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{Bryan Collection.)

B-18. The Birth of John the Baptist. (24x24.) Uccello.

From the De Montor collection.

{Bryan Collection.)

B-19. Christ in the Garden of Gethsemane.

(3ix3^.) Castagno.

From the De Montor collection.
{Bryan Collection.)

B-20. Triumph of Julius Caesar. (16x60^.) Antonio Dello.

From the De Montor collection.
{Bryan Collection.)



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60 GALLERY OF ART



NO. 8UBJECTB OF PAINTINGS. ARTISTS.

B.21. The Crucifixion. (15x11.) BotticeUi.

From the De Montor collection.

(Bryan CoUedian.)

B-22. Adoration of the Infant Christ. (79ix52i.)

Perugino.
[Macrino d'Alba.]
The Virgin Mart, St. John the Baptist, St. Jerome,
St. Joseph, St. Michael, and the Pope Julius II., are
kneeling before the divine infant. Three small Angels,
also kneeling, canv the nails and the Cross, emblems of
the torture wnich the new-bom should suffer. The Christ
bears a striking resemblance to that of the little Jesus,
so much admired, in a painting of the same artist, now
placed in the Louvre, after having decorated the gallery
of the King of Holland. St. Michael strikes the beholder
by his noble air and his martial type. The head is evi-
dently the portrait of Gaston de Foix, the model of the
chivalry of the day. St. John is the lean prophet of the
desert, the ascetic, and the eater of locusts and wild honey.
At the top of the picture, three Angels play upon different
instruments. In the background are seen the Capitol, the
image of Roman power, and the vast ruins of the Coliseum.
The head of Joseph, who stands behind St. John, must
strike the considerate observer by its close resemblance
to' the type of Joseph which we find in the Holy Families
of Raphael. In the Cherub who holds the Cross, we also
find ^eat similarity to the little Angel who occupies so
prominent a position in the famous Madonna of Foglino,
from the same divine pencil. From the collection Errard.
Signed and dated 1509.

(Bryan CoUection.)

B-23. St. John, Weeping. (20^X16^.) Leonardo da Vinci.

For the authenticity of this picture, we have the high
authority of Mr. Woodbum.

(Bryan Collection.)

B-24. St. John. (13iXlO|.) Oval. Leonardo da Vinci.

(Bryan CoUection.)

B-25. The Birth and Resurrection of Christ.

(11X19|.) Raphael.

In the centre of the upper compartment, Christ,
draped in red, and bearing the emblematic banner of the
Cross, rises from an open tomb. His hand is raised with
an expression of command. On each side are two soldiers
sleeping, and two starting away in fright. A slender tree
also is seen upon each side of the tomb; in the distance
is a large hill. In the lower compartment are ei^ht figures,
besides the infant Christ. Six kneel in a semicu*cle about
the new-bom Saviour, who lies in the middle of the fore-
ground. Three of these, on the left, are shepherds. On
the right are the Virgin mother and two Angels. Next
to Mary sits Joseph; and on the <»ctreme left, a fourth
shepherd approaches. Two slender trees here also appear I



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B-5. KNIGHTS AT A TOURNAMENT.
GIOTTO DJ BONDONE,
(BRYAN COLLECTION)



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GALLERY OF ART 61



NO. SUBJECTS OF PAINTINGS. ARTISTS.

on each side of the composition. In the distance are heavily
undulating hills.

Very few Raphaels of this period exist. Those which
are in the Vatican and the Louvre, show, in style and
handling, an exact similarity to these pictures, which is
absolutely conclusive. The donor wishes it to be under-
stood, that, in his opinion, and in that of some of the
accomplished and practised experts in Europe, there is not
tiie slightest doubt of the autnenticity of these pictures.
Onlv the inexperienced and the uncultivated fail to trace
in them the pencil of the divine Raphael.
(Bryan Collection.)

B-26. Madonna and Child. (28x21^.) Copy from Raphael

An old and admirably executed copy of the Bridge-
water Madonna.

(Bryan CoUecHon,)

B-27. Dance of Cupids. (7x10.) Copy from Raphael.

Nine Cupids dance in a ring. On the left, one plavs
upon double pipes; on the right, another sits upon the
ground. This copy is very fine, as it may well be, having
been made by no less distinguished an artist than Sasso-
FERRATO himself.

