•llHivi.' 
 
/A' 
 
 
 I k'- 
 
 SELECT ENGRAVINGS 
 
 ^ Collettton of ^ittures. 
 
 MOST EMINENT ITALIAN, FLEMISH, AND DUTCH MASTERS, 
 
 EXHIBITING 
 
 AT 
 
 THE SALOON OF ARTS, 
 
 OLD BOND street: 
 
 WITH 
 
 A SHORT BIOGRAPHICAL NOTICE OF THE PAINTERS. 
 
 LONDON: 
 
 PRINTED FOR THE PROPRIETOR, BY J. MOYES, GREVILLE STREET, HATTON GARDEN. 
 
 M.DCCC. XVIII. 
 
 N 
 
 - & 4 & 
 o4(p 
 

 HOKiVAHi)/::! irKAiaa 
 
 'I ^ ’U-Wi 
 
 .cTfinjiC^ lo uoimno^ K! 
 
 *, A L'' ; 
 
 -*!»<>. ry ‘-'••<^'>1 ■ 
 
 1 ., _ . .M :.L.^ 
 
 
 IciAif. liLii Jci (.t r.y, fH^i (<^f, i''f i.i»iAM/\Tt 'n>tr>fyi- 
 
 *•-) 
 
 os^iTiaiHxa 
 
 
 ^T;IA io AOOvlAH :iHT 
 
 r rar^ifTri a/tou <lio 
 
 « z ' w *T- 
 
 tliHt *■* 
 
 ' . »•>«:., -• 
 
 .( 7 MA'>’.’.TK'i. IlH’t TO ' .1 k’M U'l i lioolll 'fTOlV/!, K* ’ 
 
 ' r • .* - * • ■* * • » T » . f*i 
 
 
 / “ ,ii •■ 
 
 I % ■ • >• •■f I 
 
 .•’/.OU/JO.l 
 
 .x'i ■>''■' n Mi !i.!,iwx,ii)' ,^tijm .i va .wT^rtnoiH «itir auxijij^^ 
 
 . <• 
 
PREFACE. 
 
 The Engraved Outlines and Etchings contained in the following 
 Work, are taken from a Collection of Pictures, which has been 
 exhibited for some time past to the Public, at the Saloon of 
 Arts. The whole of that Collection was formerly in the pos- 
 session of an Italian Amateur of considerable taste, and Avas 
 formed by him from the various Galleries on the Continent, 
 which Avere broken up at the time of the Revolution in France, 
 and by selections from private cabinets. The present possessor, 
 wishing to allbrd an opportunity to all lovers of the Fine Arts, 
 and particularly of Painting, to examine, with the least possible 
 inconvenience to themselves, the fine productions of the Masters 
 most celebrated for their skill in that department, has opened a 
 spacious Room for the purpose, at considerable expense, Avhere 
 every facility is afforded for the Amateur to contemplate the 
 sublime and interesting Avorks of the Schools of Italy, Flanders, 
 and Holland. But, as many might aausIi to have by them, in 
 their study or library, memoranda of these Avorks, Avhich mio-ht 
 he referred to Avhenever the composition and style of a particular 
 Master Avere under consideration, the proprietor has been induced, 
 after the example of many others Avho have possessed large 
 collections of pictures, to hate a considerable number engraAmd 
 in outline for that purpose ; and, to render the Avork still more 
 useful, has annexed a short account of the Master, of Avhose 
 
IV 
 
 PREFACE. 
 
 style an Example is presented. It is presumed that a condensed 
 notice of the Artist’s birth, the School in which he studied, and 
 Ids general manner, will he found convenient ; as it will at once 
 aft’ord that information which must otherwise he looked for in 
 a variety of volumes, not always readily to he obtained. The 
 several Masters are classified in some measure accordinsr to 
 chronological priority, or the general arrangement of their 
 Schools ; the Lombard taking the lead both in respect to time 
 and merit ; and the rest of the Italian Schools having precedence 
 of those of Germany and Holland. The proprietor’s view in 
 putting forth the work, is more with a wish to afford such as 
 may he attached to the Arts an easy mode of gratifying their 
 inclinations, and of preserving memoranda of the Collection of 
 Pictures that he has offered to their notice, than to reap any 
 pecuniary profit from the publication. This mode of preserving 
 a remembrance of a large Collection of Pictures, though common 
 on the Continent, has not been before adopted in England ; it 
 would he for the advantage of Art, if the possessors of such as 
 are justly distinguished for their originality, beauty, and value, 
 would, with the same spirit of munificence they have shown in 
 collecting, adopt the mode, and render it familiar as it has been 
 in other parts of Europe. 
 
'/7/// ' -^y( r'//r^/Y//vr ' 
 
 ^ 
 
 YY /i 't‘>^ ^Y'/e '/Y.tr Yi/f'f/ / 
 
 'V' (f /ff/ 
 
 . H/ aU/:/AYr/,.Y. 
 
 Z/iY/y /fr> y/iyZA ?N/ y //,■ /,r 
 
 *r>- Y'/^// fr fj 
 
 ’ff'/YlY Yy/y’/Y rj 
 
 ytY>Yr Y'.Y'/fYY'f/f YfY/ 
 
 Y' /Y,JY //. 
 
 //fr * ^Y y^yZy^ 
 
 Y>On YYi 
 
 71y//?/y' . YiYY 
 
 •Y'/yY >Yy’/YY'y- 'yy’y/ >y- 
 
 Oy >/y>> YYYYY YYYY‘ Y.i ?YYY 
 
 tZ //yy^yZy/ 'f/YZr/ 
 
 ?nY>i.Y^ .'?i>Y>h 
 
 Y/Y^YY i /YYY Ay'YYYY^Y 
 
 YYYY*.ft 
 
 Y-) ,fYY// YYY y' /?. 
 
 4y Y?Y YYf YYYy/yy'YY 
 
 'Y-yYYY, 
 
 Y>YYYJ 
 
 xH> Y/lYY- 
 
 ^Yexir 
 
 y.y YYYYYYYY‘> Y4 
 
 'YY/YY/YYY > 
 
 >YYY'Y YY7 
 
 yy^h UA/!, Y?i y , 
 
 ^yyyyT^ Z^^ Z^.Y ^Y>Y 
 // YY-'/Yy/ Y>//fY > 
 
 
 ^YY'^Yl YO 
 
 ^Yy/YYYY.Y 
 
 *Y iY'Y'Y YY' 
 
 'YY>Y7 Y/YYY Yj 
 
 yyyyyyy'y'y/y. 
 
 -/IY Y/YyYY YY YY'y//y /y 'YY'/y‘YY 
 
 Oy>/yy'‘y 
 
 
 'vy //K'J, 
 
 ^ y Y' 
 
 
 
SELECT ENGRAVINGS. 
 
 The Works of ihe Italian Painters are generally distinguished, and classed under 
 a particular denomination, according to the style and manner adopted by the 
 Artist in composition and colouring ; each School having a character in some 
 measure peculiar to itself. Some of the celebrated Masters have, however, blended 
 the several excellences ; and to such it is difficult to assign a place which may not 
 be disputed. 
 
 The Schools of Florence, Rome, Venice, and Lombardy, are the most eminent: 
 they are characterized from the manners adopted, and in a great measure 
 established, by the Masters who founded them. 
 
 The Florentine School, which is the mother of all the rest, is distinguished 
 by a certain severity and gigantic grandeur, which gives an elevation and majesty 
 to the compositions of its Artists superior to all others. ^ — The Roman School, 
 formed by the study of the antique, exhibits scientific design, a supreme beauty 
 of form, and justness of expression; but in colour it is inferior to the rest. — 
 The Venetian School is distinguished for its knowledge of colour; — and the 
 School of Lombardy for grace, tasteful design, delicacy of pencilling, and 
 harmonious arrangement in the chiaroscuro. Each of these Schools has produced 
 Masters who are exceptions to its general character; but the above distinctions 
 serve for the purpose of classification. 
 
 THE ITALIAN SCHOOLS. 
 
2 
 
 LEONARDO DA VINCI. 
 
 Born at Vinci in 1452. Died at Bontainehleau in 1519. 
 
 The versatility of this great Master’s talents in a great measure rendered the 
 ajoplication of them abortive. Anxious to excel in every department of art and 
 science, his mind was often diverted from the accomplishment of his undertakings 
 by new pursuits. Had he bent the whole strength of his genius and knowledge 
 to the perfecting of one object, little would have been left for succeeding talents 
 to add in the way of improvement. Indeed, from the concurrent statements of 
 those who beheld his “ Last Supper ” in its pristine glory, and from the testimonies 
 that exist in copies and engravings of that grand performance, he surpassed all 
 his precursors ; and it would be difficult to name the succeeding Artist who has 
 equalled all the combined excellences of that work. If Leonakdo showed the 
 sublimity of his genius in the Last Supper, the Cartoons of Pisa, and other large 
 compositions; he was no less eminent in the more mechanical part of his Art, 
 the representation of Portraits. The world is well acquainted with the intimacy 
 that subsisted between Leonaedo and Francis the First: the Artist would 
 naturally exert himself in giving the portrait of the Wife of his friend and patron ; 
 and to the most superficial observer this will appear to be the elaborate performance 
 of an Artist who was determined to do his best. The Queen holds in her hand 
 a Letter, with the superscription in Spanish, and in the romantic style of that 
 gallant IMonarch. 
 
