Part 4
458. Portrait of David Hosack, M.D., (1769-1835.) (30X36.) _Augustus G. Heaton._
From the original by THOMAS SULLY.
Corresponding Secretary of the Society, 1814-1816; Second Vice President, 1817; First Vice President, 1818; President, 1820-1827.
Presented by the Artist, November 1, 1910.
459. Portrait of George Washington, (1732-1799.) (35½X29.) _Rembrandt Peale._
Bequest of Carolina Phelps Stokes, 1910.
460. Portrait of Martha Washington, (1732-1802.) (35½X29.) _Rembrandt Peale._
Bequest of Carolina Phelps Stokes, 1910.
461. Portrait of Commodore John H. Graham, (1794-1878.) (29X36.) _William H. Powell._
Bequest of Cornelia Graham Brett, 1911.
462. Portrait of Mrs. John H. Graham (née Milledoler). (36X29.) _William H. Powell._
Painted, 1839.
Presented by Mrs. Herman Von Wechlinger Schulte, April 4, 1911.
463. Portrait of Jean Lazare Vaché, (1762-1833.) (Miniature.)
Presented by his great-granddaughter, Isabella Vaché Cox, May 2, 1911.
464. Portrait of Maria Anne Vaché, (1769-1835.) (Miniature), on tortoise shell snuff box.
Presented by her great-granddaughter, Isabella Vaché Cox, May 2, 1911.
465. Portrait of John B. Vaché, (1792-1813.) (Miniature.)
Presented by his grand-niece, Isabella Vaché Cox, May 2, 1911.
466. Portrait of Jedediah Vincent Huntington, (1815-1862.) (25X30.) _Daniel Huntington._
Presented by his nephew, Charles R. Huntington, November 14, 1911.
467. Portrait of Henry Aaron Burr. (36½X29¼.)
Presented by Mrs. Cornelius H. Van Ness, February 6, 1912.
468. Portrait of Mrs. Henry Aaron Burr. (36½X29½.)
Presented by Mrs. Cornelius H. Van Ness, February 6, 1912.
469. Portrait of Emma Louisa Burr. (37X30.)
Presented by Mrs. Cornelius H. Van Ness, February 6, 1912.
470. Portrait of Henry Burr. (24½X18½.)
Presented by Mrs. Cornelius H. Van Ness, February 6, 1912.
471. Portrait of Julia Malvina Anderson. (2¾X2½.) _Alex. Anderson._
Painted, 1820.
Presented by her daughter, Miss Mary E. Halsey, October 1, 1912.
472. Portrait of Franklin Pierce, (1804-1869.) (22X27.)
Fourteenth President of the United States.
Presented by Mrs. Frances M. Gibson, November 12, 1912.
473. Portrait of Benjamin B. Sherman, (1811-1885.) (25X30.) _George Gerhard._
Painted, 1885.
Treasurer of the Society, 1878-1884.
Presented, May, 1913, by his son, Charles A. Sherman.
474. Landscape. (14X23¼.) _John F. Kensett._
Bequest of the late Kate Warner, 1914.
475. The Cavalier's Return. (30X28½.) _R. C. Woodville._
Bequest of the late Kate Warner, 1914.
476. Children in Storm. (35X25.)
Bequest of the late Kate Warner, 1914.
477. Portrait of a Welsh Prince. (44X32.)
Bequest of the late Kate Warner, 1914.
478. View of Blackwell's Island, East River. (30X25.) _F. F. Palmer._
Presented by Daniel Parish, Jr., April 7, 1914.
479. Portrait of William Darlington, M.D., (1782-1863.) (6½X9.) Oval. _Jacob Eichholz._
Painted at Lancaster, Pa., October, 1810.
Presented by Daniel Parish, Jr., April 7, 1914.
480. Portrait of Charles U. Combes. (14X17.) Water Color. _David E. Cronin._
Painted, 1891.
Sergeant 1st New York Mounted Rifles.
Presented by Daniel Parish, Jr., April 7, 1914.
481. Fight Between Union and Confederate Cavalrymen. (11X17.) Water Color. _David E. Cronin._
Presented by Daniel Parish, Jr., April 7, 1914.
482. Fugitive Slaves in the Dismal Swamp, Va. (17X14.) Water Color. _David E. Cronin._
Presented by Daniel Parish, Jr., April 7, 1914.
483. Portrait of the Rev. Henry Ward Beecher, (1813-1887.) (24X19.) (Crayon.)
Presented by John H. Johnston, April 7, 1915.
