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A CATALOGUE, 
 
 ( RaisonnS,) 
 
 OF THE 
 
 ©rtgmal an* select ^trtttres, 
 
 NOW EXPOSED TO THE PUBLIC, 
 
 AT 
 
 THE LONDON GALLERY, 
 
 22, 
 
 PICCADILLY, 
 
 Late Bullock's Museum. 
 
 Comprising Specimens of most of the Ancient Masters, from the revival 
 of Painting in the 15th Century, down to the present time. The whole 
 arranged from date, tending to illustrate, by examples, the rise, progress, 
 decadence, and sequent revival of the Art. With Etchings of some of 
 the principal Pictures. 
 
 The entirety of this Collection is the sole Property of H. C. Andrews ; 
 collected by him in the course of the last 18 years ; many when last on 
 the Continent. They are now offered to the Public for sale, at the 
 Prices affixed to each ; or the whole may be agreed for at a very mo- 
 derate rate. 
 
 The only authentic specimen of the Works of LEONARDO DA VINCI ; 
 is in this Collection. 
 
 Catalogues to be Jtad of all the Booksellers, 
 
 LONDON : 
 
 Printed by B. R. Howlett, 49, Brewer Street, Golden Square. 
 
 1813. 
 
I. GIOVANNI BELLINI. 
 
 Born , died 1512. 
 
 OLD WOMAN, WITH A DRINKING GLASS. 
 
 This first Picture is intended as a specimen of the manner 
 of painting, previous to the use of oil. It is a most cu- 
 rious piece of art, worthy the attention of connoisseurs. 
 
 If we admit an infancy, maturity, and age, that is, decay, 
 progressive with every thing sublunary, whether it be the 
 spontaneous productions of nature, the works of artifice, or the 
 highest mental attainments, we must allow those their share 
 of merit, for industry or invention, who first paved the way 
 to that perfection, in this art, to which it arrived, shortly 
 after the period in which the Bellinos flourished ; for, from 
 the faint glimmerings in its then infantine state, emerging as 
 it were from obscurity, 'till its bursting forth to its full meri- 
 dianal splendour, under their immediate successors, there ap- 
 pears hardly an interval. The Bellinos are reputed the 
 founders of the Venetian School, so notorious for delicacy, Ce/eJ^ct/l*) 
 and brilliancy of colouring. Giacomo, the Father, was 
 amongst the first who made use of oil in Venice, for the pur- 
 pose of painting pictures ; that secret, till the latter end of 
 his days, was known but to few. 
 
 B 
 
2 
 
 The origin of this improvement is said to be derived from 
 John Van Eyck, of Bruges, in Flanders, about the year 1410, 
 though this is now questioned by a modern writer, who ante- 
 dates the period of the invention ; but I think without suffi- 
 cient proofs. The hitherto recorded and credited history, 
 runs thus, of its introduction to Italy. Antonio de Massina, 
 having accidentally seen some pictures in oil, at Naples, was 
 so struck with their brilliancy, that, after making inquiry 
 who the artist was, that painted them, he determined upon 
 discovering the new principle. Arriving at Bruges, he soon 
 found out his man ; and by courtesy, attention, and presents, 
 prevailed upon Van Eyck, to teach him the art. He lived 
 with Van Eyck till he died ; when, returning to Italy, he set- 
 tled at Venice. Domenico, the pupil of Antonio, learnt it of 
 his master ; from Domenico, it passed to Andrea Castagna, 
 who had not only been instructed by Domenico, but was 
 taken by him into his most intimate friendship, which Andrea 
 repaid by waylaying and stabbing his patron and benefactor. 
 The affair was conducted so closely, that no one suspected 
 Andrea, not even his friend ; who desired, when he found 
 himself mortally wounded, to be taken to the house of his 
 murderer, where he expired in his arms. A death bed re- 
 pentance brought the confession from Andrea, or this infa- 
 mous villany would never have been known. 
 
 About this time, from various accidents, painting in oil be- 
 
3 
 
 came more diffused through Italy ; and very shortly after, the 
 scholars of J. Bellino, Giorgione, and Titian, so far perfect- 
 ed the art of colouring in this school, Leonardo da Vinci in 
 the Florentine, with Correggio in the Lombard, that it arrived 
 to a height of perfection, from which it has ever since been 
 declining. This, with a reserve still, in reference to our pre- 
 sent prospects ; for, by the liberal patronage given the pro- 
 fessors of this captivating art, by the Prince Regent and his 
 Royal Father, an example has been set, and readily followed 
 by most of our principal nobility, Stc. to an extent never before 
 known in this kingdom. So much so, as to admit of our as- 
 serting, that this hitherto uncongenial soil, has produced of 
 late most formidable rivals to the ancients, whether Italian or 
 Flemish, since it has given us, amongst a number of others, 
 a Reynolds and a Gainsboro', a West and a Wilkie. 
 ,£50 0 0 Canvass, 2 f . 4 in. by 3 f. high. 
 
 II. A MADONNA AND CHILD. 
 
 A picture of the last mentioned master, in oil. There is 
 no doubt but the genius of the pupils had a considerable in- 
 fluence on the manner of 'this master ; for we find much more 
 propriety of colouring, and harmony of pencilling, in the latter 
 works of J. Bellino, than in his early performances, of which 
 this is one ; yet much of the hard Gothic gusto still remained. 
 
 £\0 10 0 Panel, 2 f . 4 in. wide, by 3 f. high. 
 
4 
 
 III. PIETRO VANNUCCt, 
 Called, Pietro Perugino. 
 
 Born in 1446, died 1524. 
 
 THE VIRGIN AND CHILD, WITH FLOWERS IN A GARLAND* 
 
 The head of the Virgin, in this picture, is delicately beau- 
 tiful, and, no doubt, is a portrait of the wife of the painter • 
 she is recorded to have been very handsome, and the model 
 from which he took all the heads of his Madonas ; it pos- 
 sesses all the sweetness, grace, and appropriate dignity of 
 the character ; and has much of the manner of Raphael in 
 his early productions. The natural and exquisite touch, 
 with which the flowers are finished, makes me almost 
 think they have been painted at a more recent period than 
 the rest of the painting. For truth to nature, colouring and 
 firmness of pencilling, they may vie with the best of Van 
 Huysum, Baptiste, or De Heem. A great deal of the formal, 
 stiff, dry manner of this early day of painting, Perugino, 
 notwithstanding all his advantages, could not shake off; yet 
 is there a harmony, delicacy and roundness, which pervade 
 the whole of his works. This picture, it is presumed, must 
 be placed amongst the early productions of the artist. Pe- 
 
5 
 
 rugino was one of the first masters, whose works bear the cha- 
 racter of that dawn of the art, which at the close of the loth 
 century, burst forth with such lustre. His greatest honours, 
 however, are derived from having been the preceptor of the 
 immortal Raphael. After having passed in his youth, through 
 the severe ordeal of extreme poverty, in the prosecution of 
 his studies, he at last placed himself with Andrea Verocchio, 
 at the same time that Leonardo da Vinci was studying un- 
 der this master. How far these men carried the vis of the art, 
 and by how much the genius of the one, soared above that of 
 his fellow student, it does not require the eye, taste, or 
 judgment of a Fuseli to decide. However it appears on re- 
 cord, his abilities procured him riches, to his misfortune ; 
 for, so fond was he of his gold, that he carried constantly a 
 box of it with him, of which unfortunately being robbed, 
 although much of the property was recovered, he died soon 
 after of grief, at the age of 78, 
 
 £50 0 0 Panel, 2 f . 4 in. wide, by 3 f. 4 in. high. 
 
6 
 
 IV. LEONARDO DA VINCI. 
 
 Bom in 1445, as Vasari, or 1452, after Durazzini, 
 died 1519. 
 
 PORTRAIT OF FRANCIS THE FIRST, OF FRANCE, AT THE 
 AGE OF 24, IN THE CHARACTER OF SAINT JOHN THE 
 baptist; POINTING TO A LAMB, AS THE MEDIUM OF 
 
 our redemption. Ecce agnus Dei, qui tollit peccata 
 mundi ! 
 
 This painting, without a fellow, is, perhaps, the only pre- 
 served specimen, that can be authenticated, from the pencil of 
 this sublime artist. Its authenticity is accidentally innate with 
 the picture, and that unquestionable; a character which does not 
 attach to the works of any of the great masters, his cotempo- 
 raries and successors, except those of Titian, which likewise 
 bear internal evidence of originality. Not so the Raphaels, 
 Parmegianos, Correggios, &c. whose authenticity depending 
 upon judgment, locality, &c. come from whence they may, 
 their originality is always questionable ; after what is recorded 
 of Andrea del Sarto, who copied a picture, the joint work of 
 Raphael and his pupil Jiulio Romano, so faithfully, that Jiulio 
 was himself deceived by the performance. Titian, it is true, 
 often copied his own works, but still they are Titian's, and have 
 their character of determined authenticity. Not so Leonardo's, 
 
7 
 
 for De Piles, in his Lives of the Painters, written above a 
 century ago, considered the works of this master, then, as very 
 rare ; he says, " Leonardo's works, which are now almost en- 
 tirely ruined, are not sufficient by which to judge of his ge- 
 nius, as the very few in the cabinets of princes, contain but 
 few figures." However, enough has been written by himself, 
 and of his works, on which a judgment may be formed of 
 them, but not to decide as to originality ; this fortunately dis- 
 covered specimen, may now, serve as a guide. 
 
 The biographers of this great man are numerous, from Va- 
 sari till that by Sir J. Hawkins ; in this last, most of the ac- 
 credited pictures of Leonardo are enumerated ; the present 
 one is noticed, as having been, formerly,^aTfFaris, in the col- ) j2e^O 
 lection of Mons. Jabac, as a picture of St. John the Baptist, 
 half length, but is not recognized as a portrait of Francis ; j 
 (^though said to have been, formerlyyin the Royal Collection at 
 Fontainbleau. No wonder the picture was not known for a 
 portrait, as the chronological record, at the bottom of the 
 painting, was obliterated with dark paint ; this was the princi- 
 pal datum by which the certainty of the picture's being the 
 production of Leonardo, could be determined. For whatever 
 the exquisite beauty and perfectness of the work, or the subli- 
 mity and grand gousto, of the composition might have done, 
 as proof of its originality, so often has it been said, he never 
 painted in France, that without this corroborative evidence, it 
 
might have been questioned ; this, added to other coinciding 
 points, puts it out of doubt. Upon examining the painting, 
 with the hopes of finding the author's name, and removing 
 what, I thought, had been apparently recently added, at the 
 bottom of the picture, I was astonished to find, that it had 
 been painted over, to conceal the writing, and instead of the 
 artist's name, (a character often interpolated, when but little 
 other guarantee can be found, to fix the master, and give the 
 idea of originality to the piece), I discovered to the full ex- 
 tent of my wish, and much more than my hopes. Francis 
 the first, came to the throne in 1515, at the age of 21 ; Leo- 
 nardo came into France in 1518, when Francis was 24, the 
 year the picture was drawn. Having the appointment of 
 painter to the king, as he styles himself, in his will made in 
 1519, some time before his death; the first object, naturally, 
 upon his arrival, must have been, to paint the portrait of his 
 Majesty, a point of etiquette necessary previous to his ap- 
 pointment ; and it is to be supposed, he would not have taken 
 the title, without having performed this indispensible intro- 
 duction to his office. His illness, we may suppose, was im- 
 mediately sequent to the execution of this picture ; wherefore, 
 this must have been the only picture he painted in France, 
 and certainly his last. For, it was not long after this, that 
 he terminated his career, in the arms of Francis, in his 74th 
 year. 
 
f) 
 
 That Leonardo stands first, on record, as the restorer, and, 
 I may say, the perfectioner of this delightful art, has ever been 
 admitted. Indeed it required a mind like his, so gifted, and 
 so stored, to elevate it to the achme of perfection and matu- 
 rity where he left it, from the yet imperfect and infantine state 
 in which he found it. For what can we say of the tasteless, 
 stiff, dry, and insipid works, of those artists which preceded 
 him, from the days of Cimabue, the nominal reformer of the 
 art, 'till the time of Leonardo, Correggio, Raphael, Titian, 
 Michael Angiolo, Giorgioni, &c. these may be all considered 
 as the disciples of this great man, for 'tis on his theories they 
 have raised their fame. That grand principle in colouring, 
 the judicious blending light and shade, the chiaro-scuro, by 
 which objects take their apparent natural relief, was first 
 practised, and rules given for its performance, by Leonardo. 
 In fact, we may say with justice, he is the real father of the 
 science ; his works, of which, alas ! there are so few examples, 
 speak more than written folios. Vasari mentions the parti- 
 cular powers of this artist, in the painting of animals ; the pre- 
 sent subject proves the assertion, for I think the lamb, in this 
 picture, may be truly said, to appear to live ; it is beyond the 
 power of art to exceed it. The foreshortening of the left arm 
 is wonderful. I shall not presume to point out all the merits 
 of this consummate piece of art to connoisseurs, to them it will 
 speak for itself ; but recommend it to their close inspection ; 
 
10 
 
 where they will perceive, that true grand gousto and sublimity, 
 which so eminently distinguish the works of this great artist. 
 There is so much to be admired in this picture, that the more 
 it is looked at, the more wonder it creates ; a single coup d'oeil, 
 will not fill the mind with all its beauties. The only speci- 
 men of this author's works, mentioned to exist in Britain, in 
 the Life of Leonardo, by Sir J. Hawkins, was in the posses- 
 sion of R. Troward, Esq. now in that of Mr. Davies, of Clif- 
 ton. I have no right to question the authenticity of that pic- 
 ture, nor do I ; but, certain it is, it cannot come in the unques- 
 tionable shape of this ; wherefore, it may, or may not, be ori- 
 ginal. I have prints of the portraits of Francis, by two artists, 
 at different periods of his life ; the juvenile traits of 24, seen 
 in this picture, are easily traced up to the last. The one, by 
 Thomas de Leu, when he was about 32. The other, by 
 Peter de Jode, at the age of about 50. Every scientific judge, 
 who has seen this picture, makes no hesitation in ascribing 
 it to Leonardo, as a portrait from the life ; and as no good 
 artist existed in Fiance, when Leonardo came there, sure no 
 other could have painted it, or assisted in its finish. It is true> 
 a few years after, Francis enticed many Italian painters, such 
 as Andrea del Sarto, Primaticcio, Rosso, with others of less 
 note, to leave Italy ; by whom his portrait was painted, which 
 exist now in the Royal collections. 
 
