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Picture Gallery. BRUSSELS. 10. Route. 115
van Conintloo, Altar-piece with scenes from the life of Mary Mag-
dalen.
*170. Jan van Eyck, Adam and Eve, two of the wings of the
celebrated Adoration of the Lamb inthe church of St. Bavon at Ghent
(see p. 59; comp. the photograph of the whole altar-piece on one of
the partition walls in the centre of the room), ceded by the author-
ities to government in 1860, as being unsuitable for a church, in
return for copies of the six wings at Berlin.
‘It would be too much to say that Hubert rises to the conception of
an ideal of beauty. The head (of Eve) is over large, the body protrudes,
and the legs are spare, but the mechanism of the limbs and the shape
of the extremities are rendered with truth and delicacy, and there is
much power in the colouring of the flesh. Counterpart to Eve, and once
on the left side of the picture, Adam is equally remarkable for correctness
of proportion and natural realism. Here again the master’s science in
optical perspective is conspicuous, and the height of the picture above
the eye is fitly considered’. — Crowe and Cavalcaselle, Early Flemish
Painters, 1872. — (Comp. pp. 59-62.)
The backs, shown on request, represent the Erythrean Sibyl,
with a street-view in Ghent, and the Cumzan Sibyl, with an interior.
335. B. van Orley, Trials of Job; Roger van der Weyden (?), 554.
Bearing of the Cross and Crucifixion, 552 (above), Scenes from the
life of the Virgin (comp. p. 114). — 122. L. Cranach the Elder,
Dr. John Scheuring (1529); 569. Jan Gossaert, surnamed Mabuse,
Portrait; 10. Chr. Amberger (7), Portrait; 720. Jan Gossaert, sur-
named Mabuse, A Knight of the Golden Fleece. — 348, Alb. Bouts,
Penitence of St. Jerome; 641. French School, Portrait (formerly
believed to be a portrait of Sir Thos. More by Holbein); 666. Gerard
David, Madonna and Child (replica of the picture in the Palazzo
Bianco at Genoa); 544, Hugo van der Goes, Madonna and Child with
St. Anne; 334. B. van Orley, Portrait of Dr. Zelle (1549); 600.
Lucas van Leyden, Dance of Mary Magdalen (after an etching of the
master); 349. J. de Patinir (?), Madonna and Child ; 534. Alb. Bouts,
Assumption of the Virgin. — 254, 84. Bart. de Bruyn, Portraits ;
between these, 108. C. van Coninzloo, The sacred kinship. — 650,
667. Roger van der Weyden(?), Madonnas; between these, 538. Master
of Oultremont, Portrait; 545. Netherlandish School of the 15th Cent.,
Large group of female saints, with the Madonna in the middle, in
front of a gold-embroidered tapestry.
* ‘66. Dierick Bouts, Justice of Otho II.
The subject is the medieval tradition that the Emp. Otho beheaded
@ nobleman who had been unjustly accused by the empress, but his inno-
cence having been proved by his widow submitting to the ordeal of fire,
Otho punished the empress with death. This picture was originally hung
up in the judgment-hall of the Hétel de Ville at Louvain, according
to an ancient custom of exhibiting such scenes as a warning to evil-doers.
Pictures of similar subjects formerly hung in the courts of justice at
Siena, Brussels, Cologne, Bale, and Nuremberg.
Between these last two pictures: *298, #292. Hans Memiing,
Portraits of the Burgomaster W. Moreel and his wife, models of plain
burgess simplicity (ca. 1478). *515. Zanetto Bugatto da Milano (?
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