 The Nativity, a small cabinet picture, is also engraved as the production of 
 Leona EDO. 
 
3 
 
 ANDREA DEL SARTO. 
 
 Born at Florence in 1488. Died in 1530. 
 
 This skilful Artist made the works of Raffaelle and Michael Angelo his 
 models : in his best pictures he unites the fire and energy of the latter, with the 
 grace and suavity of the former. His Repose in Egypt, which has been engraved 
 by Morghen, is considered not inferior to either. His true works are very 
 rare, and have been so often copied by Artists of rank, that it requires a very 
 attentive examination to distinguish the genuine from the spurious. 
 
 The Examples in this Collection place his merit in a favourable point of view: 
 The Visit of the Virgin to Elizabeth is a charming composition, remarkable for 
 the elegance of the female forms, the noble style of the drapery, and the bland 
 and delicate hue of the colouring. The graceful form of the Holy Virgin has 
 seldom been surpassed ; there is an air of sanctified beauty about her that at 
 once creates admiration and respect. The character of Elizabeth is equally well 
 preserved : her veneration for her sacred relative is veiy apparent. The Picture 
 is finished with care, as no doubt the Artist intended it should be a chef d’ceuvre. 
 It was formerly in the Gallery of the Marquess Malaspina, at Milan. 
 
 The Holy Family, possessing the same suavity and beauty of character as 
 the preceding, and most carefully finished : the heads are much in the style of 
 Raffaelle; and it may be considered as a very successful effort, and near 
 approach to the manner of that distinguished Master. 
 
GIOVANNI FRANCESCO PENNI. 
 
 Born at Florence in 148,8 .' — -Died at Naples in 1528. 
 
 Among the disciples of Raffaelle, Penni held a distinguished rank: he was 
 employed by that Master not only in working from his designs in public buildings, 
 but in making copies of his best pictures, for the gratification of those who were 
 anxious to possess them in their cabinets, as well as on the walls of their chapels 
 and palaces. Many, that now pass as originals by Rapfaelee, are the transcripts 
 by Penni and Julio Romano. Of these, this Collection can boast of possessing 
 two: that by Penni, is 
 
 The Marriage of the Virgin and St. Joseph, in which the story is told with 
 all the elegant simplicity that so highly distinguishes Rapfaelle from all other 
 Masters. The disciple has been faithful to his exemplar : the spirit of originality 
 is preserved; the beauty of the contours, the suavity of the characters, the 
 expressions and lively interest of those concerned, such as is found in Ml the 
 well-known productions from the hand of Raffaelle himself. 
 


il jUbU Si 
 
JULIO ROMANO. 
 
 Born at Rome in 1492. Died at Mantua in 1546. 
 
 During the life of Raffaelle, Jutio Romano contented himself with 
 contributing, by the exercise of his talents, to the advancement of the great 
 undertakings in which his instructor was engaged ; and much of his own reputation 
 is derived from the’ excellent counterparts which he produced of his Master's 
 conceptions. The public buildings at Rome bear ample testimony of his splendid 
 abilities; and by many his works are thought to possess more energy than even 
 those by Raffaelle. The principal patrons of Art, during their lives, were 
 content to have copies of the best works of the Master by the disciple; and 
 to this just estimate it is perhaps owing that the world possesses what may be 
 deemed duplicates of Raffaelle's works. Many beside the well-known transcript 
 of the Transfiguration might be named ; but as the business of this work is 
 only with those which the Collection contains, the account must be confined to 
 the beautiful subject well known by the fine Print of Marc Antonio Raimondi, 
 called 
 
 St. Cecilia, or the Five Saints, representing a Concert, in which Cecilia occupies 
 the centre; St. Paul and St. John are on her right; St. Augustine and Mary 
 Magdalen on her left ; on the ground are various musical instruments ; and above, 
 a choir of Angels chanting. This magnificent Picture formed a part of the 
 Collection of Cardinal Gonzaga. 
 
 3 
 
6 
 
 TITIAN. 
 
 Bom at Cadore in 1477. Bied at Venice in 1576. 
 
 As there is but one Example of this illustrious Artist in the Collection, it is 
 unnecessary to dilate on his character or works, every Amateur being, no doubt, 
 fully acquainted with his history. As a Portrait Painter he is acknowledged to 
 stand in the first rank : to the nobleness and simplicity of character which he 
 always gave them, he added, what Sir Joshua Reynolds terms “ a senatorial 
 dignity; a natural and unaffected air, which distinguishes his personages from 
 those of every other Artist ; and to his transcendant excellence in this branch 
 he is indebted for a great portion of his fame. From the number of Portraits 
 ascribed to him, it would seem that the most celebrated persons of his time 
 were anxious to have their likenesses preserved and transmitted to posterity by 
 his inimitable pencil. Hence we have those of distinguished Poets, Philosophers, 
 Historians, Statesmen, Popes, Cardinals, Emperors, Kings, and Princes, with 
 many fair Ladies renowned for their beauty and talents, preserved from the 
 oblivion that has swallowed up the forms and features of their less fortunate 
 contemporaries. The Portrait here engraved is that of the Prince Bentivoglio of 
 Biininiy and it fully supports the character above given. 
 

7 
 
 PAOLO VERONESE. 
 
 Born at Verona in 1533. Died at Venice in 1588. 
 
 This Artist is distinguished from all others by the magnificence of his compositions: 
 nor is it solely in the richness of his embellishments that he rises superior to 
 them, but his persons seem to be alive; they may be almost said to move and 
 breathe. Guido was so enamoured of his performances, that he declared, were 
 it in his power to choose among Painters to be that one who had the greatest 
 excellences, he would be Paul Vekonese, for that he approached nearer to 
 Nature than any other. 
 
 The annexed Engraving is from a grand Gallery Picture, in which the Artist 
 is represented with his Family returning thanks in the Church of our Lady of 
 Health for their preservation from the Plague, of which Titian died in the 
 preceding year. The composition has an air of classic simplicity and grandeur 
 peculiarly striking, nothing extraneous being introduced to disturb the solemnity 
 of the scene. It was formerly in possession of the Canassa Family at Verona, 
 and has been described and engraved by the Academy at Milan. 
 
 The small sketch of the Portrait of Titian is on leather, and has a very 
 spirited air. 
 
8 
 
 GIORGIO BARBARELLI, called GIORGIONE. 
 
 Born at Castel Franco in 1477. Died at Venice in 1511 . 
 
 The study of the works of Leonardo da Vinci laid the foundation of 
 Giorgiones excellence. He had the good sense to execute nothing but after 
 Nature ; hence his works have an air of originality and truth that will always 
 delight. His knowledge of chiaroscuro ' was preeminent; and the striking effects 
 resulting from his just management of it in his pictures, is always felt and 
 acknowledged. As he died at an early age, his works were not numerous, and 
 are now very rare. Giorgione was much employed in portrait painting, to which 
 his powers were peculiarly adapted; and in that department of the art he may 
 be ranked with the greatest Masters. Grace, dignity, expression and truth of 
 character, distinguish his works of that description. The Picture in the Collection 
 from which the Etching is made, is a Portrait of Himself in a Masquerade 
 Dress, and is painted in a very superior style. It was formerly in the Gallery of 
 Cardinal Crevelli. 
 

An uncommon degree of merit attaches to the name of this Artist: he was 
 the first Venetian who broke from the trammels of the Gothic style ; the first 
 also of that school who painted in oil; and he was the early instructor of 
 Giorgione and Titian. His Portraits have great truth of resemblance, and, 
 for the time, are beautifully coloured; the Portrait of the Doge Vendramini, 
 in the annexed Plate, is in high preservation, and may be considered a very 
 valuable specimen of the Master. It was formerly in the possession of the 
 Pisani at Venice. 
 
10 
 
 GIACOMO BASSAN. 
 
 Born at Bassano in 1510 . — —Died in 1592. 
 
 Although this Artist was not the founder of the family that bears his name, 
 }'et it is to his works that it owes the great reputation it enjoys. His early 
 works gave great promise of his being not inferior to Titian, so much had he 
 adopted his style in several of his performances : and he represented Sampson 
 destroying the Philistines in a style of grandeur that would have done credit 
 
 to Michael Angelo. But this energy was not of long duration ; for he 
 
 abandoned the dignity of history to indulge himself in domestic scenes, more 
 congenial to his disposition. The picturesque situation of his family mansion on 
 the banks of the Brenta, environed with pasturage and cattle, led him to paint 
 from Nature the rural objects that surrounded him. In his landscape he 
 
 frequently introduced subjects from Scripture : that which is here engraved 
 
 represents the Prodigal’s Return, and is no doubt a genuine picture, being from 
 the Gonfalonieri Gallery, at Milan. 
 
o' 
 
11 
 
 VARATORI, CALLED PADUANINO. 
 
