* * coarse. Still, however, the matchless beauty of the Virgin and Child, the group of Angels over head, the daybreak in the sky, and the whole arrangement of light and shadow, give it the right to be considered, in conception at least, the greatest of his works. It is a rubbed-out picture; yet still, though shorn of its beams,' it is not less than archangel ruined.' For the conception, purpose, and originality, -as an arrangement of colour, effect, and of sentiment, I consider it one of the first works the art of painting has to boast of; and, in the adaptation of light and shadow to the illusion of the subject, one of the triumphs of modern art." Wilkie. This picture was begun about the year 1522, and is one of the most admirable specimens of that masterly management of light and shade in which Correggio is unrivalled. 1081. Virgin and Child, with St. George. The figures of the children and woman are particularly admired for their grace and sweetness of expression. 1079. The recumbent Magdalen, one of the sweetest and most pleasing, as well as the most faultless pictures ever painted. It is distinguished for its peculiar softness of outline, and is executed in the artist's best manner. "It is in its pristine condition; almost as left by the master, without even varnish. The head, neck, and arms are beautiful; the face and right arm one of the finest pieces of painting I have witnessed. The shadows are extremely loaded; the lights, though painted flat and floating, are, compared with them, thin and smooth. The background and darks of the picture, even the blue drapery, want richness and transparency."-Wilkie. 1078. The Virgin and Child with St. Sebastian, painted about 1528, is one of the most striking examples of the master's magic chiaro-scuro, remarkable, to use the words of an eminent artist, for the "exquisite truth of tint in the passage from light to dark; so that in this picture, as in nature, the spectator is soon unconscious of the presence of shade." Parmeggiano 1088. Virgin and Child, known as the Madonna della Rosa. Baroccio -1093. Hagar in the Desert, And. del Sarto-1058, The Sacrifice of Isaac. Julio Romano1031. Virgin and Child, with a basin. 1022. A good copy of Raphael's Madonna della Seggiola. Vicenzio di San Gimignano-1033. A Virgin and Child; an exquisite little picture. Leonardo da Vinci-1051. A portrait attributed to him, and called Lewis Sforza in the catalogue, is now ascertained to be the likeness of a burgomaster of Basle, and the work of Holbein : it is admirably painted and most carefully finished, though in a rather dry manner. Carlo Dolce · - 1072. St. Cecilia; one of the best pictures of the painter.— 1075, Our Saviour blessing the Bread, the same as the picture at Burleigh. Room Aa. Benvenuto Garofalo-586. The Virgin kneeling before the infant Saviour, while an Angel appears on the opposite side. Dosso Dossi-596. The Fathers of the Church, SS. Gregory, Augustine, and Jerome, meditating the immaculate Conception of the Virgin : a grand work. Giovanni Bellino -610. Christ: a whole length figure, full of majesty. 611. Portrait of the Doge Loredano. -631. The Tri Room Bb. Titian bute Money, known as "Il Christo della Moneta:" remarkable for the richness of colour, fine expression, and high finish. 632. The Virgin and Child, the Baptist, St. Jerome, and St. Paul. Some of the colour is very beautiful. 638. Portrait of Pietro i Aretino. 639. A reclining Venus, like that in the Fitzwilliam Museum. It has suffered dreadfully from clear ing. 640, Portrait of a young woma dressed in white, with a fan, called Titian's Mistress. Giorgione-645. The Meeting of Jacob and Rachel. Palm Vecchio 648. The Virgin and infas Saviour with St. John: a work fascinating beauty. 651 and 65% Holy Families with St. Catherine. Room Cc. Paul Veronese -689 The Finding of Moses. 700. Th Adoration of the Wise Men: a glorious combination of colour. 701. Chris with his Disciples at Emmaus. The Virgin and Child enthroned be tween St. John the Baptist and St Jerome. Three female figures, repre 750 dinand of Austria from Spain to Italy. 371. A Sketch for the large picture of the Last Judgment, at Munich. 355. Portrait of a young woman in black, with flowers in her left hand: a charming picture, lights well arranged, flesh senting Faith, Love, and Hope, are presenting to the Virgin a Member of the Venetian family of Concina, who had been reconciled to the Church after having listened to the doctrines of the Reformation. The other members of the family accompany him: a master-colour exquisite. Teniers-254. and piece of the artist. Annibal Caracci 827. Fame soaring upwards: very spirited. 