863924

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Catalogue of the Massimi Collection of Poussin Drawings at Windsor Author(s): Walter Friedlaender Source: The Burlington Magazine for Connoisseurs, Vol. 54, No. 314 (May, 1929), pp. 252-258Published by: The Burlington Magazine Publications Ltd.Stable URL: http://www.jstor.org/stable/863924Accessed: 18-04-2015 15:08 UTC

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Architectural Models -II Museo dell' Opera del Duomo at Florence and Siena. So long as the room has to be cleared periodically for religious gatherings, as at present, it cannot form an ideal museum.

The Builder's Dictionary (1724) gives the following :-" MODEL [in Architecture] is particularly used in Building for an artificial Pat- tern made in Wood, Stone, Plaister, or other Matter, with all its Parts and Proportions, in order for the better conducting and executing some great Work, and to give an idea of the effect it will have in large; or it may be defin'd a small Pattern of a House, etc., made by a small scale; wherein an Inch, or half an Inch represents a Foot, for the more exactly carry- ing on the Design. In all large Buildings it is much the surest way to make a Model on Relievo, and not to trust to a bare Design or Draught."

During the seventeenth century a remarkable series of models was made of the Church of the Holy Sepulchre at Jerusalem. They are constructed to a small scale, in olive wood inlaid with ivory and mother-of-pearl. One is still preserved in the Bodleian at Oxford, and three or four others are known to exist. (See " Country Life," for April 22, 1905). But these very interesting models were not made before or during the erection of the church, so do not come within the scope of this article.

A century later than Wren, there flourished Sir John Soane, who, far more than any other architect, used models in design, and has left us a very large and interesting collection some forty in all, besides numerous models of classical buildings, in his remarkable house in Lincoln's Inn Fields. Soane was, of course, a successful and wealthy practitioner, but he certainly spent far more money on models, drawings, books, casts, and other implements of his trade than

most rich architects are prepared to do. One of the more elaborate of these models, for instance, for a church at Marylebone [PLATE II], cost him Z25, and though in that case he charged his employer with the cost, we may assume that he paid for most of the others out of his own pocket. Except for a few small projects for tombs and an obelisk, all in polished mahogany, and one or two wholly or partially made of plaster, these models are all very carefully constructed in deal, by a car- penter. Some are painted white, but most are unpainted. Nearly all are highly finished inside and outside, the jointing of the stone usually indicated by incised lines, occasionally in ink. But the main interest of all the larger models lies in the fact that they can be taken to pieces, the roof and each of the upper storeys lifting off to show the arrangement of the rooms, stair- cases, passages (and even flues) below. One model, for the Law Courts at Westminster, is skilfully contrived so that it takes to pieces vertic- ally as well as horizontally. Among the most interesting of these examples, besides those mentioned, are Tyringham, Butterton, the villas at Acton and Ealing, and--of course-the really wonderful series for the Bank of England. Soane, above all other men, has shown the pos- sibilities of the model, and one suspects that his outlay in that direction was probably justi- fied by results in the case of clients and com- mittees who could not understand plans, though he may have regarded the use of models mainly as a means of ensuring satisfactory design. There must be other historical models, used by famous architects in the past and now hidden in dusty attics. Some of these might find a fitting home in the new premises that the Royal Institute of British Architects has so long been threatening to acquire.

CATALOGUE OF THE MASSIMI COLLECTION OF POUSSIN DRAWINGS AT WINDSOR* BY WALTER FRIEDLAENDER

HE author of the catalogue calls himself Giov. Batt. Marinella Armengol.1 A two-page eulogiumr of Nicolas Poussin, addressed : "Alli Studiosi della Pittura," pre-

cedes the catalogue proper. The entire aesthetiic conception and diction of this preface harks back to Bellori-indeed, whole sentences are lifted from Bellori's famous pamphlet, the

, Idea."2 A series of numbers (52,,62, 63, 69, 70, 72) are omitted from this list. The sheets in ques-

tion were vacant in the volume of drawings (see " Fine Arts Quarterly Review," 1863); so that, although the list closes with No. 73, only 67 sheets have been specified. Thus there was presumably an earlier numeration in the volume,

*The plate references are to the illustrations to Dr. Friedlaender's article, " The Massimi Poussin Drawings at Windsor," in the March number of THE BURLINGTON MAGAZINE.

1 We know nothing of him. A later English entry in the volume calls him a pupil of Poussin. The name Armengol is that of a family of Spanish artists.

2 The " Idea del pittore ecc " was delivered as an academy address in 1664, i.e., the year of Poussin's death, and in 1672 was added as an introduction to the "' Vite dei pittore ecc." (Concerning the intellectual status of this treatise see Panofsky, " Idea," Leipzig, Y924). Bellori, who was closely connected with the Massimi, lived till 1696 and was regarded as a Poussin specialist; he might well have been consulted as an advisor with respect of the preface, and perhaps also for the catalogue.

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Catalogue of the Massimi Collectzon but six sheets were lacking at the time of com- pilation of the catalogue, and these have been taken into account. Perhaps some sheets in the Windsor Collection, which do not come from the Massimi volume (see BURLINGTON MAGAZINE, March, note 5), but which show close affinity with it (e.g., Medea, Christ on the Mount of Olives), belong in the empty places.

