144
14. NATIONAL GALLERY.
190. Jewish Rabbi. 202. Hondekoeter, Domestic poultry; 817. Ten¬
iers the Younger, Chateau of the painter at Perck, with the paint¬
er's family; 901. Jan Looten (Dutch landscape painter in the
style of Van Everdingen, d. about 1681), Landscape. Rem¬
brandt, *775. Portrait of an old lady, dated 1634; *47. Ador¬
ation of the Shepherds , 1646. *212. Thomas de Keyser (portrait
painter at Amsterdam, d. about 1660), Merchant with his clerk;
239. Van der Neer, River scene by moonlight; 240. Berchem, Cross¬
ing the ford. N. Mans, 159. The Dutch housewife, dated 1655 ;
*I53. The cradle. — 205. Johann Dietrich (court painter to Au¬
gustus the Strong at Dresden, d. 1714), Itinerant musicians, 1745.
Dietrich painted all kinds of subjects, and was remarkable for his
skill in imitating pictures of the most diverse nature.
*43. Rembrandt, Descent from the Cross, grisaille, painted, ac¬
cording to Vosmaer, in 1648; 125. Jacob Huysman (portrait paint¬
er, b. 1656 at Antwerp; settled in London, where he became the
rival of Sir Peter Lely; d. 1696), Portrait of Isaak AValton.
*237. Rembrandt, Portrait of a woman, 1666.
'The hands are very fine. The remainder of the picture is painted
with a smoother touch and with more coldness than is usually found in
the artist's works of this period'. — Vosmaer.
746. Ruysdael, Landscape with ruins, 16(3; *794. P. de
Hooghe (17th cent.), Courtyard of a Dutch house; 1021. Frans
Hals (A. 1666), Portrait of a woman; *680. Van Dyck, The Mira¬
culous Draught of Fishes, copy of the large altar-piece by Rubens
at Malines.
Room XIII. Quattrocento Italian School. The early Flor¬
entine School is here represented by Era Angelico, who may be
numbered among the followers of Giotto, and by the poetic crea¬
tions of Filippo Lippi, Botticelli, Filippino Lippi, Pollajuolo, and
others. The Umbrian School (Piero della Francesca, Gozzoli) is not
so well illustrated ; while on the other hand the collection contains
many good and rare specimens of the early masters of Ferrara.
None of these, however, are so important as Mantegna of Padua,
and Giovanni Bellini of Venice, along with whom may be named
their eminent contemporaries, Carlo Crivelli and Bissolo.
To the left: 668. Carlo Crivelli (early Venetian painter,
flourished about 1480), The Beato Feretti.
'Most careful, and shines in a bright enamel impasto'. . . . 'No gallery
has better examples of Crivelli than that of London'. — Crowe and Ca-
ralcaselle, ^History of Painting in Italy'.
908. Piero della Francesca (about 1460), Nativity.
'This piece is injured in culour and seems to have remained unfinish¬
ed'. — C. <(; C.
286. Francesco Tacconi (Cremona , about 1490), Madonna en¬
throned; 275. Sandro Botticelli (early Florentine school, pupil of
Filippo Lippi ; d. 1510), Madonna and Child ; 911. Bernardino Pin-
turicchio (A. 1513), Return of Ulysses, or Lucretia and Collatinns
(fresco from Siena, about 1509); *G67. Fra Filippo Lippi (Florence,
ti. 1496), SS. John the Baptist, Francis, Lawrence, Cosmas, Dam-
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