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See also: Queen Philippa of See also: England, who held him in her arms at his See also: baptism, lived in retirement until 1381
.
The Ghenters had in that See also: year risen in revolt against the oppression of the count of See also: Flanders, and See also: Philip, now
See also: forty years of age, and without any military or See also: political experience, was offered the supreme command
.
His name awakened general See also: enthusiasm
.
At first his efforts were attended by considerable success
.
He defeated See also: Louis de Male, count of Flanders, before Bruges, entered that city in
See also: triumph, and was soon master of all Flanders
.
But See also: France took up the cause of the Flemish count, and a splendid French army was led across the frontier by the See also: young See also: king
See also: Charles VI. in
See also: person
.
Artevelde advanced to meet the enemy at the See also: head of a burgher army of some 50,000 Flemings
.
The armies met at Roosebeke near Courtrai, with the result that the Flemings were routed with terrible loss, Philip himself being among the slain
.
This happened on the 27th of See also: November 1382
.
The brief but stirring career of this popular See also: leader is admirably treated in See also: Sir See also: Henry
See also: Taylor's drama, Philip
See also: van Artevelde
.
See also: ART GALLERIES
.
An art gallery (by which, as distinguished from more general MUSEUMS OF ART, q.v., is here meant one specially for pictures) epitomizes so many phases of human thought and See also: imagination that it connotes much more than a See also: mere collection of paintings
.
In its technical and aesthetic aspect the gallery shows the treatment of colour,See also: form and composition
.
In its See also: historical aspect we find the true portraits of See also: great men of the past; we can observe their habits of See also: life, their See also: manners, their dress, the architecture of their times, and the religious worship of the See also: period in which they lived
.
Regarded collectively, the art of a country epitomizes the whole development of the See also: people that produced it
.
Most important of all is the emotional aspect of See also: painting, which must enter less or more into every picture worthy of See also: notice
.
To take examples from the See also: British See also: National Gallery: pathos in its most intense degree will be found in Francia's " Pieta "; dignity in
.
Velasquez' portrait of See also: Admiral See also: Pareja; homeliness in Van See also: Eyck's portrait of See also: Jan Arnolfini and his wife; the interpretation of the varying moods of nature in
According to this theory, though imperfectly realized owing to the paucity of examples, the philosophic influence of art galleries is becoming more widely extended; and in its further development will be found an ever-growing source of See also: interest, instruction and scholarship to the community
.
The most suitable method of describing art galleries is to classify them by their types and contents rather than by the various countries to which they belong
.
Thus the great representative galleries of the See also: world which possess See also: works of every school are grouped together, followed by See also: state galleries which are not remarkable for more than one school of national art
.
Municipal galleries are divided into those which have general collections, and those which are notable for See also: special collections
.
Churches which have See also: good paintings, together with those which are now secularized, are treated separately; while the collectiovs in the Vatican and private houses are described together
.
The remaining galleries, such as the See also: Salon or the Royal See also: Academy, are periodical or commercial
• •
i i • i • • • •
See also: North See also: Vestibule, Early See also: Italian See also: Schools:
I
.
Tuscan School (15th and 16th centuries)
.
II . Sienese School, &c . See also: IIl
.
Tuscan School
.
IV
.
Lombard School
.
V
.
Ferrarese and Bolognese Schools
.
VI
.
Umbrian School, &c
.
IX
.
Flemish School
.
X . Early Dutch and Flemish Schools . XI . Dutch and Flemish Schools . XV . French School . XX . British School . the See also: work of See also: Turner or See also: Hobbema; nothing can be more devotional than the canvases of Bellini or his Umbrian contemporaries
.
So also the ruling sentiments of mankind—mysticism, drama and imagination—are the keynotes of other great conceptions of the artist
.
All this may be at the command of those who visit the art gallery; but without See also: patience, care and study the higher meaning will be lost to the spectator
.
The picture which " tells its own See also: story " is often the least didactic, for it has no inner or deeper lesson to reveal; it gives no stimulus or training to the
See also: eye, See also: quick as that See also: organ may be—segnius irritant animus—to
translate sight into thought
.
In brief, the painter asks that his i Oos may be shared as much as possible by the See also: man who looks at the painting—the art above all others in which it is most needful to share the master's spirit if his work is to be fully appreciated
.
So, too, the art gallery, recalling the gentler associations of the past amidst surroundings of harmonious beauty and its attendant sense of comfort, is essentially a place of rest for the mind and eye
.
In the more famous galleries where the See also: wealth of paintings allows a grouping of pictures according to their respective schools, one may choose the country, the epoch, the See also: style or even the emotion best suited to one's taste
.
in character, and are important in the development of See also: modern art
.