Nos. 2, 50, 56, 60o and 36 I have not been able to discover. Thus there remain 63 sheets (from 123 numbers of the Windsor Library, 1876-11999), which I enumerate in the order of the catalogue, in each case giving also the present inventory number. The dimensions are only approximate.

i. Ritratto del N. Poussin. W.L. II1993. Red chalk. Probably inserted merely as a frontispiece; not by his own hand.

2. II padre eterno sostenuto dalli Angeli. Not found. According to the F.A.Qu.R. the drawing was oval and about 115 x 118 mm. A drawing answering the description is to be found in the Louvre.

3. Mercurio in abito di pastore. W.L. II947. Pen, Indian ink wash, 185 x 320 mm. Belonged to the Marino illustrations. On the left, the cattle of the king Agenor. Among them, gallop- ing, the transfigured Zeus. On the right, in the shadow of the trees the king's daughter Europa with four playmates, and sitting somewhat further back Mercury as a shepherd playing a flute. [PLATE I, B]

4. Driope transformate nell' arbore Loto. W.L. 11941. Pen, Indian ink wash, 158 x 330 mm. From Ovid's Metamorphoses. In the centre, Driope plucking blossoms from the enchanted lotus tree. On the left, a shrine. On the right, persons walking and a garden gate. Marino illustration.

5. Acheloo sedente appoggiato al viso ? W.L. I1986. Bistre and some red chalk, 123 x i35 mm. Rough sketch. The river god Acheloos supports himself on an urn. Beside him two nymphs (Amalthea) and a cupid with cornucopia. Belongs in theme to the Herakles legend, see No. 27.

6. Pan and Venus. W.L. II980. Pen, Indian ink wash, 125 x 115 mm. Venus repels the importunate Pan, whom Amor seizes by the hair.

7 and 8. Amor in piedi sopra un cavallo corridore. W.L. 11967/8. Pencil and pen and light bistre, wash. Very exactly and rather minutely drawn. Amor standing on a horse, in the right hand holds arrows and in the left roses. Both drawings (ca. 112 mm. square) almost identical. The subject relates to an emblem (after a passage in Petrarch) which Camillo Massimi desired for himself, and which Poussin drew for him.

9. Galathea alla riva del flume Aci. W.L. 11923. Pure pen. lox x 147 mm. The small sketch shows a reclining river-god, cupids and two women looking toward the left and pointing at something.

io. Tyro el e Ninfe. W.L. I19I4. Bistre, pen, dark wash, 130 x 145 mm. Groups of three naked women, amongst whom the queen, Tyro, by a stream in the wood, who looks round toward an observer (Poseidon) reclining behind trees. The drawing is somewhat cut on the right. The three figures recall the naiad group in Poussin's beautiful late picture: Mercury delivers Bacchus to the Nymphs. (Fogg Miuseum, Boston); but are much earlier-the end of the thirtieth year. [PLATE III, C.]

ii. Amor contro un satiro. W.L. II11915. Pen, bistre, deep wash, 123 x ioo m.m. Nymphs seated on the right before some trees. An importunate faun kneeling before them is repelled by Amor who strikes at him. Reverse: Pen sketch of a running centaur.

12. Satiro con un bambino in braccio. W. L. 11981. Pen, Indian ink wash, 135 x 93 mm. Striding faun with a boy on his arm, at his feet a bowl of fruit.

13. Venere che dorme scoperta da Satiro. W.L. 11987. Pen, light and dark bistre wash, 125 x 262 mm. Venus half reclining, sleeping, on the left a satyr who attempts to uncover her. Armengol much admired the satyr's expression: " eccitato dalla libidine." Variations of the same subject in several pictures, e.g., Nat. Gall. No. 91, and in one which recently came to light and passed through the English art-trade into Switzer- land, and to which the engraving, Andresen No. 354, corresponds.

14. La nascita del Priapo. W.L. II1938. Pen, brown strokes (bistre or yellowed Indian ink.) Indian ink wash, 186 x 318 mm. Venus in the foreground reclining, numerous figures. From the Marino series.

15. Sacrifizio di Priapo. W. L. I 1974 Bistre, pen and wash, 195 x 267 mm. Relief- like representation. Left, Amor and Venus enthroned on dolphins. Right, two young people walking before an altar, behind them two old persons.

16. Diana Cervicida. W.L. 11985. Blue paper, broad pen hatching, I50 x 232 mm. Diana kneeling, with raised bow aims at a stag, which hastens away to the right, started by a dog. Behind Diana two nymphs reclining, the one back- view. Rather crude drawing. Perhaps pre- Roman, but not belonging directly to the Marino drawings.

17. Joo, Mercurio ed Argo. W.L. 11945. Pen and Indian ink wash, 272 X 201 mm. Left, the heifer; right, the sleeping Argos as guard, behind him Mercury. From the Marino series.

