel C. French.
50OLD SILVER.
LOANED BY MR. HOWARD.
1.	Epergne. London. Date 1768.
2.	Kettle and stand, chased. Made by T. Whipham and Chas.
Wright, Ave Maria Lane, London. Date 1765.
3.	High pierced dish, chased. London. Date 1766.
4.	Large jug, gadroon edge. London. Date 1771.
5.	Jug, long neck. Coins of XVII. Century. Augsburg.
6.	Wine cooler. Exact copy of celebrated Warwick vase. London.
1818.
7.	Very large muffineer. London. 1721.
8.	Cake-basket, pierced. London. 1763.
9.	Tankard, heavy chased hunting scene. London. 1763.
10.	Tankard, chased flowers and figures. Partly silver, gilded.
Augsburg.
11.	Tankard, strap work. London. 1640. (Charles I.)
12.	Small tankard, leaf chasing. Newcastle. 1703 (Queen Anne).
13.	Tankard, plain. Pegs inside. Exeter. Date 1703 (Queen
Anne). England. Chaffers in his work on Old Silver says that S. Dunstan " finding that quarrels very frequently arose in taverns from disputes about the proper share of liquor when they drank out of the same cup, advised Edgar to order gold or silver pegs to be fastened at regulated distances in the pots, that every man should know his just allowance. The space between each peg contained half a pint."
14.	Pair of candlesticks, chased. London. Date 1755.
5115.	Pair of candlesticks, fluted. London. Date 1698.
16.	Toy Dutch* house.
17.	Lunch tureen. London. Date 1821.
18.	Small jug, chased. London. Date 1832.
19.	Incense stand. Spanish.
20.	Porringer, " Cromwell." London. Date 1654.
21.	Teapot, octagon. London. Date 1774.
22.	Boot cup, silver gilded, chased. Nuremburg.
23.	Squirrel cup. Very early Dutch.
24.	Chalice with paten cover. London. Date 1572 (Eliz.).
25.	Pair muffineers, partly chased. London. Date 1784.
26.	Handle cup, plain. Made by N. Locke, Cripplegate, London.
Date 1698 (William III.).
27.	Small beaker, chased. London. Date 1797.
28.	Small bowl, two handles, shell feet. London. Date 1771.
29.	Ewer, helmet-shaped, chased. London. 1759.
30.	Square tray on feet, leaf border. Dutch.
31.	Round tray, shell edge, coat-of-arms. London. Date 1759.
32.	Potato ring, chased and pierced. Irish. Date 1749.
33.	Paten, gadroon edge, coat-of-arms. London. Date 1691.
LOANED BY E. HOLBROOK, ESQ.
34.	Large oval plateau in silver repousse and chased, with two handles
formed of cupids holding garlands of flowers. The surrounding border is ornamented with female busts, masks, and cupids holding festoons of flowers. In the centre is a scene representing a sacrifice to Diana in high relief. Italian, early XVII. Century.
From the Secretan Collection.
LOANED BY HENRY LE GRAND CANNON, ESQ.
35.	Tankard with coins.
36.	Loving cup. London. 1765.
37.	Hot-water pitcher. London. 1829.
5238.	Soup-ladle, Colonial. J. Sayre, Maker.
39.	Covered vase. London. 1748.
40.	Pair of muffineers. XIX. Century.
41.	Hot-milk pitcher. London. 1829.
42.	Large muffineer. London. 1800.
43.	Cake-basket. XVIII. Century.
44.	Pair of candlesticks. Sheffield. 1816.
45.	Punch bowl. London. XIX. Century.
LOANED BY S. P. AVERY, ESQ.
46.	Large beaker. German. XVII. Century.
47.	Bread basket. Amsterdam. XVIII. Century.
48.	Small beaker. German. 1712. f Twelve spoons.
49 -j Six Japanese spoons.
(^Six various. 50. Pax.
52.	Chatelaine bag. Amsterdam. XVIII. Century.
53.	Dutch coffee pot. Late XVII. Century.
54.	Chocolate pot. French. 1778.
56.	Case breakfast set. Six pieces. Louis XV.
LOANED BY DR. JOHN JEFFRIES.
57.	Porringer; belonged to my grandfather, who was a fellow-Mason
of Revere, in S. Andrew's Lodge, Boston.
58.	Pair of large candlesticks. Each has four coats-of-arms.
59.	A tankard without cover, marked D. and S. J., viz., David
and Sarah (Jaffrey) Jeffries. (My great grandfather) some thirty years treasurer of town of Boston up into the Revolution.
60.	Pair small candlesticks. Jeffries' crest and J. Hall mark
1776. Also belonged to my grandfather, Dr. John Jeffries.
5361.	A snuff-box. J. J. and - Jeffries' arms. Lion rampant be-
tween three scaling ladders. The curiosity is that it is divided into four parts for pills,—the kind being marked in cardboard still in it.
62.	Lancet case. J. and Jeffries' crest—a castle.
63.	An old English Manor spoon, marked W. B.
64.	Manor spoon. J. and Jeffries' crest—a castle. London, 1786.
65.	Tea caddy spoon. Sheffield, 1778.
66.	Vinaigrette. Birmingham, 1805. Belonged to the old Doctor's
wife, an English lady. Curious, as they are now coming again into use. Gold work inside quaint. Marked Jeffries.
67.	Pair of silver buckles, Dr. John Jeffries, 1745-1820. Hall
marked but date
LOANED BY D. F. APPLETON, ESQ.
68.	Brazier. P. Revere.
69.	Covered tankard. Myers, N. Y. 1776.
70.	Vase.
LOANED BY HENRY G. MARQUAND, ESQ.
71.	Eper'gne. Irish. Early XVIII. Century.
72.	Loving cup. Queen Anne. 1709.
73.	Pair bishop's flagons, gilt. Augsburg. XVII. Century.
74.	Beaker. London. 1696.
75.	Sugar bowl and cover. French. Louis XVI.
76.	Scandinavian lamp.
77.	Modern Russian bowl. Copy Duke Alexis' baptismal bowl.
LOANED BY F. H. BETTS, ESQ.
