142 14. NATIONAL GALLERY.
The drawing is very exact, but the colouring thin; the landscape of
the background is of great delicacy. Mr. Crowe assigns it to a German
261. Master of Liesborn (Westphalia, about 1465), Virgin Mary
and SS. Cosmas and Damianus.
This nameless master 'was a limpid, feeble, and unenergetic painter,
behind the Flemings in finish, and behind the Kolners in firmness and
vigour'. — C.A- C.
774. Hugo van der Goes (A. 1482; but more probably a picture
of the school of Memling), Aladonna and Child enthroned. —R. van
der Weyden the Younger (f), 711. Mater Dolorosa; 712. Ecce Homo.
These are repetitions of works by Quentin Matsys in the Museum at
Antwerp. The Ecce Homo is also very similar to the head of Christ on
marble in Antwerp Cathedral, assigned without authority to Leonardo
Memling, 686, ATrgin and Child enthroned; 709. Virgin and
Child. 260. Master of Liesborn, SS. John the Evangelist, Schol-
astica, and Benedict; 653. Roger van der Weyden the Younger (?),
Portraits of himself and his wife ; 687. William of Cologne (early
Cologne painter, 14th cent.), St. A'eronica; 783. Dierick Bouts
('.' d. 1475), F'xhumation of St. Hubert; 714. Cornells Engelbertz
(teacher of Lucas van Leyden, d. 1533 at Leyden), Mother and
Child; 717. Patinir, St. John in Patmos, with well executed land¬
scape; 295. Quentin Matsys, Salvator Mundi, and the Virgin Mary,
replicas of two pictures at Antwerp; 708. Margaret van Eyck
(? sister of John), Virgin and Child.
'If Margaret van Eyck ever painted pictures, the memory of them has
faded away .... Of the works assigned to her the majority are careful,
cold, and feeble'. — ('. A- C.
710. Hugo van der Goes (?), Portrait of a monk, 'a vivid and
truthful portrait'. — 696. Van der Meire ('?), Portrait of Marco
Barbarico, Venetian consul in London in 1449.
-Though here assigned to Gerard van der Meire the panel has much
to remind us of Peter Cristus in the duskiness of its flesh-tints, the glow
of its colour, and the blending of its tones:, it has not the searching
minuteness of John van Eyck, but produces effect by depth, richness, and
oily polish'. — C. <t C.
245. Albert Diirer (Nuremberg, d. 1528), Bust portrait of a
senator, dated 1514; *656. Mabuse, Portrait of a nun (excellent
both in drawing and colouring); 49. Van Dyck(t), Portrait of Ru¬
bens. — *278. Rubens, Triumph of Julius C;esar, freely adapted
from Mantegna's famous cartoons, now in Hampton Court Palace.
'His tendency to the fantastic and grand led him to select the picture
with the elephant carrying the candelabra: while his ardent imagination,
ever directed to the dramatic, would not be restrained within the limits
of the original. Instead of a harmless sheep, which, in Mantegna, is
walking by the side of the foremost elephant, Rubens has introduced a
lion and a lioness (or rather a tiizer) growling angrily at the elephant.
Nor is the elephant more peacefully disposed, but, with an expression
of fury, is on the point of striking the lion a blow with his trunk'. — W.
223. Bakhuizen, Dutch shipping. — *243. Rembrandt, Portrait
of a man, dated 1657.
'This picture is one of those darkly coloured pieces which Rembrandt
meant to be strongly lighted. The head alone is in the full light, the