 If it be objected, that the pencilling of this sublime work 
 
11 
 
 is not equal in finish, to some of the paintings ascribed to this 
 master ; such as his famous portrait of Mona Lisa, bought by 
 Francis for c£'4000 gold crowns, a sum equivalent to at least 
 c£20,000 at this time ; something may be allowed for a man 
 labouring under sickness, and at the age of 74, but whose great 
 mind, still existed, though in a weak body. A most import- 
 ant character as to date and originality, is the frame of this 
 picture ; it is made of the same oak as the panel, bears the 
 same marks of antiquity, and certainly was made at the same 
 time. It has carved on it the age 1518, at the bottom, with 
 an F at the top ; the character that all the pictures have, which 
 were painted for the Fontainbleau Gallery, from whence it has, 
 at some period, been surreptitiously taken. 
 
 Let us trace the masters of sublimity, in theory and practice, 
 to the extremest of their conceptions or powers, and we shall 
 find more expressed, in a stroke of Leonardo's pencil, than in 
 them all combined. The precursor of the Messiah, by simply 
 pointing to the Saviour, typified by the Lamb he holds in his 
 arm, seems to say, with all the energy of enthusiasm — Behold 
 the Lamb of God, zcho comes to take away the sins of the world I 
 
 Where are we to look, through the whole range of paintings 
 and painters, except from Leonardo, for a trait like this ? 
 
 Oak Panel, 2 f. 7 in. by 3 f. 2 in. high. 
 .£10,000 0 0 
 
12 
 
 V. ALBERT DURER. 
 Bom in 1471, died 1528. 
 
 SAINT JEROME, WITH A SCULL, MEDITATING. 
 
 The oldest of this master's paintings do not go beyond 1504, 
 as we read in Standart ; who was better acquainted with all 
 his works than any other ; so that it is to be supposed, he 
 did not commence painter till he had attained the age of 30. 
 The specimen here exhibited of his works, cannot rank 
 amongst his best, for they are very rare ; but it is given to 
 show the character, at that day, of painting in Germany ; 
 where Albert had the honour of being considered as the fa- 
 ther of that school. He was born at Nuremberg, and was \ 
 the disciple of Michael Wolgemuth for three years. 
 
 Engraving was his fort ; his works in this branch are nu- 
 merous, some of them excellent ; but for the most part of a 
 bad design, and drawn with a gothic gousto. In his time he 
 was much admired, for he possessed the virtues, as well as 
 energies of the mind ; and being a good orator, with great 
 amenity of manners, he was chosen to fill a seat, amongst the 
 counsellors of state of his native city. As an author, he 
 wrote various treatises on geometry, perspective, propor- 
 
13 
 
 tion, &c; but unfortunately, living at a time, and in a country 
 where he had to trace, as well as make his path, no wonder his 
 progress was not greater ; it required a more powerful genius, 
 than Albert possessed, to accomplish what had been about 
 this time done by a Leonardo da Vinci, in a more congenial 
 soil to the arts. The colouring of his oil pictures bears a dif- 
 ferent character ; for he certainly did much in this department 
 of the art ; and it may be questioned, if Raphael does not 
 fall behind him, here. As to his wooden draperies, they appear 
 rather broken, than folded ; and his compositions are crowded 
 without judgment; his taste leading him to precise minute- 
 ness, rather than an attention to grandeur or consequence of 
 parts. It must be allowed, nevertheless, that he was a man 
 of the highest ingenuity and industry, and one to whom the 
 art is much indebted. 
 
 £6 0 0 Panel, 1 f. 2 in. wide, by 2 f. 2 in. high. 
 
14 
 
 VI. GIORGIO BARBARELLI, 
 Called, Giorgione di Castel Franco. 
 
 Born in 1477, died 1511. 
 
 HEADS OF BANDITTI, A PAIR. 
 
 The vigorous pencil of Giorgione is, perhaps, as well re- 
 cognized in these small pictures, as those of a larger size; but 
 the colouring of the master can be seen, only in his larger 
 works. These are specimens from the Collection of Sir P. 
 Paul Rubens, and undoubted productions of this artist. 
 
 Upper Italy had, a short time previous to that, in which 
 Giorgione flourished, been made acquainted with the prin- 
 ciples of chiaro-scuro by Leonardo da Vinci ; and it is said 
 that to him, or his works, Giorgione was indebted for the 
 knowledge of this branch of the art. Be this so or not, no 
 one ever used it with more powerful effects ; or was it known 
 in Venice till his day. Titian followed him. As yet, Gior- 
 gione stands unrivalled, for those traits which mark his man- 
 ner; that boldness of handling, his ample outline, daring 
 foreshortenings, with the vigorous impastu of his pictures, 
 give them a passport to futurity, which few of those of his 
 
15 
 
 cotemporaries can boast. He was the scholar of J. Bellini, 
 as was Titian ; they may be truly said to have founded the 
 Venetian school, so eminent for suavity, combined with 
 strength and truth of colouring ; a subject, which to mo- 
 dern artists has furnished so much matter for discussion, cavil, 
 and ill nature, but which still seems a mystery; though Barry 
 has said so much upon it : see his Letter. 
 
 £\0 10 0 Panel, 5\ by 7h high. 
 
 VII. Companion to the last, 
 £\0 10 0 Panel, 5 £ by 7 \ high. 
 
16 
 
 VIII. TIZIANO VECELLl CAVALIER E, 
 Called, Titian. 
 
 Born in 1480, died 1576. 
 
 THE INTERVIEW OF CORIOLANUS AND HIS FAMILY, NEAR 
 ROME; WITH T.AUFID1US, AND THE VOLSCIAN ARMY, 
 
 Amongst the numerous productions from the pencil of this 
 renowned painter, this has a fair claim to be placed in the 
 foremost rank. The subject he has chosen, is truly drama- 
 tical for effect, and he has given it all due force in the design 
 and composition ; a volume would scarcely serve, were I to 
 dilate on all its beauties. The story is completely told, of 
 this scene, on the canvass. Coriolanus, having been banished 
 Rome, for his insolence to the common people, retires in dis- 
 gust to the Volscians, who receive him with open arms, and 
 make him their General, on the condition of leading them 
 against their too powerful neighbours, the Romans ; these, 
 fearing the result, have endeavoured to recall him in vain ; 
 he arrives within five miles of Rome, where the interview 
 represented, takes place. The mother Volumnia, his chil- 
 dren and their mother Virgilia, all form interesting groups, 
 exhibiting a most interesting scene. The landscape, and 
 distant view of Rome, with the encampment of the Volscian 
 
17 
 
 army, are kept in the most exquisite perspective, and the 
 brilliant tone of colour preserved through the whole picture, 
 seems like the painting of the last century. It is strange, that 
 although so much has been written, so little is known, except 
 by locality, as to the originality of this great painter's works ; 
 for it is matter of great notoriety, that nine out of ten, 
 which are sold as Titian's, are either copies, or the works of 
 other masters. To those who have studied the subject, it 
 would appear that they might be known ; for they bear inter- 
 nal evidence of genuinity, which few of the pictures of the 
 elder masters do ; his manner of grouping, by pairs, in all 
 his larger works, is so striking a feature, a sure judgment may 
 be made of his compositions by that, independent of the 
 beauties of his colouring, &c. The canvass he employed, 
 likewise, from its particular texture, is most decisive : it is a 
 cloth, wove, as it is said, on purpose for him ; but certainly 
 different from that used by any other painter, and at present 
 not fabricated, nor has been since his time. 
 
 Titian was placed, at an early age, w ith Giovanni Bellini ; 
 immediately after he had left his first master, Sebastiano Zuc- 
 cati ; Giorgioni had been a disciple, likewise, of Bellino, but 
 had so far improved the science, beyond the powers of his 
 master, that Titian thought it worth while to cultivate his 
 friendship, and gain his newly discovered method of colour- 
 ing. He succeeded, but soon ensued a rivalship, which lasted 
 
 c 
 
18 
 
 till the death of Giorgioni, in his 30th year, when Titian, in 
 Venice, then stood without an equal. The Emperor Charles 
 the Fifth, was his patron ; he created him a knight, and gave 
 him a handsome pension. It is even said, that Charles ex- 
 pressed himself, as having been immortalized by the por- 
 traits painted of him, by this artist. No painter has been 
 more copied : his Venus, Venus and Adonis^ the Cornaro fa- 
 mily, &c. have run through 20 editions, all originals. His 
 portraits are without number. The picture here described 
 has no modern copy that I know of, and it would be singular 
 if it had, as it certainly had not been seen for at least 150 
 years, being completely incrusted with dirt of age, and hardly 
 could one figure be distinguished. I have a portrait likewise, 
 from his pencil, of undoubted authority. 
 
19 
 
 IX. BALDASARE PERUZZI. 
 Born in 1480, died 1536. 
 
 SECTION OF THE COLISEUM, OR AMPHITHEATRE OF 
 VESPASIAN, WITH THE MANNER OF THE EXHIBI- 
 TIONS ; THE COMBATS OF THE SLAVES, &C. WITH 
 WILD BEASTS. 
 
 As a classical picture, this has much interest, by giving a 
 perfect idea of that savage barbarity, which was considered 
 as the highest entertainment and gratification, by those en- 
 lightened, yet ferocious banditti, the Romans. How far mo- 
 dern civilization may extend, in this way, if that spirit of war- 
 fare should continue, through another £0 years, by which 
 the nations on the continent have been revolutionized to all 
 honourable feelings, or sensibility, I know not ; but it is to be 
 hoped, Englishmen will never have occasion to whet their 
 minds, to real heroism, inherent to this soil, at the grindstone 
 of cruelty. The architectural part of this picture is exqui- 
 sitely grand and true. The figures, designed upon the true 
 Italian principles, are exquisitely drawn; for Peruzzi and 
 Bramante, the friend of Raphael, were connected, and Pe- 
 ruzzi received much information from him. 
 
 Peruzzi is supposed to have been the first who introduced 
 scenery paintings, and such like decorations, for theatres, 
 
20 
 
 He wrote a Treatise on the Antiquities of Rome, with a 
 Commentary on v itruvius ; but was poisoned, previous to 
 the publication of his works, it is supposed by some rival to 
 his reputation. 
 
 £80 0 0 Canvass, 5 f . 4 in. by 3 f. 6 in. high. 
 
 X. RAPHAELO SANZIO, DA URBINO. 
 Born in 1483, died 1520. 
 
 THE ADORATION OF THE SHEPHERDS, WITH FLY WINGS, 
 AS AN ALTAR PIECE. 
 
 In offering this picture to the public, as an original of 
 this sublime artist, I hope there needs no apology ; presuming 
 it is not necessary to procure letters from France, or Italy, 
 from a modern Mengs in Italian, or a Mariette of this day, 
 in French, to establish its authenticity upon such proof, that 
 Raphael sometimes painted on canvass, which he never did, 
 or some such important point. If this exquisite and truly 
 original gem, does not speak for itself ; if its own merits will 
 not bear it out, in this enlightened age, I fear my feeble voice 
 cannot. 
 
 That many original paintings of this master, besides the 
 famous Cartoons, are in Britain, is not to be doubted ; but 
 
21 
 
 where they exist for certainty, is equally matter of doubt. 
 Some that have eome with the best genealogical characters 
 are surely copies : for we meet the same subjects, in a dozen 
 different collections. The works nominally of this artist, if 
 he made but the designs for his pupils to finish, which may 
 be admitted for the last few years of his life, would have re- 
 quired one, protracted to a longer date than that of Titian, to 
 have accomplished half of them. I am certain no man who 
 had been so assiduous in the study of his profession, and at 
 the same time fond of pleasure, at least the company of the 
 fair sex, an over fondness for whom, cost him his life, as 'tis 
 said, at the age of 37, could have produced so many, and so 
 highly finished works, as are placed to his account : every col- 
 lection, little or great, has its Raphael. I shall not pretend to 
 dilate on the beauty or merits of this artist's works ; they have 
 been blazoned sufficiently ; nor do I give this picture, as one 
 of the best from his hand ; but rather conceive it to be an early 
 performance ; little of the grand or scientific merit of Ra- 
 phael is here seen; yet the germ of that superior grace, 
 w hich animated all his works, herein, may be traced. It wa3 
 subsequent to the period at which I conceive this picture 
 was painted, he acquired that sublimity of design, energetic 
 composition, and scientific drawing, by which he established a 
 feme, his cotemporaries did not withhold, and which, through 
 
22 
 
 near three revolving ages, lias ever been admitted ; that he was 
 the greatest painter ever lived. 
 
 Not the least beautiful part of this picture are the wings; 
 one is painted with a St. Dominic, and most exquisitely fi- 
 nished ; the other, a Virgin and Child. 
 
 £250 0 0 Panel, 8 in. by 10 in. high. 
 
 XL BARTOLOMEO RAMENGHI, 
 Called, 77 Bagnacavallo. 
 
 Born in 1486, died 1542. 
 
 VIRGIN, CHRIST, AND ST. JOHN. 
 
 The works of this master, which are very scarce, may be 
 placed on a footing with any of the disciples of Raphael; in- 
 deed it has been allowed, that he equalled his master, in the 
 expression of infantine grace. The present picture has been 
 ascribed to Raphael, by many superior artists, so near did he 
 imitate him. Most of the works of Ramenghi have been 
 copied by Guido, Albano, the Caracci, &c. 
 