78.	Large salver. XVIII. Century.
79.	Ivory and silver tankard.
80.	Gilt cup and cover. Copy of the original which was made of
gold and given by George Hall, Bishop of Chester, to Exeter College, Oxford. XVI. Century.
5481.	Hanap. Augsburg. 1649.
82.	Teapot, sugar bowl, and cream ewer. Colonial. Maker, W. B.
Heyer.
83.	Sugar basin. Early^XVIII. Century.
84.	Tureen. James II. 1685. London.
85.	Two bowls with handles. London. 1758.
86.	Russian Ikon.
87.	Pyx.
LOANED BY A DESCENDANT OF DE WITT CLINTON.
88.	Pair of Vases. Inscription: To the Honble. De Witt Clinton,
who has developed the resources of the State of New York, the merchants of Pearl St. offer this testimony of their gratitude & respect.
LOANED BY E. HOLBROOK, ESQ.
89.	1 Pair asparagus tongs.
90.	Mug. London, 1759. Maker, W. P. W. S. Mug. London, 1758. Maker, R. Cox.
91.	Tea, sugar, and cream. London, 1806. Maker, C. F.
94.	I " " " "	" no standard, no glass, handle
to swing.
95.	1 Salt basket, oval shape, pierced, no glass. 97. I Small tray, pierced sides, engraved.
99. Coffee-pot. London, 1764. Maker, L. B.
100.	1 " oval tray, chased centre. 1799. London.
1	Vase, small handles on sides.
101.	1 Salt basket, wire work with flower and bird ornaments, twist
wire handle, blue glass lining. 1774. Made by James Young & Orlando Jackson.
102.	High standing cup and cover. Moscow, 1745.
103.	I Sauce boat, dragon handle, three standards. 1759. Made by
Parker & Wakelin, London.
2	Cups, egg shape.
104.	1 Round tray, on three feet, irregular edge, 7^ inches. Fish
stamped in centre. 1767. London.
55104A. I Salt basket, pierced, handle to swing, the edge of basket scalloped, no glass.
105.	1 Salt basket, oval shape, pierced, with bail and standard, no
glass lining, No. 6824.
106.	1 Pair snuffers.
107.	1 Beer mug, representing barrel, handle extending to the sides,
with hop-vine ornaments.
108.	1 Small round plate.
( 1 Filled handle knife. I09'( 1 " " fork.
110. 1 Salt basket, round shape, pierced, handle to swing, no glass, in. 1 " " " fluted edge.
112.	1 Child's cup, octagon shape.
113.	Teapot. London, 1769. Maker, I. D.
114.	Coffee-pot. London, 1740. Maker, L. D. Teapot. London, 1809. Maker, I. T.
116.	Silver peg tankard. Swedish, with coins. XVIII. Century. Porringer. Colonial. I. R. A.
Sugar basin. Colonial. Maker, W. H. T.
117.	1 Fruit dish, pierced and chased. Louis XVI.
118.	Mug. London, 1778. Maker, J. D.
119.	1 Teapot, ribbon chased.
120.	Sugar basin. London, 1800.
121.	1 Large waiter with handle and shell ornaments, 22 x 17. 1811. Irish. 1 Placque, Tomey chased, 15^ inches.
122.	Tankard. London, 1757. Maker, F. W.
123.	1 Fruit basket, pierced, handle to swing. 1785. London.
124.	Tureen. Newcastle, 1788. Makers, L. L. I. R.
125.	Tureen, French. XVIII. Century.
126.	1 Adjustable standard.
1 Cologne, screw top, ball-shape body with long neck.
127.	1 Round tray, on three feet, irregular edge, inches. Dragon
stamped in centre.
128.	Coaster. London.
56LOANED BY HENRY DUVEEN, ESQ.
129.	Tankard. Queen Anne. 1703. London.
130.	Chocolate pot. 1739. London.
131.	Pair candlesticks. George II. 1744. London.
132.	Small loving cup. 1700. London.
133.	Pair candlesticks. George II. 1741. London.
134.	Compote. Queen Anne. 1709.
135.	Compote. George I. 1724.
LOANED BY STANFORD WHITE, ESQ.
136.	Pair of altar candlesticks.
LOANED BY E. HOLBROOK, ESQ.
200.	Spoon, seal-topped. Made at York. Mark within the bowl,
and date letter " Q " of 1573-4 on stem, with maker's mark.
201.	Spoon, seal-topped. Mark within bowl, and maker's initials,
" I. G.," on stem. XVI. Century.
202.	Three spoons, seal-topped, various. Stamped within the bowls.
XVI. Century.
203.	Spoon, seal-topped. Silver gilt. Stamped within the bowl.
204.	Spoon, with plain slipped top. Initials, " A. P." pounced on
back of bowl. XVI. Century.
205.	Spoon, with cleft top. Back of bowl and top of handle enriched
with raised scroll ornament. London. Hall marked, 169-(before 1696).
206.	Spoon, with cleft top. Lettered and dated 1674.
207.	Spoon, with pine-apple top and chased stem. Lettered scroll and
escutcheon at the back of bowl and date, 1649. Probably Swedish.
208.	Spoon, short handle. I. B. Engraved bowl. XVII. Century.
209.	Spoon, with cleft top. Back of bowl and top of handle enriched
with raised scroll ornament. Initials, " M. S." pounced on handle. English. About 1690.
57210.	Spoon. Companion to last.
211.	Fifteen spoons, series of, with cleft tops. London. Hallmarked,
with date letters of the following years: 1671, 1680, 168 (?), 1683, 1688, 1688, 1691, 1694, 1695, 1696, 1696, 1697, 1697, 1698, 1698 (small spoon).
M. F. S. P.	C. I. H. E. C. E. D. C. G. E. B. J. S. I. D.
» J
212.	Spoon, with cleft top. Maker's mark, "I. G." crowned. Date
about 1690. Initials and 1794 scratched on back of handle.
213.	Spoon, with cleft top. Maker's mark, " I. L." crowned. Date
about 1690.
214.	Spoon, cleft top. Norwich. Hall marks and date letter of 1692.
215.	Four spoons, of similar character. With various marks. Prob-
ably provincial. Date, end of XVII. Century.
