[97] Behr’s ‘Genealogie der in Europa regierenden Fürstenhäuser,’ Tafel cxxviii.
[98] Plate 3, previously reproduced in Helbing’s ‘Monatsberichte über Kunst,’ Munich, 1903 pp. 68, 74.
[99] The collections of drawings recently secured by Birmingham and Adelaide were both made by artists.
[100] Only the other day I had the pleasure of seeing South Kensington purchase, for twenty-six guineas, two drawings by Millais, studies for or after his Dream of Fair Women in Moxon’s Tennyson. But with the exception of the bidding by South Kensington and myself, there was no competition for the drawings, though every dealer in London was struggling at the sale—the Gambart—for cheap and rubbishy, though popular, French and Spanish water-colours that brought far higher prices owing to some fad of the moment.
[101] See the [previous note] as to South Kensington. The edition was issued by Messrs. Freemantle.
[102] I have to thank MM. Lévy et ses Fils, of Paris, for their courteous permission to reproduce the photograph of this picture, specially taken by them for a forthcoming publication on Sienese painting.
[103] I find that this work has been attributed in the last edition of the ‘Cicerone,’ with somewhat unusual insight, to its right author.
[104] I must here add two other works, also quite evidently by Vanni, to which my attention has been drawn by Mr. Berenson, to whom I owe much for having first called my attention, some years ago, to the possibilities of Andrea as an artist. The first of these is the sacred picture of the Madonna in the great pilgrimage church on Monte Nero, near Leghorn. The second, a damaged, almost ruined fresco in the church of S. Giovenale at Orvieto, has been published with a notice by Don Guido Cagnola, in the Rassegna d’ Arte for February-March, 1903.
[105] The composition of this picture is remarkably fine, so fine indeed that I doubt its being Isenbrant’s, and yet the picture does not look like a copy.
[106] Quelques Peintres Brugeois de la première moitié du XVIe siècle—I. Jan Prevost. Gand, 1902, 38 pp. and 4 phototypes. This master was a Walloon, born at Mons. It is not only more correct to write his family name as he himself and his forbears wrote it, but it is important to do so as the forms De la Pasture, Gossart, Prevost etc., remind the reader that the Walloons had a considerable share in the development of the Netherlandish school, far greater than the Flemings.