14. NATIONAL GALLERY.
Albertinelli (Florence, d. 1515), Madonna and Child; 704. Angela
Bronzino (Florence, d. 1572), Portrait of Cosmo 1., Duke of Tus¬
cany ; 75. Domenicltino, Very rich landscape with St. George and
the Dragon. — 29. Buroccio (Federigo Barocci, a follower of Cor-
reggio; d. 1612), Holy Family ('La Madonna del Gatto', so called
from the cat introduced).
'The chief intention of the picture is John the Baptist as a child,
who teases a cat by showing her a bullfinch which he holds in his hand.
The Virgin, Christ, and Joseph seem much amused by this cruel
sport.' — IF.
268. Paolo Veronese (Venice, d. 1580), Adoration of the Magi,
painted in 1573 ; 69. Mola , St. John preaching in the wilderness ;
173. Jacopo Bassano (lateRenaissance school of Venice; d. 1597),
Portrait of a gentleman; 48. Domenichino, Landscape with Tobias
and the Angel, very spirited and of great poetical beauty; 196.
Guido Reni, Susannah and the Elders; 740. Sassoferrato, Ma¬
donna and Child.
The composition is not by Sassoferrato, but is from an earlier
etching by Cav. Ventura Salembeni (d. 1613). See Catalogue (1877; p. 292).
652. Salviati (Francesco Rossi, late Florentine Renaissance; d.
1563), Charity; 73. Ercole Grandi (late Renaissance school of
Ferrara; d. 1531), Conversion of St. Paul; 228. Bassano, Christ
driving the money-changers out of the Temple ; 77. T)omenichino,
Stoning of St. Stephen; 97. Veronese (?), Rape of Europa.
Room XI. AVynn Ellis Gift. This collection consists chiefly
of specimens of the Dutch masters, arranged to a large extent
according to the subjects. Landscape in its earlier form is well
represented byPatinir, Cuyp, andWynants; and at its farthest ad¬
vanced stage by Ruysdael and Hobbema. The leading representa¬
tives in marine subjects are AV. van de Arelde; in animal painting,
Cuyp, Potter, and Adrian van de A'elde; and in interiors, Tcniers
To the left: 978. Willem van de Velde the Younger (of Am¬
sterdam, in the service of Charles II.; d. 1707), Dutch shipping,
vessels saluting; 956. Jan Both (Utrecht, painter of Italian land¬
scapes in the style of Claude; d. 1656), Rocky Italian landscape;
983. Adrian van de Velde (Brother of AVillem, and pupil of AVy-
nants at Haarlem; d. 1672), Bay horse, cow, and goat. — *944.
Quentin Matsys (of Antwerp, forming a link between ATan Eyck
and Rubens; d. 1530), The money-changers.
The transparency of the colouring, the firmness of the drawing, and
the close fidelity to nature, combined with painstaking minuteness of
detail, all excite our admiration ; but such a painting as this must not
be judged by the idealistic standard of Italian art.
930. School of Giorgione (A'enetian), The Garden of Love;
*970. GabrielMctsu (painter of interiors at Amsterdam, 17th cent),
The drowsy landlady, clear and powerful in colouring; 966. Jan
van der Capelle (marine painter at Amsterdam, under the influence
of Rembrandt, 17th cent.), River scene; 1004. Nicolas Berchem