216.	Spoon, with broad flattened handle. Chased with flower orna-
ment. Date, 1727, engraved on back of bowl. Swedish.
217.	Spoon, of similar type. With initials and date, 1708, engraved on
back of bowl. Swedish.
218.	Spoon, broad, with short handle. Pierced and hung with rings.
Norwegian. XVIII. Century.
219.	Spoon, with curved handle. Having a dog in front. Bowl
repousse. Probably Dutch.
220.	Spoon, tea caddy. Fluted. Dublin. XVIII. Century.
221.	Sugar basin. Circular. Fluted, with three-hoof feet. Dublin.
About 1750.
222.	Salt cellar. Pierced scroll design. On four ball-and-claw feet.
Dublin. About 1770.
223.	Sugar basin. Raised on foot, and with handle. Pointed oval.
Fluted and chased. Dublin. 1797-8.
224.	Ball, perforated, for tea. With suspending chain to place it in
teapot. End of XVIII. Century.
225.	Cup and cover. With acorn top, repouss£, with fluted and leaf
ornament. French. XVIII. Century.
226.	Drinking cup, small, with expanded lip. Chased with flower and
scroll ornament, and a name on escutcheon. Swedish. XVIII. Century.227.	Cistern, small, on scroll feet. Fluted and chased with strap
ornament. Russian. 1742.
228.	Small cup. Russian. 1788.
229.	Scent-holders, pair of. The whole 'surface repouss6 with flower,
leaf, etc., ornament. Indian.
230.	Chalice and Paten. The latter engraved with Tudor rose.
English. Time Henry VIII.
231.	Chalice and Paten. Both London. Hall mark of 1591-2.
232.	Drinking goblet. Chased with foliated scroll ornament. In
bottom is inserted a coin of 1600, of Frederick, Elector of Saxony. Dutch. XVII. Century.
233.	Drinking goblet. Silver gilt. Chased with foliated scroll orna-
ment. In bottom is inserted a coin of Christian IV., of Denmark, of 1624. Cup bears arms and initials and date 1638. Dutch. XVII. Century.
234.	Beaker. Silver gilt. Engraved with/figures of Faith, Hope, and
Charity. Near the base is a twisted band of detached ornament. Dutch. XVII. Century.
235.	Drinking cup, with expanded lip. Chased with flowers within
ovals. Swedish. XVII. Century.
236.	Drinking cup. Parcel gilt. Rim flattened. Swedish. XVII.
Century.
237.	Goblet. Ball feet. 1680.
238.	Goblet. Gilt inside. Lower portion enriched with ornaments
in relief. French. XVII. Century.
239.	Bowl. Gilt inside. With scroll handles terminating in female
heads. Edge gadrooned. Richly repouss6 with flowers, etc. Dutch. XVII. Century.
240.	Wine taster. Repouss£ ornament. Dutch. XVII. Century.
241.	Sugar basin, with crimson glass'lining. Open work, with pendant
wreath ornament. London. Hall'mark 1774-5.
242.	Sugar basin. Smaller. To match No. 66.
243.	Cup, double-handled. Repousse with escutcheon and flower
ornament. London. Hall mark 1769-70.
244.	Cup, double-handled. Repouss6, with flower wreaths. Marks
illegible. Probably Dutch.
59245- Drinking cup, small, straight-sided. Dated 1762. Swedish.
246.	Drinking cup, small. London. Hall mark 1727-8. Initials
E. O., and dated 1789.
247.	Cowrie shell, silver mounted. 1760.
248.	Sugar caster. Repouss6 and chased with bold scroll ornament.
London. Hall mark 1727-8.
249.	Sugar caster. Repouss6 and chased with bold scroll ornament.
London. Hall mark 1731-2.
250.	Sugar caster. Repouss6 with flowers, etc. London. Hall
mark, 1747-8.
251.	Sugar caster, on square base, with feet. London. Hall mark,
1789-90.
252.	Sugar caster, heart-shaped. Dutch. XVIII. Century.
253.	Tea bottle, vase-shaped. Richly repouss6 with flowers. Mark
of Haarlem. Dutch. Late XVII. Century.
254.	Basket, with beaded handle. Oval openwork edge. London.
Hall mark, 1787-8.
255.	Basket, small. Pointed oval. Perforated ornament. Late
XVIII. Century.
256.	Box, small, pecten-shaped. Fluted. Dutch.
257.	Patch box, round. Silver gilt. Chased on top with flower and
cock, and dated 1668. Dutch.
258.	Tea caddy spoon, leaf-shaped. London. Hall mark, 1816-7.
259.	Spoon, gilt.
260.	Watch case. Tortoise-shell pique with silver. English. Early
XVIII. Century.
261.	Watch case. Perforated brass, with rich design. Late XVII.
Century.
262.	Watch and key. Silver. By John Mitzell, London, with tortoise-
shell case pique with silver.
263.	Belt clasps, pair of. Silver filigree. Norwegian.
264.	Brooch, circular. With pendant disks. Silver gilt.
265.	Coffee-cup holder. Silver filigree. Turkish.
266.	Coffee-cup holder. Silver repouss£. Old Venetian.
267.	Indian steel cup, damascened in gold.
268.	Fifty-four tea strainers, mounted on five cards.
60COLLECTION OF JAPANESE SILVER.
LOANED BY E. HOLBROOK, ESQ.
269.	1 Dagger with ivory sheath ornamented with pearl birds and flowers, one pearl ornament missing. Metal ends on sheath enamelled and loose.
270.	1 Lobster.
271.	1 Dagger and sheath with chain.
272.	1 Wooden box of 12 small spoons assorted.
273.	1 Fan-shaped snuff-box, finished black.
274.	1 Baboon snuff-box.
275.	1 Black coffee, octagon-shape body, flat sides, enamelled and ornamented with pearl flowers.
276.	1 Square tray, 5 inches, chased border, enamelled centre.
277.	2 Fan-shaped trays, one landscape design (No. 9), one game ornaments (No. 10).
278.	1 Small tea, small flowers and leaf chasing, small butterfly ornament on cover.
279.	I Small tea, leaf design, butterfly ornament on cover.
280.	1 Small tea, upper part of body chased flower design, lower part hammered, flower and leaf ornament on cover.