 The difficulty of procuring original pictures of the elder 
 masters, from the collections of the continent, has occasioned 
 a number of devices to be used, to procure them ; this has 
 
23 
 
 undergone a singular fate, it was completely coated with an- 
 other picture, not a vestige of the original to be seen; in 
 this state it must have been some time, perhaps since the first 
 entrance of the French into Italy, of late, when so many fine 
 pictures took their departure from the rich Italian stores. 
 It is considerably damaged, but not more than most pictures 
 are from the corroding hand of time, which have not under- 
 gone the ordeal of repair, and of this date. Nothing, in the 
 character of infancy, can be more engagingly sweet than 
 the two infants in this charming picture ; nor would the 
 whole have disgraced the hand of a Leonardo, or a Raphael. 
 This artist, a native of Bagnacavallo, first studied under F. 
 Francia at Bologna, and afterwards became the disciple of 
 Raphael at Rome ; whom he assisted at the same time with 
 Giulio Romano, Pierino del Vaga, and his other scholars. 
 
 .£500 0 0 Panel, 1 f. 11| in. by 2 f. 4 in. high. 
 
 XII. ANDREA VANNUCCI, 
 Called, Andrea del Sarto. 
 
 Born in 1488, died 1530. 
 
 the cardinal virtues. — Allegorical. 
 
 This picture is selected as containing, more than many of 
 his larger works, the characteristic genius of its author ; it is 
 
24 
 
 the allegorical personification of the four Cardinal Virtues, 
 Prudence, Justice, Fortitude, and Temperance,with their attri- 
 butes. The correctness of drawing, ingenuity and taste in the 
 composition, fine colouring, with an attention to the finish of 
 the extremities, are all so well expressed in this painting, that 
 his manner and mind may be completely traced in the study. 
 Andrea was the son of a taylor at Florence ; he served seven 
 years apprenticeship with a goldsmith ; but at last finished 
 himself as a painter, under Pietro Cosimo. He is said to have 
 painted at first, in conjunction with an artist, otherwise but 
 little known, Francisco Bigio ; and to have been so exact a 
 copier, that Giulio Romano was himself deceived, in a picture 
 Andrea had made from one by Raphael and Jiulio. Francis 
 the First, King of France, invited him to his court, treated him 
 with distinction, and paid him largely for his works. The 
 King trusted him with a large sum, to make purchases in Italy, 
 of what was rare in the arts ; he soon foolishly squandered his 
 own and the King's property, and died in extreme wretched- 
 ness, abandoned by his wife and friends, of the plague. How- 
 ever, he has left behind him, such monuments of art, that his 
 name, as the author of that most beautiful picture, the Ma- 
 donna del Sacco, if he had made no other, will last whilst any 
 records of painters or painting remain. 
 
 ,£100 0 0 Panel, 2 f . £ in. by 1 f . 2 in. 
 
 oscocux ~~ Lets ; ^Jt Uk^. 
 
25 
 
 XIII. GIULIO PIPPI, 
 
 Called, Giulio Romano. 
 
 Born in 1492, died 1546. 
 
 ALLEGORICAL SUBJECT. 
 
 So few are the easel pictures of this grand master, that we 
 must in this collection, be contented with but a poor model, 
 of the gigantic works of Giulio Romano. He was the favoured 
 scholar of Raphael, and appointed finisher of his works. What- 
 ever came from the hand of Giulio, was sure to be marked by 
 some poetic fancy, some originality of conception, which often 
 destroyed the propriety of character. As a master of the art, 
 for the grand gousto, and poetic composition, he stands in the 
 first class ; but however superior his compositions for the ge- 
 neral result, his pictures, for want of colouring and finish, will 
 never be admired, but by the learned. He formed a school, 
 which produced many great painters ; at the head of these 
 were, F. Primaticcio, Beneditto Pagni, and Rinaldo Monta- 
 vano. He left a son, whose works are at this day, not known ; 
 but that he possessed talents, is recorded, worthy his parent, 
 and died at the age of thirty. 
 
 £50 0 0 Panel, 2 £ . 2 in. by 1 f. 1 1 in. high. 
 
26 
 
 XIV. BARNARD VAN ORLAY, 
 Called, Barnard of Brussels. 
 
 Born in 1490, died 1560. 
 
 THE FOUR EVANGELISTS. 
 
 The character of the master is readily perceived, in this well 
 drawn painting ; the expression is grand and appropriate, with- 
 out any of the Flemish gousto ; for this pupil of Raphael, al- 
 though born at Brussels, may be received amongst the Roman 
 painters. He went so very young to Rome, that no vestige of 
 the taste of his native country can be found in his pictures. 
 His designs are noble, and his colouring agreeable ; for this 
 last, he is not indebted to his master. Like many painters 
 of that age, when the picture was of consequence, he used 
 a ground of leaf gold, which gave a lustre to the colours, and 
 preserved them fresh. He was much employed by Charles 
 the Fifth, and was appointed principal painter to the Gover- 
 ness of the Netherlands ; ever retaining the character of 
 being one of the best painters of his time. 
 
 ,£200 0 0 Panel, 4 f. 2 in. wide, by 3 f . 2 in. high. 
 
27 
 
 XV. ANTONIO ALLEGRI, 
 Called, II Correggio. 
 
 Born in 1494, died in 1534, at the age of 40 ? 
 
 CUPID HAVING SHOT HIS ARROW, OR LE VAINQUEUR 
 I)E L'UNIVERS. 
 
 The exquisite loveliness of this imaginary divinity, or, as he 
 has been emphatically named, La Vainqueur de PUnivers, 
 has never perhaps been so happily hit off, as the conqueror 
 of hearts. The engaging, yet self-sufficient smile, by which 
 he exhibits the conscious power of his dart ; the sublime atti- 
 tude of the head, so exquisitely foreshortened, in its elevation, 
 with the masterly use made of the clare-obscure, till his time 
 unknown ; blend such suavity and grace through the whole, 
 that the mind is rapt with ideas, never yet communicated by 
 the fascinating powers of this charming art, but by a Correg- 
 gio, or a Raphael. 
 
 Much has been written, tending to illustrate what is to be 
 considered as sublime and beautiful, from Longinus, till the 
 days of Burke ; few, nevertheless, have possessed minds suffi- 
 ciently expanded, to comprehend their positions ; yet needs 
 it but a glance at this inimitable performance, to rouse the 
 dullest apprehension to a full feeling of their force and power. 
 
 That Correggio, of all painters before, or since his time, 
 has exceeded, in that seducing, amiable grace, which pervades 
 
28 
 
 all his genuine pictures ; and by which they are so decidedly 
 known, has never been questioned ; and this must be al- 
 lowed to possess the ne plus ultra of the Correggiesque. 
 
 A copy of this picture was made by Vandyke, with some 
 trifling alterations ; a print of which I have ; and if the en- 
 graver has done any thing like justice to the painting, a com- 
 parison will show how far the original stands aloof from the 
 copy. 
 
 Concerning the life of this distinguished artist, little is 
 known of certainty : his biographers, from Vasari, down to 
 Pilkington, disagreeing in nearly all points. Little will it 
 avail him or us to know, at this distant period, whether he was 
 rich or poor, highly or lowly descended, illiterate, or deeply 
 learned ; but, for the honour of civilized society, it is to be 
 hoped such genius and merit did not meet so ignoble and 
 wretched a fate, or that so precious a life should have fallen 
 a sacrifice at the age of 40, by the porterage of the trifling 
 meed, he had received in copper money as payment for such 
 inestimable labours ; and that, the hard earnings for support 
 of an indigent family. Vain would now be an attempt to un- 
 ravel this mystery ; but it is scarcely credible, when recounted 
 to have taken place in the days of a Leo, a Francis, and a 
 Charles, those magnificent patrons and protectors of the arts 
 and artists. Let it suffice then, that his works speak trumpet- 
 tongued, a fame more loud and lasting, to all true lovers 
 
29 
 
 of this divine art, than would his birth, education, or riches, 
 could he have counted Caesars with his ancestors, had he 
 acquired the learning of Tully, or possessed the wealth of 
 Croesus. 
 
 of 1000 0 0 Canvass, 2 f. wide, by 2 f. 6 in. high. 
 
 XVI. LUCAS JACOBS, 
 Called, Lucas Van Ley den. 
 
 Born in 1494, died 1593. 
 
 THE HOLY FAMILY, IN A LANDSCAPE, CALLED A 
 REPOSO. 
 
 The manner of the Dutch school, of this age, is exempli- 
 fied in this composition. That poverty, meagreness, and vul- 
 garity, seen in all. the Dutch masters, of this day, Albert Durer 
 not excepted, we have here ; and although they understood 
 colouring, and used oil with considerable dexterity, yet all 
 their pictures want, what must be considered as the soul of 
 painting, truth of drawing, composition, and a genius for in- 
 vention. No expression or intelligence ; mere models of the 
 clime where the painters lived ; without selection or variety. 
 The engravings, however, of this master, which are numerous, 
 do him more honour than his paintings. 
 
 £\0 10 0 Panel, 1 f. 10| in. wide, by 1 f . 5 in. high. 
 
30 
 
 XVII. JOHN, OR HANS, HOLBEIN. 
 Born in 1498, died 1554. 
 
 DEATH, BY THE FLIGHT OF TIME, LEVELLING ALL 
 
 distinctions . — Allegorical. 
 
 This curious composition is in the true spirit and genius of 
 Holbein; although born at Basle, in Switzerland, he has 
 much of the Italian fire and suavity. 
 
 Portraits are said to be the fort of Holbein : these he 
 painted well, for his imitation of flesh was admirable, and 
 most of his pictures are highly finished. His grounds for 
 his larger pictures, were mostly green, but he used blue some- 
 times for the smaller ones. A large picture of the family 
 of Sir Thomas More, amongst a number of others, from the 
 hand of this master, is in the collection of the Rt. Hon. the 
 Lord Petre, at Thorndon Hall, Essex. Indeed there is not 
 a collection of any note in Britain, but has one or more spe- 
 cimens of his works. I cannot agree with the Abbedu Bos, or 
 Zucchero, that his compositions are to be placed with the 
 best productions of Raphael's disciples ; or that his portraits 
 will bear a competition with those of Titian or Raphael ; for, 
 although we say he has something of the Italian gousto, yet 
 still does there remain much of the German to counterpoise 
 it. He came to London, and was much in favour with Henry 
 the Eighth, whose portrait he made ; also of most of the prin- 
 cipal courtiers of that age. 
 
 £25 0 0 Panel, 3 f. 5 in. wide, by 2 f. 1 in. high. 
 
31 
 
 XVIII. GIOVANNI BAPTISTA SALVI, 
 Called, Sassaferrato. 
 
 Born in 1504, died 1590. 
 
 A MADONNA, OR HEAD OF THE VIRGIN MARY. 
 
 As a specimen of the master, this picture will give some idea 
 of his soft and delicate manner ; the head has much the cha- 
 racter for sweetness, and delicacy of colouring of Parmegiano, 
 who, perhaps, was his model ; for, 'tis well known, his powers 
 were greater to imitate, than invent ; so far did he carry this, 
 that his copies of the first masters are not known from the 
 originals. He was born at an ancient castle on the borders of 
 Urbino, named Sassaferrato, and from thence has his common- 
 place name. Some have conjectured, for nothing is certain 
 of his life, that he studied under Guido ; if so, we must place 
 him near half a century farther forward ; but, although he may 
 have some traits of Guido, yet there wants that grandeur and 
 boldness, so prevalent in all the pictures of that master ; that 
 the position, of his being so excellent a copyist, must be done 
 away, before this can be admitted ; this, with the great age the 
 pictures bear, will admit of the date given for his birth and edu- 
 cation, under Francesco Penni, the disciple of Raphael. 
 
 •£50 0 O Canvass, 1 f. 6 in. wide, by 1 f. 10 in. high. 
 
32 
 
 XIX. PETER BRUEGHEL, called, the Old. 
 Born in 1510, died 1570. 
 
 A MOCK PROCESSION, IN RIDICULE OF THAT OF THE 
 
 HOST. 
 
 This curious composition is a satirical representation of a 
 ceremony performed in catholic countries ; where the consecrat- 
 ed wafer is carried on men's shoulders, in full cavalcade, with 
 lighted tapers, &c. The point of satire appears intended 
 against the whole priesthood, who keep kings in their train by 
 such mummery ; whilst they, themselves, rather sacrifice at the 
 shrine of the jolly god ; who, here, has the station of the host. 
 A cardinal leads the van, the pope follows ; he has two kings 
 in his train, then the priests, &c. This picture, though on a 
 smaller scale, has much the spirit of one, said to be by the 
 same master, on the staircase of the great chamber at Bazil, in 
 which the same company are consigned to hell flames ; the 
 subject is the last judgment. Peter Brueghel was instructed 
 by Peter Kouc, from whom he acquired the taste of painting 
 processions, drolls, &c. as well as landscapes. He is said to 
 have often taken the habit of a peasant, and mixed in their so- 
 ciety, so to make a more faithful copy from nature. 
 
 £25 0 0 Canvass, 4 f. £ in. wide, by 2 f. 5 in. high. 
 
33 
 
 XX. JACOPO DA PONTE, 
 Called, 17 Bassano, and 17 Bassan Vecchio. 
 Born in 1510, died 1592. 
 
 ADORATION OF THE SHEPHERDS, IN A LANDSCAPE. 
 
 This, and the next picture, from the hand of this master, 
 will be found to convey the true character of the Bassans. 
 The subject having nothing particular, but the natural, simple, 
 pleasing style, which pervades them, shows the Italian ground 
 upon which the Flemings, who were at this time numerous 
 in Italy, founded their soft and exquisite manner of treating 
 Landscape, &c. F. Da Ponte, the father of Jacopo, was a 
 native of Venice, but settled at Bassano, where J. Bassano 
 was born ; he had four sons, all painters, whose greatest me- 
 rits were, that they imitated their father's productions, so 
 near, that it is difficult to distinguish them at first sight. 
 Jacopo made some essays in the grand style : but whether 
 he thought smaller subjects were more profitable, as he 
 could finish them in his study, and thus make scholars sub- 
 servient to his interest, he scarcely painted any thing very 
 large ; but his pictures, or those of his sons, are innumerable. 
 No collection is without a Bassan ; for it is a phrase, that it 
 is a disgrace not to have, rather than an honour to possess one. 
 
