14. NATIONAL GALLERY.
pupil of Andrea, b. about 1470), Christ and Mary Magdalene in
the Garden; 729. Bramantino (Bartolommeo Suardi, Milan; d.
1536), Adoration of the Magi; 912-914. Pnturicchio(?), Illustra¬
tions of the story of Griselda.
Slight in execution, but fresh in conception and skilfully composed.
The story of Griselda is the last in Boccaccio's Decameron.
768. Antonio Vivarini (Murano, about 1450), SS. Peter and
Jerome; 691. La Spagna (? Giovanni di Pietro, after Raphael the
best pupil ofPerugino; d. after 1530), Ecce Homo; *648. Lorenzo
di Credi (Florence, pupil of A'errocchio at the same time as Leonardo
da Vinci; d. 1537), Virgin adoring the Infant (in his best style);
641. Mazzolini, The AVoinan taken in adultery; 778. Pellegrino
da San Danicle (Friuli, pupil of Bellini; about 1540), Madonna
and Child enthroned (much repainted); *593. L. di Credi, A'irgin
and Child; 640. Dosso Dassi (Ferrara, d. 15601, Adoration of the
Magi. •—718. Henrik met de Bles ('Henry with the forelock', Flem¬
ish landscape and figure painter of the 16th cent.), Mount Calvary.
'A particularly good work of his middle period'. — 'Kugler's Hand¬
book'. Crowe's edition.
33. Parmeggianino (Francesco Maria Mazzola of Parma, follower
of Correggio; d. 1540), A'ision of St. Jerome (painted at Rome in
1527, in the 24th year of the painter's age).
'In the affected and extravagant attitudes we clearly see the vain
endeavour to combine the grandeur of Michael Angelo, in form and mo¬
tion, with the graceful flow and the. relief of Correcrgio'. — IF.
8. Michael Angelo (1), Dream of human life (probably by an
imitator, from a drawing by the great master); *81. (?aro/aZo, A'ision of
St. Augustine (painted under Raphael's influence); 632,633. (riro-
lamo da Santacroce (Venetian school, about 1530), Saints; 693.
Pinturicchio, St. Catharine of Alexandria; *671. Garofalo, Madonna
and Child enthroned, surrounded by saints (altar-piece, wanting
in the charming colouring of his cabinet paintings); 702. L'Ingegno
(Andrea di Luigi, Umbrian school; 15th cent.), Madonna and Child.
(Room NATL, on the right, forms a more appropriate con¬
tinuation than Room XAL, on the left.)
Room XVI. Peel Collection. This is a collection of Flemish
and Dutch cabinet pieces, for the most part works of the very first
rank. Many of the masters represented in the AVynn Ellis collection
(Room XI.1 appear to even greater advantage here (Hobbema,
Ruysdael, Teniers, Metsu). while this room also contains numerous
examples of artists not occurring there, such as the genre painters,
Terburg and Jan Steen.
To the left: Reynolds, 890. Portrait of George IA' as Prince
of Wrales: 891. Lady and Child; 889. His own portrait. 871. W.
ran de Velde. Calm (dated 1661, warm evening light).
*864. Terburg, Guitar lesson.
'Terburg may be considered as the creator of what are called con¬
versation-pieces, and is at the same time the most eminent master in
that line. In delicacy of execution he is inferior to none: nay in a
certain delicate blending he is superior to all. But none can be compared