(Bryan Collection.)

B-28. St. George, and St. Anthony of Padua.

(47 X22i) • (^^^ colkdion.) G(^u^nzio Ferrari.

B-29. Martyrdom of St. Bartholomew. (17x28.)

(Bryan CoUection.) Fra Bartolomeo.

B-30. The Repose in Egypt. (29ix35.) Giorgione.

No. B-17 is a specimen of the ancient Venetian style,
which should be examined in connection with these pro-
ductions of the glorious days of that school.
(Bryan Collection.)

B-31. Prince of Palermo — in Disguise. (22xl7|.) Giorgione.

Similar to that in the Royal Gallery of Naples, it is dis-
tinguished by the Prince holding a flute, and not a staff, a
ring on his finger and an amulet in his fiu: cap. From the
collection of the Marquis Sommariva.
(Bryan Collection.)

B-32. A Concert. (31x37^.)

Copy frmn Giorgione, by Watteau.

Two m^oi and a naked female sit in the open air,
diverting themselves with music. Another female figure
peers at the group from the shrubbery, which is not in
the original, but found only in Watteau ^s Pastiche, No.
B-247.

(Bryan CollecUon.)



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62 GALLERY OF ART



NO. SUBJECTS OF PAINTINOS. ARTISTS.

B.33. The Repose in Egypt. (32^x41^.) Titian.

This composition was repeated many times b]r Titian.
and without great variation. This repetition is distinguished
by the absence of some figures in the background, and the
introduction of a rivulet in the foreground, and a butterfly
upon a flower in the right comer. It has twice been
found necessarv to remove the picture from its canvas : the
drapery of the Virgin has suffered somewhat from this and
other causes; the other parts of the picture are somewhat
injured.

(Bryan Collection.)

B-34. Portrait of a Lady. (43x40.) Style of Titian.

From the collection of R. W. Meade, of Philadelphia.
(Bryan Collection.)

B-35. St. Jerome, in his Study. (39x29.) School of Titian.

Probably a coi)y by Odvardo Fialetti, scholar of Tin-
toretto. This is a large copy of a print by Albrecht
DuRER. Its color shows it evidently to be of the Venetian
School.

(Bryan Collection.)

B-36. Virgin and Child. (43x36.) Oval. School of Titian.

This picture came from the Gallery of Louis Philippe,
and on the back was written **Dan8 la Chambre du Prince J^

(Bryan Collection.)

B-37. Portrait of a Presbyter. (20iXl6i.) Tintoretto.

(Bryan Collection.)

B-38. St. Benedict. (91x54.) Oval Top. Francesco Zucco.

The Saint is prostrate before an altar, receiving the
black stole from the Virgin: the head of the Saint is
worthy the palette of Titian. Signed and dated. Found
in New York, by the donor.

(Bryan Collection.)

B-39. Abraham discarding Hagar and Ishmael.

(24iXl9i.) Paul Veronese.

(Bryan Collection.)

B-40. Portrait of Charles, Constable de Bourbon.

(23iXl9.) Ludovico Brea.

From the collection of General D'Espinoy.
(Bryan Collection.)



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B-18. THE BIRTH OF ST. JOHN THE BAPTIST.

UCCELLO.

(BRYAN COLLECTION)



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GALLERY OF ART 63



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-41. Christ Shown to the Multitude. (45x40.)

Sebastiano del Piombo.

This picture, which is in very fine condition, and the

principal figure in which mucn resembles that in the

famous picture of Christ looking into Hell^ in the Royal

Gallery of Madrid, was purchased by the donor in Rome.

{Bryan Collection.)

B-42. Vu-gin and Child, with Angels. (44x34i.)

Andrea del Sarto.

{Bryan Collection.)



EARLY FLORENTINE SCHOOL

B-43. Vu-gin and Child, with St. John. (10x81.)

It will be noticed that gold is used freely in the halos,
and upon the draperies, which fall in somewhat stiff but
ample and not unpleasing folds. This picture is from the
collection of the Abb6 Genoude, known as the translator
of the Bible, by which he accumidated a fortune.
(Bryan Collection.)

B-44. Adoration of the Shepherds. (35^x34.)

