DESCRIPTIVE 
 
 IN THE 
 
 NATIONAL GALLERY, 
 
 WITH 
 
 CRITICAL REMARKS ON THEIR MERITS. 
 
 BY 
 
 V M . YOUNG OTTLEY, F.A.S. 
 
 MEMBER OF THE SOCIETY OF ARTS AND SCIENCES AT UTRECHT, 
 AND AUTHOR OF ‘ THE ITALIAN SCHOOL OF DESIGN,’ 
 
 ‘ AN INQUIRY INTO THE ORIGIN AND EARLY 
 HISTORY OF ENGRAVING,’ & C. 
 
 PART I. 
 
 CONTAINING 
 
 Clic 2nger£tein Collection. 
 
 LONDON: 
 
 ‘ JOHN MURRAY, ALBEMARLE STREET. 
 
 1826. 
 
J. M'Creery, Tooks Court, 
 Chancery Lane, Loudon. 
 
TO 
 
 THE EARL OF LIVERPOOL, K.G. 
 
 FIRST LOUD OF HIS MAJESTY^ TREASURY. 
 
 THE CHANCELLOR OF THE EXCHEQUER, 
 THE EARL OF ABERDEEN, K.T. 
 
 THE Rt. HON. SIR CHARLES LONG, G.C.B. 
 SIR GEORGE BEAUMONT, BART. 
 
 AND 
 
 SIR THOMAS LAWRENCE, 
 
 PRESIDENT OF THE ROYAL ACADEMY. * 
 
 THESE REMARKS 
 ON 
 
 THE PICTURES 
 IN 
 
 THE NATIONAL GALLERY. 
 
 ARE 
 
 MOST RESPECTFULLY INSCRIBED, 
 
 BY 
 
 THE AUTHOR, 
 
■ 
 
TO THE READER. 
 
 The present series of remarks on the Pic- 
 tures of the late Mr. Angerstein was com- 
 menced soon after his death. The Executors 
 had determined to dispose of the Collection, 
 without separation, by private Sale, and had 
 requested Sir Thomas Lawrence, Presi- 
 dent of the Royal Academy, to procure a 
 Descriptive Catalogue of it, in order that 
 it might be transmitted to foreign Courts in 
 furtherance of that object. That gentleman 
 made application to me, and I willingly un- 
 dertook the task ; — being the more flattered 
 by the compliment thus paid to my judgment, 
 as I could not at the time boast of that in- 
 timacy with him, with which I have been since 
 honoured. 
 
 But, happily for the arts of this country, 
 
VI 
 
 TO THE READER. 
 
 his Majesty’s Government saw the import- 
 ance of the Collection, and, before the Cata- 
 logue was quite finished, purchased it for the 
 Nation. 
 
 What I had written was now no longer 
 wanted for the purpose originally intended ; 
 and I probably should have thought no more of 
 it, but for a conversation upon painting which 
 took place, in my presence, a few weeks ago ; 
 upon which occasion several gentlemen of the 
 company, although admirers of pictures, very 
 ingenuously confessed that they were often 
 greatly at a loss to discover in what con- 
 sisted the peculiar merit of this or that per- 
 formance, when viewing it, and that in fact 
 they very much wanted a guide. Upon in- 
 quiry, I found that others were willing to 
 make the same admissions. It then occurred 
 to me that these remarks might prove to be 
 of some utility to the public ; and after fur- 
 ther consideration I resolved to print them. 
 
 But, had I reflected a little, I ought to 
 have perceived that I really needed not this 
 testimony of others, in order to learn that rso- 
 
TO THE READER. 
 
 VU 
 
 tices of this kind must have some value ; since, 
 notwithstanding I have made pictures the 
 study of my whole life; and had many times 
 seen and examined those of the present col- 
 lection before I undertook to describe them ; 
 still, it is very certain that many of their 
 beauties remained unobserved by me, until, 
 sitting before the pictures, I began to note 
 down the various minute details which I dis- . 
 covered in them. 
 
 Under these circumstances I indulge the 
 hope that this small publication may prove 
 a useful companion to persons in general, 
 when visiting the National Picture Gal- 
 lery ; and that it may conduce in some de- 
 gree to the gratification even of those who 
 are conversant in the art of painting ; by 
 pointing out to them, occasionally, certain 
 traits of invention or of technical skill in the ] 
 works it describes, which they might other- 
 wise for some time have disregarded. 
 
 It will be perceived, in the following re- 
 marks, that I have been more desirous to 
 point out the beauties of the different pic- 
 
vlii TO THE READER. 
 
 hires, and to explain what I conceived to be 
 the intention of their respective authors, than 
 to detect and insist upon trifling faults— a 
 task which I leave to those to whom it may 
 afford gratification;— but, writing, as I do, 
 for the public, I have still felt it my duty , in 
 a few instances, to notice those more serious 
 errors which appeared to me to affect the ge- 
 neral excellence of the performances in which 
 they occur. 
 
 I have only further to add> that it is in- 
 tended very speedily to enlarge the present 
 small volume with descriptions of the nvell- 
 chosen Collection lately transmitted to the 
 NATIONAL GALLERY by the patriotic 
 munificence of Sir George Beaumont, 
 Bart. ; and also with those of a few r very 
 fine additional specimens recently purchased 
 for it by his Majesty’s Government. 
 
 Devonshire Street, Portland Place , 
 June 1st, 1826 . 
 
NATIONAL GALLERY. 
 
 THE 
 
 ANGERSTEIN COLLECTION. 
 
 No. I. (10.)* 
 
 RAFFAELLO SANZIO DI URBINO. 
 
 Born, 1483. Died, 1520. 
 
 The Portrait oe Pope Julius II. 
 
 Although it is certain that the political conduct 
 of Pope Julius was not always such as became a 
 Christian pastor ; still, his ability in the cabinet, 
 and his intrepidity in the field, have justly ren- 
 dered him illustrious in the page of general his- 
 tory. By the lover of the fine arts, in particular, 
 
 * The figures in crotchets denote the Numbers attached to 
 the Pictures, as they are now hung ; the present Catalogue 
 being arranged chronologically, and in schools. 
 
 B 
 
NATIONAL GALLERY. 
 
 •2 
 
 his name must always be remembered with respect ; 
 seeing that it is to the discriminating, and at the 
 same time liberal patronage, which he first ex- 
 tended to Michelangiolo Buonaroti and Raffaello 
 di Urbino, that we are chiefly indebted for those 
 admirable productions of painting which decorate 
 the walls of the Vatican, and have been ever con- 
 sidered by students of that art, as the most per- 
 fect models for imitation. 
 
 The veteran pontiff is represented in a sitting 
 posture, his elbows resting on the arms of his chair, 
 and is seen, in a three-quarter point of view, to a 
 little above the knees. His cap and short cloak 
 are of crimson silk, edged with ermine, and his 
 under garment is of white linen, plaited, with 
 silken sleeves. He holds one of the arms of the 
 chair with the left hand, whilst his right hand, 
 which, from the perspective chosen by the artist, 
 forms the most prominent object in the picture, 
 hangs easily, advancing before, and hiding part of 
 the body. 
 
 The head is admirable. It is that of a hardy 
 old man, accustomed to combat and to conquer 
 difficulties; and the square projecting forehead, 
 strongly marked features, strait white beard, and 
 eyes deeply seated in their sockets, indicate at 
 
ANGERSTEIN COLLECTION. 
 
 3 
 
 once that keenness of penetration and firmness of 
 purpose, which were among the leading traits in 
 the character of Julius. He appears absorbed in 
 thought, little mindful that he is sitting for his pic- 
 ture ; and we may conjecture, from the expression 
 of the countenance, that whilst Raffaello was em- 
 ployed in delineating his features, the enterprising 
 spirit of the pontiff was meditating the subjection 
 of new provinces to the See of Rome in distant 
 parts of Italy. 
 
 Although, as a whole, this portrait is in the 
 highest degree simple and dignified, it is not defi- 
 cient in becoming ornament. The background is 
 a green hanging, on which, at regular distances, are 
 slightly indicated, with a somewhat darker tint of 
 the same colour, the cross-keys of the pontifical 
 office. From the two corners of the back of the 
 chair rise two shafts, surmounted by gilt ornaments 
 in the form of acorns, in reference to the armorial 
 bearings of the Pope’s family, and enriched below 
 with gold fringe, through which is seen the crim- 
 son covering of the chair. On the fingers of each 
 hand are three rings ; and in the right the Pontiff 
 holds a small handkerchief, which, from its white- 
 ness, contrasted with the dark tint of a ring on the 
 fore- finger, is greatly beneficial to the effect of the 
 b 2 
 
4 
 
 NATIONAL GALLERY. 
 
 whole ; by giving increased projection to that 
 hand, which, as before stated, is intended to ap- 
 pear nearer the eye of the spectator than any other 
 part of the figure. 
 
 This fine picture, which is painted on board,* 
 was formerly in the Borghese Palace, at Rome, 
 and measures 3 feet 6 inches in height, by 2-8. 
 
 * As pictures are, for the most part, painted on canvas, it 
 has been thought sufficient, in the present Catalogue, to mark 
 only the exceptions to that general rule. 
 
ANGERSTEIN COLLECTION. 
 
 5 
 
 No. II. (55.) 
 
 FRA SEBASTIANO DEL PIOMBO. 
 
 Born, 1485. Died, 1547. 
 
 ASSISTED BY 
 
 MICHELANGIOLO BUONAROTI. 
 
 The raising of Lazarus. 
 