 Born at Padua in 1590. Died at Venice in 1650. 
 
 Vaiiatoki received the first lessons in his Art from his father ; but having lost 
 him at an early period, he made the frescoes of Titian, at Padua, the models of 
 his imitation. The credit which he obtained by his copies from the works of 
 that great Master, induced him to continue his attention to them to such a 
 degree, that it was acknowledged that no other imitator had succeeded so 
 happily in transcribing the particular excellence of the Prince of Colourists. 
 Had Vakatoei been as skilful in drawing as in colouring, few of the Venetian 
 
 Artists would have ranked superior to him. 
 
 The Example in this Collection displays the splendid style of the Master. 
 The story of Rinaldo and Armida is represented with poetic feeling; and the 
 delicate forms of the lovers have enabled the Artist to exhibit a specimen of 
 the beautiful carnation, which may be said to vie even with Titian himself 
 
]2 
 
 ANNIBALE CARACCI. 
 
 Jiorn in 1560.. Died in 1609. 
 
 He received from Nature the genius of a Painter, and from his cousin Lodovico 
 CAUACcr the necessary instructions to form his hand. The advancement of the 
 pupd was such as to surprise the master; and having visited Parma to study the 
 works of CoREGGio, he returned to his native city, Bologna, to assist in the 
 embelhshment of the Palaces Zampieri, Magnani, and Favi. H;s fame having 
 reached Ro.ne, he was invited by the Cardinal Parkese to ornament the gallery 
 of his palace : and this gave him an opportunity of seeing the works of 
 IUeeaelle, which in some measure tended to restrain the impetuosity of his 
 genius, more prone to the daring sublimity of Michael Angelo. 
 
 The contemplation of Coreggio's works at Parma; of Michael Angelo's 
 at Florence; of those of Tieian, Paul Veronese, and Tinxorexxo, at 
 \enice; and lastly, of Raepaelle at Rome; from each of which he derived 
 some leading principle, made Annibale a complete Painter; and had his 
 
 knowledge of literature been equal to that of his art, few Painters would have 
 been superior to him. 
 
 A small Cabinet Picture of the Madonna holding the Infant, and presenting 
 a Tazza to St. John, in this Collection, is from his pencil. 
 



 P. F. MORAZZONE, called MAZZUCIIELLI. 
 
 Horn in 1571. — — Hied in 1626. 
 
 An Artist whose works are very little known in England, but who obtained 
 considerable reputation, Iroth in his own country and in foreign parts. He was 
 employed by the King of Sardinia, by whom he was knighted. He spent the 
 early part of his life in Rome, but finished his studies at Venice. At Milan 
 he painted the Adoration of the Magi in such a style Of excellence, that it vies 
 with the most celebrated productions of the time. In this Collection are four 
 Pictures by him. 
 
 
 
 Christ prafmg on the Mount, comforted by an Angel, with his Disciples asleep; a Picture 
 which blends the colouring of Coreggio with the drawing of Vasari. 
 
 The Glorification of the Virgin. The Virgin holding the Infant in her arms, is trampling 
 on the Dragon ; lier head is encircled with stars, which diffuse a light that illumines 
 the whole Picture. 
 
 A Deposition; in wliich is introduced the Portrait of St. Charles Borromeo. 
 
 The Adoration of Kings ; treated in a similar style to his celebrated work at Milan. 
 
 They are from the Gallery of Visconti Angusciola, at Milan. 
 
14 
 
 LAVINIA FONTANA. 
 
 Born at Bologna in 1552. Died in 1614. 
 
 This Lady is distinguished as a Painter of Portraits; she practised that branch 
 of the Art at Rome with the greatest success during the Pontificate of Gkegory 
 the Thirteenth, having painted many of most distinguished persons of the time. 
 The Example of her skill in this Collection is the likeness of a Lady of Guastalla, 
 finished in a delicate and careful manner, and presenting a natural and interesting 
 appearance. 
 

 /.avw^h FoHtoAH. 
 
 P (^oy Pac^ (rua,fta//a. 
 
= "^=*St 
 
15 
 
 ANTONIO ALLEGRI, called COREGGIO. 
 
 Born in 1494. Died in 1534. 
 
 Biographers have not been able to trace the early studies of this incomparable 
 Painter. He appears to have been one of those self-taught geniuses, who, by 
 indefatigable perseverance, overcome all those difSculties which retard the progress 
 of others, and make them suspend their studies in despair. His works prove how 
 much can be done by right thinking and reflection, without the assistance of 
 example. Unacquainted with the antique, and without seeing Venice, Coregoio 
 was sublime in composition, and beautifully harmonious in his colouring : and 
 such an inward consciousness did he possess of his genius, that on his first 
 beholding the works of Rafpaelle, he cried out, not with the arrogance ot 
 one who considered himself equal, but with the modesty of a man who felt 
 the true value of his Art, and knew how to appreciate what was excellent, 
 “ Andie io son Fittore!” “And I also am a Painter!” 
 
 The subjects in this Collection are, 
 
 A Study for the Head of St. John, painted in the Cupola of the Cathedral at Parma; 
 
 The Virgin and Christ presenting a Heart to St. Anthony ; a small but very precious gem ; 
 
 The celebrated Picture, called St. Jerome della Caritd, copied by Schidone. 
 
IG 
 
 FRANCESCO MAZZUOLI, called IL PARMIGIANO. 
 
 Born in 1504. Bkd in 1540. 
 
 Anothee great Artist, of whom it is difficult to say whence he derived his 
 instruction. The early age at which he died, perhaps, prevented the full 
 developement of his powers; but the grace which he diffused around all his 
 compositions compensates for any deficiencies. By his contemporaries he was 
 called Raffaellino, the Little Kaffaelle; a diminutive that marked their esteem 
 and affection for the Artist and his works. The Picture from which the Engraving 
 is taken is said to represent the Portraits of the Lady with whom Parmigiano 
 absconded after his ruinous speculations in chemistry, and her Son. It is painted 
 in his bold and graceful manner, and has an air of grandeur that entitles it to 
 rank as a first-rate performance. 
 

»?v4iv 
 

 
 
 
 '/ ■ /- / //My/. 
 
17 
 
 CAMILLO PROCACCINI. 
 
 Born at Bologna in 1546. Died at Mihn in 16’26. 
 
 Having previously studied under his father, Camillo Procaccini entered 
 the School of the Caracci, and afterwards went to Rome to perfect himself. 
 He made the works of Michael Angelo, Rafpaelle, and Paemigiano, his 
 models ; and his productions partake much of the style of the latter, but are 
 considerably less mannered. 
 
 The Marriage of St. Catherine, here engraved, is a testimony of his beautiful 
 invention, and the. mastei'y of his hand. It is from the Collection of Count 
 Castiglione,' at Milan, and represents the devoted Spouse in the act of receiving 
 the Ring from the Infant, who is standing on his Mother’s knees : two Angels 
 and St. Joseph complete the group. The Figures in the Picture are of the 
 heroic size, designed in a very elegant manner; and the colouring is remarkably 
 clear and vigorous. 
 
 D 
 
18 
 
 GIULJO CESARE PROCACCINI. 
 
 Born at Bologna in 1548. Died at Milan in 1626. 
 
 He was the younger brother of Camillo, and originally applied himself to the 
 study of sculpture ; but the reputation of his brother induced him to quit the 
 chisel for the pencil. He formed his style on the great principles of Coreggio, 
 nor did he neglect the study of the works of Rapfaelle during his residence 
 at Rome. Many of his Pictures bear so great a resemblance to the works of 
 Coreggio, that they are frequently ascribed to that Master; and one in particular 
 has been engraved with his name, though it is now ascertained beyond question 
 to be the production of Procaccini. The Picture here engraved represents the 
 Suffering of St. Sebasiien, and may be considered a favourable specimen of hi^ 
 ability. 
 
19 
 
 BARTOLOMEO SCHIDONE. 
 
 Born at Modena in 1560. Died in l6l6. 
 
 ScHiDONE, after having learned the elements of his Art in the School of 
 Annibale Caracci, devoted himself entirely to the manner of Coreggio, of 
 whom he became the decided imitator. He had, however, a manner peculiarly 
 his own, and which is to be found in his best works. Few Painters knew better 
 how to seize the grand effects of Nature; and he has represented them with such 
 boldness and energy, that they bear the impression of true genius. 
 
 The Example of his skill in this Collection is the much admired Picture of 
 Christ at the Pillar, from the Gallery Scotti at Piancenza, which gives a favourable 
 idea of the great style of the Artist. 
 
20 
 
 GUIDO )RENI. 
 
 Horn at Bologna in 1574. Died there in 1643. 
 