The collections most worthy of See also: attention are the state galleries representative of See also: international schools
.
Among these the British National Gallery holds a high place
.
.The collection state was founded in 1824 by the acquisition of the Anger- galleries of stein pictures
.
Its accessions are mainly governed later-by the See also: parliamentary See also: grant of £5000 to £10,000 a aat:: year, a sum which has occasionally been enlarged to schools. permit special purchases
.
Thus, in 1871, the Peel collection of seventy-seven pictures was bought for £75,000, and in 1885 the Ansidei Madonna (
See also: Raphael) and Van Dyck's portrait of Charles I. were bought, the one for £70,000 and the other for £17.500
.
In 1890 the See also: government gave £25,000 to meet a gift of £30,000 made by three gentlemen to acquire three portraits by Moroni, Velazquez and See also: Holbein
.
The most important private gifts were the See also: Vernon gift in 1847, the Turner bequest in 1856 and the Wynne-See also: Ellis See also: legacy in 1876
.
Since 1905 the Art Collections Fund, a society of private subscribers, has also been responsible for important additions to the gallery, notably the See also: Venus of Velazquez (1907)
.
The gallery contains very few poor works and all schools are well represented, with the See also: sole exception of the French school
.
This, however, can be amply studied at Hertford See also: House (See also: Wallace Collection), which, besides Dutch, See also: Spanish and British pictures of the highest value, contains twenty examples of See also: Greuze, fifteen by See also: Pater, nineteen by Boucher, eleven by See also: Watteau and fifteen by Meissonier
.
The national gallery of pictures at Berlin (Kaiser See also: Friedrich Museum), like the British National Gallery, is remark-able for its variety of schools and painters, and for the select type of pictures shown
.
During the last twenty-five years of the loth century, the development of this collection was even more striking than that of the See also: English gallery
.
Italian and Dutch examples are specially numerous, though every school but the British (here
It avoids the undue multiplication of canvases, and the over-crowding so noticeable in many Italian galleries where first-See also: rate pictures hang too high to be examined
.
Thus the Viennese gallery, besides the intrinsic value of its pictures (See also: Albert Diirer's chief work is there), is admirably adapted for study
.
The best gallery in See also: Russia (St See also: Petersburg, Hermitage) was made entirely by royal efforts, having been founded by See also: Peter the Great, and much enlarged by the empress See also: Catherine
.
It contains the collections of See also: Crozat, Briihl and Walpole
.
There are about 1800 works, the schools of Flanders and See also: Italy being of See also: signal merit; and there are at least See also: thirty-five genuine examples by See also: Rembrandt
.
The French collection (Louvre Palace, See also: Paris) is one
I
.
i~t [.J [r.1 ~ ab
.
X "Ca
.
IX r II ~ 'I' 1 1 1 1 . AWA'' . IdiIIIP19IRIRl'II . I~IUIIIIIIIWIIInllll ~91111iIIIluIIr~IIIII- Ipllll'IImIIIIIpIIIf~VI~ I Vil !10 IIIPIIII-IIl01II0!t1 t .E 11-/i~~~~~~~~~~il/111 11-1II ~;=~~=111111 _ r - II~IP_j =!11111 ua G 101II@III-Z111@11!011 lI-11i MI-1II' II Modern School Modern School V Modern School ID H . .XIV See also: Netherlands
XV
Netherlands
Nether lands
XIII
Netherlands
XI
Netherlands
!'NI ® I~Nl;t 011I0111W.III- III0
x
See also: German
.
German
Italiart
Italian
See also: Cab.VIl
as elsewhere) is really well seen
.
The See also: purchase grant is consider-able, and is well applied
.
Two other German capitals have collections of international importance—Dresden and See also: Munich
.
The former is famous for the Sistine Madonna by Raphael, a work of such supreme excellence that there is a tendency to overlook other Italian pictures of celebrity by See also: Titian, See also: Giorgione and See also: Correggio
.
Munich (Old Pinakothek) has examples of all the best masters, the See also: South German school being particularly noticeable
.
The arrangement is good, and the methods of See also: exhibition make this one of the most pleasant galleries on the continent
.
Vienna has the Imperial Gallery, a collection which in point of number cannot be considered large, as there are not more than 1700 pictures
.
This, however, is in itself a safeguard, like the wiseSee also: provision in a See also: statute of 1856 for enabling the English authorities to dispose of pictures " unfit for the collection, or not required."
of the most important of all
.
