Catalogue entry
Jacopo Bassano
NG 277
The Good Samaritan
2008
,Extracted from:
Nicholas Penny, The Sixteenth Century Italian Paintings, Volume II: Venice 1540–1600 (London: National Gallery Company and Yale University Press, 2008).

© The National Gallery, London
c. 1562–3
Oil on canvas, 102.1 × 79.7 cm
Support
The measurements given above are those of the stretcher. The original canvas, of a rough, open, medium‐weight weave, is paste‐lined on to two tabby‐weave canvases. The borders of the original canvas are concealed by putty and repaint extending between 1 and 2 cm from the upper edge, 2.5 cm from the lower, 2 cm from the left, and 2.5 cm from the right. Cusping is evident on all sides. The painting may have been reduced, as is claimed by Gould, but not by much.1 The pine stretcher with crossbars dates from 1892.
Materials and Technique
There is a pinkish‐grey ground composed of lead white, with some red lead and black pigments, on which there is superimposed a secondary layer, ruddier and darker in colour, of lead white, black, vermilion and lead‐tin yellow. No evidence of gesso preparation was discovered in any of the samples that have been taken.2
The blue of the sky and the Samaritan’s breeches is azurite. This pigment is also used extensively in the landscape and, together with a copper‐green glaze, for the foliage. The stripes of the Samaritan’s scarf are also of copper green, probably verdigris. For the grass, copper green mixed with lead‐tin yellow is thickly glazed with copper green. The silver or pewter flask is painted with charcoal black, lead white and azurite. The brown of the rock formation to the right is composed of vermilion, azurite, lead‐tin yellow, black, and earth pigments. No significant pentimenti are revealed by X‐radiography.
Conservation
The painting was probably lined, cleaned and restored in the early nineteenth century. After acquisition by the Gallery in May 1856, some of the varnish in the sky was removed and the painting was recoated with mastic varnish. It was varnished again in 1865, and then relined and partially cleaned by ‘Morrill’ between 1891 and 1893.3 It was thoroughly cleaned and restored by Ruhemann in 1968. Ruhemann’s retouchings of flake losses, cracks and abrasion have slightly discoloured. In a few minor areas (notably the sheath of the Samaritan’s dagger and the fringe of his tunic) the original forms could not be detected, and these were rendered by Ruhemann with judicious imprecision.
Condition
The colours of the figures are well preserved. Shrinkage during lining has caused wrinkles, creases and cracks in the paint surface overall. The web‐like cracks are especially apparent in the sky, and there are minor losses associated with these. The darker areas are largely illegible due to abrasion and increased transparency. The mule, together with the trees and rocks behind it, can now only be clearly discerned in a strong light. The copper greens in the foliage, and perhaps also in the grass, have darkened. The stripes of the Samaritan’s scarf have also changed from green to brown. Not only has the setting been somewhat obscured by darkening but the composition has been altered by it, chiefly because the impact of the foreshortening of the mule is diminished. In addition, it is now not easy to see that the dogs in the foreground are licking up the wounded man’s blood.
Subject
The parable of the Good Samaritan is told in the Gospel of Saint Luke (10:30–7). In answer to the question ‘Who is my neighbour?’ – in other words, ‘To whom am I obliged to be charitable?’ – Christ related that a ‘certain man went down from Jerusalem to Jericho, and fell among thieves which stripped him of his raiment, and wounded him, and departed, leaving him half dead’. A priest travelling along the same road saw him but ‘passed by on the other side’. A Levite did the same. But then a ‘certain Samaritan’ took pity on the man, ‘bound up his wounds, pouring in oil and wine, and set him on his own beast, and brought him to an inn, and took care of him’, leaving money for the landlord to continue caring for him. ‘Which now of these three, thinkest thou, was neighbour unto him that fell among thieves? And he said, He that showed mercy on him. Then said Jesus unto him, Go and do thou likewise.’