828. St. Matthew writing his Gospel under the superintendence of the Virgin, with St. John and St. Francis. Caravaggio-852. The Cardplayers: full of truth and nature. Room Dd. Guido 871. Bacchus as a Child. - 875. Venus, Albano. 888. A Dance of Cupids. Carlo Cignani-916. Joseph and Potiphar's Wife: a masterpiece. Dutch, Flemish, and German schools. The works of the early German and Flemish masters here, are far inferior to those at Munich, Berlin, and Vienna; but in the productions of the later period of these schools, the Dresden Gallery is very rich indeed. Room D. L. Cranach. -503. Portrait of Luther. 504. Melanchthon. A. Dürer 523. A Rabbit, in water colours: excellently done. 524. Portrait of a Man in black; probably of Lucas van Leyden. Holbein, the younger530. Jacob Meyer, burgomaster of Basle, with his Family, kneeling before the Virgin. This is, without doubt, Holbein's chef-d'œuvre. 405. Room C. Van Dyk-429. Charles the First. 427. His Queen, Henrietta Maria. 428. Their Children, Charles II., James II., Henrietta, afterwards Duchess of Orleans. 408. Portrait of Old Parr, at the age of 151. Portrait of the painter David Rykaerts, in a fur pelisse, sitting in an arm-chair: a fine portrait; low and brown in tone, but broad and powerful. Rubens — 389. A Picture known by the name of the Garden of Love, or Love punished. 377. The Judgment of Paris, a small, highly finished study, or nearly a repetition of the picture in our National Gallery. 376. The Boar Hunt: a very animated sketch. 375. Neptune stilling the tempest (called the "Quos ego"), upon the passage of the Cardinal Fer 237. A Village Fête. 250. Temptation of St. Anthony; in which, as in the same subject at Berlin, the painter's wife and mother-in-law appear. 249. The Alchemist's Laboratory. 246. A Guard Room. A boy and armour in the foreground; soldiers playing at cards behind. One of the most perfect of his pictures: clear, delicate, and free in execution. 245. Boors smoking, drinking, and gambling. 244. Peter brought out of Prison by the Angel : oddly treated. Van der Werff-221. Judgment of Paris. 224. Abraham sending away Hagar. 228. The Artist and his Family. Terburg 210. A Soldier writing a letter, for which a trumpeter is waiting. 212. A young Lady in white, before a table. Paul Potter-208, 209. Two Cattle-pieces. Ruisdael-197. The Hunt: a wooded scene, with a piece of water in the foreground. The figures are by Van de Velde. One of the finest pictures Ruisdael ever painted. 193. The Château of Rentheim. 187. Landscape, known as "the Jews' Burial Ground." Room B. Murillo-111. A Fruit Girl. Velazquez 109. The Conde Olivarez. cellent; - and 2. his own Portrait. Below the Picture Gallery is a Collection of Plaster Casts of the most famous antique statues known. They are called the Mengsische Abgüsse, hav ing been made by and under the superintendence of the celebrated artist, Raphael Mengs. "Besides perfect ac curacy, many parts of the figure, such as the hair, are finished with a much higher degree of industry and precision than is usually found in this department of the plastic art."- Russell. Christ. 1570. Landscape. 1554. His own Portrait, with his Wife sitting on his knee, and a glass of wine in his hand. 1552. His Daughter, holding a carnation: a charming picture. Wouvermann. There are no less than 55 pictures by him, among which are many of his best works, as, 1517. The Horse Market. 1523. The Camp. 1601. The Horse Market. 1604. Horsemen at an Inn. 1606. A Fair. 1611. The Halt. 1612. The Mill. 1641. Skirmish of Cavalry, and several battlepieces. F. Mieris 1317. A Soldier smoking. 1320. An old Man mending a Pen. 1321. A travelling Tinker scrutinising a worn-out Kettle: one of the artist's finest works. 1322 and 1323. The Artist in bis Studio. Gerard Dow-1334. A Dentist drawing a Boy's Tooth. 1337. Portrait of the Artist drawing. 1342. A Hermit in a Cave: elaborately finished. 1343. The Artist himself, when young, playing on a Violin. Netscher-1347. The Artist's own Portrait. 1348. A Lady playing, while a Man by her side is singing. 1351, 1352. Portraits of Madame de Montespan: in the latter is her son, the Duke of Maine. Schalken-1358. A Girl examining an Egg at a Candle. Ad. Ostade-1366. The Painter in his Studio. 1367. Interior of a Dutch Tavern. Two of the painter's best productions. Metzu-1387. The Poul- A new Picture Gallery is now (1850) try-woman. 1388. The Poultry-man. building on the N. E. side of the ZwinSlingeland-1394. A Poultry-dealer ger, from the designs of Professor offering a young Woman a Fowl. W. Semper, the architect of the new Mieris-1462. A Gipsy telling a young theatre. As it will not be sufficiently Woman her Fortune. 1466. A Man large to contain the whole collection blowing a Trumpet. 