 This Picture, the joint production of Sebastiano 
 del Piorabo, and Michelangiolo Buonaroti, — the 
 one an eminent colourist, the other the greatest 
 designer that Italy has yet produced, — is alike ad- 
 mirable for its merits as a work of art, and inte- 
 resting from the circumstances which gave rise to 
 its execution, or are otherwise connected with its 
 history. 
 
 We learn from Vasari, that Sebastiano, who had 
 been a scholar of the celebrated Giorgione at 
 Venice, came to Rome upon the invitation of Agos- 
 tino Chigi, about the time when RafFaelle and his 
 scholars were employed by that opulent merchant 
 to decorate, with fresco-paintings, his Villa now 
 known under the appellation of the Farnesina. 
 
6 
 
 NATIONAL GALLERY. 
 
 It appears that certain compartments were also 
 allotted to Sebastiano ; and that, although he 
 was found deficient as a designer, he soon ac- 
 quired considerable reputation in the Roman capi- 
 tal by the beauty of his colouring. The lovers of 
 painting at Rome were at this time divided in opi- 
 nion as to the relative merits of Michelangiolo 
 and Raffaelle, and had ranged themselves in two 
 parties ; the admirers of the Florentine artist ear- 
 nestly maintaining his pre-eminence ; whilst the 
 more numerous partizans of Raffaelle as strongly 
 insisted upon his superiority, excepting alone in 
 that part of the art which is termed design. Se- 
 bastiano, it seems, sided with the former ; and 
 Michelangiolo, in consequence, noticed and pa- 
 tronized him ; “ reflecting,” says Vasari, “that 
 were he secretly to assist Sebastiano with designs, 
 the Venetian painter would be enabled, by his skill 
 in colouring, to produce more perfect pictures than 
 those of Raffaelle ; and that thus, without working 
 himself, he might combat his adversaries.” 
 
 The performance under consideration was paint- 
 ed by Sebastiano in competition with Raffaelle, 
 who was then employed upon his celebrated Trans- 
 figuration. The invention, we think, ought prin- 
 
angeustein collection. 
 
 7 
 
 eipally to be ascribed to Michelangiolo ;* and the 
 point of time chosen by him is after the comple- 
 tion of the Miracle. Lazarus is represented sitting 
 on the stone coffin which had contained his body, 
 supported by three men, who, having been em- 
 ployed to remove the lid from the sepulchre, are 
 now relieving him from the grave-clothes with 
 which he was enveloped. Jesus, standing in the 
 midst, appears to be addressing him after his return 
 to consciousness, in words, as may be supposed, not 
 unlike those which he had before used to Martha 
 and Mary : “lam the resurrection and the life ; he 
 that believeth in me shall never die.” Lazarus, 
 his countenance at once strongly expressive of awe 
 and gratitude, gazes upon him, wildly, but sted- 
 fastly, listening to his words ; whilst with his right 
 hand and foot he assists in disengaging his limbs 
 from the linen bandages which bound them ; eager 
 to prostrate himself at the feet of his Saviour. 
 
 The first great moment is past ; and the over- 
 whelming and indescribable emotions, occasioned 
 
 * The Cabinet of Sir Thomas Lawrence, richer in the ori- 
 ginal designs of Raffaelle and Michelangiolo, than, perhaps, 
 any other collection in Europe, contains several sketches by 
 the hand of Michelangiolo for parts of this picture, especially 
 for the figure of Lazarus. 
 
8 
 
 NATIONAL GALLERY. 
 
 by the miracle in the breasts of the spectators, have 
 somewhat subsided ; and have given place to varied 
 feelings of astonishment, reverence, or devotion. 
 Immediately behind the figure of Christ is an old 
 man who looks, awe-struck, upon the reanimated 
 corpse, elevating both his hands ; — a figure, ad- 
 mirable for the expression, and which Buonaroti 
 repeated many years afterwards in his Last Judg- 
 ment ; — and in the foreground, on the left, is seen 
 another old man, kneeling at the feet of Christ, 
 his hands joined together in devotion, impatiently 
 awaiting the moment when he may express to him 
 the soul-felt conviction that he is indeed the true 
 Messiah, the Son of God. 
 
 The figure of Lazarus is a master-piece, as well 
 for the invention as the execution ; and forms, 
 with the men employed to unbind him, the most 
 prominent group of the picture. The hand of 
 Michelangiolo is apparent in every part of this 
 figure ; (and the same may be said of that of the 
 man who is releasing the legs of Lazarus,) and it 
 cannot be doubted that the Florentine artist, find- 
 ing Sebastiano utterly incompetent to give to it 
 that energy of character, and intelligence in the 
 naked parts, which he desired, seized his pencils, 
 whilst the colours were still in a moist state, and, 
 
ANGERSTEIN COLLECTION. 
 
 9 
 
 with that prodigious power which he had acquired 
 by his long practice in fresco-painting, modelled 
 the head, limbs, and body, in every part ; leaving 
 untouched the kneeling figure of Mary, in the 
 middle of the composition, and immediately be- 
 hind the figure of Lazarus ; in order, perhaps, to 
 prove, by the comparison, to such as should here- 
 after examine the work with attention, how little 
 the Venetian could have achieved without his aid. 
 The drapery of Lazarus is admirably disposed for 
 the effect ; as is also the figure of the man who 
 supports his body : the latter leans forward, speak- 
 ing to one of his companions, who is looking up ; 
 and thus the upper part of his figure throws a pro- 
 jecting shadow over the neck, and part of the head 
 of Lazarus, whose face, by being kept entirely in 
 shadow, acquires a great augmentation of subli- 
 mity. 
 
 At a small distance behind the figure of Christ 
 is seen St. John, who, with a frankness of expres- 
 sion and gesture becoming an apostle of the truth, 
 appears answering objections raised against the 
 credibility of the miracle by a man who is addres- 
 sing him. Further off, behind these figures, is a 
 group of Pharisees, whose unbelief of the divine 
 character and mission of Jesus, is combated by a 
 b 3 
 
10 
 
 NATIONAL GALLERY. 
 
 man who, pointing energetically towards the ac- 
 tion represented in the foreground, seems to say, 
 “ Could any one not sent from God have restored, 
 as he hath done, a dead person to life?” The figure 
 of Mary has already been noticed : behind her is 
 seen her sister Martha, whose attitude is somewhat 
 equivocal ; for we are unwilling to ascribe the same 
 sentiment to her, as to the three other women be- 
 yond her, who, holding their mantles over their 
 mouths and nostrils, seem to indicate that they are 
 not yet convinced the body of the restored man is 
 inoffensive. It is unnecessary to describe the other 
 subordinate figures and groups introduced by the 
 artist in different parts of this extensive composi- 
 tion. 
 
 The point of sight is high up in the picture, con- 
 siderably above the heads of the principal figures ; 
 and this choice was no doubt adopted by Sebas- 
 tiano, conformably to the custom of the period, in 
 order that he might be the better enabled to fill 
 his work with rich matter. The distance repre- 
 sents a view 7 of Jerusalem, and a river, traversed 
 by a bridge, on the banks of which is seen a 
 group of women washing clothes. A striking effect 
 is produced in this part of the performance, by the 
 bridge and the arched entrance into the city being 
 
angerstein collection. 
 
 11 
 
 represented in shadow ; while the houses and bank 
 of the river, which are shewn through them, ap- 
 pear illumined by sunshine. 
 
 The masses of light and shadow, throughout, 
 are broad and simple in their principle ; and to 
 the colouring of the piece, the artist has given all 
 the depth and richness of tone of the Venetian 
 school, without any ill-suited mixture of its cha- 
 racteristic gaiety. Upon the front of the raised 
 pavement, whereon stands the figure of our Savi- 
 our, is the inscription : 
 
 SEBASTIANUS VENETUS FACIEBAT. 
 
 This picture was painted by order of Cardinal 
 Giulio de’ Medici, then Archbishop of Narbonne 
 in France, and was presented by him to the prin- 
 cipal church of that city ; where it remained, till, at 
 a vast expense, (no less, it is asserted, than the cost 
 of completely repairihg the church,) it was obtain- 
 ed by the Duke of Orleans for his well-known col- 
 lection. Upon the dispersion of that collection in 
 England, in the years 1800-1, it was purchased by 
 its late proprietor, to whom a very large augmen- 
 tation of price was some years afterwards prof- 
 fered by the late emperor Napoleon, for the Gal- 
 lery of the Louvre. 
 
12 
 
 NATIONAL GALLERY. 
 
 The picture was originally painted on wood ; 
 but, at the close of the last century, it was, by a 
 very curious process, transferred to canvas. Height , 
 12 — 6; width, 9 — 6. 
 
ANGERSTEIN COLLECTION. 
 
 13 
 
 No. III. (45.) 
 
 TIZIANO VECELLIO. 
 
 Born, 1477 . Died, 1576 . 
 
 A Music Party. 
 
 This Picture, which formerly belonged to King 
 Charles the First, appears to have been painted by 
 Tiziano, at a time when he was thinking of the 
 works of Giorgione ; and it is to be regretted that 
 so fine a work of art should have lost, as it appears 
 to have done, somewhat of its pristine beauty. The 
 most prominent figure of the group, which is very 
 picturesquely disposed, is that of a Music -master, 
 who appears instructing a boy in singing. 
 
 There is a scarce Etching of this Picture, with 
 the inscription : ‘ Titianus Pinxit. Ex collectione 
 Regis Magnet Brittannice. Henr. Danckers Hagae 
 Batavus sculp, et excud'. 
 
 Width, 4 — 1 ; height, 3 — 2. 
 
14 
 
 NATIONAL GALLERY. 
 
 No. IV. (52.) 
 
 TIZIANO. 
 
 Venus and Adonis. 
 