 Denis Calvart and Ludovico Caraoci were the earlier instructors of Guido; 
 but he commenced his independent career by imitating the style of Caravaggio, 
 who was then in great repute. Being desirous of seeing the best works of the 
 most celebrated Painters of his time, he ivent, in company with Adbano, to Rome, 
 where he soon obtained employment in several churches and palaces. The 
 compositions of this great Master arc simple and natural; and his Madonnas 
 and Angels admirable. The drapery of his figures is remarkable for its elegance. 
 The heads of his Apostles and Old Men are distinguished above all others for a 
 suavity of character hitherto unequalled ; the hair and beards being also 
 delineated by a light and easy touch peculiarly his own. He changed his 
 manner four limes, and each has its admirers. 
 
 The Example of his skill in this Collection is Judith mth the Head of 
 Ilolofernes, Irom the Gallery Zambeccari, at Bologna, painted in a very bold 
 style. The figure of the heroine is represented in a dignified attitude ; she holds 
 in her left hand the head of the tyrant, and in her right the instrument of his 
 destruction. 
 
, 21 
 
 GUIDO 'CAGNACCI. 
 
 Born in 1600. Died in 1680. 
 
 He was a Scholar of Guido Rent, and imbibed much of the manner of his 
 Master. His Pictures, though inferior to those of Reni in graceful character and 
 expression, possess a more vigorous colour, and arc by no means incorrectly 
 drawn. He passed much of his life at Vienna, and was patronized by the 
 Emperor Leopold the Eirst. 
 
 The present Example of his pencil represents St. John in the Wilderness 
 receiving Water from a Bock in a Shell. It possesses much of the suavity of 
 character found in the figures of the Master under whom he was formed. 
 
22 
 
 DOMENICO ZAMPIERI, CALLED DOMENICHINO. 
 
 Born at Bologna in 1581. Died at Naples in 1641. 
 
 Domenichino was intended by liis parents for the profession of the law; but, 
 fortunately for Painting, his own genius directed the proper line for his studies. 
 He entered the School of Denis Calvart, where he remained but a short 
 time, and was introduced to the Caracci by Aebano, who had a fiiendship 
 for him; and in that seminary he developed those powers which has rendered 
 the diminutive name of Domenichino, which he acquired there on account of 
 his youth, immortal. 
 
 During his stay in the School of the Caracci, his manner of study was such 
 as to give very little inquietude to his fellow disciples; but when his reputation 
 called him into wider fields of action, he became the immediate object of jealousy 
 to all those little spirits who are continually found infesting the realms of Alt. 
 His whole life appears to have been a continual course of uneasiness from their 
 persecutions ; and he is said to have concluded it by poison. 
 
 In this Collection are, — Trt'o Landscapes with Figures; the one representing 
 The Flight into Egypt; the other. The Holy Family, in riposo : both painted m a 
 fine style, representing a rich country, embellished with appropriate scenery ; 
 
 The Story of the Grecian Daughter, frequently called “ Roman Charity,” 
 which was formerly in the Collection of the Nolfi Family at Fano : 
 
 Cupid holding a Dove, a very charming Picture, from the Zampieri Palace at 
 Bologna. 
 

 
 
 
 
 
 > 
 
 • ' 
 
 li ■ 
 
 v" '■• <'V' • .'•r: 'A 
 
 h ^ . - X •■■ 
 
 .■‘,i';' . ‘'-‘■M.'. y-^'' '* - ^ ■ ' . ';.■ ■• '■ T k-'V- ■?^.. fjt 
 
 • ' ■ •- .'T’ jrr ■‘■■■:.is .,,-v' . : r 
 
 ^ ■■.•*. • --. iv ' . ■*! '■ • ■■. ■■ < ;,-i» •,v-‘>i . «*■ 
 
 '• - ' • ■ -v.'. >. -' • ! .\iif > • .i A; , \.:^ 
 
 • r ,.. ■ ; V'- ■ '> ' ■ 55^-pr '^, £* 
 
 ■V " .... • 
 
 *. • .•'. -i*’. -. ^ -V-'*;- ■ ; • ^ ‘ 
 
 ’■' - «.* //* 2 t ' ^ * ’ ' '' ^ .'"■* C 
 
 1 • :.t>- ■•;„ ’ C. 
 
 * :■ ■ '■ - ■■-■■..%• . .. ^ 
 
 * •.:* -x - ^ » •“ iLt ' • i'- “ o »*. .1^ V -;j • .-yi. - 
 
 ^■}, ■ ' •• >• ,■ ’ .V ’ : a 
 
 '^•- ‘ ■•■• ■*'■ ■ , 
 
 «... ‘ - - •vr^j . “ ■ ■ 
 
 
 
 t. JV- 
 
 ■^v 
 
 
 j j?' .> ' £v .vm 
 
 ■4 ' 
 
 
 ■A^ 
 
 
 
 
 ifc. janliT • >■'■ ■‘/•■'V 
 y <■■■ .rl. ■ «*■" ^ 
 
 •r^. 
 
 
<23 
 
 GAUDENZIO FERRARI. 
 
 Bo?'n ill 1484. Died in 1550. 
 
 This celebrated Artist is said by some of his biographers to have been a disciple 
 of Perugino; by others, to have studied under Luini : be that as it may, he 
 seems to have made the works of Leonardo da Vinci the chief objects of his 
 contemplation. The subject in this Collection is evidently derived from that 
 School, in the mode in which it is treated ; the Characters, their attitudes, and 
 their expressions, are all in the manner of Leonardo. It represents The Nativity: 
 St. Joseph is holding the Infant : the Virgin, with her hands crossed on her breast, 
 is in a posture of pious adoration ; as are two Angels, who are placed behind 
 her. The Picture is of the cabinet size, and in good preservation, and is from 
 the Collection Gallinari at Vecelli. 
 
24 
 
 FRANCESCO MARIA RONDANI. 
 
 Born at Parma in 1505. Died there in 1548. 
 
 According to Affo, lie was brought up in the School of Coreggio, and 
 assisted that great Master in his great work of the Dome of S. Giovanni. The 
 few works that are known of his have the same simplicity of character that is 
 to be found in those by Coreggio. The present Example is evidently from that 
 School : it represents the Virgin seated with the Infant on her knees, the young 
 St. John kissing his foot, and an Angel above playing on a stringed instrument. 
 The Picture is from the Collection of the Marquess Bevilacqua. 
 
' \ mm 
 
“'•'jfT'*” / d' — 
 
25 
 
 D. C. PASSIGNANO. 
 
 Born near Florence in 1558 .— — Died in 1638. 
 
 The excellent little Picture, here engraved, of the Miracle of St. Fraiicis, is 
 ascribed to this Artist: but the style of the composition, drawing, and colouring, 
 would lead to a supposition that it came from a very superior hand. 
 Passignano resided for a considerable time at Venice, and was so enamoured 
 of the works of the great Masters of that School, that he declared no one 
 could hope to become a Painter who had not seen them. This composition, 
 however, has more of the spirit of the Roman than of the Venetian School: 
 and for skill in the arrangement, variety of character, and the noble style of 
 the draperies, it would not derogate from the reputation even of Raffaelle. 
 

 
 26 
 
 PAOLO FARINATO. 
 
 Born at Verona in 1522. Died in 1606. 
 
 The highest praise that can be bestowed on him and his works, has been already 
 applied by one of his biographers; that “ he conjoined the drawing of Julio 
 “ Romano with the colouring of Titian and the chiaroscuro of Giorgione.” 
 
 The Cabinet Picture of Christ holding the Banner militant, and relieving the 
 Souls that were in captivitij, is from his pencil. 
 
 4 ' , • 
 
 Id'i 
 
 
 I ! 
 
im<ui 
 
27 
 
 GALEAZZO CAMPI. 
 
 Born at Cremona in 1475. Died . 
 
 The Portrait of the Artist, painted by himself, (though it has been ascribed to 
 Leonardo da Vinci,) here engraved, is a specimen of his abilities. It is from 
 the Gallery Settala at Milan. He was father to Giulio Campi, founder of the 
 celebrated School at Cremona. 
 
28 
 
 ENEAS SALMEGGIA. 
 
 Bor?i at Bergajiio in 1556. Died in 1626. 
 
 Salmeggia was instructed in his Art in the School of the Campi at Cremona: 
 he was afterwards a scholar of Procaccini, and passed fourteen years at Rome, 
 where he particularly applied himself to the study of the works of Rappaelle, 
 and is said by Lanzi to have been a successful imitator of them. 
 
 The Good Samaritan is an Example of his style : the composition is skilful 
 without affectation; the figures are well drawn; and the drapery, rich in colour, 
 is rendered still more effective by the deep tone of the shadows. 
 

29 
 
 / NICOLO FRANGIPANE. 
 
 Flourished from 1565 to 1593. 
 
 He is supposed to have been a native of Padua; but it would seem, from the 
 Picture by him in this Collection, that he studied at Venice. Lanzi mentions a 
 work by him in the highest terms of approbation. The Example here given is 
 A Bacchanalian Subject, and is a Picture of uncommon merit, treated in an 
 unusual style, and very rich in colour. It is from the Gallery Castelbarco at 
 Milan. 
 
 j. 
 