281.	1 Small tea with gilt ornamentation and dragon head spout.
282.	2 Vases enamelled and ornamented with pearl birds and flowers, elephant's-head feet.
283.	I Vase, enamelled, with serpent handle.
284.	1 Crane.
285.	1 Koro, basket-shape, with swing bail, small ornaments on body, cover pierced, also hole in cover size of finger, no cup inside.
286.	2 Vases, gilt body, enamelled insect design, the pillar to vase, larger flower chasing, elephant's-head feet.
287.	1 Koro, "Aster" flower chasing, oak leaf standard, gilt butterfly (loose) on top of perforated cover, movable silver cup inside, the whole on an ebony standard.
288.	1 Koro, enamelled body, perforated gallery stock cover, with basket of fruit ornament, no wooden standard.
61289.	I Koro, flower chasing, the larger flower on body, and cover pierced, enamelled ornament on cover, enamelled feet, wooden standard.
290.	1 Koro, figure of monkey chased on body and cover, movable silver cup inside, no wooden standard.
291.	1 Koro, body and cover chased insect design and the cover pierced, no cup inside, the whole on a wooden standard.
292.	1 Koro, large bird enamelled on body, cover enamelled small design, pierced, movable silver cup inside, wooden standard broken.
293.	1 Koro, gallery stock body with enamelled ornaments, handles and feet, pierced, enamelled cover, movable gilt cup inside, wooden standard broken.
294.	1 Koro, enamelled flower design, pierced cover and body, enamelled handles, cup inside, wooden standard.
295.	1 Koro, pyramid shape, wooden standard.
296.	1 Koro, enamelled standard, body and cover, body divided into eight panels, flower ornament on cover, dragon handles, silver cup inside, wooden standard broken.
297.	1 Snuff-box, Japanese figure on cover.
298.	1 Koro, rose with stem and leaves, fly ornament on cover, also wooden standard.
299.	1 Koro, flower chased on body and cover, cover pierced, body not pierced, no cup inside, no wooden standard.
300.	1 Koro, hexagon shape, each panel enamelled, small ring handle, wooden standard.
301.	1 Koro, Guinea pig, movable silver lining or cup, no cover, no standard.
302.	1 Koro, with wooden standard.
303.	1 Fluted pipe.
LOANED BY MRS. CHAS. B. CURTIS.
304.	Norwegian bridal belt. XV. Century.
305.	Engraved cup. XVI. Century.
306.	Pyx, with crucifix on lid.
307.	Bead chatelaine bag.
308.	Filagree pendant with chain.
The above goods purchased from the Norwegian Exhibit, Centennial, 1876.
309.	Ebony snuff-box, with silver top, containing three ivory dice moved by a spring.
62EAST GALLERY.
GREEK ART.
FIGURINES, GROUPS, STATUETTES, AND VASES IN TERRA COTTA.
SPECIMENS OF ANCIENT BRONZE AND GLASS.
TERRA COTTA GROUPS AND FIGURINES FROM GREECE AND ASIA MINOR.
The Greek terra cottas and groups are not anew thing in America, for, thanks to the generous provision made in his will by the lamented E. C. Moore, of this city, the Metropolitan Museum of Art has been able to offer this new attraction to art students. The Union League Club, of New York, gave a fine exhibition of such treasures in 1890, but the objects shown in the present display have not been publicly exhibited before. It is to the liberal spirit of our local collectors, Messrs. Henry G. Marquand, Edward D. Adams, E. Pope Sampson, Benjamin Altman, Cyrus J. Lawrence, and Thomas B. Clarke, who have consented to deprive temporarily their homes of these charming works of art, that we are indebted for the present display. It is impossible in this catalogue to describe in full or give justice to the profound feeling of these compositions of the Greek potter. We may say in brief that they were made at a time ranging from the fourth to the third century B.C., and intended for ornaments. They are found in tombs in Greece proper, and in the Greek settlements along the coasts of Asia Minor. The groups, as well as the figurines were made in moulds, but where the main skill of the Greek artist culminated was in the retouching with the graver before the baking. In this we find the explanation for the high finish and delicate expressions to be observed.
63A.	tleing the Sandal. A Greek girl is looking at her mirror
while her assistant is fixing her sandal. Terra Cotta group from Greece. IV. Century B.C.
Loaned by Mr. Henry G. Marquancl.
B.	sllenus and Goat. Terra Cotta group from Asia Minor. IV.
Century B.C.
Loaned by Mr. Benjamin Altman.
C.	Faun, Bacchante, and Eros. Terra Cotta group from Asia
Minor. IV Century B.C.
Loaned by Mr. E. Pope Sampson.
D. Theseus Subduing the Bull of Marathon. Terra Cotta group from Greece. IV. Century b.c.
Loaned by Mr. h. de Morgan.
E.	A tanagrian. Terra Cotta figurine from Tanagra. IV. Cen-
tury B.C.
Loaned by Mr. h. de Morgan.
F.	Toilette Scene by a Fountain. Terra Cotta group from
Greece. IV. Century B.C.
Loaned by Mr. Benjamin Altman.
G.	venus and Faun. Terra Cotta group from Greece. iv. Cen-
tury B.C.
Loaned by Mr. Edward d. Adams.
H.	Venus and Cupids. Terra Cotta group from Greece. III.
Century b.c.
Loaned by Mr. Thomas B. Clarke.
I.	Thetis Bringing the Helmet of Achilles. Terra Cotta
group from Asia Minor. III. Century b.c.
Loaned by Mr. Benjamin Altman.
64J. The Libations at the Grave. Terra Cotta group from Greece. IV. Century b.c.
Loaned by Mr. Benjamin Altman.
K. ancotyle. a Greek game in which the vanquished had to carry the winner. Terra Cotta group from Greece.
Loaned by Mr. Thomas B. Clarke.
L. thalia. Female figure standing holding mask. Terra Cotta figurine from Asia Minor. IV. Century b.c.
Loaned by Mr. H. de Morgan.
M. Mourning at the Grave. Terra Cotta figurine from Greece. IV. Century B.C.
Loaned by Mr. Henry G. Marquand.