 This Picture, which till the close of the last cen- 
 tury graced the collection of the Prince Colonna 
 at Rome, may justly be termed one of the most 
 perfect specimens now existing of the pencil of its 
 author ; being painted in his finest manner, and 
 having, happily, alike escaped the ravages of time, 
 and the more injurious hand of the inexpert pic- 
 ture-cleaner. 
 
 The subject was well calculated for the display 
 of Tiziano’s prodigious powers as a colourist ; and 
 he has made the most of it. The figure of V enus, 
 which is seen in a back view, receives the principal 
 light ; and is entirely naked, save that a white veil, 
 which hangs from her shoulder, spreads itself over 
 the right knee. The chief parts of this figure are 
 scarcely less excellent in respect of form than co- 
 louring. The head possesses great beauty, and is 
 replete with natural expression. The blond hair of 
 the goddess, collected into a braid rolled up at the 
 back of her head, is entwined by a string of pearls, 
 
ANGERSTEIN COLLECTION. 
 
 15 
 
 which, from their whiteness, give value to the de- 
 licate carnation of her figure. She throws her arms, 
 empassioned, around her lover ; who, resting with 
 his right hand upon his javelin, and holding with 
 the left the traces which confine his dogs, looks 
 upon her, unmoved by her solicitations, and impa- 
 tient to repair to the chase. Cupid, meanwhile, is 
 seen sleeping at some distance off, under the shadow 
 of a group of lofty trees, from one of which are sus- 
 pended his bow and quiver ; — a truly poetic thought 
 — by which, it is scarcely necessary to add, the 
 painter intended to signify that the blandishments 
 and caresses of beauty, unaided by love, may be 
 exerted in vain. 
 
 In its colouring, this picture unites the greatest 
 possible richness and depth of tone, with that sim- 
 plicity and sobriety of character which Sir Joshua 
 Reynolds so strongly recommends in his lectures, 
 as being the best adapted to the higher kinds of 
 painting. The habit of the Goddess, on which 
 she sits, is of crimson velvet a little inclining to 
 purple, and ornamented with an edging of gold lace, 
 which is however of so subdued a tone as not to 
 look gaudy ; its lining being of a delicate straw 
 colour, touched here and there with a slight gla- 
 zing of lake. The dress of Adonis, also, is crim- 
 
16 
 
 NATIONAL GALLERY. 
 
 sorb but of a somewhat warmer hue. There is 
 little or no blue in the sky, which is covered with 
 clouds, and but a small proportion of it on the 
 distant hills ; the effect altogether appearing to 
 be the result of a very simple principle of arrange- 
 ment in the colouring, namely that of excluding 
 almost all cold tints from the illumined parts of 
 the picture. 
 
 Tiziano in early life had practised the more gay 
 and ornamental style, common to most of the ar- 
 tists of the Venetian school ; and in that way has 
 painted some justly admired works. But he ap- 
 pears to have quitted it for ever, at no very ad- 
 vanced period of his life; deeming it, perhaps, 
 inconsistent with that grandeur of manner, the 
 importance of which he knew how to estimate ; 
 and adopted in its stead the less shewy but greater 
 style, of wdiich the present work and the one next 
 to be described are examples. 
 
 It is needless to enlarge further upon the tech- 
 nical merits of this admirable performance. It 
 may suffice to observe of the execution, that it is 
 quite exempt from crudity and hardness of man- 
 ner ; whilst, at the same time, every part is finish- 
 ed with care. Width , 6 — 2 ; height , 5 — 9. 
 
ANGERSTEIN COLLECTION. 
 
 17 
 
 No. V. (48.) 
 
 TIZIANO. 
 
 The Rape of Ganymede. 
 
 This masterly performance, which is of an octa- 
 gon form, and was evidently intended to fill the 
 central compartment of a ceiling, was probably 
 painted at an advanced period of the artist’s life. 
 The figure of Ganymede, though foreshortened 
 with the greatest boldness, appears graceful in the 
 attitude and, for the most part, elegant in its 
 forms. The effect of the sotto in su , as the Italians 
 term that species of pictorial representation which 
 is intended to be viewed from below, is finely ma- 
 naged. The youth is borne upwards with rapidity 
 by the eagle, and seems flying into the canvas. 
 The bird of Jove, all black, except a few feathers 
 in the inside of his wings, makes a fine contrast to 
 the sky ; at the same time that by its depth of 
 tone, and breadth of mass, it gives relief to the 
 flesh. A long floating drapery, or scarf, of a light 
 lakish colour, passes gracefully over the right 
 shoulder and left arm of Ganymede ; its extremi- 
 ties projecting forward, and constituting, with the 
 
18 
 
 NATIONAL GALLERY. 
 
 right leg and foot of the figure, the most promi- 
 nent parts of the picture, which is painted through- 
 out with great vigour of pencil and richness of 
 colouring. 
 
 This picture, like the last described, was for- 
 merly in the collection of the Prince Colonna at 
 Rome. Height and width , 5 — 8. 
 
ANGERSTEIN COLLECTION. 
 
 19 
 
 No. VI. (27.) 
 
 ANTONIO DA COREGGIO. 
 
 Born, 1494 . Died, 1534 . 
 
 Christ praying in the Garden. 
 
 The affecting picture now before us merits, not- 
 withstanding the smallness of its dimensions, to be 
 ranked amongst the highest efforts of the artist s 
 genius. 
 
 Coreggio has chosen, for the scene of his repre- 
 sentation, a sequestered spot much overshadowed 
 by trees ; and it appears by the faint cool light of 
 the sky behind the distant hills, that he desired to 
 describe a point of time not long preceding the first 
 dawn of morning. On an elevated part of the 
 foreground, on the left of the spectator, the kneel- 
 ing figure of Christ appears, attended by a minis- 
 tering angel. Both are illumined by a superna- 
 tural splendor, which seems as if reflected, reci- 
 procally, from one figure upon the other : for the 
 painter designed to represent Christ as glorified in 
 his sufferings. The figure of the Saviour is in the 
 highest degree elevated and pathetic in its attitude 
 
20 
 
 NATIONAL GALLERY. 
 
 and expression ; full of resignation and sorrow — 
 “ not my will, but thine be done !”— whilst that of 
 the comforting spirit is beautifully expressive of 
 compassion and veneration. In the middle dis- 
 tance, the three attendant Apostles are indistinctly 
 seen, overcome by sleep; and still further off 
 may he perceived the Jewish mob, approaching 
 to seize Jesus. 
 
 It were a misapplication of language to attempt 
 by such means to convey any just idea of the 
 beauties of this extraordinary performance in re- 
 spect of clair-obscure and colouring. Of its merits 
 in other particulars, however, it may be proper 
 further to remark, that the intelligence and ex- 
 quisite feeling displayed in the execution of the 
 head and boldly foreshortened left hand of Christ, 
 and of the entire figure of the angel, (to say no- 
 thing of some other parts,) are such as to justify 
 the conviction that this picture, which is a repe- 
 tition of one of great celebrity, formerly in the 
 cabinet of the King of Spain, and now in that of 
 his Giace the Duke of Wellington, is also by the 
 pencil of Coreggio, who, it is very certain, painted 
 duplicates of several of his most admired easel- 
 pictures. 
 
 But, in saying this we do not mean to insist 
 
ANGERSTEIN COLLECTION. 
 
 21 
 
 that it is entirely by his hand ; as every one knows 
 it is not unusual with great artists, when they are 
 desirous of retaining duplicates of their favorite 
 works, to entrust the dead-colouring, generally, 
 and even, sometimes, the finishing of the less im- 
 portant parts, to their scholars. On board : width , 
 1 — 4; — height, 1 — 2. 
 
22 
 
 NATIONAL GALLERY. 
 
 Nos. VII. VIII. (47. 51.) 
 COREGGIO. 
 
 Two Groups of Heads, much larger than 
 Nature. 
 
 These bold and masterly performances were for- 
 merly in the celebrated collection of Christina 
 Queen of Sweden, after whose death they were 
 purchased, with others of that collection, by the 
 Regent Duke of Orleans for his gallery. 
 
 Their pedigree is therefore in the highest de- 
 gree respectable; and to this it may be added, 
 that they differ materially in respect of composi- 
 tion from any of the groups introduced by Co- 
 reggio in the two Cupolas painted by him at 
 Parma ; and in consequence cannot be classed 
 among the numerous large studies made by the 
 Caracci and others after those celebrated works. 
 Barry speaks of them in terms of unbounded com- 
 mendation. 
 
 Since writing the above, we have examined 
 these two pictures, by means of a ladder, with as 
 much attention as, under the circumstances, we 
 were able to employ ; and the result of such in- 
 
ANGERSTEIN COLLECTION. 
 
 23 
 
 complete investigation is, that we are much dis- 
 posed to consider them as fragments of some large 
 work, which originally occupied a situation far 
 above the eye, in some church at Parma. Our 
 next supposition is that, in consequence of some 
 intended alteration in this building, it became ne- 
 cessary to take the said work down ; and that it 
 being found too large, and perhaps too awkward 
 in shape, to render it ornamental in any other than 
 its original situation, it was thought expedient to 
 cut it into pieces, and thus to adapt some parts to 
 the purposes of furniture. We repeat, that we 
 have not examined these fragments sufficiently to 
 enable us to form a very decided opinion concern- 
 ing them. Still, even now, we hesitate not to 
 style them very fine things ; and if forced to de- 
 clare whether or not we thought the great artist 
 to whom they have long been ascribed had really 
 had any hand in them, (for they may have been in 
 great part done after his cartoons by scholars) 
 should answer in the affirmative. Height, 5 ft. ; 
 width, 3 — 6. 
 
24 
 
 NATIONAL GALLERY. 
 
 No. IX. (39.) 
 
