Hampton Court ... Illustrated with forty-three drawings by Herbert ...

VENETIAN SCHOOL 193
Jerome Bosch — a " fantastic representation of Hell." x
This was certainly in Charles's collection; it was
given him by the Earl of Arundel.
Charles's gallery reached its climax of splendour in
its representation of the sixteenth-century painters.
The man with a black cap (No. 710) cannot sustain
its claim to be a Raffaelle, and the gallery is robbed
by South Kensington of the majestic cartoons; but his
favourite pupil, Giulio Romano, is happily represented
by his two equestrian Cæsars (Nos. 257 and 290).
There are several others — such as 247, " An Ancient
Sacrifice," in the archæological style that was his forte
— and a copy, very charming, of the Madonna della
Quercia, by his hand.
There is (No. 64) a very good version of Lionardo's
Infant Christ with S. John, which Mr. Phillips ascribes
to Marco d'Oggionno; and another edition of a
Lionardo, "Portrait of a Woman with Flowers" (No.
61), which some have declared to be a Luini.
Among the Milanese pictures are the S. Catherine
with a palm-branch (No. 259), by Giampetrino, and
the Salome (No. 241) which Mr. Claude Phillips
says is a copy from Cesare da Sesto.2
When we turn to the Venetians we find the true
splendour of the gallery. In spite of warring critics
and the severe judgment of Mr. Claude Phillips,3 it
» No. 753*
2 He refers to the Vienna Gallery',No. 20, for the original:Idid
not discoverthis in a visit in April 1896.
3 " PictureGallery of Charles I.," p. 88 :"The execution too flimsy
and superficial, the loose style ofpainting too late for him." N