N. Market Scene. Terra Cotta group from Greece. IV. Century b.c.
Loaned by Mr. Thomas B. Clarke.
O. sappho and Eros. Terra Cotta group from Greece. IV. Century b.c.
Loaned by Mr. Cyrus J. Lawrence.
P. Silenus and Young Bacchus. Terra Cotta group from Tanagra (Greece).
Loaned by Mr. Benjamin Altman.
Q. Bacchante, from Tanagra. IV. Century b.c.
Loaned by Mr. H. de Morgan.
i. eros, Flying. Graeco-Roman Bronze.
Mr. Henry G. Marquand, who loans this statuette, writes as follows : "On this
figure, 2000 years old, the United States imposed over $450 duty in order to protect American manufactures."
2. wrestlers. Bronze from Syria. Graeco-Roman period.
65ANTIQUE GLASS.
The invention of the industry of glass was in ancient times wrongly attributed to the Phoenicians. This can be explained by the fact that they remained for a long time the only agents of transportation. The true inventors of glass were the Egyptians, from whom the secret was taken by the Phoenicians, who improved this art. The glass industry established itself at Sarepta and Sour (Tyrus). whence it was distributed all over the Greek world. The Phoenicians succeeded in fabricating three kinds of glass. The non-colored glass, the translucid and colored glass, and the opaque glass. In this case we have representations of these various kinds. Besides the elegance of shapes, another point which deserves attention is the beautiful iridescence which appears on many of the vases. This is due to the slow decomposition of the surface of the glass under the influence of the chemical agents contained in the soil. This natural cause has produced tints which industry has never been able to imitate. Among the shapes exhibited some of the most curious are the double vials ornamented with fillets and a handle ; they were used by the women of the time to hold paint for their eyebrows. These vases are purely Phoenician and of the Tyrian make. The other shapes are urns, tumblers, cups, dishes, bottles, some of which are of most elegant pattern. They all come from discoveries made in tombs near Tyrus and in the island of Cyprus.	•
GREEK VASES.
LOANED FROM THE COLLECTIONS OF HENRY G. MARQUAND, CYRUS J. LAWRENCE, BENJAMIN ALTMAN, AND THOMAS B. CLARKE.
The Greek vases exhibited in this room have not been selected with the view of making an archaeological series, with every period represented. Of the primitive period there are none, and of the archaic but few. All the human races seem to have begun their existence by a crude state of barbarism, some of them never coming out of that inferior condition, but it did not take long for the marvellous genius of the Greeks to develop itself. It was during the eighth century before Christ that Greece began to free herself from the Phoenician and Egyptian influence; a new current was found coming from Miletus and
66Rhodes. For awhile it centralized itself in Corinth and Attica, and was later carried by traders to Magna-Graecia and Sicily. During this period the first vases of artistic shapes appeared, such as Amphoras, CEnochces, and Hydrias, decorated with black figures on red ground, the details of the ornamentation being obtained with white and purple pigment and engraved lines. This style lasted for about two hundred years, when it'was superseded by a new process of fabrication which soon prevailed. It was that of the red decoration on black ground. This corresponds to the time of the supremacy of Athens over the Hellenic world. This is also the period of the best keramic art. The Athenian traders scattered the product of their fabrics from Panticapea on the Black Sea to Sicily, Cyrene, and Magna-Graecia. Their vases being the most esteemed were soon copied, and it is to this new impetus that we owe the manufactures of Tarentum, Cumae, Capua, Nola, etc.
Of all the ancient fabrics of Greek vases the most celebrated is unquestionably that of Nola. This is due to the fine quality of the clay used, and also to the strong Greek influence which predominated in the neighborhood of Naples. Judging from the coinage of Nola the period of its greatest prosperity seems to have been between 340 to 268 B.C., which corresponds to that of the fabrication of the best vases. The Nola vases are remarkable for the brilliancy of their glaze, the deep color of their red, and the correctness of their drawing, united with a great simplicity of composition and form. The only pigments which were used were purple and white, and these appear only in the smallest details of the ornamentation.
The IV. century was also the time of the culminating prosperity of Tarentum. According to Francois Lenormant, the city of Taras was the centre of the fabrication of the vases with red figures. From this city, carried by Tarentine artists, this industry spread around to Altamura, Ruvo, and Canosa. Although Ruvo and Canosa produced vases of early date, these localities were more particularly famous in the fabrication of very large vases known as " Apulian Ainphoras," such as the largest pieces here exhibited. These are far from the pure simplicity of the Nola ware, and the noble elegance of the best period. The new style is characterized by a polychrome ornamentation with superabundance of details. It is a decorative style, very rich, but typical of the decadence which began with the III. Century B.C.
It is to this last period that belong most of the large vases from Apulia exhibited in this room, and the fact of their eminently decora-
67tive style has led many distinguished artists and amateurs of this day to use these beautiful forms for household embellishment.
1.	AMPHORA, from Apulia. III. Century B.C.
Red figures on black ground representing scene of votive offerings.
2.	LEPASTE, from Canosa, Apulia. III. Century B.C. Polychrome ornamentation on black ground.
3.	AMPHORA, from Apulia. III. Century B.C.
Polychrome ornamentation on black ground. This vase, which is 30^ inches high, is profusely decorated. On the front side is a scene of offering. On the back is the " Heroon," with another scene of offering to the dead.
4.	LEPASTE, from Canosa. III. Century B.C. Polychrome ornamentation on black ground.
5.	Amphora, from Apulia. III. Century b.c.
Polychrome ornamentation on black ground, representing scene of votive offerings.
6.	Oxybaphon, from Nola. IV. Century b.c.
Red figures on black ground. Funerary genius and female figures.
7.	AMPHORA, from Camiros. VI. Century B.C.
Black decoration on red ground. Pallas presiding at a banquet; on front a Bacchic procession.
8.	Apulian Amphora, from Ruvo. III. Century b.c.
Polychrome ornamentation on black, the centre of which is a large female head.
9.	kelebe, from Etruria. VI. Century b.c.
Black picture on orange ground, details in grafitto. On each side is represented a rider in a chariot.