Bassano was perhaps the first Italian artist to treat this subject. He did so several times and seems to have made it popular with other Venetian artists, including Veronese.4 Arslan, and more recently Aikema, proposed that Bassano was following the example of Netherlandish painters whose work was known in Venice, which is plausible but not certain.5 A notable precedent may have been a painting by Romanino. This, however, may not be earlier than Jacopo’s first treatment of the subject.6
Attribution, Reputation and Date
The painting was attributed to Jacopo Bassano when it was in the Pisani collection in the mid‐eighteenth century and later when it belonged to Sir Joshua Reynolds; but Waagen, when he saw it in Samuel Rogers’s collection, described it as by Francesco Bassano.7 He was perhaps following Buchanan’s recollections of the art trade, where it is attributed to Francesco, probably in error.8 In any case, Anna Jameson in her review of London’s collections referred to it as by Jacopo; it was also sold as such in Rogers’s sale and catalogued as such by the National Gallery. Waagen also attributed it to Jacopo in the supplement to his survey of English collections in 1857.9 Something of the painting’s reputation is conveyed by Jameson’s praise: ‘Most admirable for character as well as colour, and far more dignified in feeling than is usual with Bassano.’10 Eastlake placed it on the list of paintings in Samuel Rogers’s collection that he most desired for the Gallery, and it was the second most expensive of these – [page 17][page 18]Rubens’s A Roman Triumph after Mantegna (NG 278) cost more. The attribution to Jacopo was not, it seems, challenged in the twentieth century.
The type of the Samaritan is exceptionally close to the Saint Jerome in the altarpiece of the Crucifixion with Saints now in the Museo Civico, Treviso, which is documented as commissioned in the winter of 1561 and set up in the winter of 1562. Rearick justly observes that the scintillating brushwork on the Samaritan’s clothes can be exactly paralleled in those of the Magdalen embracing the cross in that work.11 Ballarin, on the other hand, proposed a date of about 1557.12
Versions and Variations
The earliest treatment of this subject by Jacopo Bassano seems to be a painting in the Royal Collection at Hampton Court (fig. 1), which is likely to date from about 1546–8.13 It is of a horizontal format, the mule faces the viewer, and the rocky bank and trees occupy the left side of the painting rather than the right. The action is also different. The Samaritan binds the traveller’s leg, whereas in NG 277 he has already bound his wounds (those on his head as well as his leg) and now lifts him up in order to place him on the mule. The same metal flask features in both paintings, and the bald, bearded model employed for the wounded traveller seems to have been used instead for the Samaritan in NG 277 – or at least studies of the same model were used for both. About a decade later the workshop painted replicas, with minor variations, of this first version, and there is one in the Capitoline collection that is smaller in size but vertical in format and on panel, which must be by Jacopo’s own hand.14
NG 277 appears to be the first version of the new composition, although, if this is indeed the case, the absence of significant pentimenti is surprising. An unfinished sketch of the composition in Prague should perhaps be considered as preliminary. Neumann proposed that it was an ‘abbozzo’ kept in the studio as a ‘guide for the preparation of similar pictures’.15 Rearick has instead argued that it was a copy commenced by Jacopo’s most talented son, Francesco, which he abandoned, dissatisfied.16 Several replicas of varying quality were made by the workshop.17

Jacopo Bassano, The Good Samaritan, c. 1546–8. Oil on canvas, 64.3 × 84.2 cm. The Royal Collection. © 2007, Her Majesty Queen Elizabeth II. Photo: A.C. Cooper

Jacopo Bassano, study for NG 277. Black and red chalk on faded blue paper, 21.6 × 27.4 cm. London, Courtauld Institute of Art Gallery. © SCT Enterprises Ltd

Jacopo Bassano, study for NG 277. Black and coloured chalks on faded blue paper, 27.1 × 35.4 cm. Private collection. © Photo: Courtesy of the owner
Drawing