30 
 
 G. B. CRESPI. 
 
 Bor7i at Cerano in 1357. Died in 1633. 
 
 Tuough educated for the learned professions, this Artist felt such an attachment 
 to Painting, that he was induced to visit Rome and Venice for the purpose of 
 studying the works of the great Masters of those Schools. He finally established 
 himself at Venice, where his abilities were so highly appreciated by the Duke 
 Cardinal Federigo, that under his patronage he was made Director of the 
 Academy. His style is reckoned free and spirited, though defective sometimes 
 in design. He excelled in Portraits, Animals, and Still Life. 
 
 The Portrait engraved in this Collection is of Manfredo Settala, founder of the 
 Great Gallery at Florence. Before him are musical and other instruments, said to 
 have been his own inventions. 
 
to. 
 
>d,Gtrp<.7^-y^ /V , r/ r/ 
 
31 
 
 DANIEL CRESPI. 
 
 Bor7i at Milan in 1590. Died in 1630. 
 
 The works of Daniel Crespi are not much known out of his own country; 
 but there he is placed in a high rank. Pie studied under Giulio Cesare 
 Peocaccini, to whom he is thought by many to be equal; and also in the 
 School of his relation G. B. Crespi. His best productions are in the Chiesa 
 della Passione at Milan, and the celebrated suite of Pictures of the Life of 
 St. Brumo, at the Certosa. He died of the plague, with all his family. In 
 this Collection are, 
 
 The Artist’s own Portrait ; 
 
 The Portrait of a Flemish Painter ; 
 
 St. John presenting a Cup of Water to the It font Christ; 
 
 David decapitating Goliah. 
 
32 
 
 GUERCINO. 
 
 Goto at Cento in 1590. Died in 1666. 
 
 At his outset, Guercino, like many other Artists of note, attached himself to 
 the style of Caravaggio; nor did he entirely abandon it to the end of his 
 career, although he changed his manner four times. His works have ever 
 been held in high esteem; and it is related, that when Christina, Queen of 
 Sweden, visited Bologna, she paid him a visit, and, presenting her hand, took 
 his, saying, that she was desirous of touching that hand which was capable of 
 creating such beautiful objects. He refused the appointment of principal Painter 
 to both the Kings of Prance and England, preferring to live honourably in his 
 own country, where he died rich. In this Collection are, 
 
 A half length of John the Baptist, from the Collection of Count Augusto di Rimini; and 
 St. Jerome awakened by an Angel, a study, executed in a hold style, of which the grand 
 Picture was lately in the Louvre. 
 

~V~^i7r¥UUW 
 
PETER VALENTIN. 
 
 Born at Colomiers en Brie in 1600. Died in 1632. 
 
 Valentin received his first instructions in Painting in the School of Simon 
 Vouet; but he left that Master before he had made any considerable progress, 
 and travelled to Rome, where he spent the remainder of his life; he may therefore 
 be considered rather of the Italian than French School. The powerful and vigorous 
 style of Caravaggio made so strong an impression on his mind, that he attached 
 himself to it with a devotion which never diminished. Like that Master, he 
 indulged himself in an effective contrast of light and shadow, and proved himself 
 fully acquainted with the principles of chiaroscuro. He had considerable employ- 
 ment in painting church pieces; but his best Pictures represent Fortune Tellers, 
 Gamesters, Corps de Garde, and Concerts of Music ; of the last, the Specimen in 
 this Collection is a very happy production. It represents a Cavalier playing on a 
 Guitar to a Lady, who is singing, accompanied by another Lady performing on 
 the Harpsichord. The figures are particularly easy and graceful; the draperies 
 richly coloured ; and the contrast of light and shadow of the most successful 
 efforts of the Art. 
 
34 
 
 CASPAR POUSSIN. 
 
 Bor?i at Rome in 1613. Died there in 1675. 
 
 NICOLO POUSSIN. 
 
 Born at Andely in 1594. Died at Rome in 1665. 
 
 The real name of Caspar, which was Dughet, is lost in that of his brother- 
 in-law, Nicolo PonssiN. So cordiallj did these two celebrated Artists unite 
 their talents, that it is often a matter of doubt to which a landscape is to be 
 attributed that possesses in part the manner of each. 
 
 A grand Landscape and Stag Hunt, in this Collection, e.vhibits the superior 
 taste which these two Masters possessed. The spectator is presented with the 
 noblest st3’le of their art in the secluded, the classic, the sublime. The Poet’s 
 imagination could scarcely form a scene more truly Arcadian. The romantic 
 grandeur of the scenery, while it excites pleasure, creates awe. A mountainous 
 country, large masses of trees, a noble lake flowing through the centre of the 
 landscape, and the rolling clouds, gilded with the sun’s declining rays, produce 
 altogether a magnificent effect. The Picture is from the Collection of the Prince 
 Pio of Savoy. 
 
 Two small Landscapes, with figures of Nymphs bathing, and Men fishing, are 
 also ascribed to the united pencils of these accomplished Artists. 
 
3 ^/ 
 
 HWfti' 
 
.V / > 
 
 
 *ir 
 
 
 
 L 
 
 5* ;• 
 
 •'.N ^ 
 
 "i 
 
 V ■•/ ■■ *1 ' ;vi' •••'*'- C .- -■< .-■«'> r‘-- . -‘ 
 
 «M-v. V.. ^ ■■ ■■ ■ ■., -.->* : 
 
 rfe 
 
 ¥•> ■ ■ •.'-& 
 
 
 
 
 . . .; . i> ' 
 
 ^ * 
 
 Ti.- 
 
 ^■< 
 
 
 t> * 
 
 ' i- 
 
 
 ^ ■ : ,.JJ 
 
f-iT 
 

0 0 J // 
 



 
 ' '■’ .'■ -r T • 
 
 
 jy 
 
 
 V: '■■ "'-'jI' 
 
 V. ■,• -■ .X' .-«S, 
 
 ■v’A;. SL . I nt 
 
 ■ r », . ' 
 
 • / ^ 
 
 •t 
 
 
 -H? , 
 
 
 ■ ■■ ■*^' f.*in .%■ ■ 
 
 'j ,; ... .V'- 
 
 
 ^ •*';x '. .<• 
 
 ■-■. •/ T - 
 
 
 
 *■ 
 
 
 iS?- ■.' :v.' 
 
 •-^ i .V 
 
 ;k. 
 
 A. T 
 
 ■Jf, 
 
35 
 
 SALVATOR ROSA. 
 
 Bo?’n at Naples in 1615. Died at Rome in 1673. 
 
 This distinguished Artist, having received a liberal education, showed from his 
 earliest years a decided inclination for Painting ; and the progress he made in 
 the Art proved that he had a genius calculated to do honour to the object of 
 his predilection. By the death of his father he was reduced to such a stale 
 of indigence, that he was obliged to expose his juvenile productions for sale in 
 the market-place, where they attracted the notice of Lanfuanco, who liberally 
 relieved his wants, and encouraged him in the pursuit of his studies. His merits 
 afterward obtained him more powerful patronage ; and at Rome he found full 
 employment for his inventive genius and facile execution. His style is peculiarly 
 his own : it always partakes of savage and uncultivated nature. What is most 
 deserving of observation, is the perfect correspondence which he observed in the 
 subjects he chose, and his manner of treating them. Every thing is of a piece : 
 his rocks, trees, skies, even to his handling, have the same rude and wild character 
 which animates his figures. 
 
 The eight Etchings in this Collection are of capital subjects that ornamented 
 the Gallery of Prince Pio of Savoy, and represent 
 
 Marius sacrijicmg to Beilona, on landing with the Roman Army on the Carthaginian Shores ; 
 
 A Forest with Banditti, in his gi'andest style ; 
 
 The Dream of Adneas ; 
 
 A Philosopher contemplating the Relicks of Mortality ; 
 
 Two small Landscapes, Views on the Coast of Naples ; 
 
 An Anchorite in Meditation; and 
 
 Marius Meditating among the Ruins of Carthage, 
 
36 
 
 LUCA GIORDANO. 
 
 Bor7i at Naples in 1632 . — -Bied there in 1705. 
 
 Few Painters, if any, have shown greater versatility than Luca Giordano. His 
 numerous productions attest the facility of his e,vecution. His first efforts in 
 the Art were under the tuition of Spagnoletto : he afterwards studied under 
 Pietro da Cortona; but the splendid style of Beeretini seems to have been 
 the chief object of his ambition. The reputation he enjoyed for rapid execution 
 is perhaps the cause that he produced so few works that may be called altogether 
 original, most of them partaking of the manner of a Master whose productions he 
 had at some other time copied. But there is at all times a vigour and spirit in his 
 pictures that is interesting ; and few good Collections are without a specimen of 
 his abilities. The best proof of the estimation in which his works were held during 
 his life is that, notwithstanding his rapid execution, it was with difficulty he could 
 keep pace with the avidity of his countrymen to possess his Pictures. 
 
