By the master of the "Death of the Virgin" (a picture in the Munich Gallery), a painter of Cologne, the teacher, it is said, of Bruyn. The donor of the picture, with spectacles and a large straw hat, stands at a desk, reading. (The curious in such matters may consult Notes and Queries, 1890, for other early instances of spectacles in art.) The picture was No. 48 (Plate 23) in the Burlington Fine Art Club's Exhibition of Early Netherlandish Pictures, 1892.
2604. PORTRAIT OF A YOUNG MAN.
Christopher Amberger (German: 1490-1563).
This painter, who worked at Augsburg, probably studied under Hans Burgkmair, and the painting of Hans Holbein the younger had an evident effect on his style, so much so that his works have been sometimes mistaken for those of Holbein. In 1532 he painted the portrait of Charles V.; and Sandrart tells us that this portrait was considered by the Emperor equal to any of the pictures painted of him by Titian. He certainly honoured the artist by giving him a gold chain and medal on the occasion (Bryan's Dictionary of Painters).
2605. DR. FUCHSIUS.
Bartolomaus Bruyn (School of Cologne: died 1556).
This artist painted both religious subjects and portraits. His earlier works in the former kind recall the style of "The Master of the 'Death of the Virgin'" (see above, 2603). Bruyn was the last really eminent painter of the Cologne School. He was a municipal councillor of that town in 1550 and 1553.
A portrait of the celebrated German physician, Leonhard Fuchs (1501-1566), one of the fathers of scientific botany. He has obtained, says Hallam, a verdant immortality in the familiar flower which bears his name, the fuchsia. He espoused the doctrines of the Reformation; in our portrait he holds a paper inscribed (in German) "The word of the Lord endureth for ever."
2606. THE MADONNA ENTHRONED.
Unknown (Flemish: 16th Century).