There is a preparatory drawing in black chalk on discoloured blue paper in the Witt collection in the Courtauld Institute (fig. 2),18 and another, for the traveller, in ruddy brown and pink chalks, as well as black and white chalks, on a somewhat green‐blue paper in a private collection in Chicago (fig. 3).19
The painting, or, as Gould carefully notes, perhaps a ‘hypothetical identical replica’, was reproduced as an engraving with some etching by Pietro Monaco (1707–1772) in the Raccolta di Centododici Stampe di Pitture della Storia Sacra published by Guglielmo Zerletti in 1763.20 The print, which is of high quality, was signed by the artist, with the assertion [page 20]that it was drawn, engraved and printed by him (‘del. scol. e forma’) in Venice. The legend describes the print as the ‘Parabola del Samaritano’, made after a painting by Jacopo Bassano in the possession of the noble Pisani family.21 The print differs from NG 277 only in minor respects: there is a little more space at the left, and the Levite’s book is less evident. In the painting the vessel on its side behind the flask appears to be a bowl, or perhaps another flask on its side, but in the print it is interpreted as another, larger, flask. The most important difference is that in the print the traveller’s cloak extends beneath the two dogs.
Provenance
The print (see previous section) after what is likely to be this painting published in 1763 describes it as belonging to the Pisani family, of which there are several branches (see p. 365). It was probably still in the same collection in 1772 when the print was reissued. From the Pisani the painting seems to have passed briefly to Count Vitturi. Thomas Moore Slade claimed that it was among the pictures he acquired in about 1775 from that Venetian collection (see p. 448).22 Slade sold the painting to Sir Joshua Reynolds not long before the spring of 1791, when Reynolds included it in the exhibition intended to benefit his servant (‘Ralph’s exhibition’) as no. 52 ‘Bassan – The Good Samaritan’. It was included in Reynolds’s sale at Christie’s on 17 March 1795 as lot 48 but was bought in at 44 guineas (£46 4s.).23 Reynolds was said to have valued it at 100 guineas, but Lady Inchiquin (the artist’s niece and heir, later Marchioness of Thomond) valued it at 40 guineas.24 A year later it was among the group of pictures offered to Joseph Berwick, a woollen draper and banker forming a collection with Farington’s advice, at 50 guineas,25 but when offered at Phillips on 9 May 1798 (as lot 36) it was bought in at 23½ guineas (£24 13s. 6d.).26 The painting was finally sold as lot 54 on the first day of the Thomond sale (18 May 1821), where it was bought by Henry Rogers for 40 guineas.27 It is presumed to have been bequeathed by him to his brother Samuel Rogers, at whose sale on 3 May 1856 (the sixth day of the sale) it was lot 709, and was acquired for the National Gallery at 230 guineas (£241 10s.).
Exhibitions
London 1823, British Institution (142; lent by Henry Rogers); Trent 2006, Romanino (47).
Framing
In the mid‐1970s the painting was given a ‘rose corner’ frame. This pattern, popular in mid‐seventeenth‐century France, has flowers carved in relief at the corners: in this case they were also at the centres and were superimposed on [page 21]panels engraved in the gesso. If this was an old frame it had been stripped and regilded, but it is more likely to have been a modern imitation.

Corner of the current frame on NG 277. © The National Gallery, London
In the summer of 1998 it was replaced by a seventeenth‐century Italian frame, probably Emilian (fig. 4), which had been acquired from Messrs Wiggins in the autumn of the previous year with money generously donated for this purpose by Dr and Mrs Alan Horan. The carved elements are of walnut, the carcass of poplar. The reverse ogee profile is carved with acanthus leaves and tongues which, unusually, point towards the painting. Smaller vegetal forms at the outer edge have rounded (petal) and pointed (leaf) projections, some of them broken, which make the frame vulnerable to handling. The frame was very slightly reduced at the mitred corners to fit the painting and numerous leaf tips were restored. The pale water‐gilding is original. This is one of the finest frames in the National Gallery, distinguished in both execution and design, and in excellent condition.