18. II Choro di Bacco. W.L. I1990o. Pen, bistre wash and some red chalk, 126 x 408 mm. Relief-like triumphal train of Bacchus and Ariadne. Weak.

19. Le Misteri di Priapo. W.L. 119I10. Pen, bistre, strong wash, 208 x 312 mm. Bacchanalian festival before a temple. Persons playing and dancing; jugglers standing on their heads; fauns and nymphs; in the foreground three reclining figures. Closely related to a drawing in Chantilly (G. 328), but there the dancers are farther to the

3 This number was already indicated as " absent " in the list of x863.

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Catalogue of the Massimi Collection right and the reclining figures farther back. This drawing has been engraved by Mariette, i688. There also exist paintings of a similar kind, e.g., at Caen (probably a copy.)

20. Le ceremonie di Pan. W.L. I1979. Pen, bistre wash, 202 x 325 mm. Sketch for the bacchanalian dance in the National Gallery, No. 62. But the direction and, in part, the placing of the figures are altered.

21. Bacco vittorioso delle Indie. W.L. I1905. Pure pen, 195 x 301 mm. Bacchus in the triumphal car drawn by panthers; left, Silenus supported on an ass by two youths. On the right, beside the car troops of corybantes and bacchantes striking cymbals. In the background large exotic animals: giraffe, camel, two elephants. Separated from it on the border two slight pen sketches: side view of the triumphal car With winged lions drawing it, also a figured architrave (probably also for the car.) [PLATE III, B]

Reverse: Two pen sketches of related subjects- i. Statue of Pan in the centre, being crowned by bacchantes; in front of it a nymph riding side- ways on a he-goat, supported from behind by a faun. With the right hand she dips into a flat basket which a kneeling faun presents to her on his head. Right, a man reclining. 2. Also a Pan- hermes in the centre. Before it a woman with a roebuck and two pipers. In the foreground a nymph pulling the hair of an importunate faun.

The three bacchanal studies are connected with the Richelieu Bacchanals 4 which belong to the end of the thirtieth year. But they are merely " prime idee," in which the motives of the three triumphs (Silenus, Pan, and Bacchus triumphs) are mingled together. The sketches also do not display the firm connection and arrangement of the final execution. The Silenus riding the ass in our sketch for the Bacchus Triumph is abandoned in the final treatment, but on the other hand is utilized in the Silenus Triumph in the National Gallery. The exotic beasts in the background with their restless silhouettes are entirely omitted in the pictures. Of the two sketches for the Pan Triumph on the reverse side the various groups were combined, if also somewhat altered (the goat-group for instance is reversed), in the finished painting. Two studies in the Mus~e Bonnat at Bayonne belong also to the Pan Triumph and show similar motives. But in both, the crowned Pan hermes stand far on the right side. In the technique of the Massimi sheet the bold hatching is surprising. The treatment is still rather sectional, the whole still unordered, but Poussin's authorship is not to be doubted, certainly not from the point of view of the motives. The architectural sketches on the side show clearly the hand of Poussin.

22. Bacco Phallico. W.L. II995. Pen, deep bistre wash, 228 X 335 mm. Corresponding in the figures to the finished picture of the Pan Triumph. But almost the entire background is covered with brown and partitioned off with grape- vine tendrils. Probably a workshop copy, perhaps

for decorative purpose. 23. Perseo ed Andromeda. W.L. 11984-

Pen, light and dark brown wash. In the contours and partly also in the drapery and hair (particularly in the flying genius) some red chalk, 228 x 310 mm. The scene after the battle. Perseus washes his hands stained with the blood of the serpent tresses (from the head of the Medusa); Amor pours water over his hands. The hovering Victory breaks the palm of victory from the tree; beneath which is the winged Pegasus. On the left side a river-god, naiads and a cupid; on the right three naiads who see with amaze- ment how the white coral of the ocean is stained red by the drops of blood from the head of the Medusa.- 'Bellori refers to the sheet in his description as: 'La tintura del Corallo.' [PLATF II, A]

The highly poetic conception of the drawing reminds one of the picture in the National Gallery (681) of Cephalus and Aurora, executed about the middle of the thirtieth year. It is not unimportant for the prevalence of Poussinesque themes that Bourdon adopted our Poussin drawing as a model and created a picture after it which was once in the possession of Count Briihl, and which was engraved by Fr. Basan. The composition is altered, a series of motives are taken over from Poussin and other new ones introduced.

There is at Windsor a large finished drawing (11879), 352 x 514 mm., after the Massimi drawing, which is not mentioned in the catalogue. Academic and dull-perhaps intended for engrav- Ing.

24. Pallade e le Muse. W.L. II1946. Pen, rather dark Indian ink wash, 310 x 223 mm. Pallas flying down from heaven; below, the muses gathered around the well Aganippe.-Marino series.

25. Alfeo ed Aretusa. W.L. II1977. Pen and light bistre wash, 305 x 223 mm. The nymph Arethusa is enveloped in a cloud by Diana to protect her from the pursuit of the river god Alpheus. Marino series.