This picture is from the collection of the Sylvestre
family, and was once improperly attributed to Raphael.
It bears many of the marks of Garofalo's pencil.
(Bryan Collection.)

B-45. The Crucifixion. (33x23.) Andrea Mantegna.

Mr. Michiels, the distinguished critic employed by the
Belgian Government to prepare a history of Flemish Art,
says of this work: "The Christ has a nobility in his atti-
tude which few painters have been able to give him; the
expression of the good robber is also grave and dignified.
The whole picture bears the impress of a serene imagina-
tion; the coloring is sombre; the attitudes are distin-
guished by an air of majestjr. We feel that the artist had,
at the commencement of ms career, severely studied the
ancients. Two cuirasses, and some of the draperies, are
gilded; gold is mingled with the other costumes, in the
form of traitSf designating the folds. We are particular
about these details, because they indicate the primitive
epoch in which the picture was painted, and the manner
in which they passed from the use of gold grounds to the
entire abandonment of that metal."

It should be observed that the Jewish type is preserved
in the heads of many of the figures, which is the case of
the works of very few other masters. It will be observed
that there are in this crowded canvas no two pieces of
offensive or defensive armor alike. This is worthy of
particular remark, as Squarcioni, the master of Man-



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U GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

TEGNA, had the lareeBt and most varied oollection of ancient
arms which exist^ in his day.

Aside from its intrinsic merit, this picture is of the
fpreatest interest when considered in connection with the
St. Jerome (B-47) by Correggio, the disciple of Man-
TBGNA. In the peculiar mode of introducing gold in the
lights of that noble painting, we notice an unmistakable
similarity to Mantegna's use of the same material in the
work before us; thus showing the direct connection be-
tween the manner of the two painters.

It is impossible to overrate the historical importance
of the juxtaposition of this work of Mantegna with that
of Correggio. There is afforded in no other gallery, pub-
lic or private, in the world, a similar opportunity to study
the master and scholar side by side in works of unquestion-
able authenticity and the highest intrinsic merit.
(Bryan Colleclion.)

B-46. Adoration of the Kings. (19x14.) Andrea Mantegna.

Found in Venice, 1859.
(Bryan Collection.)'

B-47. The Virgin and Child, Mary Magdalen, and
St. Jerome (known as the St. Jerome).
(19X14.) Correggio.

Of this sketch M. Michiels remarks, that in it "bums
in all its grace the talent of Correggio. Never has the
ecstacy of piety, or the fervor of religious affection, been
better expressed.'*

This picture differs from the large one at Parma, in the
absence of the emblematic lion which stands in that by
the side of St. Jerome; and also in the color of some of
the draperies, particularly in that of the canopy, which in
this is striped, while in that it is of one color. In this, too,
we find gold used in the halos and in the draperies, which
is not the case in the other; a fact which points to the
earlier production of this picture, and which also connects
it in a remarkable manner with the Crucifixion by Man-
tegna (No. B-45).

There can be no doubt that this picture is the finished
sketch for the well-known St. Jeromey at Parma. The
marked differences already alluded to in minor points,
prove incontestably that it could not be the work of a
copjdst, who would, of course, reproduce his original with
all possible fidelity. It is from the collection of Marshal
Sebastiani, it havmg been nailed firmly to the wall in his
bed-chamber.

{Bryan Collection.)

B-48. Vh-gin and Child. (34x27.) Correggio.

In support of the authenticity of this picture, we have
the first authority in England, — ^that of Mr. Woodbum.
The donor thinks it may be Schidone.
(Bryan Collection.)



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GALLERY OF ART 65



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-49. Virgin and Child. (10x8.) Bernardino Luini.

(Bryan Collection.)

B-50. Virgin and Child, with St. John. (32x25i.)

Giulio Romano.

This picture was attributed to C^esari da Sesto, but is
now believed by the donor to be by Giuuo Romano. It
is from the coUection of Bishop Luscomb, Paris.
(Bryan CoUection.)

B-51. Portrait of a Princess of Florence. (52x41|.)

Agnolo Bronzino.

(Bryan Collection.)

B-52. Portrait of a Noble Florentine as St. Barbe.

(35x30.) Agnolo Bronzino.

(Bryan Collection.)

B-53. Portrait of a Venetian Lady as Mary Magda-
len. (42x30.) Copy from. Palma{Vecchio).