Notes
1. Gould 1975, pp. 20–1. (Back to text.)
2. Report made by Marika Spring of the National Gallery’s Scientific Department on 21 October 1997. The presence of haematite had previously been suspected in these grounds. (Back to text.)
3. When the canvas was restretched in December 1997, Dave Thomas found the date of 1892, together with Morrill’s name, on the stretcher. (Back to text.)
4. Dresden, Gemäldegalerie. Pignatti and Pedrocco 1995, II, pp. 484–5, no. 385. (Back to text.)
5. Arslan 1931, pp. 93–4; Aikema 1996, pp. 47–9. (Back to text.)
6. Frangi et al. 2006, no. 47 (entry by Ezio Chini). Romanino’s painting is in the Toesca Collection, Rome. Shearman (1983, p. 25) was the first to consider it as a precedent and possible source for Bassano. (Back to text.)
7. Waagen 1854, II, p. 77. (Back to text.)
8. Buchanan 1824, p. 330. (Back to text.)
9. Waagen 1857, p. 60. (Back to text.)
10. Jameson 1844, p. 392. (Back to text.)
11. Rearick 1987, II, p. 4; Rearick in Brown and Marini 1992, p. cxxii. For the Treviso Crucifixion see ibid. , pp. 103–4, no. 37, entry by Vittoria Romani. (Back to text.)
12. Ballarin 1973, pp. 94, 100; the date is retained in Ballarin
1995–8
1995–6
, II, 1996, part 3, caption to fig. 301. (Back to text.)
13. Hampton Court, no. 563; Shearman 1983, pp. 23–5, no. 17, pl. 17. (Back to text.)
14. A very good replica was with Piero Corsini, New York, in the spring of 1988. Another was in the Baron Hugo Hamilton Collection in Boo, Sweden. For the Capitoline version see Bruno 1978, pp. 32–3, no. 71. (Back to text.)
15. Neumann 1967, pp. 84–7, no. 6 (107.5 × 84.5 cm). (Back to text.)
16. Rearick does not, however, say why he would have been dissatisfied (Brown and Marini 1992, p. cxxii). (Back to text.)
17. Replicas were offered at Christie’s, London, 26 July 1968, lot 124; Sotheby’s, London, 9 February 1979, lot 57; Christie’s, London, 20 October 1972, lot 145; Sotheby’s, London, 3 April 1991, lot 127. An elaborate version of the composition is at Chatsworth, Derbyshire, in the collection of the Dukes of Devonshire: the painting is somewhat larger (131 × 117 cm), the Samaritan has a page and wears boots, and the landscape is different. (Back to text.)
18. No. 2235. (Back to text.)
19. Brown and Marini 1992, pp. 218–19, no. 84 (entry by Vittoria Romani). (Back to text.)
20. It was reissued with the plate number 34 in 1772. (Back to text.)
21. Pan 1992, p. 126, no. 120. (Back to text.)
22. Buchanan 1824, I, pp. 320–34; specifically, p. 330, no. 54. (Back to text.)
23. Broun 1987, II, pp. 260–1. (Back to text.)
24. Farington 1978–98, I, 1978, p. 317 (20 March 1995). (Back to text.)
25. Ibid. , pp. 485–6 (30 January 1996). (Back to text.)
26. Broun 1987, II, pp. 260–1. (Back to text.)
27. Gould 1959, p. 13, assumed that Henry Rogers was an error for Samuel but the painting was exhibited under Henry’s name at the British Institution, and Gould noted this in 1975. (Back to text.)