484. Portrait of General Ebenezer Stevens, (1751-1823.) (36X27½.)
Presented from the estate of Byam Kerby Stevens, in accordance with his wishes, April 30, 1915.
485. Surrender of Lord Cornwallis at Yorktown, Va., Oct. 19, 1781. (40½X60.) _Marietta Minnigerode._
Painted in 1893.
Copied from the original by TRUMBULL.
Presented from the estate of Byam Kerby Stevens, in accordance with his wishes, April 30, 1915.
486. Portrait of Rev. Lazare Bayard. (45½X33.)
Father-in-law of Gov. Peter Stuyvesant.
Bequest of Cora V. R. Catlin, 1915, in the name of her brother, the late N. W. Stuyvesant Catlin, great-great-great-grandson of Governor Stuyvesant.
487. Portrait of Mrs. Lazare Bayard (Judith DeVos.) (45½X33.)
Mother-in-law of Gov. Peter Stuyvesant.
Bequest of Cora V. R. Catlin, 1915, in the name of her brother, the late N. W. Stuyvesant Catlin, great-great-great-grandson of Governor Stuyvesant.
488. Bayard Homestead at Alphen, Holland, with Portraits of Samuel Bayard and Anna Stuyvesant, his wife; sister of Gov. Stuyvesant. (36X47½.)
Bequest of Cora V. R. Catlin, 1915, in the name of her brother, the late N. W. Stuyvesant Catlin, great-great-great-grandson of Governor Stuyvesant.
The above three paintings were brought over by Governor Stuyvesant in 1647.
THE BRYAN COLLECTION
THOMAS J. BRYAN
Thomas Jefferson Bryan was the son of Guy Bryan and Martha Matlock, his wife. He was born at "Spring Hill," Philadelphia, Pa., about 1800, and died at sea, May 14, 1870, on board the French steamship "Lafayette," while on his way to New York, four days out from Havre, France.
Mr. Bryan graduated at Harvard University in 1823 and studied law, but he never practiced his profession, as he had an adequate inheritance.
Much of his time was given to foreign travels in forming a valuable collection of paintings. For a time this collection, known as the Bryan Gallery of Christian Art, was displayed on the walls of a spacious room in a house on the corner of Broadway and Thirteenth Street, where an admission fee of twenty-five cents was charged to view the paintings, Mr. Bryan himself being the custodian in charge. He next deposited them in the Cooper Union, and in 1867 he deeded the entire collection to the New York Historical Society, which he catalogued, arranged and added to from time to time until his death in 1870.
[Illustration: 198. THOMAS J. BRYAN.
_WILLIAM O. STONE._
FOUNDER OF THE BRYAN COLLECTION.
PAINTED FOR THE SOCIETY, 1867.]
THE BRYAN COLLECTION
BYZANTINE SCHOOL
NO. SUBJECTS OF PAINTINGS. ARTISTS.
B-1. Virgin and Child. (15X13.)
The Virgin, clothed in a rich crimson drapery which covers the head, holds the infant CHRIST on her right arm. The child has a gilt globe in his hand. Over his head is seen the date of the picture, MXC. It was brought from the East by the celebrated artist, PAPETI, who was sent to Greece by the French Government.
(_Bryan Collection._)
B-2. Triptique. (8X20½.)
A very remarkable and elaborate work; and of the highest interest in the history of art.
(_Bryan Collection._)
ITALIAN SCHOOL
B-3. A Virgin and Child, with four Saints. (77½X39½.) _Guido of Siena._
This picture is in perfect condition, and is from the renowned collection of M. Artaud de Montor, in the account of which it was engraved. It is described in the work of Gault de St. Germain (p. 51).
(_Bryan Collection._)
B-4. Virgin and Child, with Saints. (17X9.) Oval Top. _Cimabue._
From the De Montor collection--engraved.
(_Bryan Collection._)
B-5. Knights at a Tournament. (24X24.) Round. _Giotto di Bondone._
The frame is as ancient as the picture itself, of which it forms a part. It bears the arms of the Medici family. From the De Montor collection--engraved.
(_Bryan Collection._)
B-6. Virgin and Child. (12½X8½.) _Simone Memmi._
The head of the Virgin presents the same type as that exhibited in the portrait of PETRARCH'S LAURA, painted by MEMMI, which is in the Library of the Vatican. From the De Montor collection--engraved.