26. La crudeltah di Medea. W.L. 1i892. Pure pen, 16o x 168 mm. Medea standing on a terrace striking at the child with the dagger. Before her, half kneeling, half lying, the nurse who clutches her hair with her left hand in horror. Beside her the boy already killed. In the background to the left a statue of Athena. Bending over a balustrade, Jason with outstretched arms, beside him Creusa. Extraordinarily striking sketch, in style subsequent to the Judgment of Solomon. [PLATE IV, B]

Reverse: Rough sketch of a seated Madonna with standing Child. Behind, a large winged angel. Upright shape. The commentary of the catalogue describes the Medea drawing in detail (gesture of tearing the hair on the part of the nurse), but introduces a new feature: the statue of Athena covers its face with its shield for horror at the crime. Now there exists a drawing, also in the Windsor Collection (11893, 255 x 200 mm., pen, bistre wash), which shows this miracle of the statue (which moreover goes back to ancient representations.) [PLATE IV, D] It differs

4 Cf. concerning them the author's "Poussin," 1914, p. 66 and r15; also Jamot, Gaz. des Beaux Arts, 1921, 1I, p. 93 seq. and Nouvelles 6tudes, 1925, p. 25 seq.

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Catalogue of the Massimi Collection also in a few other details, particularly in the attitude of the nurse, who does not clutch her hair with her left hand, but with it holds the body of the boy in her lap. Bellori briefly describes the composition, also with the statue which covers its eyes with the shield. He describes Medea, however, as " assisa in terra," whereas in both pictures she is standing. May there be a lapsus memoriae here? (A confusion with the nurse), or does he refer to a third drawing unknown to us. The commentator Armengol must also have known the larger drawing (it was perhaps also in the Massimi collection) as well as the smaller one in the volume. In this way his confusion must have arisen. In sFite of many weaknesses I regard also the large drawing as standing close to Poussin, perhaps originating in atelier.

27. Hercole e Deianira. W.L. II912. Pen, light and dark bistre wash, 219 x 315 mm. Two scenes from the Hercules legend, separated by a stroke (originally continuous.) On the left Hercules bears off the conquered Deianira. Amor or Hymen with club and quiver goes ahead. Two cupids in the air carry the lion's skin. Beside the Hercules group the defeated river-god Achgloos, whose head is being bound up by a nymph. On the margin a seated nymph with flowers and an urn. In the right-hand sketch Deianira is seated on a throne, a nymph (Amalthea) offers her the horn of plenty. Her father, King Oeneus of Calydon, with crown and sceptre, turns towards the group as he goes. [PLATE II, B]

In the Louvre (32508, pen, bistre wash, 205 x 262 mm.) there is a similar drawing of the left- hand scene, with a few alterations. Rather rough, not so good as the Massimi drawing (engraved by Audran Andr. 389.) Poussin also painted a picture of this theme for Stella, 1638 (cf. Index to my Poussin, p. II5.) Reverse (of 27): two Madonna sketches, rough; on the left, Madonna with Child on lap; on the right, the Child turns away from the lap toward the infant John; behind, Joseph and other figures.

28. Orfeo nel' Inferno. W.L. 11937. Pen and Indian ink wash, 186 x 318 mm. Orpheus kneeling before Pluto and Proserpina praying for Eurydice. Cerberus, Tantalus appearing out of the water. Right, Sisyphus and other dwellers in Hades. Marino illustration.

29. Mirra conversa in albero. W.L. 11933. Pen and Indian ink wash, 184 x 326 mm. A nymph delivers the infant Adonis from the body of Myrrha, already almost transformed into a tree. Other women bring cloths and jugs. Still other women on an eminence before a tent-wall stretched before trees. This is the drawing which Bellori (p. 148 seq.) describes, which was executed for Marino and was in the possession of the Cardinal Massimi. Swanevelt also represented the scene similarly in a landscape-etching. [PLATE I, A]

30. Chiona. W..L. II935. Pen and Indian ink wash, 186 x 318 mm. Chiona stricken through the tongue by Diana, who strides off on the right, shot because she boasted of being more beautiful and desirable than the goddess. Behind her her children, the offspring of Mercury and Apollo; beside her, lamenting, her father, the old

Daidalion. Massimo illustration. [PLATE I, c] The same subject occurs in a drawing by

Primaticcio in the Hermitage (of which Dr. Kusenberg informed me; see Dimier, " le Primatice " No. 218.) It served as a pattern for a glass window in the Chateau d'Anet (see fig. in A. Roux, " Le

Ch.ateau d'Anet," p. 71). Chiona in

a similar attitude with the arrow through the tongue, Diana, however, in the clouds.

31. Sacrifizio di Polixena. W.L. I 90o6. Pen, bistre wash, some red chalk, 173 x 351 mm. Polyxena, the daughter of Priam, kneeling. Behind her a bearded man with an axe, about to sacrifice her to the manes of Achilles. Right, the altar, priests, a gesticulating, horrified crowd. Left, group of lords and a kneeling woman (Hecuba.) Not belonging directly to the Marino drawings but yet akin to them.

32. Theti ed Achille. W.L. 11934. Pen, Indian ink wash, i9o x 320 mm. Thetis embrac- ing her son in farewell. Nymphs bringing arms. Marino illustration.