List of archive references cited
- London, National Gallery, Archive, NG1: Minutes of the Board of Trustees, 7 February 1828–
- London, National Gallery, Archive, NG22: Sir Charles Eastlake, notebooks, c.1832–1864
- London, National Gallery, Archive, NGA2: Ralph Nicholson Wornum, papers, 1813–c.1905
- London, National Gallery, Scientific Department: Marika Spring, report, 21 October 1997
List of references cited
- Aikema 1996
- Aikema, Bernard, Jacopo Bassano and His Public: moralizing pictures in an age of reform, Princeton 1996
- Arslan 1960
- Arslan, Wart, I Bassano (under the name Edoardo Arslan), 2nd edn, Milan 1960 (1st edn, Bologna 1931)
- Avery‐Quash 2011b
- Avery‐Quash, Susanna, ed., ‘The Travel Notebooks of Sir Charles Lock Eastlake’, The Walpole Society, 2 vols, centenary edition, 2011, 73
- Ballarin 1969–73
- Ballarin, Alessandro, ‘Introduzione ad un catalogo dei disegni di Jacopo Bassano [part one]’, Arte Veneta, 1969, XXIII; ‘[part two]’, Studi di Storia dell’Arte in onore di Antonio Morassi, Venice 1971; ‘[part three]’, Arte Veneta, 1973, XXVII
- Ballarin 1995–6
- Ballarin, Alessandro, Jacopo Bassano (the first volume, Scritti, 1964–1995, was published in 1995 in two parts; the second, comprising plates of Bassano’s paintings, was published in three parts in 1996; three other volumes were announced but have not yet been published – these include the catalogue which would accompany the plates and a volume devoted to the ‘figli di Jacopo Bassano a Venezia’), 2 vols, Cittadella 1995–6
- Broun 1987
- Broun, Francis, ‘Sir Joshua Reynolds’ collection of paintings’ (PhD thesis), Princeton University, 1987
- Brown and Marini 1992
- Brown, Beverly Louise and Paolo Marini, eds, Jacopo Bassano (exh. cat. Bassano del Grappa and Forth Worth, 1992), Fort Worth 1992
- Bruno 1978
- Bruno, Raffaele, ed., Pinacoteca Capitolina, Bologna 1978
- Buchanan 1824
- Buchanan, William, Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution, 2 vols, London 1824
- Farington 1978–98
- Farington, Joseph, The Diary of Joseph Farington, eds Kenneth Garlick, Angus Macintyre and Kathryn Cave, index compiled by Evelyn Newby (vols I–VI ed. Kenneth Garlick and Angus Macintyre; vols VII–XVI ed. Kathryn Cave), 16 vols, New Haven and London 1978–98
- Frangi et al. 2006
- Frangi, Francesco, et al., Romanino, un pittore in rivolta nel Rinascimento italiano (exh. cat. Castello del Buonconsiglio, Trent, 2006), Milan 2006
- Gould 1959
- Gould, Cecil, National Gallery Catalogues: The Sixteenth‐Century Venetian School, London 1959
- Gould 1975
- Gould, Cecil, National Gallery Catalogues: The Sixteenth‐Century Italian Schools, London 1975 (repr., 1987)
- Jameson 1844
- Jameson, Anna B., Companion to the Most Celebrated Private Galleries of Art in London, London 1844
- Joannides and Dunkerton 2007
- Joannides, Paul and Jill Dunkerton, ‘“A Boy with a Bird” in the National Gallery: Two Responses to a Titian Question’, National Gallery Technical Bulletin, 2007, 28, 36–57
- Neumann 1967
- Neumann, Jaromír, Picture Gallery of Prague Castle, Prague 1967
- Pan 1992
- Pan, Enrica, Jacopo Bassano e l’incisione (exh. cat. Museo Civico, Bassano del Grappa, 1992), Bassano 1992
- Penny 1998
- Penny, Nicholas, ‘Un’introduzione ai taccuini di Sir Charles Eastlake’, in Giovanni Battista Cavalcaselle: Conoscitore e conservatore, ed. Anna Chiara Tommasi (papers from the Convegno held in 1997 at Legnago, Verona), Venice 1998, 277–89
- Penny 2004
- Penny, Nicholas, National Gallery Catalogues: The Sixteenth‐Century Italian Paintings, Volume I, Paintings from Bergamo, Brescia and Cremona, London 2004
- Pignatti and Pedrocco 1995
- Pignatti, Terisio and Filippo Pedrocco, Veronese, Catalogo Completo dei dipinti, Florence 1991 (Veronese, 2 vols, Milan 1995)
- Rearick 1987