 LODOVICO CARACCI. 
 
 Born, 1555. Died, 1619. 
 
 Susanna and the Elders. 
 
 This frequently repeated subject is represented 
 with less violation of decency in the picture before 
 us than is commonly the case. The upper part of 
 the body of Susanna, only, is naked ; the rest of 
 her figure being enveloped in the ample folds of 
 a dark green drapery. One of the Elders leans 
 forward, and appears to remonstrate with her, 
 using arts of persuasion ; whilst his companion, 
 behind, seems alarmed at her cries for help, and 
 already determined upon revenge. The whole is 
 painted with great force of effect, and at the same 
 time is highly studied in the parts. We are obliged 
 to add, however, that the head of the female ap- 
 pears deficient in expression. 
 
 This picture was purchased from the Orleans 
 collection. Height, 4 — 8; width, 3—7. 
 
ANGERSTEIN COLLECTION. 
 
 25 
 
 No. X. (58.) 
 
 ANNIBALE CARACCI. 
 
 Born, 1560. Died, 1609. 
 
 St. John the Baptist. 
 
 The Baptist is represented in a recumbent pos- 
 ture, the upper part of his body naked. He rests 
 with his left arm upon a bank, and holds in the 
 right hand a bowl, which he appears filling with 
 water from a streamlet that gushes from a rock. 
 The figure is drawn and executed with great aca- 
 demic power ; and the background, a wild, pictu- 
 resque landscape, is painted in Annibale’s boldest 
 manner. 
 
 This picture, also, was formerly in the Orleans 
 collection. Height, 5—5; width, 4 — 1. 
 
26 
 
 NATIONAL GALLERY. 
 
 No. XI. (37.) 
 
 ANNIBALE CARACCI. 
 
 Pan Instructing Apollo to play upon the 
 Reed-Pipe. 
 
 This masterly performance of Annibale, in his 
 last manner, is supposed, by Lanzi to have been 
 painted by him in distemper, and not in oil co- 
 lours ; and in truth it possesses all that simplicity 
 and freshness in the execution, which are charac- 
 teristic as well of that method as of fresco-painting. 
 The figure of Apollo has a certain youthful timi- 
 dity, and at the same time archness of expression, 
 joined to a gracefulness of attitude and deport- 
 ment, which render it particularly captivating. He 
 has just ceased to play, and, holding the reed pipe 
 with both hands, listens attentively to the obser- 
 vations of his instructor ; who, resting his elbows 
 on his knees, sits with the assumed dignity of a 
 judge, and appears to have just uttered some re- 
 mark relative to the progress which his young pu- 
 pil has made on the instrument. Both these figures 
 are drawn with simplicity of outline, and executed 
 
ANGERSTEIN collection. 
 
 27 
 
 with great boldness of manner ; the landscape and 
 other accessories are in the most truly classic 
 taste ; and on the whole this little picture, which 
 was formerly in the Lancellotti collection at Rome, 
 is, we think, justly entitled to rank among the 
 most happy productions of the artist. It may be 
 proper to add, that the figure of Pan is supposed 
 to be the portrait of a music-master, with whom 
 Annibale was upon terms of intimacy. On wood. 
 
 Width, 2 — 8 ; height, 1 — 2. 
 
 c 
 
 o 
 
NATIONAL GALLERY. 
 
 28 
 
 l 
 
 No. XII. (49.) 
 
 DOMENICO ZAMPIERI, called DOMENI- 
 CHINO. 
 
 Born, 1581. Died, 1641. 
 
 Erminia visiting the Shepherds, in search of 
 Tancred. 
 
 The subject of this picture will be found in the 
 seventh book of Tasso. Erminia is represented 
 standing on the right, clothed in a dark blue cui- 
 rass, and over it a white mantle, one part of which 
 crosses her body below the middle, whilst another 
 part, passing gracefully over her shoulders, floats 
 like her tresses in the air. Her figure has great 
 simplicity of attitude, and her head is extremely 
 beautiful. She presses her right hand to her bo- 
 som, and appears addressing herself to the old 
 Shepherd, whom the poet describes as employed in 
 basket-making, and who, seated on a rocky bank, 
 listens, much affected by her tale. The three Chil- 
 dren, mentioned by Tasso, form a pretty group 
 in the upper corner of the picture, on the left, 
 behind the Shepherd. One of them has a reed- 
 
ANGERSTEIN COLLECTION. 29 
 
 pipe, another a flute and tabor ; all seem delighted 
 with the appearance of the stranger, welcoming 
 her with smiles. Behind the figures is seen a 
 flock of sheep, and beyond is a simple landscape, 
 of which the most striking feature is a broad, 
 winding river. 
 
 This picture is highly studied in every part, 
 though painted with great boldness, and, in addi- 
 tion to that purity of style in the drawing and ex- 
 pressions of the figures, which ever characterises 
 the productions of Domenichino, possesses great 
 vigour and richness of colouring. Width, 7; height, 
 4—10. 
 
30 
 
 NATIONAL GALLERY. 
 
 No. XIII. (57.) 
 
 NICCOLO POUSSIN. 
 
 Born, 1594. Died, 1665. 
 
 A Bacchanalian Scene. 
 
 • ... 
 
 This picture is painted in Poussin’s most finished 
 manner, and is happily exempt from that blackness 
 in the shadows, which we observe in a large pro- 
 portion of the works painted by him during his 
 residence at Rome ; a defect which was, perhaps, 
 as often the consequence of the materials used in 
 the preparation and priming of his canvases, as 
 of the little care which, during a considerable part 
 of his life, he is said to have bestowed upon his 
 colouring. 
 
 The numerous and spirited figures which it 
 contains are designed with even more than his 
 accustomed correctness of outline. Particularly 
 excellent in this respect is the young female satyr 
 who has playfully leaped on the back of a goat ; 
 as are also the faun, seen in a back view, dancing ; 
 the other faun, behind him, dancing, and at the 
 same time playing on his flute ; and the figure of 
 
ANGERSTEIN COLLECTION. 
 
 31 
 
 Silenus, to whose form the painter has given a 
 sufficient share of corpulence, to distinguish him ; 
 without having recourse to those monstrous pro- 
 tuberances which so often disgust us in the works 
 of artists of a less chastened style. 
 
 The landscape, as is ever the case in the pic - 
 tures of Niccolo, possesses much to admire; espe- 
 cially the large group of trees on the left, whose 
 numerous stems, apparently unthinned by the axe, 
 and rising, in some instances, to the top of the 
 picture, form together a large mass of dark, which 
 is greatly beneficial to the effect of the w'hole. 
 
 This admired picture formerly graced the col- 
 lection of the Barberini Palace at Rome. Height, 
 4 — 8; width, 3 — 1. 
 
32 
 
 NATIONAL GALLERY. 
 
 No. XIV. (48.) 
 
 GASPARO POUSSIN. 
 
 Bom, 1613 . Died, 1675 . 
 
 A Landscape, with Figures representing Abra- 
 ham and Isaac journeying towards the 
 Mount for the intended Sacrifice. 
 
 Amongst the numerous works of painting which 
 formerly enriched the gallery of the Prince Co- 
 lonna at Rome, few were more deservedly admired 
 or highly prized than the landscape now before 
 us, which was generally considered to be, on the 
 whole, the most perfect production of the artist. 
 
 In the foreground, on the right, the youthful 
 Isaac is represented bearing the wood for the sacri- 
 fice, and followed by his father with a torch. They 
 appear walking up a steep and unfrequented path, 
 over-shadowed by trees ; having left behind them 
 the two servants of Abraham, who are seen seated 
 on the ground, at some distance, near the centre of 
 the picture. These figures are not of so large iL 
 ^ize as to be obtrusive ; and being, also, painted 
 
ANGERSTEIN COLLECTION. 
 
 33 
 
 by the pencil of Gasparo himself, (which, unfortu- 
 nately, is not always the case in his larger pic- 
 tures,) are in perfect harmony with the surrounding 
 landscape. 
 
 The foreground and middle-ground are in a 
 low tone of colouring, save here and there a par- 
 tial gleam of subdued light , as on that part where 
 the figures of Abraham and Isaac are introduced ; 
 upon the top of a waterfall, near the left extre- 
 mity of the picture ; and on part of the ruins of 
 an ancient city in the middle distance ; it having 
 been evidently the intention of the painter to con- 
 fine his principal light to the sky over the horizon, 
 and to the extreme distance ; which exhibits an 
 extensive flat country, similar to the Campagna of 
 Rome, bounded on the left by a ridge of moun- 
 tains. 
 
 The composition is perfect ; and Gasparo has 
 chosen for representation the appearance of a 
 somewhat clouded sky ; by which means he was 
 enabled, in the flat distance, to introduce long 
 masses of accidental shadow, which serve to throw 
 back the illumined tracts of country beyond them 
 with surprising effect. Width, 6 — 6 ; height, 5 — 3. 
 
34 
 
 NATIONAL GALLERY. 
 
 No. XV. (24.) 
 
 GASPARO POUSSIN. 
 
 A Land-Storm. 
 
 The foreground of this very striking landscape 
 represents the turn of a road, and by the side of it 
 a large tree in full leaf, which has been that mo- 
 ment laid prostrate by the violence of the wind. 
 A little way off, on the left, the road is bounded 
 by a perpendicular bank, under the shelter of 
 which are seen two shepherds with their sheep, 
 who appear terror-struck by this sudden effect of 
 the tempest. In the middle distance another 
 shepherd is represented driving his flock precipi- 
 tately down a steep declivity. This last group, 
 together with some buildings upon an eminence 
 near the centre of the piece, and part of the ex- 
 treme distance, are illumined by partial gleams of 
 light ; which, together with the powerful light in 
 the sky over the horizon, serve, by contrast, to 
 deepen the gloom which pervades every other part 
 of the picture. The whole is finely descriptive of 
 the intended subject ; but in no part has the ar- 
 tist evinced more consummate skill than in the 
 
ANGERSTEIN COLLECTION'. 
 