(_Bryan Collection._)
B-7. The Last Judgment. (12½X8½.) _Simone Memmi._
"CHRIST, with the cruciform halo, and the elliptical aureola, bordered with cherubim, appears in the heavens. Above, two angels, strangely enough colored entirely blue, sound the trumpet; below, the Virgin and ST. JOHN kneel upon the ground, from which rises the cross, on which two angels are looking. On the left, the elect, wearing crowns of gold, mount towards the sky, under the protection of a pitying spirit; on the right, the damned, covered with blood, are delivered to the demons by a minister of divine vengeance. JESUS himself wears a terrible expression. MICHAEL ANGELO is, therefore, not the first to have given him this menacing aspect. The general color of the picture pleases the eye by its extreme fineness: the Virgin and ST. JOHN by the beauty of their types." To this just and graphic description from the pen of M. Michiels, which appeared in the _Gazette de France_, it is needless to add anything more. From the De Montor collection.
(_Bryan Collection._)
B-8. The Crucifixion. (8X21.) _Taddeo Gaddi._
From the De Montor collection.
(_Bryan Collection._)
B-9. St. Jerome, St. Dominic, and St. Francis of Assisi. (15X10.) Oval Top. _Taddeo Gaddi._
The three Saints stand side by side. There is dignity in the attitudes and the draperies, and harmony in the color of this picture. From the De Montor collection.
(_Bryan Collection._)
B-10. Two Wings of a Tabernacle. (19X8½.) _Lorenzo il Monaco._
From the De Montor collection.
(_Bryan Collection._)
B-11. A Tabernacle. (24X22.) _Giottino._
From the De Montor collection.
(_Bryan Collection._)
B-12. St. Anthony. (12X9½.) Triangle. _Giottino._
From the De Montor collection.
(_Bryan Collection._)
[Illustration: B-3. A VIRGIN AND CHILD, WITH FOUR SAINTS.
_GUIDO OF SIENNA._
(BRYAN COLLECTION)]
B-13. St. Dominic. (12X9½.) Triangle. _Giottino._
From the De Montor collection.
(_Bryan Collection._)
B-14. Crucifixion. (Half of a Triptique.) (14X10.) _Buonamico Buffalmacco._
From the De Montor collection.
(_Bryan Collection._)
B-15. A Tabernacle. (21X20.) _Buonamico Buffalmacco._
From the De Montor collection.
(_Bryan Collection._)
SCHOOL OF THE TWELFTH CENTURY
B-16. A Tabernacle. (20½X18.)
The carved arabesque work indicates the period of this picture, which has been much injured by the hand of time.
From the De Montor collection.
(_Bryan Collection._)
ANCIENT VENETIAN SCHOOL
B-17. Virgin adoring the Infant Jesus. (18½X11.)
The Virgin kneels before her Divine Son. Around are angels, and behind her is JOSEPH. Above is a company of angels; and, in the distant sky, one is seen appearing to the shepherds. The infant has a crimson, cruciform aureola. In this rudely-drawn picture the future glory of the Venetian School, its gorgeous color, is plainly indicated.
(_Bryan Collection._)
B-18. The Birth of John the Baptist. (24X24.) _Uccello._
From the De Montor collection.
(_Bryan Collection._)
B-19. Christ in the Garden of Gethsemane. (3½X3½.) _Castagno._
From the De Montor collection.
(_Bryan Collection._)
B-20. Triumph of Julius Cæsar. (16X60½.) _Antonio Dello._
From the De Montor collection.
(_Bryan Collection._)
B-21. The Crucifixion. (15X11.) _Botticelli._
From the De Montor collection.
(_Bryan Collection._)
B-22. Adoration of the Infant Christ. (79½X5½.) _Perugino._ [_Macrino d'Alba._]
The Virgin MARY, ST. JOHN the Baptist, ST. JEROME, ST. JOSEPH, ST. MICHAEL, and the Pope JULIUS II., are kneeling before the divine infant. Three small Angels, also kneeling, carry the nails and the Cross, emblems of the torture which the new-born should suffer. The CHRIST bears a striking resemblance to that of the little JESUS, so much admired, in a painting of the same artist, now placed in the Louvre, after having decorated the gallery of the King of Holland. ST. MICHAEL strikes the beholder by his noble air and his martial type. The head is evidently the portrait of GASTON DE FOIX, the model of the chivalry of the day. ST. JOHN is the lean prophet of the desert, the ascetic, and the eater of locusts and wild honey. At the top of the picture, three Angels play upon different instruments. In the background are seen the Capitol, the image of Roman power, and the vast ruins of the Coliseum. The head of JOSEPH, who stands behind ST. JOHN, must strike the considerate observer by its close resemblance to the type of JOSEPH which we find in the Holy Families of RAPHAEL. In the Cherub who holds the Cross, we also find great similarity to the little Angel who occupies so prominent a position in the famous Madonna of Foglino, from the same divine pencil. From the collection ERRARD. Signed and dated 1509.