- Rearick, W. Roger, ‘The Drawings of Paris Bordon’, in Paris Bordon e il suo tempo, eds Giorgio Fossaluzza and Eugenio Manzato (Acts of the Convegno Internazionale di Studi, Treviso, 28–30 October 1985), Treviso 1987, 47–61
- Shearman 1983
- Shearman, John, The Early Italian Pictures in the Collection of Her Majesty the Queen, Cambridge 1983
- Simon 2007
- Simon, Jacob, British Picture Framemakers 1600–1950 (National Portrait Gallery online dictionary), https://www.npg.org.uk/collections/research/programmes/conservation/directory-of-british-framemakers/, accessed 21 May 2024, 1st edn, 2007
- Waagen 1854–7
- Waagen, Gustav Friedrich, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss., &c. &c., ed. and trans. Lady E. Eastlake, 3 vols, London 1854 (Galleries and Cabinets of Art in Great Britain, London 1857, supplement (vol. 4))
List of exhibitions cited
- London 1823
- London, British Institution, 1823
- Trent 2006
- Trent, Romanino, 2006
The Organisation of the Catalogue
Artists are listed alphabetically and separate works by the same artists are ordered chronologically (rather than by date of accession). The division of an artist’s work between catalogues has been avoided in the past, but Titian presents a special problem. His work from before 1540 has been left for another volume and his later productions are presented here together with works by rivals, followers, pupils and imitators.
I have included one painting which seems to be a pastiche made soon after Titian’s death (A Concert, NG 3) and another which is a copy of one of his compositions, probably made later than 1600 (The Trinity, NG 4222), but not A Boy with a Bird (NG 933), which has often been taken for a seventeenth‐century imitation of Titian. The light cloud of drapery around the upper arm and the outlining of the fingers recall Titian’s Noli me tangere (NG 270) of c. 1515. It may be an excerpt from a painting of Venus and Adonis, a composition discussed in this catalogue (pp. 274–91), but if so must, as Paul Joannides has proposed, be an early version. Arguments in favour of the autograph status of this curious morsel are presented by Joannides and Jill Dunkerton in volume 28 of the National Gallery Technical Bulletin.
A good case could easily be made for including works by Rottenhammer, Elsheimer and El Greco, all of whom painted in Venice and were formed, or at least reformed, as artists by that experience. But readers will expect to find their work in other catalogues and it is unlikely that my colleagues would have consented to their appropriation. It may therefore seem inconsistent to have included The Conversion of Mary Magdalene (NG 1241) which is probably by Pedro Campaña, who was Netherlandish by birth and worked for many years in Spain. He was probably only briefly resident in Venice, but this painting was commissioned by a Venetian patrician both as a record of his family and as a record of a fresco in a Venetian church, so it seemed wrong to omit it.
As in the first volume of the sixteenth‐century Italian paintings, the entries, which are more discursive than was formerly the case in the Gallery’s catalogues, have been divided into sections with titles intended to help readers select the topic that interests them. Much material concerning previous owners is supplied and much on the circumstances of the work’s acquisition, but a succinct, factual summary of provenance is also supplied separately for ease of consultation.
The information on picture frames provided in the first volume attracted more comment in print than any other feature of that book. Here I have also drawn attention both to old frames of distinction and to frames made for the National Gallery. The reader should note that Jacob Simon at the National Portrait Gallery has created an online directory of framemakers which includes all the craftsmen mentioned here as employed by, or as suppliers to, the National Gallery.