 35 
 
 foreground, where the appearance produced upon 
 the plants and other foliage by the violence of the 
 gale is represented with unrivalled correctness of 
 imitation. 
 
 This fine picture was formerly in the collection 
 of the first Lord Lansdown. Width, 6; height, 
 4 — 11 . 
 
36 
 
 NATIONAL GALLERY. 
 
 No. XVI. (56.) 
 
 CLAUDIO LORENESE. 
 
 Born, 1600. Died, 1682. 
 
 A Sea-Port. 
 
 This picture represents a Sea-Port view, a little 
 before sunset in the autumn. On the right are 
 some large vessels lying at anchor, and on the left 
 are various magnificent buildings, on the fagade 
 of the most prominent of which the artist has in- 
 troduced a clock, with the hand pointing to the 
 hour ot five; ingeniously denoting thereby the 
 time he intended to represent. The orb of day 
 appears near the horizon, surrounded by clouds, 
 whose orange and inflamed hue, in addition to 
 some darker clouds placed higher in the picture, 
 seems to menace the approach of bad weather. In 
 the offing is seen a watch-tower, or lighthouse, of 
 great height, near which are moored a large A^essel 
 and two smaller ones. The appearance of the 
 shadow cast by these upon the ruffled sea is inimi- 
 tably expressed ; as is also the reflexion of the 
 sun upon the waves ; immediately below which 
 
ANGERSTEItf COLLECTION. 
 
 37 
 
 luminous part Claudio has introduced a small boat 
 with two rowers ; the dark tint whereof, contrast- 
 ing with the brilliant focus of light above it, gives 
 a zest to this part of the picture, and greatly in- 
 creases its beauty. 
 
 Ihe figures in the foreground and elsewhere 
 are judiciously disposed, and employed in occupa- 
 tions proper to the scene. Some appear giving 
 directions ; whilst others are seen dragging their 
 nets to land, or carefully mooring their boats, in 
 order to preserve them from the effects of the ap- 
 proaching gale. This picture is said to have been 
 painted for the King of France, whose arms the 
 artist has inserted in a shield over the clock before 
 mentioned. Upon a stone on the left is inscribed : 
 “ Claudio inv. Roma 1644.” Width, 4 — 3 ; height, 
 3—3. ; 
 
38 
 
 NATIONAL GALLERY. 
 
 No. XVII. (53.) 
 
 CLAUDIO LORENESE. 
 
 A Pastoral Landscape with Figures. 
 
 This Picture appears to have been painted as a 
 companion to the last described. In the fore- 
 ground, on the right, is represented a youth con- 
 versing with three huntresses, who have behind 
 them a page resting on his spear ; and on the left is 
 seen a herdsman reclining on the stem of a broken 
 tree, which overhangs a river, whilst his cows are 
 cooling themselves in the stream. A large group 
 of trees, on the opposite bank, fills the centre of 
 the piece. In the middle distance, on the left, is 
 a picturesque bridge — the water rushing through 
 its arch and forming a cascade ; and above is a 
 rocky hill, surmounted by a castle and other build- 
 ings. On the right, the scene is terminated by an 
 extensive flat country, with, beyond it, an arm of 
 the sea and distant mountains. The composition 
 of this landscape, thus rich in variety of object, is 
 particularly beautiful ; and it may be conjectured, 
 from the colouring and effect, that the artist in- 
 tended to describe the hour of eight or nine in the 
 
ANGERSTEIN COLLECTION. 
 
 39 
 
 morning, at an advanced period of the summer. 
 The picture bears the name of Claudio, with the 
 date, 1045. Width , 4 — 5 ; height , 3 — 4. 
 
40 
 
 NATIONAL GALLERY. 
 
 No. XVIII. (25.) 
 
 CLAUDIO LORENESE. 
 
 A Seaport View, with Figures representing 
 the Embarkation of St. Ursula, and the 
 Eleven Thousand Virgins. 
 
 The Picture now before us may justly be termed 
 one of the most studied and highly-wrought pro- 
 ductions of the master ; to which may be added, 
 that it is in a perfect state of preservation. The 
 subject necessarily required the introduction of nu- 
 merous figures, and it is well known that in these 
 Claudio was not always successful ; but in this in- 
 stance, they are so unaffectedly varied in their atti- 
 tudes and employments, and withal so perfectly in 
 harmony with the surrounding scenery, as to aug- 
 ment, rather than diminish the beauty of the piece. 
 
 On the left of the spectator, the virgins of St. 
 Ursula, gracefully distributed in groups, are seen 
 issuing from the portal of a magnificent temple, 
 and descending its steps ; while the Saint herself, 
 attended by five others of her train, stands over- 
 seeing their embarkation. Two are already seated 
 in a boat, and at a distance, on the right, others 
 
ANGERSTEIN COLLECTION. 
 
 41 
 
 are represented getting out of another boat, and 
 ascending by a ladder into one of the ships des- 
 tined for their ultimate conveyance. Behind the 
 temple just mentioned is a long row of fabrics, of 
 varied form and dimensions, receding in just per- 
 spective, and forming the boundary of the port on 
 this, the left side ; and beyond is seen a tall watch- 
 tower. The skill displayed by Claudio in this part 
 of the picture is truly surprising ; the exact degree 
 of distance of each of these buildings being deter- 
 mined, by means of a nice distinction in the local 
 tint, (aided by the correctness of the lineal per- 
 spective,) with a perfectness of imitation which no 
 other painter of landscape ever yet equalled, and 
 which, it may safely be averred, no one will ever 
 excel. In the centre of the picture, and towards 
 the right, are seen three of the ships prepared for 
 the transport of the damsels ; and part of a massy 
 wall, bounding the port on that side, whereon nu- 
 merous persons appear assembled to witness their 
 departure. The extremity of the picture on this 
 side is enriched by a group of lofty trees, and at 
 a distance appears a large castellated building. 
 
 In this performance Claudio has not defined the 
 orb of the Sun ; but its exact situation is rendered 
 apparent, as well by the excess of brightness in one 
 
42 
 
 NATIONAL GALLERY. 
 
 part of the sky, as by the projecting shadows 
 thrown by the different vessels upon the gently- 
 agitated water ; especially the shadow, broad, and 
 reaching to the foreground, which is occasioned by 
 the large ship in the centre, and which is intro- 
 duced in this place with the greatest possible ad- 
 vantage to the general effect of the piece. We 
 shall only further remark of this beautiful picture, 
 that the effect of the breeze upon the water and 
 upon the trees, and the freshness of the morning 
 atmosphere, are expressed in it with a closeness of 
 imitation bordering upon illusion. On the left, in 
 the foreground, is the name of the artist, with the 
 date 1646. 
 
 This picture formerly made part of the collection 
 of the Barberini Palace at Rome, and was after- 
 wards the property of the late William Lock, Esq., 
 of Norbury Park, a gentleman of distinguished 
 taste and judgment in whatever relates to the fine 
 arts. Width, 4 — 11 ; height, 3 — 8. 
 
ANGERSTEIN COLLECTION. 
 
 43 
 
 No. XIX. (46.) 
 
 CLAUDIO LORENESE. 
 
 A Seaport View, with Figures rnpresenting 
 the Queen of Sheba embarking for the pur- 
 pose of visiting Solomon. 
 
 The composition of this admirable picture is, in 
 the general arrangement, not very dissimilar from 
 that of St. Ursula, viewed in a reverse direction by 
 means of a mirror. The canvas, however, is lar- 
 ger, and as, at the same time, the figures and other 
 objects represented in it are fewer in number, the 
 result is, that a greater degree of simplicity and 
 grandeur of effect pervades the whole. Here, 
 moreover, the matchless pencil of Claudio has de- 
 picted the glorious orb of day, itself, rising in ma- 
 jesty, and dispelling with its life-giving rays, the 
 vapours of the morning. 
 
 On the right of the spectator, the Queen is seen 
 descending the steps of her palace, attended by her 
 train, and about to get into the boat which is 
 ready to receive her. The disposition of the ob- 
 jects on this side of the piece is exceedingly beauti- 
 ful. A large round tower, especially, which is 
 
44 
 
 NATIONAL GALLERY. 
 
 built in the sea, but connected with the edifices 
 upon the shore by a bridge of a single arch, is 
 most happily introduced : it is all in shade, and 
 casting a delicate tint of shadow upon the steps and 
 lower parts of the palace, helps to confine the light 
 to the central parts of the picture, and thus to ren- 
 der its focus the more resplendent ; whilst through 
 the arch of the bridge, and above it, another large 
 building is ingeniously represented illumined. The 
 left edge of the picture is bounded by part of a tri- 
 umphal arch, which rises from the foreground to 
 the top of the canvas ; behind it are seen part of 
 two large vessels ; and beyond are other vessels 
 lying at anchor near the wall of a pier, which juts 
 out far into the sea. In this performance Claudio 
 has represented the sea under the influence of a 
 swell, as if the previous day had been stormy ; 
 and, in consequence, the reflexion of the sun upon 
 the waves is interrupted at intervals. It is almost 
 needless to add, that the painter has imitated this 
 effect of nature to perfection. 
 
 This picture bears the name of Claudio, and the 
 date, 1648, and was painted for the Duke de Bouil- 
 lon, who is said to have been one of the artist’s 
 earliest patrons. Width, 6—7 ; height, 4—11. 
 