1467. A Dealer the best works only will be deposited i it. The exterior is completed; but a present (April, 1850) it is uncertai when it will be ready for the receptio of the pictures. The plaster casts Mengs, and perhaps other similar co lections, are to be placed in this ne "Museum." in Game. Room F. Denner-1225. Head of an old Woman, with a piece of white drapery on her head. Swanefelt-1288. A good landscape. Amongst other interesting objects is a group representing Menelaus carrying away the body of Patroclus, put together and restored from antique frag. ments in the Pitti Palace at Florence. The exertion and muscular display of the one figure, contrasted with the im potent lifeless limbs of the other, are not to be surpassed. The Boy on the Dolphin, by Raphael (?), cast of Venus, and colossal bust of Juno, also deserve attention. Modern Works :-The Portraits of 2 children, a popular picture, by Vogel the elder, a Saxon artist. Gerard's Por- The Zwinger.This building, erect trait of Napoleon in his coronation robes in 1711, was intended merely as t is historically interesting. A large fore-court and entrance-yard to a ne series of drawings in crayon (pastel) and magnificent palace, designed are hung between the windows in Augustus II., but never carried f several rooms. The best are the fol- ther. It is an enclosure consisting lowing, by Raphael Mengs: 26. an arcade, which, with the portal Cupid sharpening his Arrows, is ex front, are light and handsome, but sur mounted by heavy and inelegant pavilions at the sides. These buildings are now occupied by the following collections: -1. The Historical Museum. 2. Museum of Natural History. 3. Cabinet of Prints and Drawings. 1. The Historical Museum (Historisches Museum, formerly called Rustkammer Armoury) is well arranged in the N. wing of the Zwinger. It is opened to the public only twice a week in the summer months, on Monday and Thursday, from 8 to 12, and 2 to 6, by tickets, only 36 of which are given out at a time, so that the best way to see it is to pay the fee of two dollars, and make an appointment with the inspector for a private view at other hours. This is undoubtedly one of the finest collections of the kind in Europe. Though less interesting, as an historical collection, it surpasses the Ambras collection at Vienna in armour of rich and studied workmanship, and leaves the Armoury in the Tower of London very far behind. It contains all the weapons, offensive and defensive, of chivalrous warfare; all the trappings and accoutrements of the tournament and other wild sports of feudal ages. Wealth and skill appear to have been exhausted in the materials and decoration of the armour. The elaborate workmanship in gold, silver, and ivory expended on the smaller arms, as the hilts of swords, stocks of guns, bits and stirrups, the rich damasking of the plate armour and gun-barrels, and the carving and inlaid work so profusely bestowed, are sufficient to excite wonder and admiration. Sir Samuel Meyrick says of this Museum, that there are no suits in it older than the time of our Henry VIII.; but several of Queen Elizabeth's period, for man and horse, are covered with reliefs executed in the richest style. The 1st room contains specimens of painted glass of the 16th and 17th centuries; portraits of the Saxon princes of the Ernestine and Albertine dynasties. Those of Albert and his wife are by L. Cranach: the rest are for the most part copies. Around the room are arranged many articles of old furniture, cabinets, &c., almost all of which are ascertained to have belonged to the worthies whose effigies now decorate the walls. The work-table of the Electress Anne (1585) may interest the ladies. A cabinet given to Martin Luther by his friend the Elector John Frederick, containing relics of the great reformer; together with a small sacramental cup, of silver gilt and ebony, which was presented to him by the Elector. A great number of ancient drinking vessels, horns, goblets, cups, for all varieties of potations:-the reader of Walter Scott will be pleased to discover among them the type of the blessed bear of Bradwardine. The 2d room is filled with implements of sports, pastimes, the chase, gardening, turning, &c. ; spears, knives, bows, hunting-horns, and game-bags. A carved hunting-horn of ivory (12th century?); the hunting-knife and horn of Henri IV. of France; the crossbow of the Elector Maurice (d. 1653); of John Frederick, 1554, ornamented with a representation of Orpheus on one side, and a chase on the other. Game-bags (Schwedler) embroidered by princesses; a collection of dogs' collars, arranged in chronological order from the time of Henry the Pious, 1541, to John George I., 1656. 