 The Battle of Hercules and the Centaurs, a very bold and spirited study, is in 
 this Collection, and forms one of the Engravings here given. 
 
S-iT 
 
37 
 
 GIUSEPPE RIBERA, called SPAGNOLETTO. 
 
 Bo7'7i at Xativa in 158.9. Died at Naples in l656. 
 
 Apter studying some time under Caravaggio, he went to Parma, where he 
 made the works of Coeeggio the objects of his contemplation : from thence he 
 visited Rome to examine those of Raffaelle; but neither of these great Masters 
 made that lasting impression on his mind that it received from the vigour and 
 energy of his instructor Caravaggio. Having taken up his residence at Naples, 
 he grew into reputation, and was distinguished by the Viceroy, who took him 
 under his protection, and sent several of his Pictures to the King of Spain. 
 Connoisseurs esteem his works not only for their freedom and boldness, but for 
 the correct and masterly manner in which his figures are drawn, particularly the 
 extremities, which are marked in a very decisive manner. 
 
 St. Peter’s Repentance, in this Collection, is an animated and capital study 
 by him, from the Gallery Zampieri at Bologna. 
 
38 
 
 JOSEPH NOGARI. 
 
 Born in 1699. Died in 176'3. 
 
 Tnis Artist is said to have been a disciple of Balestea; but his works would 
 rather indicate that he had chosen Rembrandt for his model, especially in his 
 heads. So little does the name of Nogaei seem to be known, that it is not 
 included in the Dictionary of Painters: it is certain, however, that several Heads 
 by him have been sold as the performance of another Artist of whom Connoisseurs 
 always speak in raptures. He seems to have delighted in painting characteristic 
 portraits, for his works in that way are very numerous ; and, strange as it may 
 seem, from the silence of biographers, few cabinets are without an example. 
 They are very natural and correct in design, and remarkably brilliant in colour : 
 in many there is a vivacity and spirit that has never been excelled ; they are 
 truly speaking Portraits. This Collection possesses no less than twenty ; and it is 
 to be hoped that the Artist will be no longer deprived of that reputation which 
 he so richly deserves to enjoy. The greater part are in oriental costume: the 
 Portraits of a young and an old Female are chefs-d’ceuvre. 
 

 
 
 
 ir^Jr^ 
 
 jrf,^ 
 
 
 
 V V 
 
 



 
 
 JJ2>' ..V , ■ 
 
 i"'-- 
 
 
 
 
 
 
 ^:M^. .#.**. /*'/»*> 
 
 
 T-< .. 
 
 ^ "fe i:' 
 
 A"- 
 
 
CHRISTOPHER LUDWIG AGRICOLA. 
 
 Born at Ratisbon in 1667- Died . 
 
 He was a Painter of Portraits and Landscapes, and is very little known in this 
 Country. There seems, however, to be a considerable degree of taste in his 
 compositions, if a judgment may be formed by the specimen in this Collection, 
 which represents a mountainous and varied Country, with a View of the City of 
 Mecca in the distance, and a Party of Mussulmauns, who are making a pilgrimage 
 thither. The style of his pencilling is light and free: but it would seem that he 
 has not been sufficiently careful in preparing his ground, which has absorbed 
 much of the surface. The free and spirited Etching which accompanies this, will 
 give a very satisfactory idea of the Master's style. It is not known where he 
 died. 
 
 
40 
 
 G. B. TIEPOLO. 
 
 Born at Venice in 1697. Died in 1770. 
 
 Tiepolo may be deemed the last of the Old Schools, as no one has appeared 
 since his time worthy of being placed in the ranks of those illustrious Masters, 
 whose works were the objects of his constant attention. Italy and Germany possess 
 abundant proofs of his talents, but his best productions are to be found in Spain. 
 His easel Pictures are rare, and much esteemed. In this Collection are two : 
 
 Charity, represented by a Female suckling Children, with Figures in the back-ground expressive 
 of Liberality ; 
 
 Two small Portraits, probably studies, on paper. 
 
 n- ■ 
 

A'lr 
 
41 
 
 JOSEPH VERNET. 
 
 Born in 1712 . Died in 1786 . 
 
 During the residence of this eminent Artist at Rome and Naples, he painted 
 a great variety of Landscapes, Seaports, and other marine subjects, which are 
 greatly admired by Collectors of every country. The pleasing Marine View, here 
 engraved, is from the Coast of Naples. ' The Picture embraces, in a small compass, 
 the chief excellences of the Master’s style, and is finished in a clear and beautiful 
 manner. 
 
 G 
 
42 
 
 PAMFILO. 
 
 Born . Bied . 
 
 The Portrait of some distinguished person, (if a judgment may be formed by 
 the nobleness of his mien,) in the character of a Pilgrim, is ascribed to this Artist, 
 of whom no satisfactory account is given by biographers. It is simply the Head 
 and Shoulders, as given in the Print, apparently taken out of a large Picture, 
 perhaps for its striking excellence. 
 
 
•.'J‘4 
 
APPIANI. 
 
 A Milanese Artist of the present day. The Portrait, here engraved, of the 
 E][IPEItOIi in the Costume of King of Italy, was painted 
 
 expressly for the Council Chamber at Milan, and was intended to be placed over 
 the throne. 
 
45 
 
 THE FLEMISH, DUTCH, AND GERMAN SCHOOLS. 
 
 These three Schools, justly admired for the richness of their colouring, and their 
 exquisite harmony, are no less distinguished for the admirable precision with which 
 they have imitated the several objects of nature : in the last, some of them have 
 reached the utmost perfection. 
 
 The Flemish School, of which Rubens is the principal Master, to brilliancy 
 of colour and the magic of chiaroscuro added a great knowledge of design, 
 grandeur of composition, and in portraits a striking air of nature with a noble 
 expression : yet, on the whole, it only produced a sort of national beauty, 
 partaking neither of the antique, nor of the Italian mode of representing it. 
 
 The Dutch School, speaking of it in general, did not possess the advantages 
 of the Flemish : far from aiming at the beauties of form and expression, the Dutch 
 Artists delighted in the delineation of the lowest, and often the most disgusting 
 objects. The truth of their representations, and the harmony of their colouring 
 and chiaroscuro, have been thought by many a full compensation for their defects 
 in taste ; and there certainly is a charm about their Pictures that attracts the 
 most refined Amateurs, even while they cannot but condemn the subject of their 
 admiration. 
 
 Of the German School little can be said, seeing that it offers no connected 
 series of Artists to make up the idea of a School. The earlier Masters were dry 
 and hard in their manner, though some of them rose superior to their Italian 
 contemporaries in the splendour of their colouring. The latter Masters have 
 followed the Schools of Italy and Holland, and, consequently, belong rather to 
 them than to that of their native country. 
 
 The Specimens in this Collection of these Schools are from Rubens, 
 Vandyck, Diepenbeck, Teniers, Cuyp, Jan Steen, Albert Durer, 
 Elsheimer, &c. &c. 
 
46 
 
 P. P. RUBENS. 
 
 Born at Cologne in 1577. Died in 1610. 
 
 The history and merits of the Prince of the Flemish School are too well known 
 to require much notice in the present work : and indeed his productions are so 
 numerous, and so various, that a large volume would scarcely contain what might 
 with propriety be said upon them. Suffice it then to observe, that he painted 
 History, Allegory, Portrait, Landscape, Fruit, Flowers, Animals, Still Life, and 
 was accounted excellent in every department. His execution kept pace with his 
 invention : and so fertile was the latter, that he is known to have repainted, with 
 variations, many of his principal subjects. 
 
 The Picture in this Collection, from his pencil, is an allegorical composition, 
 representing 
 
 The Church’K Victory over the Dragon ; in which is introduced the Portraits 
 of Henry the Fourth, Mary de Medici, and other distinguished persons of the 
 time, in the characters of Bishops, Martyrs, and Saints. The figures are grouped 
 with surprising skill and beauty ; and the splendour of colour, in the Picture, 
 is of the highest order of the Art. 
 
LHIHH llh 
 
47 
 
 ANTHONY VANDYCK. 
 
 Boi-n in 1599. Died in 1641. 
 
 Vandyck is universally allowed to be the best scholar of Rubens ; and frequently 
 his works are ascribed to the pencil of his master, especially when he made 
 choice of those subjects in which his master most excelled. The present Example 
 is of that kind: it represents a drunken Silenus, supported and accompanied by 
 Bacchanalians, among whom the Artist has chosen to introduce his own Portrait. 
 
48 
 
 ABRAHAM DIEPENBECK. 
 
 Horn in 1607- Died in 1675. 
 
 Like the preceding Artist, he was formed in the School of Rubens, and made 
 the style of his master the object of his ambition. He had a ready invention, 
 a clear conception of his subject, and great facility of execution, which established 
 his reputation as being one of the most ingenious Artists of his country. 
 
 The Engraving in this Collection is from a very sweet Picture of a Madonna 
 and Child, and exhibits elegance of form and tenderness of expression. 
 