ANGERSTEIN COLLECTfQN. 
 
 45 
 
 No. XX. (42.) 
 
 CLAUDIO LORENESE. 
 
 The Marriage Festival of Isaac and Rebecca. 
 
 This highly studied and beautiful pastoral land- 
 scape, appears to be a repetition of a celebrated 
 picture by Claudio, in the collection of the Prince 
 Doria at Rome, well known under the title of ‘ la 
 Molina,’ or ‘ the Mill.’ The amenity of the sce- 
 nery is finely in unison with the subject represented 
 by the figures ; unless, indeed, it should be ob- 
 jected by the fastidious critic that the buildings, 
 and, perhaps, the landscape generally, are those of 
 Arcadia, rather than of Patriarchal times. It may 
 be observed of this performance, that, although it 
 contains a very great variety of objects, still its 
 leading characteristic, both in composition and ef- 
 fect, is simplicity : for, at a first view, the broad 
 expanse of the river, the mill, the dancing figures, 
 and the two large groups of trees, strike the eye of 
 the spectator as constituting, as it were, the whole 
 picture ; and, it is not until afterwards that he, by 
 degrees, discovers the waterfalls and the city in the 
 distance, and the other agreeable objects with which 
 
46 
 
 NATIONAL GALLERY. 
 
 the artist has throughout so judiciously enriched 
 the less prominent parts of his work. 
 
 On the stump of a tree, in the centre of the fore- 
 ground, is inscribed : “ Mariage d’Isac avec Re- 
 beca and, upon a stone on the right, we read : 
 “ Claudio Gel. inv. Rome, 1648.” This picture 
 was painted, like its companion, the last described, 
 for the Duke de Bouillon. Width, 6 — 7 ; height, 
 4 — 11 . 
 
ANGERSTEIN COLLECTION. 
 
 47 
 
 No. XXI. (41.) 
 
 PETER PAUL RUBENS. 
 
 Born, 1577. Died, 1640. 
 
 The Holy Family, with St. George, and Two 
 Female Saints. 
 
 The introduction of Saints, or other person- 
 ages, of comparatively recent times, in the repre- 
 sentations of scriptural subjects, has been so ge- 
 nerally the practice of the painters of Roman Ca- 
 tholic countries, since the restoration of the art, 
 that an anachronism of this kind has long ceased to 
 be considered as impairing the value of a fine pic- 
 ture : and, indeed, it may almost be questioned, if 
 such apparent anomalies in devotional pieces ought, 
 strictly speaking, to be considered as anachronisms 
 at all ; since, in the visions of St. Catherine, St. 
 Francis, and others, the Saviour of the world is 
 often described as reassuming, as it were, for the 
 sake of their edification or comfort, his state of 
 helpless infancy $ or, as again submitting himself to 
 the pains of the cross. 
 
 This picture is designed and painted in a chaste 
 
48 
 
 NATIONAL GALLERY. 
 
 manner ; which, joined to the agreeable character 
 of the subject, and the fine landscape-background, 
 render it very captivating. It is said to have been 
 one of those which remained in the possession of 
 the widow of Rubens, after his death. That it 
 was one of his favourite compositions is rendered 
 evident from the circumstance of his having caused 
 the principal part of it to be finely engraved upon 
 a large scale in wood, by Christopher Jegher, after 
 a. drawing prepared by him for the purpose. Width , 
 5 — 4 ; height , 4 — 1. 
 
ANGERSTEIN COLLECTION. 
 
 49 
 
 No. XXII. (44.) 
 
 RUBENS. 
 
 The Rape of the Sabines. 
 
 | The subject here represented was well calculated 
 to give scope to the exuberance of the painter’s 
 genius ; and there can be no doubt that he felt a 
 particular gratification in painting it. The com- 
 position, as a whole, is well conceived ; though, 
 perhaps, the large group on the left, in the second 
 plane of the picture, would have been productive 
 of greater effect had it been less complicated in its 
 arrangement ; or, had the numerous figures com- 
 posing it, been in some places better distinguished 
 from each other by the colours of the draperies, or 
 by more decided masses of shadow. The horse- 
 men and trumpeters in the distance are inimitably 
 spirited ; and the vigour and depth of tone which 
 the artist has given to the figures in the foreground 
 — especially to that of the matron dressed in black, 
 in the centre — separate those figures from the more 
 distant objects in the picture with great truth of 
 perspective. 
 
 This picture, when Sir Joshua Reynolds visited 
 
 D 
 
50 
 
 NATIONAL GALLERY. 
 
 Flanders, in 1781, was in the collection of a Ma- 
 dame Boschaert, of Antwerp ; even then, it was 
 valued, he tells us, at upwards of two thousand 
 guineas. It may suffice to add, that it is in the 
 most perfect state of preservation ; and that, being 
 entirely executed by the hand of Rubens himself, 
 it furnishes abundant evidence of the lightness and 
 freedom of his pencil, and of the transparency, har- 
 mony, and gorgeous richness of his colouring. 
 Width, 7 — 9 ; height, 5 — 6. 
 
ANGERSTEIN COLLECTION. 
 
 51 
 
 No. XXIII. (50.) 
 
 ANTHONY VANDYCK. 
 
 Born, 1599 . Died, 1641 . 
 
 The Emperor Theodosius stopped, after the 
 
 Massacre of Thessalonica, in the Porch of 
 
 THE GREAT CHURCH OF MlLAN, BY THE ArCH- 
 
 bishop Ambrose ; and refused admittance, 
 
 SAVE ON THE CONDITION OF SUBMITTING TO PER- 
 FORM Public Penance for his Crime. 
 
 This admired performance is a copy, made by 
 Vandyck, with variations, after a picture by his 
 master, Rubens, now in the Imperial collection at 
 Vienna ; and, perhaps, it is the only copy in exist- 
 ence which may with truth be termed fully equal, 
 if not superior, to the original. In some places he 
 has improved the drawing of the limbs of the 
 figures. But the most important alterations will 
 be found in the characters and expressions of the 
 heads, (among which, with the affection of a grate- 
 ful pupil, Vandyck has carefully painted that of 
 Rubens himself), and in the colouring ; which is 
 exceedingly rich and powerful, without partaking 
 d 2 
 
52 
 
 NATIONAL GALLERY. 
 
 of that ill-suited, though splendid gaiety of appear- 
 ance, which the insatiable predilection of Rubens 
 for beautiful combinations of colour, occasioned him 
 so constantly to seek after in his historical pictures ; 
 too often without any consideration as to its fitness 
 or inapplicability to the character of the subject 
 which he was employed to represent. 
 
 This fine specimen of the pencil of Vandyck, 
 was formerly in the collection of Lord Scarborough. 
 Height, 4 — 10; width, 3 — 9. 
 
ANGERSTEIN COLLECTION. 
 
 53 
 
 No. XXIV. (13.) 
 
 VANDYCK. 
 
 The Portrait of Govartius. 
 
 It is related of Vandyck, that in the latter years 
 of his short career, he was often reproached by his 
 friends, that the pictures he then executed were 
 greatly inferior in merit to those which he had pro- 
 duced in his younger days. “ I know it well,” he 
 would answer, “ and am no wise surprised at it : for 
 formerly I laboured for fame, and now I work only 
 for money.” The picture before us is painted in 
 Vandyck’s most studied and finished manner ; and, 
 though it presents only a head, is well deserving 
 the high reputation it has long held among persons 
 conversant with the difficulties of the art ; the face 
 being admirably drawn, and full of character ; the 
 eyes having all the liquid lustre of reality; and 
 the carnations possessing the softness, the trans- 
 parency, and the animated glow of nature itself. 
 On wood. Height, 2 — 7 ; width, 2 — 2. 
 
54 
 
 NATIONAL GALLERY. 
 
 No. XXV. (11.) 
 
 VANDYCK. 
 
 The Portrait of Rubens. — ( A half-length.) 
 
 This Portrait is painted in a very broad and grand 
 manner ; and was bought by its late proprietor at 
 the Sale of Sir Joshua Reynolds, who, it appears, 
 had often expatiated upon the merits of it to his 
 friend Mr. Burke. At the conclusion of the sale, 
 that gentleman congratulated the purchaser upon 
 possessing what, he said, Sir Joshua termed “ his 
 favourite picture.” Height and width, 3 — 9. 
 
 
ANGERSTEIN COLLECTION. 
 
 55 
 
 No. XXVI. (35.) 
 
 REMBRANDT. 
 
 Born, 1606. Died, 1677. 
 
 The Woman taken in Adultery. 
 
 It has been observed of Rembrandt that, in the 
 pictures executed by him in the early part of his 
 life, he often used the most exquisite finishing ; 
 and this without any sacrifice of the spirit and sur- 
 prising force of effect which were ever the peculiar 
 characteristics of his works. This is especially the 
 case with the admirable picture how before us, 
 which he is believed to have painted when young, 
 for his kind friend and patron, the Burgomaster 
 Six ; and whereon, it is evident, he exerted his 
 even then unrivalled talents to the utmost. 
 
 Rembrandt, it is sufficiently well known, had 
 little regard for that part of the art which we term 
 design or drawing. The proportions and forms of 
 his figures are inelegant ; — he never sacrificed to 
 the Graces. But in all other respects, as the late 
 Mr. Fuseli remarks, he is “ a genius of the first 
 order.” He was accustomed to say, “ that Nature 
 alone was capable of affording him instruction 
 
56 
 
 NATIONAL GALLERY. 
 
 and Nature, as if pleased by the compliment, smiled 
 upon him, and endowed him with many of her 
 choicest gifts in a degree never, perhaps, possessed 
 by any other painter. In expression, especially, 
 he is never deficient ; and, whatever the subject- 
 matter of his canvas, he seldom fails to interest 
 or captivate by some novel combination or effect ; 
 some transient, though, perhaps, often-recurring 
 beauty in nature, which, but for him, might even 
 until now have passed disregarded. 
 