3rd. Gallery of Tournament, occupied almost entirely with parade arms and armour, employed in the tilts and tournaments of the times of chivalry. Of a collection of swords here shown, the oldest is a French blade, bearing the date 1293. The labour and skill bestowed on the ornaments of some of the sword-hilts should not be overlooked. In this gallery of iron statues, horse and foot, the most remarkable suits are,-one, probably, of the 16th century, a present to the Elector from Philip Emanuel, Duke of Savoy. Near it is a black suit worn at the burial of the Elector, Augustus I. A knight, in black armour, on horseback, usually formed part of the funeral procession of the Saxon princes; several black suits in the collection have been made or In the same used for this purpose. way, on gala days and at great festivities, such as the accession, marriage, or the like event in the life of a Saxon prince, a knight in a suit of gold and silver armour, as gaily and as splendidly decorated as possible, made part of the show. On these joyous occasions, the horse was called Gala Horse (Freude Pferd), and on the more mournful, Mourning Horse (Trauer Pferd). A suit of armour (No. 316.) for man and horse, manufactured in Italy, is hardly to be surpassed in the elaborate workmanship with which it is decorated. Its surface is covered with reliefs, representing the Labours of Hercules, the Golden Fleece, Theseus and Ariadne, and similar mythological subjects, all evincing the hand of a masterly artist. Another suit, of iron and copper gilt, was made, 1599, by Colman, an armourer at Augsburg, for would have hardly been possible to support, in a horizontal position, the heavy lances used in the tournament. The thighs were not encased, but protected by two shields, or pieces of iron, projecting from the saddle on each side. The inspection of these very interesting suits will give a far better insight into the nature of a tournament than the best description. The two different kinds of lance in use at the tournament are here exhibited, one pointed, and intended to pierce through both armour and wearer, and used only in the com bat for life and death; the other ending in several small spikes, and intended to attach itself to the outside of the armour, when driven against it. for The 4th room. Another long gal lery is filled with warlike arms use in the field, not for show, less ponderous and unwieldy than the preceding. A large part have been worn Several shields and helmets of iron, in battle. Many of the suits were beautifully chased, and ornamented with made for Saxon princes, and other reliefs, such as are usually employed historical characters, and are chronolo Christian JI. cles, formed of the precious metals. It George the Bearded, Duke of Saxony. is well known that the invention and Near it is the sword of Thomas Münzer, taste in design of the most talented the leader of the rebellious peasants in artists was called in to aid the skill of Thuringia, in 1525; a character who united the knavery of Jack Cade with Two of these in par- the Covenanters in Scotland. The ticular deserve notice. They are the armour of Henry the Pious; of John the armourers of those days. Near the end of the room are several tilting suits. complete equipment of two knights on worn by Frederick the Magnanimous, horseback for the more earnest species him when taken prisoner at Mühlberg, of tournament, the duel (Scharfrennen, death of one of the parties. 1547. There are 3 suits of the Elec Germ.), which sometimes ended in the tor Maurice; near them is preserved The the blood-stained scarf which he wore weight of each of these tilting suits is at the battle of Sievershausen, and the They are so ponderous bullet fired (according to tradition) by a traitor on his own side, which killed The fluted armour of nearly 2 cwt. and unwieldy, that the slightest motion was hardly possible; the wearer could not even turn his head, but must con him, 1553. Christian I. is very handsome. Near tent himself with looking straight for- it is the sword with which the Chan ward through the scanty opening of his cellor Crell was beheaded, in spite of breast-plate, to which is attached a behalf. It bears the motto, "Care Queen Elizabeth's intercession on his heavy helmet. The suits consist of a shield, and over it a black target of wood, still bearing the lance, and a back piece. dents of the To this was screwed a sort of hook, serving as a Calviniane." The figure which stands 11th in the row of Saxon princes, is that of the rest for the lance, attached to the saddle leader in the Thirty Years' War. The Elector John George, who was a Without this provision it 15th, a brown suit, is the armour of behind. |