 «£4 4 0 Canvass, 1 f. 3 in. wide, by 1 f . 7 in. high, 
 
 D 
 
34 
 
 XXI. ANNUNCIATION TO THE SHEPHERDS, 
 
 A fellow to the last, in the same style. 
 £\0 10 0 Canvass, £ f. 8 in. wide, by 3 f . 8 in. high. 
 
 XXII. HUBERT GOLTZIUS. 
 
 Born in 1520, died 1583. 
 
 REBECCA DISCOVERED AT THE WELL. 
 
 The colouring of this picture has a considerable degree of 
 merit, and the draperies are excellent; but the true Dutch 
 gousto pervades the whole picture for costume, character, and 
 sentiment. Hubert Golztius was as much a man of literature, 
 as a painter ; he was born at Venlo, in Guelderland, but went 
 to Rome to finish his studies ; he wrote upon coins and medals, 
 as an antiquarian. The paintings are scarce of this master, 
 but engravings are numerous. 
 
 o£25 0 0 Panel, 4 f. 8 in. wide, by 3 f. 4. in. high. 
 
35 
 
 XXIII. MARTIN DE VOS. 
 Born in 1520, died 1604. 
 
 ST. JEROME IN MEDITATION. 
 
 This is a favourite subject with the Dutch and Flemish 
 painters ; mostly copying one another, for very few of them 
 had much fancy or taste. The head is finely drawn, and 
 the back ground landscape is kept in good perspective; 
 in this department of the art, they were more successful, as 
 the next picture by this master will show ; where nature is 
 given in the attire, such as she wears in the cooler regions of 
 the north, rather than what she puts on in the warmer climes 
 of Italy, whence Claude has taken his scenes. 
 
 He was a native of Antwerp, and a painter hereditary ; his 
 father being an artist of no mean abilities. He studied under 
 Francis Floris, but finished himself with Tintoretto in Italy ; 
 he remained long there, but returned to his native country, 
 and is considered amongst the best painters of his time. 
 
 .£10 10 0 Panel, 3 f. 10 in. wide, by 2 f. 8 in. high. 
 
 XXIV. LANDSCAPE AND FIGURES. 
 
 A Picture of great beauty, for natural character, by the last 
 
 master. 
 
 £\0 10 0 Panel, 4 f . 7 in. wide, by % f. 4 in. high. 
 
3G 
 
 XXV. FREDERICK BAROCCIO. 
 Born in 1528, died 16 12. 
 
 MURDER OF THE INNOCENTS. 
 
 Correggio was the master this painter most approved, and 
 his pictures show how much he endeavoured to imitate him. 
 There are heads, and nearly whole figures, in this painting, 
 which may be easily traced to the originals. The attention 
 to the management of chiaro-scuro, the great engine of his 
 model, gives his paintings equal force, if not equal sweetness 
 or grandeur, with Correggio's. This picture has been origi- 
 nally made for an altar piece, and is finished in the true Cor- 
 reggiesque manner ; and although a subject of horror, yet it 
 is treated so masterly, that the eye can rest on it without dis- 
 gust. 
 
 Baroccio was the disciple of Battista Venetiano ; under 
 whom, and his uncle, Bartolomeo Genga, he studied, till he 
 had attained his 20th year ; when he went to Rome to finish 
 his studies. Upon his return to his native country, he pro- 
 duced many fine paintings, and amongst the rest, a Saint Mar- 
 garet of superior beauty ; this picture induced the then Pope, 
 to invite him to return^ to Rome ; where he was employed on 
 the decorations of the Belvidere Palace, &c. After a series 
 of labours, he returned to his native place, where he died at 
 the advanced age of 84. The next No. is by this master. 
 e£l00 0 0 Canvass, 6 f. wide, by 10 f. high. 
 
37 
 
 XXVI. MARRIAGE OF ST. CATHARINE. — A sketch.. 
 
 £6 6 0 Canvass, 14 in. wide, by 20 in. high. 
 
 XXVII. FEDERIGO ZUCCARO, CAVALIERE. 
 Born in 1543, died 1609. 
 
 AN ALLEGORI CO-SATIRICAL SUBJECT. 
 
 The artist, in painting this picture, appears animated with 
 the same spirit, as when he produced the one which occa- 
 sioned his leaving Rome. In this picture of slander, he fi- 
 gured the officers of the Pope with asses ears ; in revenge, it 
 is said, for some indignities he had received from them, whilst 
 working for Pope Gregory XIII. in the Vatican. After 
 passing through Spain and France, where he was not liked, 
 he came to England, and was kindly received by Elizabeth ; 
 to please whom, and gratify his own spleen on Philip, by 
 whom he had been employed in the Escurial, but who or- 
 dered his works to be put out, after his departure, this 
 picture was painted. Philip, as an idiot, is seated in his 
 chariot, attended by his prime minister, in the character of 
 Harlequin ; he is represented driving over his prostrate 
 subjects, whilst the genius of Spain in vain endeavours to 
 Stop his course. History appears attempting to record his 
 
38 
 
 acts, but, being inspired by an ass, he can draw nothing but the 
 outline of an ass's head on the page. Scorn is seen, pointing 
 the finger at history, for his ridiculous attempt. The Pope, 
 and conclave of cardinals, are emblematized under the fi- 
 gures of parrots, in the rear. This fine picture is most har- 
 moniously coloured, finely designed, and correctly drawn. 
 F. Zucchero was born in the Duchy of Urbino, but studied 
 under his brother Taddeo at Rome, who, dying at the age of 
 37, he succeeded him, and finished many of his brother's works. 
 After passing through France, Spain, and England, he re- 
 turned to Rome, having received his pardon from the Pope. 
 He assisted in painting the grand council chamber at Venice, 
 and was knighted by the Doge. 
 
 <£l50 0 0 Canvass, 5 f. 7 in. wide, by 4 f. £ in. high. 
 
39 
 
 XXVIII. BARTHOLOMEW SPRANGHER. 
 
 Bom in 1546, died 1623. 
 
 ST. JOHN PREACHING IN THE WILDERNESS. 
 
 The incongruous mass of persons brought together, as the au- 
 dience to St. John, is truly whimsical : and such anachronisms 
 are but too frequent with painters. Here we have nearly all 
 nations but Jews ; and every costume but that of Judea. The 
 picture I think is allegorical ; in reference to the doctrine in- 
 culcated, as having drawn all nations within its vortex. It is 
 most exquisitely painted, and many of the faces have the ap- 
 pearance of enamel ; it is finished with high labour, ingenuity 
 and colouring. An undoubted original. 
 
 B. Spranger was born at Antwerp, and worked under a 
 number of different masters, in his passage from Flanders to 
 Parma; where he studied under Bernardo Soiaro. From 
 thence he went to Rome, and found a protector in Cardinal 
 Farnese ; from Rome he went to Germany, and painted for 
 the Emperors Maximilian, and Rodolphus II, who ennobled 
 him. His last pictures are his best; but they are extremely 
 rare, as he was rich; and his works have always borne a high 
 price. 
 
 .£150 0 0 Panel, 5 f. wide, by 3 f. 8 in. high. 
 
40 
 
 XXIX. HUBERNIS FRECKETTER. 
 
 Born in 1 546, died 
 
 PEASANTS WITH FRUIT, GAME, LIVE FOWLS, &C. 
 
 This picture had been considered as the joint production 
 of Rubens and Snyders ; and, for this sort of composition, 
 is undoubtedly excellent ; but upon a close examen in the 
 cleaning, I discovered the name. Frecketter is a name little 
 known, but this painting which could have been so long con- 
 sidered as the work of such superior artists, is a conviction 
 that his want of fame was not for want of skill in his profes- 
 sion. 
 
 il5 0 0 Canvass, 3 f. 3 in. wide, by 4 f. 6 in. high. 
 
41 
 
 XXX. MATTHEW BRIL, 
 
 Bom in 1550, died 1584. 
 
 LANDSCAPE IN THE TIROLESE, UPON THE RIVER INN, 
 
 The Flemings and Dutch have shown a masterdom in 
 this department of painting, their scenes being frequently taken 
 from nature ; this is so, for it is a view near KufFstein, on the 
 river Inn ; perhaps the most romantic and beautiful, for land- 
 scape scenery, in the world. The figures, although not the 
 best part of the picture, are nevertheless highly interesting, as 
 they convey, not only the costume of that, but of the present 
 day, in this country ; it is a mixture of the German and Italian. 
 
 Matthew Brill was a native of Antwerp, and gained the first 
 principles of the art in that city. He travelled to Rome, 
 where he soon became known, and was employed by the pope 
 in the Vatican, who allowed him a pension for life. 
 
 £50 0 0 Panel, 3 f. 4 in. wide, by 2 f. 4 in. high. 
 
42 
 
 XXXI. PAUL BRIL. 
 Born in 1554, died 1626. 
 
 ST. ANTHONY UNDER TEMPTATION. 
 
 The Figures by A. Caracci. 
 
 There are but two figures in this small picture, but they 
 are lovely ones : it is a painting of the sweetest character ima- 
 ginable, and the figures in the true Italian style ; they are 
 drawn with the pencil of an angel. The landscape, however 
 highly finished, is quite subordinate. Although we denomi- 
 nate it a picture of Paul Bril, which is common fashion, it 
 ought to be placed with A. Caracci. 
 
 £25 0 0 Panel, ll|in. wide, by 14 in. high. 
 
 XXXII. A LANDSCAPE, VIEW ON THE LAKE OF LUCERNE, 
 WITH THE TOWN OF LUCERNE IN THE BACK GROUND. 
 
 Though we may say that the appearance of this landscape 
 is rather too green, when compared with the rich scenes of 
 a Titian, or a Claude ; yet it is but fair to allow something 
 for locality ; that is, the country and the season in which the 
 view has been taken. The perspective, and high finish of 
 this picture, are both excellent. 
 
 £25 0 0 Panel, 2 f. wide, by 1 f . 2 in. high. 
 
43 
 
 XXXIII. DENIS CALVART. 
 
 Born in 1555, died 1619- 
 
 THE ASCENSION. 
 
 The mystery of the ascension of Christ, has furnished paint- 
 ers with a subject, on which to exercise the true spirit of the 
 science, for sublimity of design. This small picture has not 
 much to boast in this ; it is given as a specimen of the works 
 of the master of Guido, Albano, and Domenichino. He was 
 born at Antwerp, travelled to Bologna, and studied under 
 Prospero Fontana ; thence he went to Rome, remained there 
 some time, and returned to Bologna ; where he opened an 
 academy of painting, from which issued some of the most 
 brilliant geniuses of that age. 
 
 ilO 10 0 Canvass, 1 f. 3 in. wide, by 2 f. high. 
 
44 
 
 XXXIV. BERNARDO CASTELLL 
 
 Born in 1557, died 1629. 
 
 THE JUDGMENT OF SOLOMON. 
 
 No subject has been more bandied, than this decision of 
 King Solomon : the interest it excites warrants the selection ; 
 it is quite poetic. Our little picture has a considerable de- 
 gree of merit, for correctness and grace. The scene is well 
 designed, the contrast in the mothers' countenances is highly 
 charactered, and the whole is chastely handled. Castelli was 
 a Genoese, studied under Andrea Semioni, and Luca Cam- 
 biaso. He invented with ease, but he is said to have be- 
 come a mannerist, for dispatch. However his fame must 
 live as long as literature, for Tasso has immortalized him in 
 his Gierusalemme Liberata, for which he made designs. 
 
 £25 0 0 Canvass, 1 f. 8 in. wide, by 2 f . 6 in. high, 
 
45 
 
 XXXV. HENRY GOLTZIUS. 
 
 Bom in 1558, died 1617- 
 
 VENUS RECEIVING THE FIRST TRIBUTE OF LOVE. 
 
 Allegorical. 
 
 The undoubted originality of this picture, from the hands 
 of a master, whose paintings are scarce, but whose engravings 
 are most numerous, renders it worthy notice. I have an en- 
 graving of it from his own hand. The allegory seems strained, 
 and the design gothic : the countenances of the two principal 
 figures have a high degree of expression, and are beautifully 
 finished. H. Goltzius was born at Mulbrack, but gained his 
 knowledge of painting in Italy ; had he been able to manage 
 his colours with half the skill he possessed in their composition, 
 his paintings would have rivalled Giorgioni's or Titian's ; but 
 unfortunately his designs are extravagant and monotonous, and 
 his colouring though mellow and transparent, is too violent, 
 
 £5 5 0 Panel, 2 f. 2 in. wide, by 1 f. 1 1 in. high. 
 
 XXXVI. poisoning the dragon. — Allegorical. 
 
 This picture has all the traits of the foregoing, but has the 
 colours better preserved; it would be difficult to decypher 
 this, in its allusion, but the pictures of this artist are all highly 
 allegorical, and the poetic vein he possessed, led him sometimes- 
 very much out of the common track. 
 
 £ C Z5 0 0 Panel, 3 f. 7 in. wide, by 2 f. 6 in. high. 
 
XXXVII. JOHN DE WAEL. 
 
 Bom about 1565, died . 
 
 THE SHEPHERDS' OFFERINGS. 
 
 For beauty of colouring and composition, this is a charming 
 performance ; some of the heads are exquisitely finished, and 
 the drawing, independent of the Flemish gousto, which per- 
 vades the whole picture, is excellent. The subject, although 
 so often handled, has no historical ground, but quite the paint- 
 er's own. It is rather strange that this master, whose works 
 dre superior to most of his countrymen, has not been noticed, 
 by the biographers, otherwise than as the father of Lucas and 
 Cornelius de Wael, who are both inferior, in talents, to their 
 father. He was an Antwerpian, but where he studied, is not 
 recorded. 
 
 c£i50 0 0 Panel, 3 f . 2 in. wide, by 1 f. 10 in. high. 
 