An account of the conservators employed by the Gallery to varnish, line, clean, repair and retouch before the establishment of the Gallery’s own Conservation Department is incorporated in the introduction to the first volume (Penny 2004, pp. xiv–xv). A great deal of information about the conservation of the National Gallery’s paintings is provided and I have tried to relate the conservation history to the provenance, identifying not only nineteenth‐century restorers but also, sometimes, those from earlier centuries.
A question‐mark is used to indicate a doubt as to the authorship of a painting in preference to the formula of ‘Attributed to’ or ‘Ascribed to’. Comprehensive listing of references made in recent art‐historical literature has not been attempted. References in the notes are abbreviations of entries in the bibliography. I have tried to identify the actual authors of exhibition catalogues and of anonymous guides.
A Note on Manuscript Material Cited
References are made in the notes to manuscript material (chiefly letters) studied in British family papers – for example, those of the Earls of Carlisle and of the Dukes of Hamilton – and also to material studied in public and church archives in Venice – for example, confraternity manuscripts in the care of the parish of S. Trovaso, the parish records kept in S. Silvestro, and wills, inventories and financial records in the Archivio di Stato di Venezia (here abbreviated to ASV). Most frequent reference, however, is made to the Archive of the National Gallery itself: the minutes of the meetings of the Board of Trustees, with the associated papers, the Gallery accounts, the diary and other papers of Ralph Nicholson Wornum, and above all the notebooks or travel diaries kept by Sir Charles Eastlake on his continental tours between 1852 and 1864 (there is also one for 1830). Since there is more than one notebook for each annual tour, the number of the notebook cited is given in parentheses – thus ‘MS notebook 1864 (2)’ for the second in 1864. I have published an account of Eastlake’s methods and motives for compiling these notebooks in ‘Un’introduzione ai taccuini di Sir Charles Eastlake’ in Anna Chiara Tommasi, ed., Giovanni Battista Cavalcaselle: Conoscitore e conservatore (papers from the Convegno held in 1997 at Legnago, Verona), Venice 1998, pp. 277–89. They are currently being transcribed and edited by Susanna Avery‐Quash for publication by the Walpole Society.
About this version
Version 1, generated from files NP_2008__16.xml dated 06/03/2025 and database__16.xml dated 09/03/2025 using stylesheet 16_teiToHtml_externalDb.xsl dated 03/01/2025. Structural mark-up applied to skeleton document in full; entry for NG294 reintegrated into main document; entries for NG16, NG26, NG224, NG277, NG674, NG1318 & NG1324-NG1326, NG1883-NG1884, NG3948, NG4452, NG6376, NG6420 and NG6490 prepared for publication; entries for NG16, NG26, NG224, NG277, NG294, NG674, NG1318 & NG1324-NG1326, NG1883-NG1884, NG3948, NG4452, NG6376, NG6420 and NG6490 proofread and corrected.
Cite this entry
- Permalink (this version)
- https://data.ng.ac.uk/0E93-000B-0000-0000
- Permalink (latest version)
- https://data.ng.ac.uk/0E8G-000B-0000-0000
- Chicago style
- Penny, Nicholas. “NG 277, The Good Samaritan”. 2008, online version 1, March 9, 2025. https://data.ng.ac.uk/0E93-000B-0000-0000.
- Harvard style
- Penny, Nicholas (2008) NG 277, The Good Samaritan. Online version 1, London: National Gallery, 2025. Available at: https://data.ng.ac.uk/0E93-000B-0000-0000 (Accessed: 19 March 2025).
- MHRA style
- Penny, Nicholas, NG 277, The Good Samaritan (National Gallery, 2008; online version 1, 2025) <https://data.ng.ac.uk/0E93-000B-0000-0000> [accessed: 19 March 2025]