33. Galatea, Aci e Polifemo. W.L. 11940. Pen and Indian ink wash, 186 x 318 mm. Polyphemus watching the lovers. Rather rough drawing. Marino illustration.

34. Bibli. W.L. II1939. Pen and Indian ink wash, 186 x 318 mm. In the centre Byblis, in love with, and scorned by, her brother (see Ovid's Metam.); she wanders through the forests and is finally transformed into a spring. She is crowned with sea grasses and appears as a half-figure among the rocks. Round about, nymphs. Marino illustration.

35. La trasformazione di Fiori. W.L. 11983. Thick bistre strokes, light wash, some red chalk, 212 x 293 mm. Allied in technique to No. 23, Perseus and Andromeda, both on rough grey paper. In close relationship with the famous painting in Dresden: The Kingdom of Flora (executed " nei primi tempi.") There are however a number of variations, e.g., Flora does not scatter flowers, as in the painting. Certainly akin to Poussin, but questionable whether it may not be a decoratively treated school-drawing. Windsor No. 11878, a drawing in large size of a similar theme. Academic enlargement of the smaller drawing; but here also there are divergencies: the leafy avenue is replaced by a fountain, a motive also to be met with in the finished picture at Dresden. This large sheet not in the catalogue. Perhaps intended as a model for engraving, as also i 1879 (see No. 23), and as a third sheet, 11877, Diana and Actaeon, for this, however, I know of no model.

36. Hercole. Already " absent " in 1863. But described in Armengol. Hercules in a pensive attitude, the left hand supporting the chin, the right hanging down.

37. II ratto delle Sabine. W.L. I1903, I1904. Bistre, firm pen outline, bold wash. On a small sheet (11 x 8 mm.) a naked man lifting up a woman [PLATE IV, A], on the other, more but similar scenes. Perhaps both sketches were together on the same sheet (?)-nothing more explicit in the Massimi catalogue. Studies for the famous Rape of the Sabine Women, Poussin's

255


Catalogue of the Massimi Collection early composition, of which there are two finished works (Louvre and Cook, Richmond). Individual groups in the second drawing are related to this second finished work, as, for instance, the woman stretching out her arms. She occurs also on the complete sketch at Chatsworth and on the related drawing in the Uffizi.

38. Battaglia fra Romani i Sabini. W.L. I1943. Pen and Indian ink wash, 187 x 325 mm. In the catalogue no more detailed description. cf. 39 and 42.

39. Altra battaglia. W. L. 1194. Pen and Indian ink wash. Harsh outlines, 182 x 325 mm. A soldier with a lance in his breast is carried off the field.-cf., the battle scenes at the Hermitage and in Moscow, which were mentioned by Bellori (due battaglie copiose di figure.) Perhaps first Roman period, but akin to the Marino ill. [PLATE III, A]

40. Furio Camillo. W.L. 1933. Pen, bistre, light and dark wash, 179 x 173 mm. Study for the Schoolmaster of Falerii (1637), only differing in details. The large drawing of the same theme in the British Museum (9-15-922) is different; it was probably the model for the engraving by Audran, which is not (as most say) executed after the Louvre picture, but after an " esquisse." Felibien, p. 25, speaks of two finished works of this subject by Poussin's hand.

41. Pirro inseguito de Molossi. W.L. II909. Pen, rather dark with lighter bistre wash. Here and there red chalk, 218 x 345 mm. Beautiful study for the painting in the Louvre, Rescue of the youthful Pyrrhus (beginning of the 3oth year), but differing in details.

Reverse : Rough, but beautiful, pen sketch (unwashed) of the left half of the same subject.

42. Battaglia fra Latini e Troiani. W.L. 11942. Pen and brush wash, 182 x 325 mm. Some of the fighters defending themselves behind a pallisade, as stated in the catalogue. Probably also Marino illustration (as 38, 39), or soon after.

43. Scipio Africano. W.L. II886. Pen, bistre, light wash, ca. 210 x 217 mm. Warrior or lord with followers on the right, men kneeling, their shields laid down, kiss his hand. A warrior thrusts his sword into its sheath. The majority allude to it as Germanicus and the murderous soldiers. The commentator of the catalogue on the other hand refers to the scene where Scipio was sought out at his villa by the pirates who kissed his hand.

Reverse : Pen sketch for it. The same subject in a beautiful drawing at the

Ecole des Beaux-Arts, but there the general is with- drawn entirely to the right side. Here also called Germanicus, although the ships in the background rather suggest the pirates. Time of origin, 3oth year. There is at Windsor a drawing (perhaps atelier) in large size from this composition, see F.A.Qu.R., III, i10o

A Scipio incident was actually executed by the artist for the Cardinal Francesco Barberini through the agency of Cassiano del Pozzo. He had also sketched a drawing for it shortly before his journey to Paris, and which he no longer had by him when in Paris (Letter to Cassiano, dated 27.6.1I642). He

seems, however (Letter dated 25.7.1642). to have compensated for this by making a new one. It may be then that the drawing in the Massimi Collection is the one made for Cassiano, and the one at the Ecole des Beaux-Arts the other. It is to be remarked that Poussin also painted a Scipio legend in a large picture-(Hermitage)-the much better known Restraint of Scipio (but not, it appears, for Cardinal Barberini). There also exists a drawing of this theme at Chantilly.