In 188o it was undoubtedly- the first gallery in See also: Europe, but its supremacy has since been menaced by other establishments where acquisitions are made more frequently and with greater care, and where the See also: system of See also: classification is such that the value of the pictures is enhanced rather than diminished by their display
.
In 1900 it was partly rearranged with great effect
.
The feature of the Louvre is the Salon See also: Cane, a See also: room in which the supposed finest canvases in the collection are kept together, pictures of world-wide fame, representing all schools
.
It is now generally accepted that this system of selection not only lowers the See also: standard of individual schools elsewhere by withdrawing their best pictures, but does not add to the aesthetic or educational value of the masterpieces them-selves
.
In Florence the Tribuna room of the Uffizi gallery is a similar See also: case in point
.
Probably the two most widely known
pictures in the Louvre are Watteau's second " Embarquement pour Cythere," and the " Monna Lisa," a portrait by Leonardo da See also: Vinci, but each school has many unique examples
.
The See also: original drawings should be noted, being of equal importance to the collection preserved at the British Museum
.
The last collection to be mentioned under this heading is that known as the Royal Galleries in Florence, housed in the Pitti and Uffizi palaces
.
In some ways this collection does not represent general painting sufficiently to justify its inclusion with the galleries of Berlin, Paris and See also: London
.
On the other See also: hand, the great number of Italian pictures of vital importance to the See also: history of international art makes this one of the finest existing collections
.
The two great palaces, dating from the 15th and 16th centuries, are joined together and contain the See also: Medici pictures
.
They form the largest gallery in the world, and though many of the rooms are small and badly lighted, and although many paintings have suffered from thoughtless restoration, they have a charm and attraction which certainly make them the most popular galleries in Europe . The Pitti has ten Raphaels and excellent examples ofSee also: Andrea del Saito, Giorgione and See also: Perugino
.
The Uffizi is more representative of non-Italian schools, but is best known for its works by See also: Botticelli, Leonardo da Vinci, Michelangelo and See also: Sodoma, the schools of See also: Tuscany and See also: Umbria forming the bulk of both collections
.
See also: Admission to the galleries is by payment, and the small income derived from this source is devoted to maintaining and enlarging the collections
.
As to the ground plans of the National Gallery, London (fig
.
1), and of the Imperial Gallery at Vienna (fig
.
2), it will be observed that while the former has the See also: advantage of See also: uniform top-See also: light, the galleries at Vienna possess the most ample facilities for minute classification, small rooms or " cabinets " opening from each large room
.
Special rooms are also provided for drawings and See also: water-See also: colours, while special ranges of rooms are used by copyists and those responsible for the repair and preservation of the pictures
.
Though not so comprehensive as the great collections just described, the state galleries showing national schools of painting state and little else are of striking interest
.
In England galleries of the National Gallery of British Art (known as the national Tate Gallery) contains British pictures
.
The correschools. sponding collection of modern French art is at Paris (Luxembourg Palace), Berlin, See also: Rome, See also: Dresden, Vienna and See also: Madrid having analogous galleries
.
The See also: Victoria and Albert Museum has also numerous British pictures, especially in water-colour, and the National Portrait Gallery, founded in r856, and since 1896 housed in its permanent home, is instructive in this connexion, though many of its pictures are the work of See also: foreign artists
.
The national collections at See also: Dublin and See also: Edinburgh may be mentioned here, though most schools are represented
.
Brussels and See also: Antwerp are remarkable for See also: fine examples of Flemish art----Matsys, See also: Memlinc and Van Eyck of the See also: primitive schools, See also: Rubens and Van Dyck of the later period
.
The collections at See also: Amsterdam (Ryks Museum) and the Hague(Mauritshuis) are a See also: revelation to those who have only studied Rembrandt, See also: Franz See also: Hals, Van der Heist, and other Dutch portrait painters outside See also: Holland; and in the former gallery especially, the pictures are arranged in a manner showing them to the best advantage
.
The Museo del Prado is even more noteworthy, for the fifty examples of Velasquez (outrivalling the Italian pictures, important as they are) make a visit to Madrid imperative to those who wish to realize the achievements of Spanish art
.
See also: Christiania, See also: Stockholm and See also: Copenhagen have large collections of Scandinavian art, and the cities of See also: Budapest and See also: Basel have galleries of some importance
.
In Italy the state maintains twelve collections, mainly devoted to pictorial art
.
Of these the best are situated at Bologna, Lucca, See also: Parma, Venice, See also: Modena, See also: Turin and Milan
.
In each case the See also: local school of painting is fully represented
.
In Rome the See also: Corsini and See also: Borghese Galleries, the latter being the most catholic in the city, contain superb examples, some of them accepted masterpieces of Italian art; there are also good foreign pictures, but their number is limited
.
