A natural reaction against the selective methods of the “Eclectics” gave rise to the “Naturalists,” who, headed by Michelangelo Caravaggio (1569-1609), made Naples the centre of their operations. The utterly repulsive picture entitled _The Death of the Virgin_ (No. 1121), by Caravaggio, is merely large. Neither _The Fortune Teller_ (No. 1122) nor the _Concert of Nine Musicians_ (No. 1123) can be compared with the really striking and well-painted _Portrait of Alof de Wignacourt, Grand-Master of Malta_ (No. 1124). Salvator Rosa (1615-1675) is represented by _Tobias and the Angel_ (No. 1477) and a _Vision of Saul to Samuel_ (No. 1478). His _Landscape_ (No. 1480) shows that he delighted in “ideas of desolation, solitude and danger, impenetrable forests, rocky and storm-lashed shores, in lonely dells leading to dens and caverns of banditti, alpine ridges, trees blasted by lightning or sapped by time.” His _Battle_ (No. 1479) is a strange production. Caravaggio was the master of Ribera (1588-1656), who is also called Spagnoletto, and is included in the Catalogue among the Spanish artists. This “Naturalist” school of Naples also included Luca Giordano (1632-1705), who lived in Spain at one period. The aim of the “Naturalists” is displayed in the prominence they gave to all that was vulgar, coarse, and vile. With them art in Italy came to an ignominious end, although in technical accomplishment, in mere craftsmanship, they can hold their own with painters of much higher rank. [Illustration: PLATE XVI.—JAN VAN EYCK (1390?-1441) EARLY FLEMISH SCHOOL No. 1986.—THE VIRGIN AND CHILD AND THE CHANCELLOR ROLIN (La Vierge au donateur) An angel in a blue alb and with peacock-blue wings is placing an elaborate gold crown on the head of the Madonna, who holds the Infant Christ on her knee, and is seated towards the right of the composition. On the other side the Chancellor, kneeling at a _prie-Dieu_, and with his hands joined in adoration, wears a richly brocaded robe, and is seen in profile towards the right. The figures are grouped in a portico opening on to a flower-garden and a crenellated wall; in the distance is seen a seven-arched bridge, and beyond it a castled island. Painted in oil on panel. 2 ft. 2 in. × 2 ft. 0½ in. (0·66 × 0·62.)] THE EARLY FLEMISH SCHOOL