 -;vk' '1 •• f, 
 
 
 
 It ' 
 
 'Tw 
 
 .. -i' ''■^ ■. • . ^y^::ivV 
 
 W;- ^ \ V ' ■' 
 
 V‘fc- ' ', < " ''s V . ^ ■ '•■ •■ • /i/., 
 
 "■• ’ ' . . . • -.^ ^ ^ 'r. i " 
 
 iv ‘ rV ' V’ 'v*v tfc <'.•* -I*'-- i' 
 
 
 ■ 
 
 ■ * ‘■’’iS;:. 
 
 . / I -I 
 
 4i _ VviW' 
 
 /i/ll -. 
 
 - * V-' ■ 
 
 ' ''’N'-l 
 
 ■,''V^V . 
 
 
 » tv'*y 
 
 
 fcv' 
 
 • a » I 
 
 ;t;."...;o 
 
 
 
 '. "•' 'iJ •' ♦‘^ 
 
 Ia" -W-v' 
 
 , ^V- ■ ^ 
 
 - Ji 
 
 •a?/ i \ . ' 
 
 
 
 
 ^ ' *■ - ■’I 
 
 
 
 ■:t. : /C I'':'. - «: ■ 
 
 .'1 
 
 • ' V. ' ^ 
 
 -vv'^y 
 
 ■" - - • - ’‘■"VA"Vvl 
 
 « ■ I 
 
 •'.. ■ . r 
 
 
 - rf 
 
 ... 
 
 •^ ■^ ■ .- 7 " •' ;/; \ .ii , 
 
 
 
 Ay. -■ 
 
 .B 
 
 * V H '!'♦,' •» 
 
 
 
 ■ c>'' 
 
 
 J$L' 
 
 
 'iL.' 
 
 . \:J 
 
 
 -&. 
 
 
49 
 
 JOHN THOMAS. 
 
 Born at Ypres in I6l0. Died . 
 
 Thomas was a scholar of Rubens, and proved himself a worthy disciple of 
 that great Master. He travelled into Italy with Diepenbeck, and distinguished 
 himself there by many considerable works ; the greater part of his life was, 
 however, passed in Germany, the Emperor Leopold having appointed him his 
 principal Painter, with a considerable pension. The Infant Christ trampling on 
 the Serpent is by him. 
 
 n 
 
50 
 
 CORNELIUS POELEMBERG. 
 
 Bo 7'71 at Utrecht in 1586. Died there m 1660. 
 
 PoELEMBERG received his first instruction from Bloemart, but studied after- 
 wards under Adam Elsheimer. He adopted a pleasing style of painting small 
 Landscapes, distinguished by the suavity and delicacy of his colouring, an 
 agreeable choice of scenery, enriched with architecture, and enlivened with figures, 
 remarkable for the clearness of the carnations, and the neatness of the pencilling. 
 The Holy Tar/lily, in riposo, is a pleasing cabinet specimen of his manner. 
 

51 
 
 DAVID TENIERS, the Younger, 
 
 Born at Antwerp in l6l0 . — —Died at Brussels in 1694. 
 
 He received the first rudiments of his Art from his father : he afterwards studied 
 under Adrian Brower, and is said to have had the advantage of receiving 
 lessons from Rubens on the principles of colouring. The talents of this extra- 
 ordinary Artist excited universal admiration ; and he was patronized by the most 
 illustrious persons of his time. His works are too well known to need a 
 particular account of his manner : he was not only excellent in the style which 
 may be termed peculiarly his own, but he could imitate the works of other 
 Artists to that degree of precision, that it required a very nice acquaintance 
 with their production, and also a critical knowledge of Painting, to discover the 
 counterfeit. He also excelled in Pasticcio, a mode of Painting in which the 
 Pictures can neither be said to be originals nor copies, partaking as they do 
 of originality and imitation. The works of Teniers are held in such esteem, 
 that few Collections of note are without a specimen. 
 
 Boors Drinking ; and 
 
 Txco Interiors of Guard Rooms, with Soldiers Gambling, are engraved in this Collection. 
 
 
52 
 
 ALBERT CUYP. 
 
 Born in 1606. Died . 
 
 He was the most universal Painter of the School to which he belongs. His 
 Pictures have recently come into great estimation, and deservedly so, parti- 
 cularly his Landscapes with Cattle. There is great truth in all his representations, 
 and he is peculiarly happy in his aerial tints. The subject of the present 
 Picture is a Landscape with two Peasants in conversation, near several Sheep 
 and a Goat, and it possesses a warm and pleasing tone of colour. 
 
T is 5* 
 
BENJAMIN CUYP. 
 
 Born in 1615. Died . 
 
 He was the younger brother of Albert. He painted small historical Pictures 
 in the style of Rembrandt; and many of them, in force of colour and intelli- 
 gence of light and shadow, resemble the works of that great Master. In this 
 Collection is an Example, representing 
 
 The Angel appearing to the Shepherds^ in which the figures are well grouped, 
 and there is a fine distribution of light. 
 
54 
 
 GERARD LAIRESSE. 
 
 Born in 1640 .' — — Died in 1711 . 
 
 Lairesse is held in high estimation by his countrymen, who do not scruple 
 to call him the Poussin of his nation. His works are numerous; and the 
 Prints engraved from the Pictures by himself and others have contributed to 
 spread his reputation. He wrote a Treatise on Painting, which is commended for 
 the knowledge therein displayed. The present Example of his talents represents 
 the well-known Story of 
 
 The Sacrifice of Ipliigenia, in which he has adopted the idea of Timanthes, 
 and veiled the passion he found himself unable to express. 
 
55 
 
 ABRAHAM HONDIUS. 
 
 Born at Botterdam in 1638. Died in London in 1695. 
 
 His favourite subjects were Hunting and Animals, which he treated in a 
 masterly style. His chief excellence was in the representation of Dogs, in which 
 no Artist was ever superior to him. He came to England in the reign of Charles 
 the Second, and met with considerable encouragement, which induced him to 
 spend the remainder of his life in the country. 
 
 The small cabinet picture of Dogs roming a Swan, is from his pencil. 
 
56 
 
 JAN STEEN. 
 
 Born at Leyden in 1636. Died in 1689. 
 
 As there is but a single Specimen in the Collection of the abilities of this 
 skilful Artist, and that a very small one, it is not necessary to be diffuse on 
 his merits, especially as every lover of Dutch Painting must be well acquainted 
 with them. Suffice it to say, that no Painter ever excelled him in the air of 
 truth and nature which he gave to the Characters in his Pictures. 
 
 A Toper listening to an Itinerant Musician is an Example that will justify the 
 remark. 
 

57 
 
 ALBERT DURER. 
 
 Born at Nuremberg in 1471. Died in the same City in 1528. 
 
 He is distinguished as the first that attempted to reform the taste of his country 
 from the rude and barbarous style that immediately preceded him. He is better 
 known in England by his Engravings than his Pictures, though there are many 
 of the latter to be found in good collections. His works are in general very care- 
 fully finished, having even the appearance of being laboured : his colouring is 
 excellent. The Portrait, here engraved, as a Hermit in his Cell at Devotion, is 
 said to be of himself. It has every character of a genuine Picture, and is in 
 a good state of preservation. 
 
 I 
 
 1 
 
 / 
 
58 
 
 JOHN MOSTAERT. 
 
 Born at Haerlem in 1499. Died in 1555. 
 
 Mostaeet was a disciple of Jacob Van Haerlem, under whom he became a 
 very eminent Painter of History and Portrait. Van Mandeb describes several 
 Pictures by him which remained in his time in the churches and other public 
 edifices in Holland ; and particularly a Picture of The Nativity, the same subject 
 as the one in this Collection, which was in the Church of the Jacobins, at 
 Haerlem. The present is, however, of the cabinet size, and proves that he had 
 looked at the works of the Italian Masters with considerable attention and profit. 
 The composition consists of five figures, besides the Holy Mother and Infant, 
 and has more the appearance of emanating from the School of Baboccio than 
 of Van Haerlem. 
 
59 
 
 ADAM ELSHEIMER. 
 
 Born at Francfort in 1574 Died in 1620. 
 
 Finding little means of improvement in his own country, Elsiieimer went 
 to Rome, where he studied the productions of the great Masters, and iu a short 
 time his works were held in general admiration. The Italians, by way of 
 distinction, called him II Tedesco. His Pictures commonly represent small 
 landscapes, enlivened with historical subjects; and are faithful representations 
 of Nature, made more highly interesting by the beauty of their finishing. He 
 IS happy m the choice of his scenery, and manages his lights with great 
 intelligence. Hie present Example exhibits his general style in those subjects in 
 which he is allowed to have excelled. 
 
 FINIS. 
 
 FEINTED BY J. MOYES, 
 Giieville Street, llaiton Carden, London. 
 
■.'f ' 
 
 Oij 
 
 I; ' 
 
 MMT/. 
 
 “ - ' ■ V,; 1: '-/Si . 
 