The Accademia at Florence should also be noted as the mostimportant state gallery of early Italian art
.
The central Italian See also: Renaissance can be more adequately studied here than in the Pitti
.
The " Primavera " of Botticelli, and the " Last See also: Judgment " by Fra See also: Angelico are perhaps the best-known works
.
The large statue of See also: David by Michelangelo is also in this gallery, which, on the whole, is one of the most remarkable in Italy
.
Speaking broadly, these national galleries scattered throughout the country are not well arranged or classified; and though some are kept in fine old buildings, beautiful in themselves, the See also: lighting is often indifferent, and it is with difficulty that the pictures can be seen
.
In nearly every case admission fees are charged every See also: day, festivals and Sundays excepted; few pictures are bought, acquisitions being chiefly made by removing pictures from churches
.
Many towns own collections of well-merited repute
.
In Italy such galleries are See also: common, and among them may be noted See also: Siena, with Sodoma and his school; Venice with Municipal Tintoretto (See also: Doge's Palace); Genoa, with the great galleries
palaces See also: Balbi and Rosso; See also: Vicenza (Montagna and of special school), See also: Ferrara (Dosso and school), See also: Bergamo and schools
.
Milan (north Italian schools)
.
Other civic collections of Italian art are maintained at See also: Verona, See also: Pisa, Rome, See also: Perugia and See also: Padua
.
In Holland, See also: Haarlem, See also: Leiden, See also: Rotterdam and the Hague have galleries supplemental to those of the state, and are remarkable in showing the brilliance of artists like Grebber, de Bray and Ravesteyn, who are usually ignored
.
See also: Birmingham and Manchester have good examples of modern British art
.
Moscow (Tretiakoff collection) has modern See also: Russian pictures, and See also: con-temporary German and French work will be found in all the galleries of these two countries included in the municipal See also: group
.
Collections of French work are found at See also: Amiens, See also: Rouen, See also: Nancy, See also: Tours, Le Mans and See also: Angers, but large as these civic collections are, sometimes containing six and eight See also: hundred canvases, few of their pictures are really good, many being the enormous patriotic canvases marked " See also: Don de 1'ttat," which do not confer distinction on the galleries
.
Cologne has the central collection of the early Rhenish school; See also: Nuremberg is remarkable for early German work (Wohigemut, &c.)
.
See also: Stuttgart, See also: Cassel (Dutch) and See also: Hamburg (with a considerable number of British pictures) are also noteworthy, together with See also: Brunswick, See also: Hanover, Augsburg, See also: Darmstadt and See also: Dusseldorf, where German and Dutch art preponderate
.
Seville is famous for twenty-five examples of Murillo, and there are old Spanish paintings at See also: Valencia, Cordova and Cadiz
.
In Great Britain the best of the municipal galleries of general schools are at Liverpool (early Flemish and British), and at See also: Glasgow (Scottish painters, Rembrandt, Van der municipal Goes and Venetian schools)
.
In France there are galleries
very large galleries at Tours, See also: Montpellier, See also: Lyons cnootsal (Perugino, Rubens), See also: Dijon and See also: Grenoble (Italian), See also: Valenciennes (Watteau and school), while See also: Rennes, See also: Lille and See also: Marseilles have first-rate collections
.
See also: Nantes, See also: Orleans,
See also: Besancon, See also: Cherbourg and See also: Caen have also many paintings, French for the most See also: part, but with occasional foreign pictures of real importance, presented by the state during the See also: Napoleonic con-quests, and not returned on the declaration of See also: peace as were the works of art amassed in Paris
.
Some of the See also: American collections have in See also: recent years made a great advance in their acquisition of good pictures
.
At See also: Boston (Museum of Fine Arts) all schools are represented, so too at the Metropolitan Museum of Art in New See also: York, which is strong in Italian and Dutch works
.
Modern French and Flemish art is a feature of the Academy at See also: Philadelphia, at the See also: Lenox Library (New York), and at See also: Chicago, where there are good examples of See also: Millet, Con-See also: stable and Rembrandt
.
The Corcoran bequest at See also: Washington is of minor importance
.
The best civic collection in See also: Germany of this class is the Stadel Institute at See also: Frankfort (Van Eyck, Christus, early Flemish and Italian)
.
As the great bulk of religious painting was executed for See also: church decoration, there are still numberless churches which may be considered picture galleries
.
Thus at Antwerp churches.
See also: cathedral the Rubens paintings are remarkable; at See also: Ghent, Van Eyck; at Bruges (hospital of St See also: John), Memlinc;
at Pisa, the Campo Santo (early Tuscan schools) ; at Sant' Apollinare,
See also: Ravenna, primitive Italo-See also: Byzantine mosaics; at Siena, Pinturichio
.