(Bryan CoUection.)

B-54. Charity. (9x61.) Giiiseppe Cesari d'Arpino.

(Bryan Collection.)

B-55. Virgin and Child. (8x6§.) Annibak Caracd.

(Bryan Collection.)

B-56. St. Joseph holding the Infant Jesus. (8 x6i)

Annibale Caracci.

(Bryan CoUection.)

B-57. St. Paul borne to Heaven by Angels.

(19-1 X 15.) Domenichino.

"Three angels bear aloft the interpreter of the divine
will: one has the form of infancy, another of youth, the
third of adolescence. The minister of our Lora raises his
hands to heaven, on which he gazes with an expression
of burning hope. How he seeks to discover the first rays
of the eternal light! How he longs for the moment in
which he shall appear before the Almighty! What enthu-
siasm animates his countenance! I doubt if the ardor of
faith could be better shown. The little angel has those
brilliant eyes, and that expressive visage, which this master
knew so well how to paint; it is certainly not inferior to
those which we admire in the grand salon of the Louvre.
The angel of the second age charms the eye by a grace
and an easiness of attitude extremely remarkable; upon
his countenance bum the veneration and the love with
which the Apostle inspires him. The entire group seems



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66 GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

actually to mount in the air. Mr. Bryan had the eood
taste to purchase it at the sale of M. Forbin-Janson.

To this just and graphic description, from the pen of M.
Michiels, which appeared in the Gazette de France, it is
needless to add anything more.

This picture was formerly in the gallery of the Cardinal
Lambruschini, and afterwards in the collection of M.
Forbin-Janson, Director of the Louvre, at whose sale it
was purchased by the donor.

{Bryan Collection,)

6-58. Christ Crowned with Thorns. (24^X20.) Guido.

If not original, it is the best copy ever seen by the donor.
(Bryan Collection.)

B-59. Magdalen in a Trance. (46^ X36.) School of Guido.

This picture is from the collection of Louis Philippe.
The head of the Magdalen is evidently a reminiscence of
the Niobe discovered at Rome at the epoch of the painter.
(Bryan Collection.)

B-eO. The Young Bacchus. (33x24.) Oval.

School of Carlo Dolci.

(Bryan Collection.)

B-61. Lucretia. (33x24.) Oval. School of Carlo Dolci.

(Bryan CoUectian.)

B-62. Magdalen. (34x28.) Oval. School of Carlo Dolci.

(Bryan Collection.)

B-63. St. Dorothea. (34x28.) Oval. School of Carlo Dolci.

(Bryan Collection.)

B-64. Christ disputing with the Doctors. (39 X54.)

(Bryan Collection.) GeuHkschi.

B-65. Portrait of Galileo Galilei. (30§x24|.)

Jiistus Sustermans.
From the collection of Louis Philippe.
(Bryan Collection.)

B-66. Virgin and Chad. (18jxl5|.) Sassoferrato.

Found at Rome.
(Bryan Collection.)

B-67. Landscape, with Historical Figures. (48x79.)

(Bryan Collection.) ^^^^^ ^^««-



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GALLERY OF ART 67



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-68. Landscape. (38i X46.) School of Salvator Rosa.

(Bryan Collection,)

B-69. Landscape. (24x38.) School of Salvator Rosa.

(Bryan Collection,)

B-70. Landscape. (24x38.) School of Salvator Rosa.

(Bryan Collection.)

B-71. Marine View, with Architecture. (34x50^.)

Figures by Tiepolo. Canoletto.

(Bryan Collection,)

B-72. Autumn. (18ix24i.)

Purchased of Mr. Terry, artist, Rome.
(Bryan Collection.)

B-73. Philip IV. of Spain. (26x21*.)

Bought at Sienna.
(Bryan Collection.)

B-74. Don John of Austria. (26x21*.)

Bought at Sienna.
(Bryan Collection.)

B-75. A Theologian Decorated with the Order of
the Golden Fleece. (26x21*.)

Bought at Sienna.
(Bryan Collection.)

B-76. Portrait. (29x24.)

Bought at Sienna.
(Bryan Collection.)

B-77. Portrait. (29x24.)

Bought at Sienna.
(Bryan Collection,)



FLEMISH AND DUTCH SCHOOLS
B-78. Landscape. (25* X33.) Jacobus van Artois.