44- Camilla regia dei Volsci. W.L. 11936. Pen and Indian ink wash, 186 x 318 mm. Camilla thrown from his horse, is lifted up by a soldier. Battle scene, similar to 38, 39, 42. Probably also Marino illustration, or soon after.

45- Catone Uticense. W.L. i1919. Pure pen sketch, 9 x 15 mm. Cato of Utica throws himself on his sword, propped against the ground. The same motive also in the Ajax of the Kingdom of Flora, but another position.

Reverse: drawing of a woman in ancient cos- tume, who raises her left arm.

46. Statue antiche. W. L. 11916. Pen and brown bistre wash, I112 x 168 mm. Two female statues.

47. Venere e Marte. W.L. 11975. Pen and brown bistre wash, 205 x 270 mm. Model (and so in reverse) for the engraving by Fabricius Chiarus, 1635. Another version at Chantilly. The prelim- inary drawing to the other engraving by Chiarus, 1636, the pendant: Venus and Mercury, in the Louvre.

48. Le figlie di Jethro. W.L. I189o. Pen, bistre wash, 145 X 212 mm. Studies (on the front and back of the sheet) for the composition. Moses drives off the robber shepherds from the well and defends the daughters of Jethro, king of Midian-a subject treated in many variations by Polussin but never finally executed. Beautiful sketches (particularly the rapid one on the reverse side); but only for the left half of the composition.

The complete composition is to be found in another drawing at Windsor (11889, not from the Massimi volume). Rather large sheet, 192 x 317 mm. Very finished. Reverse: Fight of six armed warriors, cf. the author's essay: Moses drives the Shepherds from the Well-Belvedere 1925, p. 65 seq.

4.9. Mose nel rovo. W.L. i90o7. Pen, bistre wash. Upright oval shape, 258 x 218 mm. Pre- liminary study to the Burning Bush, which Poussin did in 1641 during his residence in Paris for Richelieu. The painting in Copenhagen, also oval, corresponds very closely with our drawing.

50. Le donne Israellite. Not discovered. But nevertheless mentioned in F.A.Qu.R. Small washed pen drawing, with six women who carry jewels and flowers and make signs of merriment (perhaps a sketch for the Golden Calf).

51i. Sposalizio di Maria. W.L. II594. Pen with sharp brown bistre wash, 195 x 282 mm. Study for the painting Marriage in the seven sacra- ments, which Poussin prepared for Cassiano del Pozzo between 1637 and '40. (Belvoir Castle.)

53 (52). Gesis bambino a braccio di Maria. W.L. 11917. Bistre, pen wash, 145 x o105 mm. Charming interior with the Holy Family. Mary in

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Catalogue of the Massimi Collection a room seated at a open door, Child in lap, foot on a stool, behind, the infant John. Joseph with crossed legs standing in rear.

Reverse: Fragment of a letter by Poussin, dealing with his proposed journey to Paris, which he made in 1641. This sketch of the Holy Family thus dates prior to the journey, whereas hitherto the Roccatagliata Madonna (recently discovered) has been regarded as the earliest of Poussin's representations of the Madonna.

54 (53). La Vergine, S. Elisabetta e S. Giuseppe. W.L. 11988. Pen, light brown bistre wash on blue-toned paper, squared, 213 x 164 mm. This very beautiful drawing stands in closest relationship to the Holy Family in the Temple, of which three examples are known (London N.G., Chantilly, Russia). Two of them pass under the name of Lesueur; only the Chantilly picture (formerly Reiset Coll.) is specified as Poussin's, but has also been attributed to Lesueur. Flrorent le Comte, Cabinet des singularit6s, III, 179 (1702) also mentions that Lesueur painted a picture with the Madonna holding the Child, Joseph, Elisabeth and John (on panel however), which may be related to the above composition. On the other hand, there exists an engraving of the same composition by Cunego (middle of the 18th century), which appeared in Rome, and which names Nicholas Poussin as painter. In the drawing there is much that is unusual. The nude figures, the blue paper, the squaring-things not often met with in Poussin. But neither are Lesueur's drawings on blue paper, and nudes are yet more uncommon with him. The forceful character of the outline, this way of indicating the heads by cubic blocks is not at all Lesueur's practice but Poussin's. Also the elevation of the one leg is at this time, around 1640, quite often to be met with in Poussin.. Also the architectural details, the bases and capitals of the background in contrast to the strong columns and bare walls of the finished pictures, are very much in Poussin's manner. Above all the quality of the drawing surpasses Lesueur. There exists a not well-authenticated tradition that Lesueur was in touch with Poussin when the latter was in Paris in I641, and obtained drawings from him. Perhaps Lesueur made his picture after some such model-drawing by Poussin, as the one here. The style of Poussin's composition points to the period around 1640. [PLATE IV, c]

55 (54). Ritratti. W.L. I1928. Pure pen, 92 x I50 mm., minutely hatched, seven children's heads (perhaps also one older). According to Armengol: Portrait of the children of Carlo Antonio, brother of Cassiano del Pozzo.

