Repository: UIHistories Project: Book - Gregory Art Collection Catalog (Gregory) [PAGE 28]

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A B Y SCHEFFER.—(1794-1858.) Born in Holland bnt ranked among the French painters. At the age of 12 he painted a picture thai attracted much attention in Antwerp. Many of his works were suggested by the poems of Goethe, TJhland and other German writers, but the most characteristic are those devoted to sacred subjects, as his "Dead Christ," " Three Marys," " Mater Dolorosa," etc. 9 9 . Faust and Jflargarct.—French School. We have here t h e garden scene from Faust. The two lovers in the foreground are each unmindful of all else b u t t h e o t h e r ; in the background Mephistopheles and the old Martha observe them—laughing at their evident enchantment. 1 0 0 . Christ Carrying the Cross.—Italian School. This painting was the design if not the work of Raphael. (See Engravings No 1.) The figure of Christ is bent over with the weight of the heavy cross and his features contorted by the suffering. Around this figure are grouped the sorrowing women,—a part of the rabble and the Roman soV'iers, whose hardened faces seem somewhat moved by the heart-rending seen?. 1 0 1 . Transfiguration.—This is the chef d'oeuvre of Raphael, (see Engravings No. lj and is found in the Vatican museum. This picture is divided into two sections. Ou t h e s u m m i l of the mountain Christ is seen between Moses and Elian, and his three disciples are prostrate With terror aud bewilderment at the brightness of the apparition. At the foot of the eminence people are waiting for the Master that they may bring to him the child possessed by a devil. Vasari says " in this work the master has of a truth produced figures and heads of such extraordinary beauty that among the many works executed by his hand, this, by common consent of all artists, is declared to be the most excellent, the most divine." The only adverse criticism passed on this picture is that the action being double, causes a want of variety. This last and greatest work of the master was placed over his head when he lay in stale, and carried in the procession at his funeral obsequies like a sacred relic. 10"2. JIMadonna di San Sisto.—Italian School. This is considered one of the most beautiful of the works of Raphael, and of all the Madonnas painted. It is the gem of the gallery at Dresden. It represents an appearance of the Virgin with the Infant Jesus in her arms. St. Sixtus and St. Barbara kneel in adoration on either side of the Madonna, and two little angels leaning on the balustrade below seem to point to the celestial vision. The wonderful beauty of the mother and child has been a marvel to the world for over three centuries,—it is a revelation to all that visit the gallery where it is placed. The grave celestial lovliness of the Madonna, the divinity of the Christ, re:noves the picture from the realm of criticism. 1©3. Christ liaising Lazarus.—Roman School. This picture is in the London gallery and is the work of Sebastian de Plombo, one of the pupils of Michael Angelo, who wished him to rival Raphael. It is the masterpiece of the artist, and the figure of Lazarus is said to he the work of his master, CORBEGGIO—(1494-1534.) A painter of the Lombard school, who spent his entire life in Parm, and painted without ever seeing the great

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works of art or masters of his time. His pictures are remarkable for the grace and lovliness of the figures and the harmony of the coloring. 1 0 4 Visit of the Shepherds.—Lombard School. One of the most beautiful of the Nativities. It is now in the Dresden gallery, and is called la Notte (the night) of Correggio.

TITIAN.—(1487-1370.) The greatest painter of the Venetian school, noted for the rich harmony of his coloring. As an artist he was indefatigable, and he has left many works throughout Europe. 1 0 5 . The Entombment.—Venetian School. This beautiful painting is in the Louvre museum. " It is remarkable," says a French author, " for qualities which Titian did not alway attain, or even aim a t : depth of sentiment and power of expression." The body of Christ, sustained by Joseph*jof Arimathea Nlcodemua and John, is borne to the sepulchre, ou tile left Mary Magdalene supports the fainting Madonna.

TINTORETTO.—(1512-1/594.) He was a pupil of Titian, who became jealous of his talent and dismissed him from his school. His real name was James Robusti, but he received the title of Tintoretto from the occupation of his father, who was a dyer. 1 0 6 . Crucifixion.—Venetiau School. This large picture, one of Y the finest by Tintoretto, is in Venice, as indeed, are nearly all the works of this master. The numerous figures are grouped with great skill, leaving '.he cross prominent and conspicuous.

MURILLO.—(1618-1685.) Famous Spanish painter. He was a pupilof Velasquez, who remained his patron during life. He died while painting a fresco in a church at Cadiz. lOT. Immaculate Conception.—Spanish School. Avery favorite subject with Murillo, and he has left many paintings of this name. This picture, which may be found in Madrid, is called the " pearl of conceptions," however, and i-s one of the most beautiful of all Murillo's works. 5 ,/Y* G^JOS. Holy Family.—in the Louvre museum. The Madonna holds the Infant Christ on her knees - Elizabeth kneels at the right supporting the little St. John, who hands a cross to the Infant Christ. This picture is signed Barth 'de Murillo. 1 0 9 . Beggar Children.—Spanish School. This aDd the follow• ing picture are found in the old I'inakrthek in Munich. Murillo is almost unsurpassed in his delineation of street scenes and beggar life. Thera is something in the lazy abandon of his little Spanish gamin,that defies criticism, and wins the heart of each spectator. H O . Beggar Boys.—Spanish School. (See No. 109.) Two ©live-cheeked peasant boys are busily engaged in eating fruit. l t l /jUtl&fit ' -Magdalene.—Murillo. 112. Presentation of .Vary in the Temple. - T h i s celebrated . •' \ picture,—from the brush of Titian, (see No. 105) is in the academy of the ' Fine Arts in Venice. The scene is from the Catholic tradition, that at 12

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