10. CRATER, from Tarentum. IV. Century B.C.
Polychrome ornamentation representing a sacrifice. The vase is richly decorated.
68ii. OXYBAPHON, from Apulia. III. Century B.C.
Polychrome ornamentation. Female figure seated holding offerings.
12.	HYDRIA, from Capua. IV. Century B.C. Plain black with few gilt ornaments.
13.	AMPHORA, from Capua. IV. Century B.C. Plain black pottery.
14.	Peleke, from No/a. IV. Century b.c.
Red decoration on black. Fight of a Greek and Amazon.
15.	CALPIS, from Capua. VI. Century B.C.
Charioteers in black on red ground, with addition of grafitto.
16.	STAMNOS, from Nola. IV. Century B.C.
Red figures on black ground ; Bacchic march ; rich palmetto ornamentation.
17.	AMPHORA, from Capua. III. Century B.C.
The vase is of very elongated shape and the polychrome ornamentation represents the offerings at the tomb.
18.	AMPHORA, with volute handle and Medusa head handle, from
Apulia. IV. Century b.c.
Polychrome decoration on black ground.
19.	AMPHORA, from Apulia. III. Century B.C.
Polychrome ornamentation of palmetto, in the centre the offerings at the grave.
20.	AMPHORA, from Apulia [from the Pourtal£s Collection]. IV.
Century B.C.
Red figures on black ground with addition of yellow pigments. On the front are two hunters and a female figure standing. On top is a border of animals painted in black.
21.	AMPHORA, from Sicily. IV. Century B.C.
Red decoration on black. On the front of the vase is a Nike crowning a victor in his quadriga.
6922. Amphora. IV. Century b.c.
Dull red figures on black ground. Eros attempting to seize a female figure. On the top is a border of animals painted in black.
23.	Hydria, Asiatic style. VII. Century B.C.
Olive-tinted ground and archaic figures in red, olive, and black with grafitto lines. The front picture represents Herakles fighting.
24.	Amphora, Italo-Greek. V. Century B.C.
Red decoration on black. On each side is a warrior in full armor engaged in a conversation with a draped male figure. This may be the funerary vase of a warrior. The emblem on shield shows an early idea of heraldry.
25.	Amphora, style of Vulci. VII. Century B.C.
Black figures on red ground with addition of white and purple pigments and grafitto. On front is a fight of warriors, and on back a Bacchic dance. The style is very primitive.
26.	KELEBE, Campanian style. IV. Century B.C.
The vase is all black, the subject having failed to appear after the firing.
27.	HYDRIA, from Capua. III. Century B.C.
Rough polychrome ornamentation, large female heads on each side ; in front figures, bringing presents or prizes to a warrior on horseback, a victor in the games. He wears the helmet of the Samnites.
28 )
2 ' j- AMPHORA, from Naucratis in Egypt. III. Century B.C.
Black fluted body, with white floral decoration, and stamped in relief medallions.
30.	AMPHORA, similar, with cover; very fine glaze.
31.	Amphora, from Capua. IV. Century B.C.
Elongated shape, very elegant form, plain black.
32.	GEnoCHCE, from Apulia. III. Century B.C.
Fluted body, plain black, with vine-leaf ornament at the neck.
33.	PELEKE, from Capua. IV. Century B.C. Fluted body, black glaze, with border of oves at the neck.
7034- hydria, from Capua. IV. Century B.c.
Plain black fluted body ; the only ornament is a necklace-like embellishment at neck, and a border at the rim ; very graceful shape ; traces of gilding.
35.	CRATER, from Capua. IV. Century b.c.
Plain black glaze, with border of oves in red on the lips of neck.
36.	amphora, from Apulia. III. Century b.c.
Red decoration on black ground, with addition of yellowish pigments; floral and geo metric ornaments ; in fronl: is a scene of offerings.
37.	lepaste, from Apulia. III. Century b.c.
Various figures bringing offerings, in red on black.
38.	Lepaste, from Canosa. III. Century b.c.
Large female head in centre of polychrome ornamentation.
39.	Amphora, from Apulia. II. Century b.c.
Fine example of the Italo-Greek decadence. A young dead soldier is seated in a temple surrounded with his arms, helmet, lance, shield, and greaves. He is presented with a wreath by a young male figure, who also carries a basket of offerings. Outside the temple are figures also bringing presents of fruits. The reverse side represents the ordinary tomb offerings. The neck bears a head of Venus at the middle of floral ornaments. The handles are formed by relief heads of the Gorgons.
40.	AMPHORA, from Basilicate. III. Century b.c.
Red on black ornamentation of palmettos, oves, and godrons. On front is a representation of a war-dance before the funerary monument. On the back are scenes of offerings. The handles are of a high and of an unusual pattern.
41.	rhyton, from Tarentum. III. Century b.c.
Polychrome ornamentation on black. The vase is in the shape of a deer head. On the neck is a funerary genius seated and holding a basket.
42.	lepaste, from Canosa. III. Century b.c.
Funerary genius seated on Ionic capital inside of borders of oves and ivy. Rich polychrome ornamentation.
7143- PATERA, from Canosa. III. Century B.C.
Female head profile inside of borders of wavy lines and leaves. Polychrome ornamentation.
44.	Amphora, from Canosa. III. Century B.C.
The vase is of elegant shape, with high handles decorated with Medusa heads ; medallions in relief. The whole of the plain color of the original clay.
45.	Hydria, from No/a. IV. Century B.C.
Red decoration on black ground. On the front is, over a Greek border, a scene representing Peleus and Thetis.
46.	Amphora, from No/a. IV. Century b.c.
This vase is of elegant shape and of brilliant glaze, the decoration being simply red on black ; on front is a female figure bringing prizes to a young warrior in full armor ; on the back is another scene of offering ; the ornamentation is relieved by few lines of purple.
47.	Crater, from No/a. IV. Century B.C.
Red ornamentation on black ground. At neck.a laurel wreath, at base of picture a Greek border, over which are a Nike and a youth draped.
48.	PELEKE, from Capua. III. Century B.c.
A warrior on horseback fighting a chimera, in red and white on black ground.
49.	CRATER, from Capua. III. Century b.c.
Plain black glaze with laurel border in yellow.