56 (55). Rittrati di filosofi, oratori e poeti. W.L. Ii93i. Pencil, 80 x 200. Heads indistinct and academically drawn. Probably also an occa- sional work for Pozzo.

57 (56). Eraclite e Democrite. Not discovered. F.A.Qu.R. mentions: two men, one looking on the ground, the other farther back looking forwards and shading his eyes with his hand.

58 (57). II cieco illuminato. W.L. 1190o1. Pen, bistre wash, 135 x 171 mm. Study for the Blind man of Jericho in the Louvre (executed 1650). There are three sketches for this picture at

Windsor, though from the words of the commentary only go190 seems to be in question. Here only the central group of the picture (with considerable divergencies) is sketched. Christ advances from the left. Allied, I1900 (144 x i86 mm.) Christ comes from the right as in the picture. The third (11902) very interesting drawing is the largest (142 x 208 mm.) Shows more figures and approaches more nearly the Louvre picture.

59 (58). Li discipoli nell' Horto. W.L. 11997. Pen, bistre wash on blue paper, ca, 142 x 155 mm. Two sketches one above the other; below three apostles sleeping; above, Christ on the Mount of Olives, prostrate, and two, angels. Pyramid shaped halo. The drawing was cut in two but since 1863 has been stuck together again. Only the drawing of the apostles was in the Massimi volume and the catalogue concerns itself only with that one. The other part, however, was also in the Windsor collection and must have come there from the remainder of the Pozzo collection through the Albani. The drawing is rather unusual for Poussin.

60 (59). II sacramento del'Ordine. W.L. 11899. Pen, bistre wash, 198 x 328 mm. squared. Strict study for the painting of the Ordination of the second sacramental series (1647). Landscape different from that of the finished work. The apostolic figures also do not entirely correspond.

61 (6o). Li Apostoli nel monte Oliveto. Not discovered. According to F.A.Qu.R., p. i50, a rough red chalk sketch. Some of the apostles kneeling, looking forwards, ca. 250 x 150 mm.

64 (61). La Cresima. W.L. 11898. Pen, dark brown bistre wash, 186 x 287 mm. Extensive studies for the Confirmation, second series (1644- 45.) Only a few changes in the background. Perhaps like 6o a school drawing. A freer sketch with the same composition, Windsor 11897. A third, but for the first series I1896. Various other studies in the Louvre and Brit. Mus.

65 (62). La Clemenza di Alessandro Magno. W.L. 11989. Pen, bistre wash, blue paper, 259 x 410 mm. On the right the bier of Darius borne by four men; on the left his mother with three women greeted by Alexander. Certainly early and rather weak. In manner and subject related to similar drawings (also partly from the Alexander legend) in Stockholm, which derive from Crozat.

66 (63). S. Maria Egittiaca nel Deserto. W.L. 11925 mm. Pen, bistre wash, 220 x 310 mm. Tree and rocky landscape. In the centre, kneeling, the small, figure of the saint, who receives com- munion from the Abbot Zosima.

67 (64). La Caritit. W. L.. 11921. Pure pen, 118 x 151 mm. Woman seated, turned toward the right, a child at her breast, one between her knees, a larger boy takes something to eat from her outstretched hand.

Reverse: rough pen sketch. Hovering winged genius in female form, and another hovering figure; probably an allegorical sketch, originating in the Paris period: Time liberating Truth.

68 (65). Le fanciulle rusticane. W.L. II883. Pen, bistre wash, I71 x 260 mm. A row of maidens seated around a teacher in a room and sew. Very charming drawing, based on Guido Reni's so-called Sewring school (Hermitage).

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Catalogue of the Massimi Collection Probably the first part of the Roman period, when Poussin, in spite of his preference for Domenichino, also studied his rival, Reni.

71 (66). Rinaldo et Armida. W.L. 11976. Pen, bistre wash, 252 to 365 mm. Armida carries the swooned Rinaldo on clouds up to the dragon-car in the air. Cupids assist her, others fly around. Right, river-god and two nymphs, some landscape with a column. For a picture which Poussin painted for Stella in 1637, and of which as yet we know only replicas (see my " Poussin," p. 115).

Bellori, p. I91, describes this drawing. 73 (67). Battaglia e Vittoria di Goffredo contro

I'esercito del Re di Egitto. W.L. 11882 Bistre wash, 177 x 564 mm. Large drawing of the battle of Godfrey de Bouillon, based on Giulio Romano's Constantine battle. St. George and St. Michael in the air. A small group recurs almost exactly in the smaller drawing, Windsor 11884. The drawing in question is closely allied to the battle scenes 38, 39, 42, and perhaps belongs to the same series.