 The figure of Christ in the principal group of 
 this picture appears too tall St. Peter is still the 
 poor fisherman ; — the guilty female possesses no 
 beauty by which to bespeak sympathy in her be- 
 half. But the countenance of the Saviour beams 
 with compassion ; the apostle is a man without 
 guile ; and the eyes of the prostrate adulteress 
 stream with tears of contrition. In the variety of 
 character and expression which Rembrandt has 
 given to the other figures of the group, he has 
 evinced a sound judgment. The old man in black, 
 who lifts up the veil of the woman, and is her im- 
 mediate accuser, is strongly expressive of male- 
 volence; and, it may be inferred, is no wise in- 
 disposed to execute upon her the dreadful sentence 
 of the Jewish law : but the Rabbi behind him, and 
 
 
ANGERSTElN COLLECTION. 
 
 57 
 
 others of the company, seem either intent only 
 upon catching Jesus in his words, or moved by 
 curiosity ; or desirous, like conscientious men, 
 (which the event afterwards shewed they really 
 were,) to be rightly instructed how to act upon the 
 occasion : whilst the soldier, accustomed to obey 
 implicitly the orders of others, awaits with calm 
 indifference the ultimate determination respecting 
 her. The chief figures in this group very pro- 
 perly receive the principal light ; especially that of 
 the female, which, alone entirely illumined, appears 
 the focus of the picture. After having sufficiently 
 viewed these, the eye of the spectator roams to 
 other parts of the performance ; and he perceives, 
 in the background, on the right, the high altar 
 rising majestically, its gold and silver ornaments 
 sparkling through the deep gloom of the edifice. 
 By degrees, as if in “ darkness visible,” he des- 
 cries numerous personages upon its steps, occu- 
 pied in acts of devotion. Perhaps in imagination 
 he further attempts to explore the recesses of the 
 venerable structure, forgetful of the painted illu- 
 sion ! ! Such were the powers of Rembrandt’s ge- 
 nius ; such is the resistless magic of his clair-ob- 
 scure. 
 
 The impression which was produced by this 
 d 3 
 
58 
 
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 picture, when, some years ago, it was brought to 
 England, and first exhibited in Mr. Christie’s rooms 
 in Pall Mall, will not easily be forgotten by those 
 artists, and other lovers of painting, who chanced 
 to be in London at the time. On the day appointed 
 for the sale, however, a sufficiently large sum was 
 not offered for it ; and on the following morning 
 its late possessor, with laudable promptitude, pur- 
 chased it by private contract. On wood. Height, 
 2 — 9; width, 2—3. 
 
ANGERSTEIN COLLECTION. 59 
 
 No. XXVII. (30.) 
 
 REMBRANDT. 
 
 The Adoration of the Shepherds. 
 
 Few subjects could be better calculated than the 
 present to display the powers of Rembrandt. Like 
 Coreggio, in the celebrated notte, he has made the 
 chief light of his picture proceed from the divine 
 infant ; whose figure, imperfectly defined in re- 
 spect of outline, appears absorbed in its own bright- 
 ness. The brilliancy of this light is further aug- 
 mented, by having immediately opposed to it, the 
 powerfully- shaded figure of the shepherd kneeling 
 in the foreground : so that the eye of the spectator 
 is at once irresistibly attracted to this the focus of 
 the picture. On the left the Madonna, seated in 
 an inclining posture upon a bench, watches over 
 her charge; behind her stands Joseph; and be- 
 yond, near the centre of the piece, are seen the 
 heads of two women. Here, also, may be per- 
 ceived the figure of a little child who, resting 
 with both arms upon a wooden partition, gazes 
 with an expression of angelic delight upon the re- 
 splendent babe ; as if the painter had called to mind 
 
60 
 
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 the declaration, that “ of such is the kingdom of 
 heaven and intended to denote that the purity 
 and perfect innocency of the infantine spectator 
 qualified it, better than all others present, to re- 
 cognize in the newly-born child its beneficent Lord 
 and Saviour. All these figures are strongly illu- 
 mined by the light which proceeds from the in- 
 fant ; as is also that of a shepherd, who is repre- 
 sented kneeling behind the one already mentioned. 
 A little further to the right is seen a third shepherd, 
 who appears to have just entered the apartment, 
 and advances with cautious steps to join his devout 
 companions ; bearing in his left hand a lantern, the 
 uncertain light of which is thrown upon the ground, 
 and upon a boy who is introduced, holding a dog, 
 near the right extremity of the piece. The figures 
 of another peasant and two women, one of whom 
 has a child, are seen at a little distance, behind the 
 man with the lantern ; and, with the interior of the 
 stable, complete the picture ; which is painted in 
 Rembrandt’s boldest manner, and, for justness of 
 expression, truth and splendour of effect, merits 
 the highest praise. Height, 2 — 1 ; width , 1 — 10. 
 
ANGERSTEIN COLLECTION. 
 
 61 
 
 No. XXVIII. (43.) 
 
 ALBERT CUYP. 
 
 Bom, 1606. Died, . 
 
 A Landscape with Cattle and Figures. 
 
 The rise which has taken place in the estimation of 
 this artist’s pictures within the last fifty years, — 
 during which period they have, perhaps, more than 
 quadrupled in value, — may be reckoned among the 
 best proofs of the advancement of the public taste 
 in this country ; at least, so far as respects the 
 Dutch school of painting. Despising the elaborate 
 finishing which constitutes the chief merit of- so 
 many painters of that community, it was the aim 
 of Cuyp to represent the beauties of nature by a 
 process wherein the powers of his intellect, rather 
 than the labour of his hand, should be apparent * 
 and the student may learn from his works, which 
 consist chiefly of cattle-pieces, that, even ih the 
 humbler departments of painting, grandeur of style, 
 in drawing, and breadth of manner, in execution, 
 may be employed with advantage. His choice of 
 scenery is always agreeable ; and in respect of co- 
 
02 
 
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 louring, his finest landscapes are inferior, perhaps, 
 only to those of Claudio ; the varied effects pro- 
 duced. by the cheering influence of the solar rays, 
 upon the misty atmosphere of the country he in- 
 habited, being often imitated in his pictures, with 
 the same truth of resemblance which we admire in 
 the Italian artist’s representations of the appear- 
 ances of nature in his own more favoured clime. 
 He was well skilled in composition, and in the prin- 
 ciples of clair-obscure ; he often introduces in his 
 background a large piece of water, which, illumined 
 by reflexion of the warm sky, serves, in the hap- 
 piest manner, to unite the upper with the lower 
 parts of his picture ; and he seldom fails so to 
 group his sheep and cows as that they should 
 naturally receive and conduct the masses of light 
 in a way beneficial to the general economy of his 
 piece. 
 
 The above observations, although made with re- 
 ference to the productions of this artist, generally, 
 will be found sufficiently applicable to the picture 
 now before us ; which may be justly termed a fine 
 specimen of his talents, and was formerly in the 
 collection of Sir Lawrence Dundas, grandfather of 
 the present Lord Dundas. Width , 6 — 6 ; height , 
 4 — 4 . 
 
ANGERSTEIN COLLECTION. 
 
 63 
 
 No. XXIX. (38.) 
 
 DON DIEGO VELASQUEZ. 
 
 Born, 1594. Died, 1660. 
 
 Two Portraits, said to be those of Ferdi- 
 nand of Medicis, Duke of Tuscany, and his 
 Consort. 
 
 This Picture is reported to have been presented 
 by the Court of Spain to Louis XIV., and formerly 
 hung in the Palace of Versailles ;* whence it was 
 removed during the tyranny of Robespierre. It is 
 very boldly painted, and is executed with great 
 breadth of manner, though in a colder tone of 
 colouring than that which we commonly observe 
 in the works of Velasquez. That it is an original 
 picture we think there is no doubt ; but it does 
 not appear to be equally certain who are the per- 
 sonages represented in it, nor who was the artist. 
 Width , 4 — 8 ; height, 4 — 2 . 
 
 * So according to a MS. memorandum of the late Mr. Anger- 
 stein, who supposed the picture to represent the portraits of 
 Philip IV. of Spain and his Queen Marianna of Austria. 
 
64 
 
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 No. XXX. (8.) 
 
 WILLIAM HOGARTH. 
 
 Bom, 1698. Died, 1764. 
 
 His own Portrait. 
 
 The head, admirably painted and full of character, 
 is on a feigned canvas of an oval form, which is 
 so done as to imitate a picture before it is placed 
 in its frame ; the real shape of the performance 
 being a square. The oval is supported upon the 
 volumes of Hogarth’s favourite authors, Shake- 
 spear, Swift, and Milton ; on the left, upon his 
 palette, is drawn the line of beauty, and on the 
 right is his favourite dog. 
 
 This interesting portrait was purchased by its 
 late proprietor, at the sale of the artist’s widow. 
 Height, 2 — 11; width, 2 — 3. 
 
ANGERSTEIN collection. 
 
 65 
 
 Nos. XXXI. — XXXVI. (1—6.) 
 
 HOGARTH. 
 
 Marriage a la Mode. 
 
 (A Series of Six Pictures. Width, 2 — 11 ; 
 height, 2 — 3.) 
 
 The Pictures of this series, so far as respects their 
 design and composition, are so well known by 
 prints, and so much has been said by others upon 
 the different strokes of humour or of satire to be 
 found in each, that it would appear a work of su- 
 pererogation, were we now to enter upon details of 
 this kind ; and we shall therefore offer only a few 
 brief remarks upon them, chiefly in elucidation of 
 the merits of Hogarth as a painter. 
 