(_Bryan Collection._)
B-23. St. John, Weeping. (20½X16½.) _Leonardo da Vinci._
For the authenticity of this picture, we have the high authority of Mr. Woodburn.
(_Bryan Collection._)
B-24. St. John. (13½X10½.) Oval. _Leonardo da Vinci._
(_Bryan Collection._)
B-25. The Birth and Resurrection of Christ. (11X19½.) _Raphael._
In the centre of the upper compartment, CHRIST, draped in red, and bearing the emblematic banner of the Cross, rises from an open tomb. His hand is raised with an expression of command. On each side are two soldiers sleeping, and two starting away in fright. A slender tree also is seen upon each side of the tomb; in the distance is a large hill. In the lower compartment are eight figures, besides the infant CHRIST. Six kneel in a semicircle about the new-born Saviour, who lies in the middle of the foreground. Three of these, on the left, are shepherds. On the right are the Virgin mother and two Angels. Next to MARY sits JOSEPH; and on the extreme left, a fourth shepherd approaches. Two slender trees here also appear on each side of the composition. In the distance are heavily undulating hills.
[Illustration: B-5. KNIGHTS AT A TOURNAMENT.
_GIOTTO DI BONDONE._
(BRYAN COLLECTION)]
Very few Raphaels of this period exist. Those which are in the Vatican and the Louvre, show, in style and handling, an exact similarity to these pictures, which is absolutely conclusive. The donor wishes it to be understood, that, in his opinion, and in that of some of the accomplished and practised experts in Europe, there is not the slightest doubt of the authenticity of these pictures. Only the inexperienced and the uncultivated fail to trace in them the pencil of the divine RAPHAEL.
(_Bryan Collection._)
B-26. Madonna and Child. (28X21½.) _Copy from Raphael._
An old and admirably executed copy of the Bridgewater Madonna.
(_Bryan Collection._)
B-27. Dance of Cupids. (7X10.) _Copy from Raphael._
Nine Cupids dance in a ring. On the left, one plays upon double pipes; on the right, another sits upon the ground. This copy is very fine, as it may well be, having been made by no less distinguished an artist than SASSOFERRATO himself.
(_Bryan Collection._)
B-28. St. George, and St. Anthony of Padua. (47X22½.) _Gaudenzio Ferrari._
(_Bryan Collection._)
B-29. Martyrdom of St. Bartholomew. (17X28.) _Fra Bartolomeo._
(_Bryan Collection._)
B-30. The Repose in Egypt. (29½X35.) _Giorgione._
No. B-17 is a specimen of the ancient Venetian style, which should be examined in connection with these productions of the glorious days of that school.
(_Bryan Collection._)
B-31. Prince of Palermo--in Disguise. (22X17½.) _Giorgione._
Similar to that in the Royal Gallery of Naples, it is distinguished by the Prince holding a flute, and not a staff, a ring on his finger and an amulet in his fur cap. From the collection of the Marquis Sommariva.
(_Bryan Collection._)
B-32. A Concert. (31X37½.) _Copy from Giorgione, by Watteau._
Two men and a naked female sit in the open air, diverting themselves with music. Another female figure peers at the group from the shrubbery, which is not in the original, but found only in Watteau's Pastiche, No. B-247.
(_Bryan Collection._)
B-33. The Repose in Egypt. (32½X41½.) _Titian._
This composition was repeated many times by TITIAN, and without great variation. This repetition is distinguished by the absence of some figures in the background, and the introduction of a rivulet in the foreground, and a butterfly upon a flower in the right corner. It has twice been found necessary to remove the picture from its canvas: the drapery of the Virgin has suffered somewhat from this and other causes; the other parts of the picture are somewhat injured.
(_Bryan Collection._)
B-34. Portrait of a Lady. (43X40.) _Style of Titian._
From the collection of R. W. Meade, of Philadelphia.
(_Bryan Collection._)
B-35. St. Jerome, in his Study. (39X29.) _School of Titian._
Probably a copy by ODVARDO FIALETTI, scholar of TINTORETTO. This is a large copy of a print by ALBRECHT DÜRER. Its color shows it evidently to be of the Venetian School.
