1424. TOBIAS AND THE ANGEL.
Adam Elsheimer (German: 1578-1620). See 1014.
A favourite subject with this painter. It was etched in 1613 by Count Gondt, who was the painter's chief benefactor; he purchased some of Elsheimer's choicest pictures, and engraved seven of them. The copper-plate of this subject fell into the hands of Rembrandt, and was partly erased and altered by him into another subject.
1425. PORTRAIT GROUP.
Le Nain (French: 1588-1648).
There were three brothers of this name, the sons of a sergeant at Laon, who all worked together as painters in Paris, and became members of the Academy in 1648, in which year two of them died. Mathieu painted historical subjects; he lived till 1677. The very interesting and pleasing pictures, such as the present one, most generally known as the works of Le Nain, were probably painted by the other brothers—Louis and Antoine—conjointly. Antoine was born in 1588; Louis in 1593. Their works consist of familiar objects and incidents, such as the "Peasants" and the "Blacksmith's Forge" in the Louvre; they have a direct air of truth and realism, which is very remarkable in contrast to the artificial taste by which other French painters of the same period were inspired. Another work by the brothers may be seen at Dulwich.
1427. THE DEAD CHRIST: A PIETÀ.
Hans Baldung (German-Swabian: 1476-1545). See 245.
Signed and dated "Hans Baldung, 1512." The Virgin's attitude is expressive of intense sorrow. "Her mouth is drawn convulsively down in the manner usual in the pictures of Burgkmair and the school and epoch to which he and Baldung belonged. On our right is St. John. Behind the group is Joseph of Arimathea. Behind, God the Father appears, robed in blue under a red mantle, and holding across His knees the drooping corpse of the Redeemer. Clouds form the background, and among them the Holy Ghost is hovering. The heads of all the figures bear plain nimbi of metallic gold. The draperies, except the loin-cloth of Christ, are somewhat tortured in the manner of the German painters of the fifteenth century. On the front of the balcony in which they are placed are depicted the donor and his family; in one corner is their escutcheon, bearing three money bags and a broad bar" (Athenæum, Jan. 11, 1895).