Examples could be multiplied indefinitely —in Italy alone there are 8o,000 churches and chapels, in all of which pictorial art has been employed . In Italy, besides the church " galleries " still used for religious services, there are some which have been secularized and are now used as museums, e.g . Certosa at See also: Pavia, and See also: San Vitale at Ravenna (mosaics); at Florence, the Scalzo (Andrea del Sarto); San Marco (Fra Angelico) ; the Riccardi and Pazzi chapels (See also: Gozzoli and Perugino) ; at Milan, in the See also: Santa Maria delle Grazie, the " Last Supper," by Leonardo, and at Padua, the famous See also: Arena See also: chapel (See also: Giotto)
.
The Vatican galleries, though best known for their statuary, have fine examples of painting, chiefly of the Italian school; Private the most famous easel picture is Raphael's " Trans-and semi- figuration," but the Stanze, apartments entirely
private decorated by painting, are even more famous
.
In galleries
.
England three royal palaces are open to the public—Hampton See also: Court (See also: Mantegna), Windsor (Van Dyck, See also: Zuccarelli), and See also: Kensington (portraits)
.
At See also: Buckingham Palace the Dutch pictures are admirable, and Queen Victoria lent the celebrated Raphael cartoons to the Victoria and Albert Museum
.
Semi-private collections belong to See also: Dulwich See also: College (Velasquez and Watteau), See also: Oxford University (Italian drawings), the See also: Soane Museum (See also: Hogarth and English school), and the Royal Academy (Leonardo)
.
Among private collections the most important are the Harrach, and See also: Prince See also: Liechtenstein (Vienna), J
.
Pierpont See also: Morgan (including miniatures), Mrs J
.
See also: Gardner of Boston (Italian), Prince Corsini (Florence)
.
In Great Britain there are immense riches in private houses, though many collections have been dispersed
.
The most noteworthy (1909) belong to the See also: dukes of Devonshire and See also: Westminster, See also: Lord See also: Ellesmere, Captain Holford (including the masterpiece of See also: Cuyp), Ludwig See also: Mond, Lord Lansdowne, See also: Miss See also: Rothschild
.
The finest private collection is at Panshanger, formerly the seat of Lord Cowper, the gallery of Van Dyck's work being quite the best in the world
.
Many galleries are devoted to periodical exhibitions in London; the Royal Academy is the leading agency of this character, having held exhibitions since 1769
.
Its loan exhibitions of Old Masters are most important
.
Similar enterprises are the New Gallery, opened in 1888, the Grafton Gallery, and others
.
There are also old-established See also: societies of etchers, water-colourists, &c
.
A feature common to these exhibitions is that the public always pays for admission, though they differ from the commercial exhibitions, becoming more common every year, in which the work of a single school or painter is shown for profit
.
But the See also: annual exhibitions at the See also: Guildhall, under the auspices of the corporation, are See also: free
.
The great periodical exhibition of French art is known as the Salon, and for some years it has had a See also: rival in the Champ de See also: Mars exhibition
.
These two societies are now respectively housed in the See also: Grand Palais and See also: Petit Palais, in the Champs Elysees, which were erected in connexion with the Paris Exhibition of 1900, but with the ultimate See also: object of being devoted to the service of the two Salons
.
Berlin, Rome, Vienna and other See also: Continental towns have See also: regular exhibitions of original work
.
The best history of art galleries is found in their official and other catalogues, see article MUSEUMS
.
See also L . Viardot, See also: Les Musees d'Italie, &c
.
(3 vols., Paris, 1842, 1843, 1844); Annual Reports, official, of National Portrait Gallery, National Galleries of England, See also: Ireland and Scotland; See also: Civil Service Estimates, class iv. official
.
See also the series edited by Lafenestre and E
.
Richtenberger: Le Louvre, La Belgique, Le Hollande, Florence, Belgique; A
.
Lavice, Revue See also: des musees de France,
.
. . d'Allemagne, . d'Angleterre,
. d'Espagne, . d'Italie, . de Belgique, de Hollande et de Russie (Paris, 1862–1872) ; E
.
Michel, Les Musees d'Allemagne (Paris, 1886); Kate See also: Thompson, Public Picture Galleries of Europe (188o); C
.
L
.
Eastlake, Notes on Foreign Picture Galleries; Lord Ronald See also: Gower, Packet Guide to Art Galleries (public and private) of Belgium and Holland (1875); and many works, albums, and so
forth, issued mainly for the See also: sake of the illustrations
.
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