From the collection of Marshal Oudinot.
(Bryan Collection.)

B-79. Landscape. (12*xl7.) Jan Asselyn.

(Bryan Collection.)



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68 GALLERY OF ART



NO. SUBJECTS OF PAfNTINGS. ARTISTS.

B-80. Landscape. (19iXl5J.) School of Asselyn.

{Bryan Collection.)

B-81. Marine View. (16 J X 24.) Ludolf Bakhuysen.

(Bryan CoUedion.)

B-82. A large Marine View. (60x54.) School of Bakhuysen.

(Bryan Collection.)

B-83. Marine View. (24x31.) School of Bakhuysen.

(Bryan Collection.)

B-84. Winter Scene. (35^X52.) Jan Beerestraten.

This is the finest specimen of the Master ever seen by
the donor. It graced the collection of Cardinal Fesch.
(Bryan Collection.)

B-85. Boors Regaling. (29x24.) Cornelius Bega.

(Bryan Collection.)

B-86. Landscape. (33x44.) Dirk van Bergen.

This is not a remarkable, though it is an authentic,
specimen of the Master, and is signed.
(Bryan Colleclion.)

B-87. Italian Scenery, and Figures in Italian Cos-
tume. (16x20.) Nicholas Berghem.

Dated and signed "Berchem," his true signature, and
a superb specimen of this Master.

(Bryan Colleclion.)

B-88. Landscape, with Oxen at the Plough.

(15 X20i.) Copy of Nicholas Berghem.

This picture was considered a Berghem by the Comte
de Turenne, in the catalogue of his collection.
(Bryan Collection.)

B-89. Cattle and Herdsmen. (13JXll.) Nicholas Berghem.

This little picture, though much injured, is unquestion-
ably authentic.

(Bryan Collection.)

B-90. Cattle Market. (29x38^.) Petrus van Bloemen.

The ruined buildings near which the cattle are grouped,
are the remains of the Palace of the Caesars, Rome.
(Bryan Collection.)



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B-101. PORTRAIT OF A JANSENIST.

PHILLIPPE DE CHAMPAGNE.

(BRYAN COLLECTION)



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GALLERY OF ART



NO. SUBJECTS OP PAINTINGS. ARTISTS.

B-91. Halt of Soldiers. (29x38i.) Petrus van Bloemen.

These two pictures were engraved as the works of De
Laer, by an English engraver, in 1769; an error of names
but not of appreciation at that time, when De Laer was
rated with Wouvermans.

(Bryan Collection.)

B-92. Halt of Cavaliers. (10x11.) Petrits van Bloemen.

This is in his Flemish style.
(Bryan Collection.)

B-93. Landscape. (18^x24.) Jan Both.

(Bryan Collection.)

B-94. Landscape. (15x12^.) Jan Both.

(Bryan Collection.)

B-95. Italian Landscape: Sunrise. (21x27§.) Jan Both.

(Bryan Collection.)

B-96. Italian Landscape: Sunset. (21x27.) Jan Both.

B-95 and B-96 are companion pictures: the spirited
figures are by Lingelbach.

(Bryan Collection.)

B-97. Interior of a Tavern. (15^X13.) Renter Br akenburg.

It Is signed both by Brakenburg and Jan Steen, and
bears everywhere marks of the careful assistance of the
latter.

(Bryan Collection.)

B-98. A Presentation to the Temple. (28x22^)

Leonard Brarner.

Signed and dated. Bought from J. Vollmering in New
York city. It is as fine as Rembrandt's best works. The
senior of Rembrandt, he appears to have led the way for
him in his shades.

(Bryan Collection.)

B-99. Robber examining Coin by Day-light.

(9x6.) Adrian Brower.

This Master was much respected by Rubens.
(Bryan Collection.)

B-100. Robber examining Coin by Candle-light.

(8x6J.) Adrian Brower.

(Bryan Collection.)



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70 GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-lOl. Portrait of a Jansenist. (41Jx41i.) Round.

Phillippe de Champagne.

This picture is an excellent specimen of the Master.
Collection of Mr. Vien, artist.

{Bryan Collection.)

B-102. St. Paul. (20x16.) Phillippe de Champagne.

