264. A COUNT OF HAINAULT AND HIS PATRON SAINT.
Unknown (Early Flemish).
The count and the confessor. The count, attired as a monk, is praying. Behind him is his patron saint (St. Ambrose), holding a cross in one hand, a scourge in the other. More important, however, than the penitence of the count is the splendour of the robes. The picture is a good illustration of the love of jewellery characteristic of the time. "That this love of jewels was shared by the painters is sufficiently shown by the amount and beauty of the jewelled ornaments introduced by them into their pictures. Not only are brooches and clasps, sceptres and crowns, studded with precious stones, but the hems of garments are continually sewn with them, whilst gloves and shoes of state are likewise so adorned" (Conway, p. 121). This picture is by some ascribed to Gerard van der Meire (see under 1078).
265. THE VIRGIN AND CHILD.
Unknown (Flemish School: Early 16th Century).
266. THE DEPOSITION FROM THE CROSS.
Lambert Lombard (Flemish: 1505-1566).
Lambert Lombard of Liège was, says Vasari, "a distinguished man of letters, a most judicious painter, and an admirable architect." His pictures, which are scarce, are generally remarkable for correctness of drawing, but his colouring was thin and cold. Lombard, who was a pupil of Mabuse (see 656), travelled as a young man in Germany and France, and visited Italy in the suite of Cardinal Pole, when he became acquainted with Vasari. On his return he opened a school at Liège.
268. THE ADORATION OF THE MAGI.
Paolo Veronese (Veronese: 1528-1588). See under 26.