Colvin, Sidney; British Museum / Prints and Drawings Gallery; Malcolm, John [Oth.]: Guide to an exhibition of drawings and engravings by the old masters, principally from the Malcolm Collection in the Print and Drawing Gallery (London: British Museum, 1895)

Division II.—Drawings and Sketches.

41


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VENETIAN School.
187. The daughter of Herodias bringing the head of John the
Baptist to Herod.
Pen and bistre with light bistre wash.
From the Lawrence collection.
Very fine work in a mixed Lombardo-Venetian manner (about 1510-1520),
for which no convincing attribution has yet been suggested (M. 361).

Paolo CALIARI (Veronese).
Painter, chiefly of devotional and mythological scenes, pomps, ceremonies,
and allegories: Veronese and Venetian Schools: b. 1528, d. 1588: pupil
first of Antonio Badile at Verona: worked from 1555 chiefly at Venice;
s'also at Mantua, Vicenza, Padua, &c.
J91. The Repose in Egypt.
Modelled in white with slight pen outline on (drab) prepared paper.
From the Lely, Lawrence and Woodburn collections.
(B.M.).
192. Holy Family with the Infant St. John.
Pen outlines and bistre wash on (bluish) prepared paper.
(M. 399).

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Giovanni Antonio da PORDENONE (de’ Sacchi or Corticello)
(attributed to).
Painter, Venetian School: b. 1483, d. 1539 : worked under the influence of
Giorgione and Titian, chiefly at Venice, also at Pordenone and other
towns of the Friuli, Cremona, Piacenza, &c.
188. The Virgin and Child in Glory: with Saints and a female
Donor.
Black chalk heightened with white.
This grand drawing, one of the finest in the series for style and expression,
betrays in equal degrees the influence of Pordenone, to whom it was once
ascribed, and of Raphael: the composition being partly borrowed from
the Madonna di Foligno of the latter master (M. 348). The names of
Girolamo da Treviso and Giulio Campi of Cremona have both been
suggested for its authorship: the former perhaps with the greater
probability.
Giacomo da PONTE (Bassano).
Painter, Venetian School: b. 1510, d. 1592: pupil of his father Francesco
da Ponte, afterwards influenced by Titian and the Bonifazi: worked
chiefly at Venice.
189. Sketch for a composition of the Adoration of the Shepherds.
Black chalk.
From the Richardson, Pond, Price, Barnard and West collections.
(M. 409).
190. Design for an altar-piece: the Adoration of the Shepherds.
Black chalk.
From the Payne-Knight collection.
The two last numbers are good examples of the method of charcoal drawing
which prevailed in the school of Bassano: the former very characteristic
alike by subject and treatment (B.M.).