(_Bryan Collection._)
B-36. Virgin and Child. (43X36.) Oval. _School of Titian._
This picture came from the Gallery of Louis Philippe, and on the back was written "_Dans la Chambre du Prince._"
(_Bryan Collection._)
B-37. Portrait of a Presbyter. (20½X16½.) _Tintoretto._
(_Bryan Collection._)
B-38. St. Benedict. (91X54.) Oval Top. _Francesco Zucco._
The Saint is prostrate before an altar, receiving the black stole from the Virgin: the head of the Saint is worthy the palette of Titian. Signed and dated. Found in New York, by the donor.
(_Bryan Collection._)
B-39. Abraham discarding Hagar and Ishmael. (24½X19½.) _Paul Veronese._
(_Bryan Collection._)
B-40. Portrait of Charles, Constable de Bourbon. (23½X19.) _Ludovico Brea._
From the collection of General D'Espinoy.
(_Bryan Collection._)
[Illustration: B-18. THE BIRTH OF ST. JOHN THE BAPTIST.
_UCCELLO._
(BRYAN COLLECTION)]
B-41. Christ Shown to the Multitude. (45X40.) _Sebastiano del Piombo._
This picture, which is in very fine condition, and the principal figure in which much resembles that in the famous picture of _Christ looking into Hell_, in the Royal Gallery of Madrid, was purchased by the donor in Rome.
(_Bryan Collection._)
B-42. Virgin and Child, with Angels. (44X34½.) _Andrea del Sarto._
(_Bryan Collection._)
EARLY FLORENTINE SCHOOL
B-43. Virgin and Child, with St. John. (10X81.)
It will be noticed that gold is used freely in the halos, and upon the draperies, which fall in somewhat stiff but ample and not unpleasing folds. This picture is from the collection of the Abbé GENOUDE, known as the translator of the Bible, by which he accumulated a fortune.
(_Bryan Collection._)
B-44. Adoration of the Shepherds. (35½X34.)
This picture is from the collection of the Sylvestre family, and was once improperly attributed to RAPHAEL. It bears many of the marks of GAROFALO'S pencil.
(_Bryan Collection._)
B-45. The Crucifixion. (33X23.) _Andrea Mantegna._
Mr. Michiels, the distinguished critic employed by the Belgian Government to prepare a history of Flemish Art, says of this work: "The CHRIST has a nobility in his attitude which few painters have been able to give him; the expression of the good robber is also grave and dignified. The whole picture bears the impress of a serene imagination; the coloring is sombre; the attitudes are distinguished by an air of majesty. We feel that the artist had, at the commencement of his career, severely studied the ancients. Two cuirasses, and some of the draperies, are gilded; gold is mingled with the other costumes, in the form of _traits,_ designating the folds. We are particular about these details, because they indicate the primitive epoch in which the picture was painted, and the manner in which they passed from the use of gold grounds to the entire abandonment of that metal."
It should be observed that the Jewish type is preserved in the heads of many of the figures, which is the case of the works of very few other masters. It will be observed that there are in this crowded canvas no two pieces of offensive or defensive armor alike. This is worthy of particular remark, as SQUARCIONI, the master of MAN TEGNA, had the largest and most varied collection of ancient arms which existed in his day.
Aside from its intrinsic merit, this picture is of the greatest interest when considered in connection with the _St. Jerome_ (B-47) by CORREGGIO, the disciple of MANTEGNA. In the peculiar mode of introducing gold in the lights of that noble painting, we notice an unmistakable similarity to MANTEGNA'S use of the same material in the work before us; thus showing the direct connection between the manner of the two painters.
It is impossible to overrate the historical importance of the juxtaposition of this work of MANTEGNA with that of CORREGGIO. There is afforded in no other gallery, public or private, in the world, a similar opportunity to study the master and scholar side by side in works of unquestionable authenticity and the highest intrinsic merit.
(_Bryan Collection._)
B-46. Adoration of the Kings. (19X14.) _Andrea Mantegna._
Found in Venice, 1859.
(_Bryan Collection._)
B-47. The Virgin and Child, Mary Magdalen, and St. Jerome (known as the St. Jerome). (19X14.) _Correggio._
Of this sketch M. Michiels remarks, that in it "burns in all its grace the talent of _Correggio_. Never has the Ecstasy of piety, or the fervor of religious affection, been better expressed."