A SERIES OF DUTCH HISTORICAL GLASSES BY WILFRED BUCKLEY

HE earliest reference to engraving with a diamond is by the priest, Johannes Mathesius, who tells us in his " Die Predigt vom Glaz- machen," 1562, that " nowadays all

sorts of festoonings and handsome lines are drawn by diamond on nice and bright Venetian glasses." The art of diamond engraving flourished from the latter part of the sixteenth century in Germany, Austria and Italy and wherever the Italian glass-makers established themselves, but it was in the Low Countries that it reached its highest development. Anna Roemer Visscher and Anna Maria van Schur- man at the end of the first quarter of the seventeenth century, William van Heemskerk of Leyden during the next half century, Frans Greenwood between 1720 and 1749 and P. Wolff at the end of the eighteenth century were all supreme in their several styles.

Besides these there were many others such as W. Mooleyser in the third quarter of the seventeenth century, Aart Schouman, the pupil of Greenwood, Van Blyk and G. H. Hoolaart in the eighteenth century. Whilst many of these Netherlandish engravers on glass adapted their designs from the work of other engravers or painters, on the whole their work breathes a freedom and a culture that cannot be ascribed to that of glass engravers of any other country.

Most of the early engravers followed tradition and made use of lines only to obtain the effects that they desired, but Anna Roemers Visscher has left us examples of her exquisite work which were executed in the finest and most delicate stipple and this manner was followed by Frans Greenwood (of whose work only one example, the earliest recorded, dated January 19, 1720, is in line) and by many others of whom the best known is P. Wolff, who left Utrecht to work at the Hague. He died prior to i8o8. It is Wolff's name that is now freely used as a generic term to denote the delicately stippled glasses of the eighteenth century.

Besides those who worked with the diamond others worked with the wheel from the end of

the seventeenth century but, with the exception of Jacob Sang, a German who lived in Amster- dam, where he engraved and dated a number of glasses during the early part of the third quarter of the eighteenth century, and of W. Sautyn, few or none of their names are recorded.

The artists who decorated glasses in the Netherlands devoted their talents more to the portrayal of patriotic, national or civic subjects than did those of any other country. A large number of glasses bear the arms of towns or cities or of notable families and in particular those of the house of Orange-Nassau.

The illustrations in this article reproduce a series of glasses in the possession of the writer which refer to those Princes of Orange, who became Stadtholders of the United Province after the death of Prince Frederic Henry, the son of William I (the Silent).

PLATE I, A, the earliest, a " flute " glass, a form that is primarily Venetian, bears a portrait of Frederic Henry's son, William II (which is similar to his numerous portraits by Gerard Honthorst) and a representation of the trunk of an oak tree with a single branch, an emblem that was first adopted by his uncle, Prince Maurice, upon the death of the latter's father, William I, on July Io, 1585. William II became Stadtholder of the United Provinces by hereditary right upon the death of his father on March 14, 1647. He had married in 1641 Mary, the daughter of Charles II, by whom he had a son, William Henry, afterwards known as William III, born a few days after his own death on November 6, 1650, to whom descended his father's rights and dignities. At this time the party of the de Witts, the political opponents of the house of Orange, was in power, consequently when Holland made peace with England in 1654 de Witt was glad to accede to Cromwell's condition that William III and his heirs should be excluded for ever from the offices of Stadt- holder, Admiral and General of the Provinces. This condition was of importance to Cromwell

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Article Contentsp. 252p. 253p. 254p. 255p. 256p. 257p. 258

Issue Table of ContentsThe Burlington Magazine for Connoisseurs, Vol. 54, No. 314 (May, 1929), pp. i-xlviii+i-iv+222-282+xlix-lxFront Matter [pp. i-lii]Exhibitions [p. ii]Sales during May [p. ii]The Pesellino Altarpiece: A Postscript [pp. 222-225]Four Panels, a Fresco and a Problem [pp. 224+228-231+234-235+238-241+244-245]Architectural Models-II [pp. 245-247+250-252]Catalogue of the Massimi Collection of Poussin Drawings at Windsor [pp. 252-258]A Series of Dutch Historical Glasses [pp. 258-259+262-265]An Old American Silver Tankard [pp. 264+268-269]Two Unpublished Pictures by Maes in Russia [pp. 269+271]Shorter NoticesRussian Ikons in Berlin [p. 270]An Exhibition of Indian Sculpture [pp. 270+274-275]Westminster Abbey Sacristy [p. 275]Robert Henry Benson [pp. 275-276]Edward Fairbrother Strange [p. 276]The Kunstverein of the Rhinelands and Westphalia [p. 276]

The Literature of ArtReview: Sir Martin Conway on Giorgione [pp. 276-277]Review: Leonardo Problems [p. 277]Review: untitled [pp. 277-278]Review: untitled [pp. 278-279]Review: untitled [p. 279]Review: untitled [pp. 279-280]Review: untitled [p. 280]Review: untitled [p. 280]

Art in AmericaAn Exhibition of Stained Glass at Demotte's [pp. 281-282]

LettersSimone Martini Problems [p. 282]Tenieres: A Correction [p. 282]Gianbologna's Samson and The Philistine [p. 282]

Forthcoming Sales. A Plethora of Desirable Things [pp. liii-lvi]Publications Received [p. lvi]Back Matter [pp. lvii-lx]

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