 O0'>: >•' .{.Ml nt 
 
 iinHa I! 
 
 'fa x^f'- 
 i(rAr! ■ iaac'^'’^ 
 
 I ltV‘* aiJ 
 
 ni* in in 
 
 .■.'.A'Itu I'i'i! O'U'iKl'l 
 
 i ivxirt .WJiiK of 
 
 fr . wiirni..tf>» (« liiflff- fill ^nti) 
 
 Iff. I ''arn'i n^ 'It .(■n:V'>V' >1. _ai/il* inl'it) 
 
 ,»•' -vW^^d.; ; !V>.;^i«i titvtiCtftiu ifjjB ,iK>qir>*!p'«af 
 
 .;;ii^;<-iiri) ■'.'.■''■‘i • -' -y;! Jfidiwwjai 'v;^ V.’Ai t" 
 
 , jli 
 
 ■ :>■■.. 
 
 ijJW 'nil r.i cj*!**^ ** 
 
 , . - E-i iltl{iiU.^ :.(•>, if i ;nU'. 
 
 
 •irr-. ,. . 
 
 ' ii^T K' ■’i 
 
 .f> i o! ai jipI it All w 
 
 1 
 
 >5£’ ■»< .‘f 
 
 '.i -'.i .'■ 
 
 (, 
 
INDEX 
 
 ITALIAN SCHOOLS. 
 
 NO. SUBJECTS. 
 
 1 Portrait of the Wife and Queen of Francis the First 
 
 2 The Nativity of Christ 
 
 3 The Visit of Elizabeth to the Holy Virgin 
 
 4 The Holy Family 
 
 5 The Marriage of the Virgin and St. Joseph..,......--. 
 
 6 St. Cecilia, or the Five Saints 
 
 7 Portrait of Prince Bentivoglio of Rimini. 
 
 8 P. Veronese and his Family returning thanks - 
 
 9 Portrait of Titian - 
 
 10 Portrait of Giorgione in a Masquerade Dre.ss 
 
 11 Portrait of the Doge Vendramini 
 
 12 The Prodigal Son’s Return........ 
 
 13 Rinaldo and Armida — 
 
 14 Madonna and Infant Christ.. 
 
 15 Christ praying on the Mount 
 
 1() The Glorification of the Virgin - 
 
 17 A Deposition - 
 
 18 The Adoration of Kings - 
 
 19 Portrait of a Lady of Guastalla 
 
 20 A Study for the Head of St. John 
 
 21 The Virgin and Christ presenting a Heart to St. Anthony 
 
 22 St. Jerome della Carita 
 
 23 A Lady and Child 
 
 24 The Marriage of St. Catharine 
 
 25 St. Sebastien - 
 
 MASTERS. PACE 
 
 .Leonardo da Vinci 2 
 
 .Ditto - ib. 
 
 .A. DEL Sarto 3 
 
 -Ditto ib. 
 
 -G. F. Penni 4 
 
 .Julio Romano... 5 
 
 -Titian 6 
 
 .P. Veronese 7 
 
 -Ditto - ib. 
 
 •Giorgione 8 
 
 .G. Bellini 9 
 
 .G. Bassan - 10 
 
 -Varatori 11 
 
 .Annibale Caragci 12 
 
 .Morazzone 13 
 
 .Ditto. ib. 
 
 .Ditto ib. 
 
 .Ditto ib. 
 
 .Lavinia Fontana 14 
 
 COREGGIO - 15 
 
 .Ditto.. ib. 
 
 Ditto ib. 
 
 .Parmigiano 16 
 
 •C. Procaccini 17 
 
 .G. C. Procaccini 18 
 
INDEX. 
 
 vi 
 
 NO. SUBJECTS. 
 
 26 Christ at the Pillar. 
 
 27 Judith with the Head of Holofernes 
 
 28 St. John in the Wilderness 
 
 29 A Landscape, with the Flight of the Holy Family 
 
 60 A Ditto, with a Riposo 
 
 31 The Grecian Daughter 
 
 S2 Cupid holding a Dove 
 
 33 The Nativity 
 
 34 The Holy Family 
 
 35 A Miracle by St. Francis 
 
 56 Christ’s Descent to Hell 
 
 37 Portrait of Galeazzo Campi 
 
 38 The Good Samaritan 
 
 S9 A Bacchanalian Subject 
 
 40 Portrait of Manfredo Settala 
 
 C The Artist’s own Portrait 
 
 41< _ 
 
 C Portrait of a Flemish Artist 
 
 42 St. John presenting a Cup of Water to Christ 
 
 43 David decapitating Goliah 
 
 44 John the Baptist 
 
 45 St. Jerome awakened by an Angel 
 
 46 A Musical Conversation 
 
 47 A large Landscape, with a Stag Hunt 
 
 48 A small Landscape, with Figures bathing 
 
 49 A Ditto, Men fishing 
 
 50 Marius sacrificing to Bellona 
 
 51 A Forest and Banditti 
 
 52 The Dream of iEncas 
 
 53 A Philosopher contemplating the Relics of Mortality... 
 
 54 A Landscape, View on tlie Coast of Naples 
 
 55 A Ditto, Ditto 
 
 56 An Anchorite in meditation 
 
 57 Marius meditating among the Ruius of Carthage 
 
 MASTERS. PAGE 
 
 B. SCHIDONE 19 
 
 .Guido Rkni 20 
 
 Guido Cagnacci 21 
 
 Domenichino 22 
 
 .Ditto ib. 
 
 -Ditto ib. 
 
 .Ditto ib. 
 
 .G. Ferrari 23 
 
 .F. M. Rondani 24 
 
 .Passignano 25 
 
 .P. Farinato 26 
 
 • G. Campi 27 
 
 .Salmeggia 28 
 
 • N. Frangipane 29 
 
 .G. B. Crespi 30 
 
 .Daniel Crespi 31 
 
 .Ditto ib. 
 
 -Ditto ib. 
 
 .Ditto ib. 
 
 .Guercino 32 
 
 • Ditto ib. 
 
 .Valentin 33 
 
 .G. and N. Poussin 34 
 
 .Ditto ib, 
 
 -Ditto ib. 
 
 .Salvator Rosa 35 
 
 .Ditto ib. 
 
 .Ditto ib. 
 
 .Ditto ib. 
 
 -Ditto ib. 
 
 .Ditto ib, 
 
 -Ditto ib. 
 
 .Ditto ib. 
 
INDEX. 
 
 SUBJECTS. 
 
 58 The Battle of Hercules and the Centaurs 
 
 59 St. Peter’s Repentance......... 
 
 60-^ 
 
 to ^Portraits and Fancy Heads, in various Costume. ........ . 
 
 69 J 
 
 70 Landscape, with Mussulmauns journeying to Mecca 
 
 71 Charity 
 
 72 A Marine View 
 
 73 Head of a Pilgrim 
 
 74 The Emperor Napoleon in the Costume of King of Milan 
 
 vii 
 
 MASTERS. PAGE 
 
 • liUCA Giordano 36 
 
 .Spagnoletto 37 
 
 .J. Nogari 38 
 
 .C. L. Agricola ... 39 
 
 G. B. Tiepolo 40 
 
 .J. Vernet 41 
 
 Pamfilo 42 
 
 Appiani 43 
 
 75 
 
 76 
 
 77 
 
 78 
 
 79 
 
 80 
 81 
 82 
 
 83 
 
 84 
 83 
 86 
 
 87 
 
 88 
 
 89 
 
 90 
 
 FLEMISH, DUTCH, 
 
 The Church’s Victory over the Dragon 
 
 Silenus, attended by Bacchanalians 
 
 Madonna and Child 
 
 The Infant trampling on the Serpent 
 
 The Holy Family, in ripo.so 
 
 Boors Drinking 
 
 Interior of a Guard Room 
 
 Ditto 
 
 A Landscape, with Figures and Animals 
 
 The Angel appearing to the Shepherds 
 
 The Sacrifice of Iphigenia ............... 
 
 Dogs rousing a Swan 
 
 Toper and Musician.. 
 
 Portrait of Albert Durer.. 
 
 The Holy Mother and Infant.............. 
 
 Landscape and Figures. 
 
 AND GERMAN SCHOOLS, 
 
 P. P. Rubens . . 
 
 A. Vandyck..., 
 
 Diepenbeck 
 
 -.J. Thomas 
 
 C. POELEMBEEG 
 
 D. Teniers 
 
 Ditto 
 
 • Ditto... 
 
 A. CuYP 
 
 B. CuYP 
 
 G. Lairesse-... 
 
 A. Hondius 
 
 — • Jan Steen 
 
 — A . Durer 
 
 - J. Mostaert 
 
 A. Elsheimer 
 
 . 46 
 . 47 
 , 46 
 
 49 
 
 50 
 
 51 
 ib. 
 ib. 
 
 52 
 
 53 
 
 54 
 
 55 
 
 56 
 
 57 
 
 58 
 
 59 
 
GETTY CENTER LIBRARY 
 
 3 3125 00446 2095