This picture differs from the large one at Parma, in the absence of the emblematic lion which stands in that by the side of ST. JEROME; and also in the color of some of the draperies,
## particularly in that of the canopy, which in this is striped,
while in that it is of one color. In this, too, we find gold used in the halos and in the draperies, which is not the case in the other; a fact which points to the earlier production of this picture, and which also connects it in a remarkable manner with the _Crucifixion_ by _Mantegna_ (No. B-45).
There can be no doubt that this picture is the finished sketch for the well-known _St. Jerome_, at Parma. The marked differences already alluded to in minor points, prove incontestably that it could not be the work of a copyist, who would, of course, reproduce his original with all possible fidelity. It is from the collection of Marshal Sebastiani, it having been nailed firmly to the wall in his bed-chamber.
(_Bryan Collection._)
B-48. Virgin and Child. (34X27.) _Correggio._
In support of the authenticity of this picture, we have the first authority in England,--that of Mr. Woodburn. The donor thinks it may be SCHIDONE.
(_Bryan Collection._)
[Illustration: B-22. ADORATION OF THE INFANT CHRIST.
_ATTRIBUTED TO PERUGINO_
[_MACRINO D'ALBA_]]
B-49. Virgin and Child. (10X8.) _Bernardino Luini._
(_Bryan Collection._)
B-50. Virgin and Child, with St. John. (32X25½.) _Giulio Romano._
This picture was attributed to CÆSARI DA SESTO, but is now believed by the donor to be by GIULIO ROMANO. It is from the collection of Bishop Luscomb, Paris.
(_Bryan Collection._)
B-51. Portrait of a Princess of Florence. (52X41½.) _Agnolo Bronzino._
(_Bryan Collection._)
B-52. Portrait of a Noble Florentine as St. Barbe. (35X30.) _Agnolo Bronzino._
(_Bryan Collection._)
B-53. Portrait of a Venetian Lady as Mary Magdalen. (42X30.) _Copy from Palma._ (_Vecchio._)
(_Bryan Collection._)
B-54. Charity. (9X6½.) _Giuseppe Cesari d'Arpino._
(_Bryan Collection._)
B-55. Virgin and Child. (8X6½.) _Annibale Caracci._
(_Bryan Collection._)
B-56. St. Joseph holding the Infant Jesus. (8X6½.) _Annibale Caracci._
(_Bryan Collection._)
B-57. St. Paul borne to Heaven by Angels. (19½X15.) _Domenichino._
"Three angels bear aloft the interpreter of the divine will: one has the form of infancy, another of youth, the third of adolescence. The minister of our Lord raises his hands to heaven, on which he gazes with an expression of burning hope. How he seeks to discover the first rays of the eternal light! How he longs for the moment in which he shall appear before the Almighty! What enthusiasm animates his countenance! I doubt if the ardor of faith could be better shown. The little angel has those brilliant eyes, and that expressive visage, which this master knew so well how to paint; it is certainly not inferior to those which we admire in the grand salon of the Louvre. The angel of the second age charms the eye by a grace and an easiness of attitude extremely remarkable; upon his countenance burn the veneration and the love with which the Apostle inspires him. The entire group seems actually to mount in the air. Mr. Bryan had the good taste to purchase it at the sale of M. Forbin-Janson."
To this just and graphic description, from the pen of M. Michiels, which appeared in the _Gazette de France_, it is needless to add anything more.
This picture was formerly in the gallery of the Cardinal Lambruschini, and afterwards in the collection of M. Forbin-Janson, Director of the Louvre, at whose sale it was purchased by the donor.
(_Bryan Collection._)
B-58. Christ Crowned with Thorns. (24½X20.) _Guido._
If not original, it is the best copy ever seen by the donor.
(_Bryan Collection._)
B-59. Magdalen in a Trance. (46½X36.) _School of Guido._
This picture is from the collection of Louis Philippe. The head of the Magdalen is evidently a reminiscence of the Niobe discovered at Rome at the epoch of the painter.
(_Bryan Collection._)
B-60. The Young Bacchus. (33X24.) Oval. _School of Carlo Dolci._
(_Bryan Collection._)
B-61. Lucretia. (33X24.) Oval. _School of Carlo Dolci._
(_Bryan Collection._)
B-62. Magdalen. (34X28.) Oval. _School of Carlo Dolci._
(_Bryan Collection._)
B-63. St. Dorothea. (34X28.) Oval. _School of Carlo Dolci._
(_Bryan Collection._)
B-64. Christ disputing with the Doctors. (39X54.) _Gentileschi._
(_Bryan Collection._)