 Every one knows that invention is the first great 
 essential of an historic or dramatic painter. For 
 although the subject of a picture is commonly taken 
 by the artist from the Poet or Historian, still, the 
 means by which he is to render himself intelligible, 
 are entirely different from those to which they had 
 recourse ; it being required of him to produce the 
 same impression upon the mind of the spectator by 
 
66 
 
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 a painted imitation of visible objects, (or to speak 
 more properly, perhaps, of the visible parts of 
 things,) as it is their province to produce upon the 
 mind of the reader by narrative and description. 
 In order to effect this, it is not enough for him to 
 represent the different personages described by the 
 writer, nor even the different passions whereby they 
 are affected : it is necessary (and in this consists the 
 difficulty of invention in painting,) that the chief 
 figures and groups in his picture should bear such 
 an evident relation to each other as may, to an at- 
 tentive observer of the performance, serve infalli- 
 bly to explain the story represented. We say to 
 an attentive observer ; because it is possible that a 
 work of painting may be sometimes unjustly taxed 
 with deficiency in this respect, in consequence of 
 the want of proper attention in him who views it. 
 Sometimes the action or employment of a figure or 
 group may distinctly refer to something that has 
 previously taken place, and so, in part, explain 
 the cause of the main action of the piece ; that of 
 another to something future, and so declare the 
 consequence ; and thus, where the subject admits 
 of it, a picture may be so contrived as to produce 
 an effect upon the mind nearly approaching to that 
 occasioned by narration ; as has often been ob- 
 
ANGERSTEIN COLLECTION. 
 
 67 
 
 served of the Cartoon of the Sacrifice at Lystra, 
 and of that of the death of Ananias, by Raffaelle. 
 
 The powers of the art in this way are admirably 
 illustrated by the first picture of the Series now 
 before us ; which, independently of those that fol- 
 low it, tells its story. We here see various worth- 
 less persons met together, and about to act in an 
 important affair, from bad motives. The proud 
 and gouty nobleman has deeply involved his estate 
 by mortgage, for money advanced to him by the 
 sordid and heartless citizen ; and he receives back 
 the deed from the hands of the latter person’s book- 
 keeper, as the stipulated price of his consent to the 
 marriage of the young lord, his son, with the 
 money-lender’s daughter. It has been considered 
 unnecessary to consult the inclinations of either of 
 the young persons. The girl shews by her coun- 
 tenance that, at the best, a sullen consent has been 
 wrung from her, by the promise of fine clothes, 
 a title; and an equipage ; and the young man 
 evinces his utter contempt for his bride, and his 
 admiration of himself, by turning his head from 
 her, to view his own features in a mirror. It would 
 be too much to insist, that the catastrophe, which 
 makes the subject of the latter pictures of the se- 
 ries, may be inferred from the figure of the young 
 lawyer, who is seen whispering in the ear of the 
 
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 bride. The importance of the introduction of his 
 figure in this place appears afterwards. B ut the 
 picture, singly considered, tells its story, and is 
 complete without it. We perceive that the mar- 
 riage about to be solemnized, is entered imho from 
 unworthy motives, and without affection on either 
 side ; and we foresee clearly that it will e ntail mi- 
 sery upon the parties. 
 
 The total absence of affection between the man 
 and his wife, is further made apparent in the second 
 picture ; where the figure of the young libertine, 
 who on his return home from his debaucheries, 
 after day-break, has thrown himself sullenly into a 
 chair, is so admirable for its attitude, expression, 
 drawing, and colouring, as alone utterly to refute 
 the assertion of Lord Orford, that Hogarth, how- 
 ever great as an author or inventor, possessed, as 
 a painter, “ but slender merit.” 
 
 In the third picture we have further evidence 
 of the profligacy of the husband. In the fourth 
 we are introduced into his lady’s dressing-room ; 
 where, surrounded by musicians and flatterers, 
 she sits at her toilette, listening with complacency 
 to the pretty things of Silverttongue, the lawyer 
 before mentioned, who presents her with a ticket 
 for the next masquerade. 
 
 The appointment to meet at the masquer ade has 
 
ANGERSTEIN COLLECTION. 
 
 69 
 
 been kept, and from thence the guilty couple have 
 repaired to some wretched place of intrigue ; whi- 
 ther the husband, learning the circumstance, has 
 followed them, accompanied by watchmen and 
 constables, in order to break into their apartment, 
 and to prevent their escape. In this, the fifth pic- 
 ture, which is alike admirable for expression and 
 effect, the figures and other objects are represented 
 dimly illumined by the light of a wood fire on the 
 left of the piece. The Earl, who has inconsi- 
 derately rushed into the room first, is seen mortally 
 wounded, supporting himself upon the back of a 
 chair, Inis unhappy wife, on her knees before him, 
 imploring his last forgiveness : the peace-officers, 
 too late, appear entering the door of the apartment ; 
 the murderer is attempting to escape by the win- 
 dow. 
 
 The sixth and last picture of the series closes 
 the sad history. The seducer and murderer has 
 been taken, tried, condemned, and executed ; and 
 the countess, who in her disgrace had sought 
 the refuge of her father’s house, swallows poison. 
 The soirdidness and reckless brutality of the last 
 mentioned personage are here finely described, 
 hoi, whilst the eyes of his unhappy daughter close 
 in death, he carefully removes the rings from her 
 fingers. 
 
70 
 
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 Hogarth is the greatest of all moral painters. 
 His pictures are dramas ; and they have this advan- 
 tage over those of most dramatic authors, espe- 
 cially the writers of comedy ; that, whilst in their 
 plays we too frequently find much that is calculated 
 to corrupt the mind, it is the constant tendency of 
 his pictures to improve it. 
 
 Of his technical merits as a painter, it may be 
 proper further to say a few words. It was ever 
 the aim of Hogarth to work upon the mind of the 
 spectator by a true representation of characters, 
 actions, incidents, and expressions, such as he saw, 
 and as we see, in nature every day; and so far 
 his pictures are adapted to all ages. But, unfor- 
 tunately, in furtherance of his laudable purposes 
 of reform, and that his moral lessons might with 
 greater certitude come home to the bosoms of the 
 generation in which he lived, he dressed his figures 
 in the fashion of the time ; and in consequence 
 they have now too often an air of uncouthness, 
 which is prejudicial to the general beauty of his 
 vrorks. This, however, is the only thing in them 
 which might be wished otherwise ; for his drawing 
 is correct; his style of execution, in his finer works, 
 is of the most finished description; and his co- 
 louring and clair-obscure are true to nature : — and 
 it may safely be predicted that,, when the remem- 
 
ANGERSTEIN COLLECTION. 
 
 71 
 
 brance of bag-wigs and hoop-petticoats shall long 
 have passed away, the performances of Hogarth 
 will still incur no danger of being classed with the 
 volumes of authors of three hundred years ago, 
 whose writings can no longer be read with plea- 
 sure, because of the obsoleteness of the language. 
 
 The series above described appears, on the 
 whole, to have strong claims to be considered as 
 the artist’s most perfect work ; and is said to have 
 been paimted by him in 1744. 
 
T£ NATIONAL GALLERY. 
 
 No. XXXVII. (7.) 
 
 SIR JOSHUA REYNOLDS. 
 
 Nat. 1723 . 06 . 1792 . 
 
 Lord Heathfield with the Keys of the For- 
 tress of Gibraltar. — (Half-length.) 
 
 This is in all respects one of the finest and most 
 strikingly characteristic portraits Sir Joshua ever 
 painted. The head is full of animation ; the figure 
 finely drawn ; especially the left hand, which is 
 foreshortened with consummate skill ; and the 
 whole is painted with the greatest possible breadth 
 of manner, and vigour of colouring. The back- 
 ground is sublimely conceived, and serves to throw 
 out the figure with surprising force of effect. Vo- 
 lumes of smoke obscure the atmosphere, and we 
 almost hear the roar of artillery : a cannon, point- 
 ed perpendicularly downwards, shews the immense 
 elevation of the spot ; whilst the intrepid veteran, 
 — firmly grasping in his hand the keys of the for- 
 tress, — stands like the Rock of which he was the 
 defender. Height, 4 — 8 ; width, 3 — 8. 
 
ANGERSTEIN COLLECTION. 
 
 73 
 
 No. XXXVIII. (9.) 
 
 DAVID WILKIE, ESQ. R. A. 
 
 A Village Merry-making, — with a Countryman, 
 evidently a kind-hearted fellow, — led home from 
 the public-house by his wife and children ; least at 
 a later hour of the evening it should become ne- 
 cessary to carry him. 
 
 In the picture before us, Mr. Wilkie appears to 
 have kept in view the vivid, but harmonious co- 
 louring of Watteau and Ostade. It is full of beau- 
 ties ; although from the nature of the subject, and 
 the extensive range of the composition, the picture 
 admitted not of the same intenseness of expression 
 and feeling which we admire in some of his other 
 works. It bears the name of the artist, with the 
 date 1811. 
 
 The esteem in which the works of Mr. Wilkie 
 are held, is justly their due. They possess this 
 great advantage over the highly finished perform- 
 ances of many of the painters of the Dutch school; 
 that, whilst the latter frequently present us with 
 nothing further than a beautifully executed imita- 
 
74 
 
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 tion of that which in itself has neither beauty nor 
 interest, his pictures, in consequence of the judg- 
 ment exercised by him in the choice of their sub- 
 jects, are the vehicles of sentiment and expression. 
 Width, 4—2 ; height, 3—1. 
 
 J. M'Creery, Tooks-court, 
 Chancery-lane, London.