{Bryan Collection.)

B-103. Cattle in a Landscape. (15x13^.) Albert Klomp.

{Bryan Collection.)

B-104. An Equestrian Portrait. (19x16.) Gonzales Coques.

The picture gives but a feeble idea of the merit of the
painter.

{Bryan Collection.).

B-105. Cattle and Figures in a Landscape.

(22x26^) Albert Cuyp.

{Bryan Collection.)

B-106. Portraits of the Burgomaster d'Eyselyhn of

Rotterdam, and his family. (41 X59.) a

Jacob G. Cuyp. 1

The landscape is probably not by Cuyp. '

{Bryan Collection.)

B-107. Landscape, with Figures. (24x20§.) Guillam Dubois.

The similarity of many parts of this picture to the
works of RuYSDAEL is so great, that some dealer, more
keen than honest, had placed his signature over that of the
actual painter. Upon cleaning the picture, the fictitious
signature, of course, disappear^, and that of Dubois, with
the date, 1652, was brought to light; and hence results
the unmerited obscurity of a landscape painter of no mean
powers who preceded Ruysdael, and whose works are im-
portant in the history of art, as showing the origin of that
Master's style of treating foliage.

{Bryan Collection.)

B-108. Landscape. (15ix21.) John Renier de Vries.

{Bryan Collection.)

B-109. The Presentation at the Temple. (31 X25^.)

Christian W. E, Dietrich,

This is the first picture bought by the donor, in Europe.

{Bryan Collection.)

B-110. Abraham discarding Hagar. (28^X24.)

Christian W. E. Dietrich,

{Bryan Collection.)



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GALLERY OF ART 71



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-111. The Crucifixion. (31ix20|.) Anthony van Dyck.

(Bryan Collection.)

B-112. Portrait of a Lady. (42^ X35|.) Anthony van Dyck.

This picture belonged to General D'Espinoy's large and
famous collection of portraits. It was covered with the
dust of time; and the Cupid, which the donor found in
perfect preservation, had been painted out by some sacri-
legious nand.

(Bryan Collection.)

B-113. Portrait of Charles I. (30ix39.) Anthony van Dyck.

The monarch is represented on the same canvas in front,
profile, and three-quarter view. The object in presenting
such a picture was, as the reader will remember, to enable
the Italian sculptor, Bernini, who had not seen Charles,
to model a bust.

(Bryan Collection.)

B-114. The Artist in his Atelier. (12x15.) Gerard Douw.

(Bryan Collection.)

B-115. The Continence of Scipio. (52x67.)

Gerbrandt van den Eeckhout.

This is the most celebrated of the Master^s composi-
tions, and is cited by Descamps as his chef d^ceuvre. His
. pictures having been frequently changed intoREMSRANOTS
by picture-dealers, this specimen is the finest and purest
which the donor has met with.

(Bryan Collection.)

B-116. The Crucifixion. (15xl4|.) Jan van Eyck.

The cross upon which the dead Christ is suspended
occupies the middle of the composition. On the left, St.
John sustains the fainting Virgin, behind whom kneels
the churchman for whom the picture was painted. His
name, Fr(ater) Aurelius de Emaely is written in German-
text across his figure. Behind him is a weeping female
figure; on the left is a group of dignitaries and soldiers.
A landscape, in which the towers of a distant city appear,
closes the scene. Underneath the left arm of the cross
appears the legend, Vere Filius Dei erat iste, in Roman
characters of the epoch, which ceased to be used after the
time when the painting in oil commenced. The forms in
the Christ are somewhat meagre, but the anatomy is re-
markably correct and particular. The expression in the
faces of the several figures is marked. Modern art rarely
shows us finer expression. The picture is slightly but
admirably restored in the left arm of the cross, and a por-
tion of the legend. It is of unquestionable authenticity
and the extremest rarity.

(Bryan Collection.)



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72 GALLERY OF ART



NO. SUBJECTS OF PAINTINGS. ARTISTS.

B-117. Landscape, with Figures. (22x36.) -

Jacques Fouquieres.
(Bryan Collection.)

B-118. Landscape. (26x39^.) Jan Glauber.

It is unrivalled b^ any production of the Master known
to the donor, and is worthy of Claude, to whom it has
been attributed by some of the most distinguished experts


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