47 
 
 XXXVIII. JOHN ROTHENAMER. 
 
 Bom in 1564, died 1604. 
 
 THE BIRTH OF VENUS FROM THE SEA. 
 
 Few artists have excelled this painter, in delicacy of finish 
 in pictures of the size of the one here exposed. It is a com- 
 position full of grace and tasteful design. In painting this 
 picture, there is no doubt, he was 'employed on a subject con- 
 genial to his fancy, and he has given all his powers to the com- 
 pletion of it. The animals are exquisitely finished ; and, had 
 he not been so fond of showing his anatomical skill, the paint- 
 ing would have been more delicate, if not more scientific. 
 Whether the landscape is from P. Brill, is undecided, but it is 
 highly finished. 
 
 Rothenamer was born at Munich, in Bavaria, from whence 
 he went to Rome and Venice for improvement. He settled at 
 Augsburgh, and painted for the Emperor Rodolph ; but, al- 
 though he gained a large fortune by his pictures, his extrava- 
 gance led him constantly into the lap of misery, in which he 
 died. His friends buried him. 
 
 ,£150 0 0 Panel, 1 f. 9 in. wide,- by 1 f. 5 in. high. 
 
48 
 
 XXXIX. JOHN BRUEGHEL. 
 Called, V elvet Brueghel. 
 
 Born in 1560, died 1625. 
 
 LANDSCAPE AND FIGURES. 
 
 Peter finding the Slater in the Fish. Matt. xvii. 27. 
 
 The exquisite manner in which the figures are painted, in this 
 charming little landscape, is wonderful ; for although the sce- 
 nery is fine and highly finished, yet it is quite subordinate to 
 the historical part. It represents the miracle of the finding of 
 the slater, or piece of silver, the value at present of about 2s. 
 There was one of gold, whose value was 17s. J. Brueghel was 
 the son of Peter Brueghel, the Old ; was born at Brussells, 
 and was accounted, for neatness and minute execution, supe- 
 rior to most of his day. He was assisted in his works, that is, 
 the figures, by Rubens and others ; he, in return, painting their 
 back-ground landscapes. He was known by the title of Vel- 
 vet Brueghel, on account of his wearing, constantly, a rich 
 dress of velvet. The two following numbers are by the same 
 artist. 
 
 ^£50 0 0 Panel, 2 f . 9 in. wide, by 1 f. 9- in. high. 
 
49 
 
 XL. RIVER SC^NE AND LANDSCAPE FISHING BOATS 
 
 WITH FIGURES. 
 
 The exquisite finish of this little picture is admirable, both 
 for the perfectness of the figures and trees ; which last have 
 so natural a character, though so very small, that the birch, 
 oak, ash, and elm are easily distinguishable in the masses. 
 
 £50 0 0 Copper, 1 f . 7 in. wide, by 1 f. 3 in. high. 
 
 XLI. BARTOLOMEO SCHIDONE. 
 Born in 1560, died \6\6. 
 
 MATERNAL AFFECTION. 
 
 I have called this picture by the above title, as the female 
 does not seem to have been painted, but as a portrait ; and its 
 character has nothing, of what is supposed necessary to con- 
 stitute the expression of a Madonna. It is no doubt a por- 
 trait of one of the family of the Duke of Parma. I do not 
 know that I have ever seen a painting, which approaches the 
 Correggiesque style, so close as this. It is a fine perform- 
 ance ; and though perhaps it may not be from the pencil of 
 
 E 
 
50 
 
 Schidone, certainly, it would not have disgraced that of Cor- 
 reggio. Schidone practised in the school of the Caracci ; but 
 afterwards gave himself up to the study of Correggio's manner 
 so entirely, that no one has succeeded so well in copying the 
 graces and delicacies of that enchanting artist. He was born 
 at Modena, and is supposed to have died in consequence of 
 losing a large sum at the gaming table. 
 
 .£150 0 0 Canvass, £ f . 8 in. wide, by 3 f. 1 in. high. 
 
 XLII. ANNIBALE CARACCI, 
 Born in 1560, died 1609. 
 
 THE VIRGIN, CHRIST, ELIZABETH, AND ST. JOHN. 
 
 To suppose a picture of the dimensions of this, can convey 
 an idea of the grandeur aud sublimity of the paintings of this 
 artist, would be absurd ; those, only, can appreciate his talents, 
 who have seen his works in the Farnese Gallery, where his 
 masterly execution, of the boldest foreshortenings, is nearly 
 unrivalled, even by those of Michael Angiolo. This pic- 
 ture has its merits, and is curious for the design ; Christ, sit- 
 ting in the lap of his mother, is giving St. John something to 
 
51 
 
 drink, out of a small bowl ; Elizabeth is holding up her hands 
 in admiration. From the time of this artist, his cousin, Lo- 
 dovico, and his brother Agostino, we must date the revival of 
 the better part of painting, composition, drawing, and design. 
 For a considerable time previous, these chief principles of the 
 art, had been languishing, and had undergone much corruption 
 throughout Europe. The establishing a school, under such 
 enthusiastic and able masters, naturally produced such a 
 result, as the perfecting such proficients as Guido, Albani, 
 Guerchino, Bandalocchi, Domenichino, &c. &c. Posterity 
 will ever honour men, had they no other merit, who have con- 
 tributed so much to the perpetuating the energies of this de- 
 lightful art. 
 
 .£15 15 0 Panel, 3 f. wide, by £ f. 4 in, high. 
 
52 
 
 XLIII. LUDOVICO CARACCI. 
 Born in 1555, died \6\Q. 
 
 THE PRODIGAL SON, IN DISTRESS. 
 
 Ludovico, of the three Caraccis, is allowed to have had less 
 fire in his compositions, than his cousins Annibal and Agos- 
 tino, but much more grace and sweetness. The combination 
 of three such powerful agents, possessing such various ener- 
 gies, all tending to the perfection of one object, was certain 
 to produce the best effects ; for such was the case by the in- 
 stitution of the school which bears their name. They were na- 
 tives of Bologna, and studied under Prospero Fontana. Agos- 
 tino applied more to engraving than painting, wherefore his 
 pictures are very rare, having been employed with his brother 
 Annibal upon the Farnesian gallery. Ludovico chiefly acquir- 
 ed his knowledge by studying after Titian, Paul- Veronese, 
 Correggio, and Parmegiano. 
 
 £7 7 0 Canvass, 2 f. wide, by % f. 6 in. high. 
 
53 
 
 XLIV. GUIDO RENI. 
 
 Bom in 1575, died 1642. 
 
 OMPHALE, WITH THE CLUB OF HERCULES. 
 
 The true taste, genius and spirit of Guido, may be traced 
 in this picture; if his character be at all known, either 
 by elegance of outline, firmness of pencil, suavity and grace, 
 with nobleness, this is an undoubted original. Guido was 
 born at Bologna : at first he studied under Denis Calvai t, but 
 finished himself under the Caraccis. His manner of painting 
 the human figure, and which gave so engaging and fascinating 
 an air to his females, was a peculiar suavity he put into the 
 mouth and eyes ; these last large, and full, yet modest ; the 
 first small, with generally a complacent smile ; the nostrils 
 never expanded or open ; with the outline not inferior to Ra- 
 phael. There is a peculiarity which pervades all his pictures, 
 in a sanguinary tint he has given to the ends of the fingers and 
 toes, as if the blood were starting from them. This master 
 has three manners, of which this and the two sequent num- 
 bers are given as examples. The first dark, after the manner of 
 Caravagio; the second more light, clear and pure, with a 
 stronger admixture of white lead ; the last quite slight, with bold 
 
54 
 
 touches, and appearing finished in haste. He is said to have 
 died poor, from an unconquerable taste for gambling. 
 
 £500 0 0 Canvass, 2 f. 3 in. wide, by 2 f. 8 in. high. 
 
 XLV. SAINT CECILIA, 
 
 The grand gousto of Guido, with all his grace and sweet- 
 ness, is seen in this picture ; the attitude of the Saint is divine, 
 
 £300 0 0 Canvass, 3 f. 8 in. wide, by 5 in. high. 
 
 XLVI. a saint's head. 
 
 A bold, masterly performance, but slightly finished, perhaps 
 at one sitting. 
 
 £10 0 0 Canvass, 2 f. wide, by 2 f. 6 in. high, 
 
55 
 
 XLVII. CHRISTOFANO ALLORI, 
 Called, Bronzino. 
 
 Born in 1577, died 1621. 
 
 CHRIST BEARING HIS CROSS TO CALVARY. 
 
 Of ali the pictures perhaps ever executed, even by the mi- 
 nutest Dutchman, this will stand foremost, as an example of 
 what may be performed in miniature. There are above 400 
 figures to be traced, in this small picture ; and the whole kept 
 in such exact proportional perspective, that the last figures, 
 though nearly lost to sight, by the naked eye, when seen through 
 a glass, are as perfect as those in the front of the picture. The 
 peculiar excellence with which the figures in this picture are 
 painted for the correctness of drawing, touched with so much 
 deiicacy and sentiment, so round and relieved by the colouring ; 
 makes it seem surprising, how a hand or eye could be found 
 equal to the execution of them. 
 
 Christofano was the son and disciple of AHesandro AUori, 
 a native of Florence ; studying afterwards from the works of 
 Santi di Titi, he executed some designs for altars ; he like- 
 wise painted portraits as large as life. 
 
 -£100 0 0 Panel, 1 f. 9 in. wide, by 1 f . 2 in. high. 
 
56 
 
 XLVIII. SIR PETER PAUL RUBENS. 
 Bom in 1577, died 1640. 
 
 ORIGINAL SKETCHES FOR THE HEADS, IN THE WISE- 
 men's OFFERINGS, &C. CALLED rubens's PALLETE. 
 
 This invaluable morceau, from the hand of Rubens, gives 
 a truer idea of the merits of this great man, than can his most 
 elaborate performances ; here you see the genius of the mas- 
 ter, as first struck from the teeming imagination ; yet each 
 countenance as perfect as when placed to its destined situation. 
 No painter ever did so much, and few have excelled him, whe- 
 ther for grandeur or poetic fancy, in his performances. Hav- 
 ing been bred a scholar, he made learning highly useful to 
 him in his art ; and although his Flemish taste unfortunately 
 pervades all his works, yet take him for all in all, we have 
 seen no one equal him since his day. His works at the Luxem- 
 burgh Gallery and Whitehall, had he painted no others, would 
 have immortalized him. Rubens was a native of Antwerp ; 
 he had for tutors in the art, Tobias Veraecht, Adam Van 
 Oort, and Octavio Van Veen ; afterwards he made the tour 
 of Italy for improvement, At last he came to England, and 
 w as graced with the honour of knighthood by Charles the 
 First. — The three following pictures are by Rubens. 
 
 £ 100 0 0 Panel, 2 f . 1 in. wide, by 1 f. 8 in. high. 
 
57 
 
 XLIX. PORTRAIT OF HIS NURSE, WITH A BOY AtfD 
 
 CANDLE. 
 
 6 6 0 Panel, 1 f. wide, by 10 in, high. 
 
 L. THE ANNUNCIATION. 
 
 This is a most complicate and highly poetic design of this 
 subject, and I have no doubt when I assert, the original. There 
 is a copy of it, in the possession of Sir A. Hume, Bart, higher 
 finished, but wanting the spirit of Rubens's pencil ; and from 
 particular circumstances attending this picture leaves no doubt 
 of its originality. 
 
 <£l50 0 0 Panel, 1 f. 6 in. wide, by 2 f. 1 in. high. 
 
 LI. the triumph of love. —Allegorical. 
 
 From Petrarch. 
 
 In this undoubted original picture, the painter has, with 
 congenial ideas, taken up the sentiment of the sweetest poet 
 that ever sang of love ; for, by its power, he has eternized his 
 Laura, and the fountain of Vaucluse, in his Cazoni. This i§ 
 an exquisite performance. 
 
 £300 0 0 Canvass, 4 f. 2 in. wide, by 2 f. 9 in. high. 
 
58 
 
 hill FRANCESCO ALBANO. 
 Born in 1578, died 1660. 
 
 CHRIST BAPTIZED BY JOHN. 
 
 Albano, in pictures such as the one here shown, was quite? 
 within his powers, and they were of no small extent. So ex-* 
 quisite is the finish of this delightful little picture, that ; although 
 the subject is most familiar, we can dwell on it with pleasure 
 and admiration. 
 
 He was born at Bologna, and was put to Denis Calvart. 
 Guido,who was older than Albano, was still with Denis. From 
 him he learnt, more than from his master, the principles 
 of designing. From Bologna he went to Rome, to perfect 
 himself, but settled in his native town ; where, marrying a 
 second wife, who was extremely beautiful, she served him as 
 a model for all his naked females ; and his children he took a$ 
 copies for his angels and cupids. 
 
 The paintings of this artist are mostly pleasing subjects ; 
 many of them highly poetic, for he was a scholar ; but, from 
 negligence or haste, he became a mannerist, and, with very 
 little alteration, copied many of his own works. 
 
 c£l00 0 0 Canvass, 1 f. wide, by 1 f. 5 in. high. 
 
59 
 
 LIIL VENUS AND ADONIS. 
 
 This graceful little picture is one of Albano's most favourite 
 subjects , which he has frequently repeated in a variety of pleas- 
 ing forms ; and, although he has noticed, allegorically, in the 
 back ground, the dismal fate of Adonis, the melancholy ca- 
 trastophe is too distant, to interfere or cast any gloom on the 
 beauty and grace of the composition. 
 
 £40 0 0 Panel, 9 in. wide, by 11 in. high. 
 
 LIV. GIOVANNI LANFRANCO, CAVALIERE. 
 Born in 1581, died 1647. 
 
 THE ASSUMPTION OF THE VIRGIN MARY. 
 