50.	Amphora, from Orvieto. VI. Century B.C.
The black, red, white, and purple decoration is made on a red ground, with palmettos, godrons, and lotus buds. The scenes represented are Bacchic. Dionysos is seated by a vine and Centaurs and Bacchantes are dancing.
51.	prochoos, from Canosa. III. Century b.c.
Polychrome ornamentation, the centre of which is a funerary genius seated.
52.	Kantharos, from Apulia. III. Century b.c.
Polychrome decoration, a winged female, bust profile.
72S3- KANTHAROS, from Apulia. III. Century B.C. A female head profile in polychrome decoration.
54.	lekane, from Capua. IV. Century B.C.
The vase is decorated with oves and leaved ornaments, and the cover with griffins and female heads ; profile in red on black ground.
55.	KYLIX, from Capua. IV. Century B.C.
Black ground, the decoration is composed of palmettos and male figures draped in various attitudes.
56.	Amphora, from Apulia. IV. Century B.C.
Polychrome ornamentation on red ground, with border of leaves, the picture on front represents scene of offerings at the grave. Loaned by Mr. Cyrus J. Lawrence.
73KERAMIC ART.
Keramic Art is certainly the most universally practised of all arts, and also the oldest. It has affected the tastes of every people with or without the claim to culture, from prehistoric ages to the present time. And in the history of all art it has been where art began. When the Egyptian or Indian smeared his earthenware with poor color and drew a zigzag line with a stick around his crude clay vessel, he revealed incipient symptoms of the art of decoration.
Thousands of years have passed between the time of the formation of these simple vessels from dried clay, and of the highly fused, refractory, and sonorous porcelain of recent times. Rudely shaped vessels of baked clay are found in the lake dwellings of Switzerland and in the sepulchres of the primitive inhabitants of Northern Europe. Dates can only be affixed to these by approximation, and doubtless many belong to the Stone Age. The earliest dates which can be given with any degree of precision are the vessels of burnt clay discovered in the Egyptian tombs built 2500 B.C.
CHINESE SECTION.
ANTIQUE PORCELAIN.
It has been our endeavor to bring together a comprehensive collection of Chinese Keramic Art, which should include a complete representation of characteristic examples from the best periods and from the standpoint of the amateur, who desires objects above all for their elegance of form, color, and quality, since these lend themselves so admirably in the decoration of a home, where they add no small degree of pleasure and enjoyment to every artistic temperament and feeling. And it has been our fortune^ through the liberal courtesy of
74the owners, to secure many very important pieces of rare quality and great value.
In viewing such a gathering of objects one realizes that there can be no question of the marked pre-eminence of tht: Chinese in this art.
WEST ROOM.
CASE A.—The large case entirely covering the wall facing the door of the West Room is filled with single colored pieces only, notable among which will be found an exquisite specimen of the celebrated " peach " color, " sang de bceuf " of the famous Lang furnace, a charming example of the rare rose tint, of very even texture, a bottle with long neck in brilliant green of remarkable quality. Among the other choice colors will be found the coral, yellow, mirror.black, celadon, green crackle, purples, violets, various shades of the pearl and olive, also the various delicate shadings and blendings of glazes resembling the color of precious stones, porcelains whose perfection the Chinese attributed to the intervention of the spirits of furnace fires who protected the baking of the works of the Keramists whom he loved. " Porcelains as thin as paper, brilliant as a mirror, and in whiteness rivalling the snow, writh a sonority more plaintive than the wind that whispers through the reeds upon a sunless day." For the poets of this country sing of the beauties of porcelain ; and truly there is no greater enchantment for the eyes of a colorist than the delicacies of the palette of the Chinese Keramist, those consummate artists who could satisfy the desire of an emperor and produce porcelain " of the blue of the heavens after rain in the intervals of clouds."
Case B.—Large case to the left of the entrance contains among the magnificent blue and white specimens one of the earliest and most choice examples of the so-called " Blue Hawthorn jars," with an original cover decorated with the prune-tree branches and blossoms in white reserve upon a most brilliant deep blue ground. Among the other notable pieces is a large jar with cover, of soft paste, beautifully decorated in a conventional floral and arabesque treatment. A tall, slender-shaped vase interesting in form and decoration. And a soft paste vase of beautiful form and unusual height may also be studied in this cabinet. The decoration depicts a large lion and its offspring seated under a fruit tree. There is but one other piece of this character, size, and form in the collections of this country. The
75other specimens represent interesting forms and decorations, desinsg of the " Khang-he " and later periods.
Case C.—Upright vitrine cabinet containing a choice collection of blue and white snuff bottles in soft and hard paste, also coupes, small vases and bottles, decorated in the most brilliant blue and of rare quality. Erus of " Khang-he," 1661-1722 ; " Yung-Ching," 1723-1736; Keen-lung, 1736-1795 ; Kea-king, 1795-1820.
Case D.—Upright vitrine cabinet with a choice selection of single-color objects of medium size and beautiful form, representing the most effective monochromes made during the seventeenth and eighteenth centuries.
Case E.—Upright vitrine cabinet containing choice specimens of beautifully carved and formed hard stone, including jades, agates, lapis-lazuli, carnelian, crystal, sardonyx, jadeite, amber, etc., also among which will be noticed the rare jewelled jades " fei-tsouei" so highly prized by the Chinese, used only for persons of highest rank.
case F.—Upright vitrine cabinet containing a selection of small objects in variegated colors of porcelain and tinted glass; the various examples shown here are products of the last century.
Case G.—Square centre case containing decorated porcelains of the productions of the principal periods of this interesting art from the fourteenth to the eighteenth century, among which will be noticed a fine jar and vase, with raised design on blue ground, sacrificial cups£e|;c.
case H.—Square case with choice decorated porcelains, among which may be noticed a tall ovoid formed vase with cover, of eggshell porcelain (so-called Mandarin decoration) exquisitely executed. And another vase, in choice porcelain, with minute and delicately executed figure decoration; also a large bowl, gobular-shaped, in pure white paste, beautifully pierced in rice-grain patterns of perfect design. These examples are beautiful illustrations of the art produced in the seventeenth and eighteenth centuries.
