The girl is of the same type—with the same hair, "yellow as ripe corn," and the same dainty primness—as the lady in Mr. Willett's picture (for some years on loan in the National Gallery, and now in the collection of M. Rodolphe Kann at Paris), but she was perhaps of humbler station—a simple flower in her hair and a coral necklace being her only ornaments.
1231. PORTRAIT OF A GENTLEMAN.
Sir Antonio More (Flemish: 1512-1578). See 1094.
"A man in the prime of life, attributed to Sir Antonio Moro; the signature is perhaps apocryphal. There is little doubt, however, that the attribution is correct; the manipulation shows all the prodigious power of Moro. His capacity for seizing character and the fine tone of his flesh colour are all here. The execution suggests the brilliant study of Hubert Goltzius, by Moro, in the Brussels Gallery. That masterpiece was stated to have been painted in an hour; the present head bears every indication of almost equally rapid brush work" (Times, September 19, 1887).
1232. PORTRAIT OF A GENTLEMAN.
Heinrich Aldegrever (Westphalian: about 1502-1555).
"Aldegrever is a son of the Renaissance, but he has not altogether escaped the old Franconian stiffness and provincialism.... His real strength is in engraving.... He worked also as a goldsmith, and his ornamental designs are numerous. We also know of a small number of woodcuts by him" (Woltmann, ii. 234). His pictures are very rare. The flower and ring which figure in the best known portrait by him at Vienna are again met with here, but this picture is less stiff and formal than that.
1233. THE BLOOD OF THE REDEEMER.
Giovanni Bellini (Venetian: 1426-1516). See 189.
A devotional picture recalling such reminiscences of mediæval mysticism as are found in many of our hymns—