 The easel pieces of this master, with the true spirit of his 
 preceptor, Annibale Caracci, seem, like his, to confess a want 
 of elbow room, in the execution ; and, notwithstanding the 
 beauty and grandeur of the manner, together with some grace, 
 they want that suavity, which Lanfranco so much desired, in 
 his endeavours to imitate Correggio. 
 
 This master may be ranked amongst the first painters, for 
 the true grand gousto ; his paintings in the church of St. Peter, 
 
GO 
 
 at Rome, and his picture of St. Francis dying, surrounded by 
 angels, in the Pallazzo della Torre, in this style, will eternize 
 his memory. The same day gave birth to Lanfranco and Do- 
 menichino ; they studied together under the Caracci ; but of 
 very different tastes : the one, all fire ; the other, slow, but sure. 
 Lanfranco was poet, painter, and musician ; he lived happily 
 in the bosom of his family, and died, at the age of 66, having 
 been knighted by Pope Urban VIII. 
 
 .£50 0 0 Canvass, 5 f. wide, by 5 f. high. 
 
 LV. DOMENICO ZAMPIERI, 
 
 Called, Domenichino. 
 
 Born in 1581, died 1641. 
 
 SMALL HEAD OF CHRIST. 
 
 This undoubted little picture, from the hand of Domeni- 
 chino, I have no doubt, is one of his early performances ; it is 
 not a work of great merit, but is finely drawn, and sweetly co- 
 loured. Another specimen, our next picture in the collection, 
 is of a very different description, and the two pictures are se- 
 lected, as showing the various character of this master, about 
 whose works such different opinions are entertained. By some 
 he is extolled as equalling Leonardo da Vinci, Caracci, and 
 
61 
 
 Nicholas Poussin, for composition and design ; and superior 
 to them all, in sublimity and expression. Others denying him 
 any merit but as a labourer in his profession, without genius, a 
 mere plodder. His works speak for themselves. The truth is, 
 he did not understand the management of the chiaro-scuro ; his 
 pencil is rather heavy, and his paintings, in general, dry. Like 
 all great masters, his w orks are very dissimilar, and his merits 
 cannot be traced in one or two pictures ; his best works have 
 been considered as models for all succeeding artists. 
 
 Domenico was born at Bologna, and passed the same or- 
 deal, in his studies, with Guido, &c. ; he was appointed by the 
 Pope chief architect of the apostolical palace. Being of a 
 mild temper, and meeting with much illnature from his rivals^ 
 when at Naples, it is said to have hastened his death. 
 
 The originality of this picture is warranted. 
 
 £50 0 0 Panel, ovaj shape, 3J in. by 4 in. high. 
 
 LVI. THE MARTYRDOM OF ST. LAURENCE. 
 
 As a contrast to the last, this picture gives some idea of Do- 
 menichino, on a larger scale, and to which the observations 
 given before, apply. 
 
 £20 0 0 Canvass, 4 f. wide, by 3 f. 2 in. high. 
 
62 
 
 LVII. DAVID TENIERS, the Old. 
 Born in 1582, died 1649. 
 
 BOORS DRINKING. 
 
 The true genius of Teniers is seen in this little picture ; it 
 is not one of his best performances, but has all the spirit and 
 character of this master, in scenes drawn from low life. He 
 was an Antwerpian, by birth, and had Rubens for his master ; 
 he likewise studied at Rome ; but from Rome he brought none 
 of the Roman character; his genius led him another way. 
 Many of the Father's pictures are ascribed to the son, who 
 greatly excelled his parent. 
 
 c£8 8 0 Canvass, 10J wide, by 12 in. high. 
 
 LVIII. CORNELIUS POELEMBURG. 
 
 Born in 1586, died 1660. 
 
 PAN INVOKING CUPID TO INSPIRE A NYMPH WITH 
 
 LOVE. 
 
 The most singular part of this beautifully finished little 
 picture, is the representation of a female satyr. This is in the 
 true character of Poelemburg, and the whole most exqui- 
 sitely coloured. He succeeded best in works of this size, 
 
63 
 
 and in naked figures especially. Very little of the Dutch taste 
 is to be traced in his pictures, and the choice of subjects was 
 generally pleasing. He was born at Utrecht, studied and 
 painted at Rome, was invited to England by Charles the 
 First ; but returned to Utrecht, and died there highly honoured 
 and rich. 
 
 £50 0 0 Copper, Q\ in. wide, by 6| in. high. 
 
 LIX. CLAUDE VIGNON. 
 Born in 1592, died, 1670. 
 
 LANDSCAPE, VIEW ON THE LAKE OF GENEVA. 
 
 The works of this master are executed in a manner peculiar 
 to himself, which give them a force at some distance, but 
 they will not bear close inspection ; he never mixed his co- 
 lours on the pallette, but placed them on the canvass, in a 
 succession of tints, adding till he had obtained his object. He 
 was born at Tours, and painted in France ; his model w as at 
 first Caravagio, but he afterwards relinquished that style for 
 one more expeditious. He was allowed to be the best judge, 
 both of the value and author of any picture, then living. 
 
 £\0 0 0 Canvass, 4 f. 1 in. wide, by 3 f. high. 
 
64 
 
 LX. JACOB JORDAENS. 
 Bornin 1594, died 1678. 
 
 BAUCIS AND PHILEMON. 
 
 This fable or tale is excellently told on the canvass ; and al- 
 though Jupiter has not all the majesty in appearance we might 
 expect in a deity disguised, yet is the whole a good pic- 
 ture, well coloured, and might readily pass for the work of 
 Rubens himself. Jordaens was born at Antwerp, and, having 
 married young, he never had an opportunity of leaving his 
 native country. He is recorded as one of the favourite disci- 
 ples of Rubens. 
 
 .£250 0 0 Canvass, 5 f. by 3 f. 6 in. high. 
 
 LXI. NICHOLAS POUSSIN. 
 Born in 1594, died 1665. 
 
 THE SONS OF CYDIPPE DRAWING THE CHARIOT OF 
 THEIR MOTHER TO THE TEMPLE OF JUNO. 
 
 Nicholas Poussin is famous for introducing some classical 
 story into his landscapes ; this represents the priestess drawn ; 
 
65 
 
 by her sons, Cleobis and Biton, to the temple, when oxen 
 could not be procured. Cydippe entreated the goddess to 
 reward the piety of her sons, they were found dead upon going 
 to rest. A singular fashion of rew arding piety ! This is an 
 undoubted original. This famed painter was born at Andely, 
 in Normandy; but, from his long residence in Rome, he must 
 be considered rather as an Italian, than a French painter ; 
 he dwelt so much on the study of the antique, from statues, 
 &c. that his figures have all a rigid stiffness, by which his 
 works are easily detected, for his style is his own. His co- 
 louring, except in his landscapes, is very meagre, cold, feeble, 
 and hard, but his designs are always correct, and the costume 
 never wrong. He returned to France, by the order of Lewis 
 the Thirteenth, but he contrived, by an excuse, to go back to 
 Italy, where he spent the remainder of his life. 
 
 .£500 0 0 Canvass, 17 J in. wide, by 1 f. 9 in. high. 
 
 LXII. TRIUMPH- OF NEPTUNE. 
 
 The composition of this picture is grand, and the figure of 
 Neptune truly sublime. It is in the best manner of this ar- 
 tist, and one of his performances, when in France, before his 
 return to Italy. The face of the principal figure, is certainly 
 
 F 
 
66 
 
 a portrait of Henry the Fourth, of France, murdered some 
 time previous, and who, at that period, was almost adored by 
 the French nation. 
 
 cflOO 0 0 Canvass, 4 f. 5 in. wide, by 4 f . 9 in. high. 
 
 LXIII. PIETRO BERRETINI DA CORTONA. 
 
 Born in 1596, died 1669. 
 
 THE TRIUMPHAL ENTRY OF DARIUS INTO BABYLON. 
 
 The beautiful colouring and grace, which pervade the pic- 
 tures of this artist, together with the admirable manner he 
 had of grouping his figures, render the works of P. da Cor-- 
 tona, most desirable, where an entire collection is not wished. 
 They make beautiful furniture, and are much coveted. He 
 takes his name from his native place ; where, at an early age f 
 he soon distinguished himself as a painter, by his grand de- 
 signs of the Rape of the Sabines, and the Battle of Alexander. 
 His small pictures are seldom highly finished, yet the tout 
 ensemble, although there may be some defects, is beautiful* 
 
 ilOOO Canvass, 3 f. wide, by 2 f. 6 in. high. 
 
67 
 
 LXIV. JOHN VAN GOYEN. 
 Born in 1596, died 1656. 
 
 LANDSCAPE, A WINTER SCENE, SKAITING. 
 
 Few masters have left behind them such abundance of their 
 works, as Van Goyen ; none, I think, whose performances 
 bear so little resemblance to each other. This picture is nei* 
 ther in his best or his worst manner ; the scene is such as has 
 been often given, by many of the Dutch artists. He was bora 
 at Leyden, studied under William Garretson and afterwards 
 under Esaias Vandervelde. The best pictures of this master 
 rank with those of D. Teniers. 
 
 £5 5 0 Canvass, 7 in. wide, by 6 in. high. 
 
 LXV. SIR ANTHONY VANDYCK. 
 
 Born in 1599, died 1641. 
 
 THE CONVERSION OF SAUL; THE ORIGINAL SKETCH. 
 
 This painting is from the Royal French Collection, and is 
 preserved in the original frame. The drawing and design, in its 
 first state, of any great master, gives us a better idea of his 
 real genius, than the perfect picture. This is most exquisitely 
 
68 
 
 drawn, and the design sublime. The historical pictures of this 
 artist are scarce ; his fort lay in portrait painting, but as he was 
 an expensive man, he Was compelled, as he said, to work for 
 his kitchen. He was a native of Antwerp, and scholar of 
 Rubens. Having made the tour of Italy, he returned to 
 Flanders, from whence he came to England, by the desire of 
 Charles the First. He married his wife and lived the rest of 
 his life in Britain, having been knighted by Charles. The 
 next number is by the hand of Vandyck ; but of a very dif- 
 ferent character from the last. I have two portraits by this 
 master. 
 
 <£l50 0 0 Canvass, 2 f. wide, by 2 f. 5 in. high, 
 
 LXVI. A HOLY FAMILY, MARY, CHRIST, AND 
 JOSEPH. 
 
 This most beautiful little picture is full of grace and deli- 
 cacy ; the exquisite brilliancy of the colouring is, I may say, 
 much beyond the Flemish school. A singular whim of the 
 author, was to give Joseph a bunch of grapes in his hand, 
 which he seems to hold out of the reach of the infant. 
 
 £\50 0 0 Panel, 10 in. wide, by 13£ in. high. 
 
69 
 
 LXVII. JAN MIEL, 
 Called, Giovanni della Vite. 
 
 Born in 1599, died 1664. 
 
 PASTORAL SCENE, AND LANDSCAPE. 
 
 Although the best of this Artist's paintings are hunting 
 subjects ; yet his historical scenes, carnivals, &c. are highly 
 rated. This is a truly beautiful picture, and those who are 
 fond of scenes in rustic life, will find much to admire in it ; 
 nothing can be more truly natural. The subject is drawn 
 from low life, yet is there a grace in the heads, which is en- 
 chanting : it is touched with a free pencil. Jan Miel was born 
 in Flanders, and had his first principles from Gerard Segers ; 
 but perfected himself at Rome. He has, nevertheless, the 
 Flemish relish, in some degree, left in all his human figures ; 
 his animals are equal to any. 
 
 ilO 10 0 Canvass, 2 f. 3 in. wide, by 1 f. 4 in. high. 
 
 LXVIII. GASPAR POUSSIN, OR DUGHET. 
 Born in 1600, died 1663. 
 
 LANDSCAPE. 
 
 This is one of those beautiful paintings, which will be ever 
 esteemed for free, yet delicate penciling, truth of perspective, 
 
70 
 
 and beauty of colouring. The readiness of this master was 
 so great that 'tis said he painted a large landscape in one day. 
 He was the pupil of his brother-in-law, Nicholas Poussin, 
 whose sur-name he adopted. The Abregt de la Vie des 
 Peintres makes him an Italian, by birth ; the rest of his bio- 
 graphers, a Frenchman : I think it is sufficient to see his pa- 
 rental name, to determine the question ; Dughet is perfectly 
 French. 
 
 The pictures of Gaspar have, in some instances, too much 
 of obscurity in the foregrounds ; and his masses have rather 
 a monotony of colour ; but notwithstanding these peccadilloes, 
 they are enchantingly natural, and although very numerous, 
 and in every collection, bear a high price. 
 
 £500 0 0 Canvass, 4 f. wide, by 3 f. high. 
 
 LXIX. JOHN DAVID DE HEEM. 
 
 Born in 1600, died 1674. 
 
 FRUIT. 
 
 The exquisite manner in which this artist finished his works, 
 is admirable ; 'tis true, he, like his father and brother, confined 
 himself to the same subjects, flowers, fruit, furniture, &c. 
 This artist w as a native of Utrecht, where he lived and died. 
 
 £5 5 0 Canvass, 1 f. 4| in. wide, by 1 f. 8 in. high. 
 
71 
 
 LXX. PAINTING OF A NAUTILUS CURIOUSLY 
 MOUNTED AS A CUP. 
 
 This curious and beautifully penciled picture, is from the 
 same hand as the last mentioned. 
 
 £3 3 0 Canvass, 10J in. wide, by 12J in. high. 
 
 LXXI. CLAUDE GELEE, 
 Called, Claude Lorrain. 
 
 Born in 1600, died 1682. 
 
 SHIPS IN A STORM, WITH SEA COAST AND RUINS. 
 