CASE I.—Small case containing a selection of choice, antique Chinese cloisonn6 enamel of beautiful quality and fine form, representing some of the best periods of this delightful art.
Large Vase on pedestal of Chinese porcelain. Elaborate decoration in arabesque design, with medallions and carefully executed figure subjects of the XVIII. Century.
76Large Vase on pedestal, Chinese porcelain, covered with olive souffle glaze, with archaic ornamentation in low relief on vitreous blue and green glaze ground.
Large Vase on pedestal, porcelain, lapis lazuli, glaze.
FLEMISH TAPESTRY.
Panel of Brussels tapestry, XV. Century, woven in silk and wool, including gold and silver threads. The subject represents the Virgin Mary carrying the infant Jesus, richly clad, and seated on a fauteuil, the feet resting on an oriental carpet. On each side are kneeling figures unsheathing a sword, and directly behind are angels singing. The background represents a landscape with mountains, and the star of the east. The columns are ornamented with festoons of flowers and fruits, with small medallions. The border is formed by a narrow beaded border, carved. The top is finished with a beautiful frieze in Rennais-sance design, with cornucopias, etc.
This tapestry was long in the possession of the family of the Marquis Spinola, Genoa, and later passed into the collection of Chev. Raoul Richards and sold with his collection in 1890.
G. W. VANDERBILT GALLERY.
PERSIAN SECTION.
POTTERY AND FAIENCE.
case M.—The earliest pottery extant from Persia is doubtless the metallic-lustred ware, which seems reasonable to suppose was produced several centuries before our era. It is certain that the Arabs, after their invasion of Persia in a.d. 636, learned there and carried into Spain the art of making this ware, now known as Hispafio Moresque. In Persia fragments have been found among the debris of old ruins, notably that of Rhages, which was totally and finally destroyed 1250 b.C.
Tiles with metallic lustre have also been found dating from remote ages. This art was apparently lost about the time of Shah Abbas, a.d. 1582-1628. The wares of later date show a poor blending of color and a more vitrified glaze.
Next in importance to this lustred ware is a beautiful and close-grained earthenware, also shown in the same case with the Hispaflo-Moresque plates, which show to perfection the higher types of the art
77above outlined. These plates have besides an interesting history, in so far as they have passed from hand to hand in notable European collections to the present owner.
AMERICAN POTTERY.
Case P.—Large vessel of Mexican decorated clay, probably of the IX. Century.
Large dish formed by natural gourd, decorated with black lacquer on light-red ground, representing grotesque animals and birds, with arabesque treatment.
JAPANESE SECTION.
GOLD LACQUER.
Lacquer with all its beautiful decorative qualities is a truly Japanese art, and in it they are unrivalled. Its exquisite delicacy conveys perhaps better than anything else the wonderful refinement of a nation which, bringing art into the every-day usages of life, and by its general practice—always and everywhere—making an object worthy of decoration, not only refines and exalts the senses, but increases the satisfaction of living. Marvels of elegance and skilful workmanship were produced after centuries of practice and devotion to an art which passed from rude beginnings in very remote times until it reached its acme during the seventeenth and eighteenth centuries, when lacquer workers became renowned for their artistic work.
In case K there will be found a number of rich and most exquisite gold lacquer boxes : Inros for perfume or medicine; a tall square stand with the finest quality of Nashiji decorated in raised gold ; a cabinet of very fine gold lacquer with ornamentation on Nashiji ground. This important piece, together with a large bowl, with silver mounting, and the square perfume box which will be noticed for the similarity of designs and decoration, is part of an elaborate marriage set of thirty-four pieces, made for the Prince of Kuwana as a present to the Prince of Satsuma on his marriage to Kuwana's daughter. All these pieces bear the family crest of these princes. Also fine old lacquer writing boxes of the very highest quality, of the seventeenth and eighteenth centuries.
78JAPANESE SWORDS.
Case N contains a series of fine Japanese swords and daggers; matchless old blades with richly lacquered scabbards and elaborate gilt mountings and solid gold and silver richly carved and chased ; Japanese tobacco pouches, etc., made in fine antique leather with solid gold and silver ornamentation marvellously chased and carved finish.
Note.—In Japan there was only one way to fame : by the sword. Only one honorable way out of the world, for Samuri, man or woman, who did not die a natural death : by the sword.
Enormous sums were paid for the best blades, and a prince of royal blood would consider himself lucky if a year's income would purchase the product of the best swordsmith.
We should remark an unusual circumstance in the history of this industrial art, which is, that the names of the makers who carried to perfection the forging and tempering of sword-blades are known to history from the tenth century, and the qualities of their work are unexcelled even to later periods.
It is said that the spirits of their ancestors came to their aid when hammering and finishing such blades.
The objects in the Chinese and Japanese sections were kindly
loaned by the following collectors : Hon. Charles A. Dana, Henry G. Marquand, Esq., Henry Sampson, Esq., Wm. Churchill Oastler, Esq., Thomas B. Clarke, Esq., Cyrus J. Lawrence,
James S. Willing, Esq., Isaac Stern, Esq., H. N. Fraser, Esq., Mrs. Christian Herter, Miss M. A. Cooper, S. P. Avery, Esq.
COLLECTION OF ANTIQUE FANS, LOANED BY MRS.
PINCHOT.
9
10
11
Fan. Fan. Fan. Fan. Fan. Fan. Fan.
Louis XV. Louis XV. Louis XVI. Louis XVI. Louis XVI. Louis XVI. Louis XVI.
Morning fan. Empire fan. Dutch fan. Horn fan.
Spanish. Enamelled ivory sticks. Painted ivory sticks. Pastoral scene, possibly German. Pastoral scene, possibly German. Pastoral scene, possibly French.
Early XIX. Century.
7912.	Small horn fan. 1st Empire.
13.	Ivory fan. Carved and painted.
Cabinet with laces and Fans.
Loaned by Mr. H. O. Watson.
Work-box and mirror, with pocket. Elizabethan.
Loaned by Mr. G. A. Audsley.
ROBERTSON (Andrew). Miniature.
Loaned by Mr. George H. Story.
Two table cases containing swords of various dates.
Loaned by Mr. G. P. Morosini.
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