Several incidents occur in each of the two pictures, but the main figures constantly recur, and we recognise them by their dress and look. (1218). On the left, in this picture, are Joseph's brethren travelling in search of corn towards the land of Egypt, quaint figures in fantastic dresses, with little Benjamin, a child in a blue frock, and Reuben weeping, and another brother trying in vain to console him. "And the famine was sore in the land.... And the men took ... Benjamin; and rose up, and went down to Egypt" (Genesis xliii. 1, 15). On the right in the same picture is Joseph welcoming his brothers in the portico of the palace, Pharaoh's armed guard outside looking rather grimly and inhospitably on the intruders. The landscape is green and picturesque. It is noticeable that blue (the colour of hope) is here made sacred to Joseph and Benjamin, the children of promise, who are in every instance dressed alike.
(1219). In the companion panel the further history of Joseph and his brethren is depicted in three scenes or compartments, divided by pillars. On the left are the brothers unloading the donkey of the empty meal-jars, now to be filled through Joseph's kindness. In the centre is Joseph making himself known to his eleven brethren. He is gazing tenderly on little Benjamin, who advances towards him in the foreground. "And Joseph said unto his brethren, I am Joseph: doth my father yet live?" (Genesis xlv. 3). On the right are seen the brethren departing homeward, and the mule laden with Benjamin and the filled meal-bags is being driven off.
1220. THE VIRGIN AND CHILD
L' Ingegno (Umbrian: painted 1484-1511).
This is the only picture, says the Official Catalogue, which can be authenticated "with something like certainty" as the work of Andrea di Luigi, of Assisi. His name occurs in receipts and registers from 1505 to 1511, in the capacity of procurator, arbitrator, auditor to the magistracy, and finally of papal cashier at Assisi. It was perhaps this "talent" for affairs that won him the name of "L' Ingegno." Vasari says he was the most promising disciple of Perugino, and the resemblance to that artist in this picture is strong. Compare for instance even so small a thing as the dress patterns here with those in 288, as also the close resemblance to the "purist" landscape there described.
1221. "DARBY AND JOAN."
Abraham de Pape (Dutch: died 1666).
This painter, a friend and pupil of Gerard Dou, was a well-to-do citizen of Leyden. He was twice Dean of the Painters' Guild in that place. This picture (formerly in the Blenheim Collection) is considered one of the best of his works. The painter's name is inscribed on the wooden cupboard on the wall above the spinning-wheel.
1222. A STUDY OF FOLIAGE, BIRDS, ETC.
Melchior de Hondecoeter (Dutch: 1636-1695). See 202.