 If the painting of landscapes, or sea views, was ever car- 
 ried to the extremest pitch the art will admit, it was done 
 by Claude. Who is not able to decide on a Claude f 
 Every connoisseur and dealer, from the humble broker to 
 the noblest purchaser. Yet, I think I may venture to 
 assert, that not one in one hundred of those sold as such, 
 came from his pencil ; the life of a patriarch would not 
 have sufficed to furnish half the Claudes in Britain only. 
 When we consider the supreme beauty and high finish of this 
 artist's works ; the extreme care with which he worked on 
 his pictures ; retouching them over and over again, to bring 
 them to the perfection we perceive in them ; what I have as- 
 serted cannot be doubted. This I have no fear in offering 
 
72 
 
 as a genuine picture, if one is to be found in England. Its 
 damaged state, when it came into my possession, made me 
 despair of recovering it ; for, in rolling it, to transmit it to 
 England, it had been pasted at the back ; which drying, 
 nearly brought all the surface of the picture off ; at least 
 cracked it into pieces, like cockle shells, that if would not 
 unfold. By a certain process, I have brought it to the state, 
 in which it is now seen. 
 
 This artist served an apprenticeship to a pastry-cook ; and 
 from Lorraine, he took flight to Rome ; where he got em- 
 ployment from Agostino Tasso, who hired him as a boy to 
 do his drudgery. His master, to make use of him, taught him 
 the first rudiments of the art, which is all the schooling he 
 ever had ; and assiduity, with his natural genius, did the rest. 
 The figures, in many of his pictures, are by Courtois, Philipo 
 Laura, &c. ; his own are much inferior ; of this he was sen- 
 sible. But nevertheless those pictures which have figures by 
 himself are most esteemed. 
 
 Canvass, 4 f. 6 in. wide, by 2 f. 6 in. high. 
 
73 
 
 LXXII. SIMON DE VOS. 
 Born in 1603, died — — 
 
 THE MARRIAGE AT CANA IN GALILEE. 
 
 A bad design, and as ill executed, except in the colouring ; 
 but 'tis an original of this master. His figures are not badly 
 designed, but the attitudes are constrained and unnatural, 
 wanting grace and dignity. He was born at Antwerp, and 
 painted pictures of the chace, in which he succeeded better : 
 he is said to have been living in 1662. 
 
 £15 15 0 Panel, 1 f. 9 in. wide, by 2 f. 3 in. high. 
 
 LXXIII. ALBERT KUYP, OR CUYP. 
 
 Born in 1606, died 
 
 CATTLE, COWS, &C. 
 
 No painter, Paul Potter excepted, comes nearer to the 
 life, in painting cattle, than Albert Kuyp. Jacob Kuyp, his 
 father, was his tutor likewise ; but the son went far beyond 
 the father in his profession. He was born at Dort, and most 
 of his works are views near that city. 
 
 £8 8 0 Canvass, 1 f. 8 in. wide, by 1 f. 3 in. high. 
 
74 
 
 LXXIV. REMBRANDT VAN RYN. 
 
 Born in 1606, died 1674. 
 
 AN ALLEGORICAL REPRESENTATION OF THE VANITY 
 OF WORLDLY PROPERTY, BY A MAGDALEN AND 
 ST. JEROME, WITH A SCULL, IN HIS HAND. 
 
 The apparent anachronism, in this beautiful little picture, 
 is but a mote in the radiance of its excellencies. Nothing 
 can exceed the two heads for expression ; and the ornaments, 
 jewels, &c. are touched with a brilliancy which cannot be ex- 
 celled. The management of the light is exquisite, and gives 
 the picture the most lively and charming character possible. 
 It is not necessary to follow Mr. Fuseli in his eulogies of 
 this master, they are rather in the extreme ; but his merit is 
 best discovered in his works, which, for the particular part, 
 in which is his excellence, stand unrivalled. The three 
 following pictures are from his hand, all in different man- 
 ners. 
 
 £200 0 0 Panel, 13 in. wide, by 15 in. high. 
 
75 
 
 LXXV. a PORTRAIT. 
 
 This head is a fine specimen of Rembrandt as a portrait 
 painter ; it is nature itself. 
 
 £10 10 0 Canvass, 2 f. wide, by 2 f. 5 in. high. 
 
 LXXVI. THE ANNUNCIATION. 
 
 This is one of the earliest productions of this master, but an 
 undoubted original. 
 
 *£80 0 0 . Panel, 2 f . 3 in. wide, by 1 f . 8 in. high. 
 
 LXXVII. AN ALLEGORICAL SUBJECT. 
 
 From Virgil. 
 Canvass on Panel, 1 f. 4 in. wide, by 1 f. 3 in. high. 
 £50 0 0 
 
76 
 
 LXXVIII. ABRAHAM VAN DIEPENBEKE, 
 
 Born in 1607, died 1675. 
 
 MERCURY AND BATTUS. 
 
 The fable of this picture is, perhaps, as well told as could 
 be wished, the colouring and drawing admirable ; the power 
 this painter had of using the chiaro-scuro, to effect, we have 
 here in full force, for the figures seem to protrude from the 
 canvass. Battus having seen the theft committed by Mercury, 
 of the flocks of Admetus, promised secrecy ; but violating his 
 promise, he was turned, by the god, into a pumice stone. 
 
 Diepenbeke was a native of Bois le Due ; at first a painter 
 on glass, but, afterwards, schooled himself under Rubens, 
 and was considered as one of his best disciples. 
 
 £50 0 0 Canvass, 3 f. 10 in. wide, by 5 f. high. 
 
 LXXIX. MARY, ELIZABETH, CHRIST, AND ST. JOHN. 
 
 This is by the last master, and in the true Flemish gousto. 
 £5 5 0 Panel, 10 in. wide, by 12 in. high. 
 
77 
 
 LXXX. ADRIAN BROUWER, OR BRAUWER; 
 
 Born in 1608, died 1640. 
 
 THE COUNTRY SURGEON, 
 
 For drolls and copies of humourous scenes, drawn from 
 low life, this artist has many rivals ; but none who exceed him 
 in the true spirit of such compositions. This picture, though 
 composed but of two figures, has sufficient merit, to arrest 
 the attention, for its whimsicality. Brauwer was born poor, 
 and died a beggar ; all his merit, and the assistance of his 
 friends, with Rubens at their head, could not keep him from 
 the extreme of wretchedness, and in which he died at the age 
 of 32. 
 
 £3 3 0 Panel, 4 in. wide, by 6 in. high. 
 
 LXXXI. PETER PETERSZ BRUEGHEL, theYoung, 
 Called, Hellish Brueghel. 
 
 Born in- , died 1642. 
 
 ST. ANTHONY UNDER TEMPTATION. 
 
 The subject before us, has furnished painters, of a particular 
 turn of mind, with an opportunity of exhibiting that whim- 
 sicality of taste, which few have possessed* Indeed it is not 
 
73 
 
 much to be regretted, as certainly the beautiful part of crea- 
 tion affords matter sufficient, whereon the mind may dwell 
 with much greater pleasure. But, however, for this devilish 
 fancy, P. Brueghel takes the lead. Jerome de Bos, who died in 
 the year 1500, of the same gousto, and perhaps the model, on 
 which our painter formed his ideas, has not the variety or in- 
 tricacy of Brueghel ; nor have his pictures like beauty in draw- 
 ing or finish ; for they have the true character of the 15th 
 century, being stiff, hard, and ill coloured. The boldest ri- 
 val of Brueghel, in this region of caprice, is David Ryckaei t 
 the young, who was born in 1615 ; he possessed considerable 
 talents in the line of Teniers, Ostade, &c. ; but at the age of 
 50, took up the manner of P. Brueghel, his pictures being 
 highly valued for a peculiar method of managing his lights. 
 Although Ryckaert's merit in this particular goes beyond, yet, 
 in the true genuine poetic spirit of these subjects, he falls far 
 in the rear of Brueghel. As a specimen, the present subject 
 is ample proof ; for I think it may, in this infernal branch of 
 the science, be termed a chef-d'oeuvre. The female coun- 
 tenance which is introduced, as the grand object of enticement, 
 and put fronting the anchoret, is most enchantingly painted ; 
 the attitude of prayer, and serene count nance of St. Anthony, 
 are well expressed; the odd, singular, whimsically disposed 
 groups, placed through the whole of the picture, making it 
 highly interesting, were no doubt intended by the author, as 
 moral sermons, conveying, through the medium of allegory, 
 
79 
 
 of which much of the spirit must be lost, the results as well 
 as turpitude of moral depravity. 
 
 Hellish Brueghel was the son of Peter Brueghel ; was born 
 at Brussels, and studied under his father first, and afterwards 
 was pupil to Gilles Coningsloo. The time of his birth is not 
 ascertained. 
 
 £ 100 0 0 Panel, 3 f . 4 in. wide, by 2 f. 4 in. high. 
 
 LXXXII. HENDRICK VAN VLIET. 
 Born in 1608, died — . 
 
 SUPPOSED PORTRAIT OF GERHARD DOUW, 
 
 This small picture has been generally admitted as a portrait 
 of G. Douw ; it is highly finished, but of a free pencil. Van 
 Vliet was born at Delft, and studied under Mierveldt for 
 portraits : his chief pieces are interiors of churches by can- 
 dlelight. 
 
 £10 0 0 Copper, 4 in, wide, by 4 £ in. high. 
 
80 
 
 LXXXIII. DAVID TENIERS, the Young, 
 Born in I6l0,died, 1694. 
 
 LANDSCAPE — A WINTER SCENE. 
 
 The silvering colour preserved through the whole of this 
 charming little picture, gives us a most just representation of 
 nature, at the season intended to be expressed. The pictures 
 of D. Teniers, the Young, have all a singular transparence ; 
 from the method he used in relieving his lights, by other lights, 
 without the help of dark shadows. 
 
 David Teniers, father and son, were born in Antwerp ; the 
 son learnt his art of his father ; he was afterwards the pupil 
 of Adrian Brauwer : the best principles he possessed, he de- 
 rived from Rubens. The precision with which he copied the 
 works of the best Italian masters, is astonishing, when we con- 
 sider that, in the works of his own fancy, he never got over 
 the Flemish manner and taste. 
 
 £50 0 O Panel, 1 f. 10 in. by 1 f. 4 in. high. 
 
81 
 
 LXXXIV. WILLIAM VANDERVELDE, the Old. 
 Bom in 16 10, died 1693. 
 
 SEA PIECE, A STORM. 
 
 The pictures of this artist have not been equalled by any, 
 in this line of the art, marine painting, but by those of his 
 son ; which, undoubtedly, have a higher finish, though not 
 so much boldness and decision. He was born at Leyden, 
 and came over to England, where he had an establishment 
 under King Charles the Second, which was continued to him, 
 under James the Second. He died in London. 
 
 £\0 10 0 Canvass, 2 f. 5 in. wide, by 2 f. high. 
 
 LXXXV. GERHARD DOUW. 
 Born in 1613, died 1674. 
 
 THE MOUNTEBANK, OR QUACK DOCTOR. 
 
 This is a subject which appears to have pleased the artist's 
 fancy ; for I have seen another of this subject treated differ- 
 ently, and one of his finest pictures at Manheim is a droll of 
 this character. There is a wonderful precision and neatness 
 
 G 
 
82 
 
 in all the works of this artist, but they are not all equal ; this 
 is not to be considered, but as a specimen of his manner. He 
 was born at Leyden in Holland, and studied under Rembrandt, 
 whose manner he copied in what concerns the minuter cha- 
 racter of his master ; but he seldom attempted any thing 
 large; all his paintings have the true Dutch gousto. 
 
 £\5 15 0 Panel, 1 f. SI in. wide, by 1 f. 4 in. high. 
 
 LXXXVI. BARTHOLOME ESTEBAN 
 MURILLO. 
 
 Born in 16 13, died 1685. 
 
 BOYS BLOWING BUBBLES. 
 
 The figures of the two boys, in this picture, no doubt, 
 were portraits of young gentlemen, as they are both dressed 
 in costume ; the one as a student of Seville. It is a beau- 
 tiful picture, and being one of his favourite subjects, is finished 
 with great spirit, taste and nature. Murillo was born at Pi- 
 las, near Seville, and most of his best paintings were in Spain, 
 but they have become dispersed throughout Europe, and are 
 much coveted. 
 
 £150 0 0 Canvass, 3 f. 10 in. wide, by 3f. high. 
 
83 
 
 LXXXVII. SALVATOR ROSA. 
 Born in 16 14, died 1673. 
 
 LANDSCAPE AND RUINS. 
 
 The landscapes of Salvator will always hold a place 
 amongst the foremost, for sublimity and invention. His pic- 
 tures, most esteemed, are those where terror is the prime 
 mover ; where danger from banditti, thunder and lightning, 
 with all the terrific effects of natural phenomena, are pour- 
 trayed. His historical subjects have, likewise, the same turn 
 of mind. The following number is a specimen in this way. 
 Very different opinions are held of his famous picture of Saul 
 and the Witch of Endor, in the Royal French Collection at 
 Versailles. Salvator Rosa was a Neapolitan; he studied 
 under Spagnoletto and Daniel Falcone ; but, it was Cara- 
 vagio he most desired to imitate. There is an inimitable 
 freedom, in the pencil of this master, which gives fire to all 
 his compositions. The two following numbers are by tlrs 
 artist. 
 
 £<Z0 0 0 Canvass, £ f. wide, by 2 f. 7 in. high. 
 
84 
 
 LXXXVIII. CASSIUS APPEARING TO BRUTUS, RE- 
 FORE THE BATTLE OF PHILIPPI. 
 
 This picture is in the true Salvator style, and conveys a 
 just representation of the recorded story ; it is finely drawn ; 
 the expressions are admirable, and the torch light managed 
 well. 
 
 o£25 0 0 Canvass, 4 f. 10 in. wide, by 3 f. 8 in. high. 
 
 LXXXIX. LANDSCAPE AND RUINS. 
 
 £10 0 0 Canvass, 2 f. wide, by 3 f. high. 
 
 XC. THOMAS WYCKE, called, the Old. 
 Born in 1616, died 1686. 
 
 SEA PORT IN THE MEDITERRANEAN SUN SET, 
 
 This picture has a glow of warmth, which the artist has 
 given, as charactering the time of the departing sun in those 
 warm regions, on a summer even ; which, to those who have 
 not witnessed the scenery on the spot, and the rich hues which 
 are cast on every object at this point of time, in these climes, 
 
85 
 
 the painting will appear overcharged. The figures are judi- 
 ciously grouped, and the costume, of the various nations in- 
 troduced, is true to character ; the vessels are accurate to ad- 
 miration. T. Wycke was a native of Haerlem, but spent a 
 considerable portion of his life in Italy. 
 
 £50 0 0 Canvass, 8 f. wide, by 5 f. high. 
 
 XCI. CARLINO, or CARLO DOLCI. 
 Born in l6l6, died 1686. 
 
 VIRGIN AND CHILD. 
 
 Whatever faults we may attribute to the works of Carlo 
 Dolci, they convey a feeling, a sentiment, which, from its en- 
 chanting power, captivates the soul. Not by that superiority 
 which constitutes the sublime, boldness of outline, force, 
 grandeur of design, &c. but, by those attractive ones, suavity, 
 delicacy, placid repose, and grace. Many of this artist's pic- 
 tures are ornamented with flowers, witness this specimen, and 
 that in the Wilton Collection ; but, whether from the hand of 
 Mario da Fiori, as supposed, or not, is uncertain. The flesh, 
 in his figures, has too little carnation, and has a great deal of 
 the appearance of enamel, or polished ivory ; and to produce 
 
86 
 
 rotundity, there appears to be a high degree of finish and la- 
 bour used. Carlino was born at Florence, and made his 
 debut as a painter at 1 1 years of age, by a picture of St. John ; 
 a portrait of his mother, produced soon after, established his 
 reputation. He painted some few pictures, half length, as 
 large as life ; but his progress was so slow, that it is said to 
 have deranged his intellect, when he came to know, that Luca 
 Giordano could produce more in a day, than he could in a 
 month. 
 
 £250 0 0 Copper, 8 J in. wide, by 11 in. high. 
 
 XCII. GIOVANNI BENEDETTO CASTIGLIONE, 
 Called, Grecketto. 
 
 Born in 16 16, died 1670. 
 
 CHRIST DRIVING OUT THE DEALERS, FROM THE 
 TEMPLE. 
 
 The composition of this picture is very masterly, the co- 
 louring good, and the drawing correct ; but the principal fi- 
 gure, Christ, is thrown too much in the back ground. The 
 chief master Castiglioni had, was Vandyck, who resided some 
 
87 
 
 time at Genoa, where this artist was a native. He became a 
 general designer, and succeeded equally in history, landscape, 
 and portrait. 
 
 £<20 0 0 Canvass, 4 f. 3 in. wide, by 3 f. 2 in. high. 
 
 XCIII. ISAAC VAN OSTADE. 
 Born in 1617, died . 
 
 BOORS DRINKING. 
 
 The true low gousto of Holland, is strongly given in the 
 pictures of this young artist ; had he lived longer, perhaps, 
 he might have approached nearer his brother Adrian, the most 
 exquisite finisher in this department of the art ; for he may 
 be truly said to have " raised flowers from a dunghill." The 
 two following numbers are by the same artist. 
 
 MO 0 0 Canvass, 1 f. Z in. wide, by 1 f. 5 in. high. 
 
 XCIV. THE COUNTRY ALE HOUSE, OR HENPECKED 
 
 HUSBAND. 
 
 This picture, by the last mentioned artist, is designed in his 
 truest humour ; and though the drawing has nothing to re- 
 
88 
 
 commend it, the composition, in as much as relates to this style 
 and genius of painting, is most excellent. 
 
 £20 0 0 Canvass, 3 f . 2 in. wide, by 2 f. high. 
 
 XCV. DUTCH BOORS AT DINNER. 
 
 .£10 10 0 Panel, 1 f. 2 in. wide, by 1 f . 7 in. high. 
 
 XCVI. CHARLES LE BRUN, CHEVALIER. 
 Born in 16 19, died 1690. 
 
 THE DEFEAT OF THE GIANTS, IN THEIR BATTLE 
 AGAINST JUPITER. 
 
 In so complicated a design, to have given a just expression 
 to every figure, is wonderful ; and the poetic fancy here dis- 
 played, is truly great. The groupings, throughout the whole 
 composition, may be considered learned, and beautifully dis- 
 posed. It is a subject upon which, both poets and painters, 
 have often displayed their talents. So true is it, nevertheless, 
 that even the greatest men have copied themselves, we 
 cannot help remarking, that many of the figures, in the passage 
 
89 
 
 of the Granicus, one of the battles of Alexander, are to be 
 traced in this. 
 
 This distinguished artist was born in Paris, and studied under 
 Vouet, that corrupter of painting and the Gallic school ; but 
 whose manner he totally abandoned. He finished his studies 
 at Rome, where he spent six years, and became the greatest 
 painter France, or, perhaps,, take him for all in all, any country 
 ever produced. If poetic genius, a thorough knowledge of the 
 passions which actuate the human frame, gained by deep 
 research, a diligent study for composition, animated and just 
 expression, with grace, facility, grandeur, and truth of colour- 
 ing, in their fullest extent, can warrant such a title, Le Brun 
 was the man. I have examined, in the Louvre, that store- 
 house of stolen property, the best works of this artist, and, to 
 my taste and judgment, they are paramount ; that is to say, 
 they have fewer faults, and greater beauties, than any I 
 know of. 
 
 £50 0 0 Panel, 2 f . 4 in. wide, by 1 f. 4. in. high. 
 
90 
 
 XCVI1. PHILIP WOUWERMANS. 
 Bom in 1620, died 1668. 
 
 LANDSCAPE, WITH A STAG HUNT. 
 
 Although so few originals of this master are to be met with 
 in Britain, I have no hesitation in calling this so ; it has both 
 the private and common mark of the artist ; but, the beauty of 
 the picture speaks for itself. The landscape is of inimitable 
 beauty, both for the true aerial picturesque, in the distance, 
 and the mellowness and delicacy of the tints which pervade 
 the whole. The sky, trees, plants, &c. are true copies of na- 
 ture ; but what renders the landscapes of Wouwermans ines- 
 timable, is the exquisite manner in which his figures are drawn ; 
 his horses are life itself. It is said, this artist died poor ; his 
 works entail him a splendid fame to future generations ; this 
 is but a feeble consolation, to those artists, who, like Wouwer- 
 mans, have not spirit enough to publish their own fame, 
 whilst living. P. Wouwermans was a native of Haerlem, 
 where he lived, and died ; never possessing the means of quit- 
 ting his country. 
 
 ,£300 0 0 Canvass, 4 f. wide, by 2 f. 3. in. high. 
 
91 
 
 XCVIII. HERMAN SWANEFELD, 
 Called, the Hermit of Italy, 
 
 Born in 1620, died 1680. 
 
 THE FLIGHT INTO EGYPT, IN A LANDSCAPE. 
 
 Though the pictures of this artist cannot rank with those 
 of his master, Claude, they have a sweetness and a tender- 
 ness peculiarly their own. His figures are much superior to 
 those of his preceptor, for the design, grouping, and outline. 
 He was said to be a disciple of Gerhard Douw ; but he went 
 very young to Italy, where his greatest delight was, to pass 
 his time in making drawings from the ruins, &c. about Rome ; 
 this solitary disposition gained him the name of Hermit. 
 He died at Rome, where he studied some time under Claude 
 Gele6. 
 
 £\5 0 0 Canvass, 13 J in. wide, by 1 1 J in. high. 
 
02 
 
 XCIX. JACOPO CORTESE, 
 Called, 77 Borgognone. 
 
 Born in l6%l,died 1676. 
 
 HALT OF CAVALRY, AND LANDSCAPE. 
 
 No painter had a better idea of the subjects he always treat- 
 ed, whether battles, or soldiers at rest. This is a grand 
 performance, and the horses, of the foreground, are so admi- 
 rably foreshortened, that they appear quite relieved from the 
 canvass. Cortese had been a soldier, before he became a Je- 
 suit ; he was born in Franche Compte. 
 
 £20 0 0 Canvass, 8 f. wide, by 5 f. high. 
 
 C. BATTLE PIECE. 
 
 The free bold pencil of Borgognone is easily traced in this 
 picture; it is touched with the spirit and fire peculiar to this 
 artist. 
 
 c£lO 10 0 Canvass, 9| in. wide, by 1 1 in. high. 
 
 CI. battle piece. Companion to the above. 
 
 £10 10 0 Canvass, 9 3 in. wide, by 1 1 in. high. 
 
93 
 
 CII. GERBRANT VANDER EECKHOUT. 
 Born in 1621, died 16/4. 
 regal devotion. — Allegorical. 
 
 This small picture is perhaps allegorical, as were many of 
 the works of this artist. The manner of their master Rem- 
 brandt so pervades the paintings of Eeckhout and Gerhard 
 Douw, as well as those of Douw's scholar, Schalken, that in 
 small pictures, of this size, they are often confounded. 
 
 Much has been said of the merits of this artist, as equalling 
 his master ; yet those, who have given the subject a due exa- 
 mination, will hardly give the palm to Eeckhout. He no 
 doubt painted his portraits with strong animation, and his 
 extremities are, in general, higher finished and better drawn 
 than those by Rembrandt : but although he endeavoured to 
 imitate his master, he never can be ranked as his equal. 
 
 £21 0 0 Canvass, 1 f. wide, by 1 f. 3 in. high. 
 
94 
 
 CIII. CARLO MARATTA, CAVALIERE. 
 
 Bom in 1625, died 1703. 
 
 THE VIRGIN, CHILD, AND ELIZABETH. 
 
 The paintings of Carlo Maratta have been variously spoken 
 of by painters, but during his life his reputation was great. 
 Composition, or design, does not seem to be the leading 
 feature of merit in this artist's pictures. C. Maratta was born 
 at Camurano, in the district of Ancona : He studied under 
 Andrea Sacchi, and Rome, through most of her palaces and 
 churches, is loaded with his works. 
 
 £5 5 0 Canvass, 1 1 in. wide, by 10| in. high. 
 
 CIV. FRANCIS BOUT AND N. BODEWYNS. 
 
 LANDSCAPE AND FIGURES. 
 
 This gemini of painters, whose works are so frequent in 
 our collections, who are said, never to have painted sepa- 
 rately, have yet produced some sweet pretty pictures ; not 
 much inferior to P. Brill, or Velvet Brueghel. The figures 
 are good, and touched with spirit and freedom ; the Land- 
 
95 
 
 scape painted in a light, neat manner, with a fine pencil, and 
 neat handling. The smallest sized pictures of these artists 
 are the best. 
 
 £40 0 0 Canvass, 18 in. wide, by 16 in. high. 
 
 CV. CARLO CIGNANI. 
 Born in 1628, died 1719- 
 
 MARSYAS FLEAD ALIVE, BY ORDER OF APOLLO. 
 
 This fabulous subject seems to have been a great favourite 
 with painters. It is one, I think, except for the opportunity 
 it gives of showing the painter's knowledge of anatomy, too 
 shocking to be selected. Carlo Cignani, by his mode of 
 treating it, has rendered it less objectionable than any I re- 
 member to have seen. The figure of Apolio may pass as a 
 model ; it is most masterly drawn ; and the unpleasant part 
 of the scene so placed in shadow, that we are not disgusted 
 at the subject. The umpires, the muses, are finely drawn, 
 and with good expression, at their compelled decision. 
 
 This picture was imported from the continent, at the very 
 high price of seven hundred guineas, and is undoubtedly a 
 grand performance. In the collection of his Grace the Duke 
 
96 
 
 of Devonshire, there is a fine picture of Joseph and Potiphar's 
 w ife, by Cignani. He was a native of Bologna, and studied 
 under Albano. The ceilings he painted at Forli, where he 
 died, are his greatest works ; they cost him many years labour. 
 
 £200 0 0 Canvass, 9 f- wide, by 7 f. high. 
 
 CVI. LUCA GIORDANO, 
 Called, Lucafa Presto. 
 
 Born in 1632, died 1705. 
 
 A PAIR OF BACHANALIAN SUBJECTS, BOYS, &C 
 
 The w orks of this artist are, perhaps, more numerous than 
 those of any painter ; seldom he finished his pictures highly, 
 except when he copied those of other masters ; then his preci- 
 sion was wonderful, and 'tis to him, and a few others of his 
 day, to whom we are indebted for most of those pictures, 
 called original, of the masters who flourished in the beginning 
 of the l6th century. He was born at Naples, and studied 
 at first under SpagnoJetto, but finished himself under Pietro 
 Cortona ; who was an adept in the copying school, and from 
 whom Luca early imbibed it. The next picturebut one is in 
 a different style by this artist. 
 
 £30 0 0 Canvass, 6 f. 10 in. wide, by 5 f. 7 in. high. 
 
97 
 
 CVIL Companion to the last. 
 £10 0 0 Canvass, 2 f. wide, by 2 f. 6 in. high. 
 
 CVIII. MOSES STRIKING THE ROCK. 
 
 This is done after the manner of P. Cortona, the precep- 
 tor of Giardano. 
 
 £50 0 0 Canvass, 1 f . 6 in. wide, by 2 f. 1 in. high. 
 
 CIX. ANTHONY FRANCIS VANDER MEULEN. 
 Born in 1634, died 1690. 
 
 LEWIS XIV. GOING IN STATE TO VERSAILLES. 
 
 This fine topographical painting, by Vander Meulen, is a 
 monument of the indefatigable industry and diligence, of this 
 artist. The cavalcade is finely grouped, and the costume of 
 the day closely kept. The landscape is taken, with a birds- 
 eye view, and shows a vast extent of country. The horses are 
 beautifully, and most correctly drawn, and deserve all the 
 praise which has been bestowed on them. He was instructed 
 in the art by Peter Snayers, of Brussels, where he was a native, 
 
 H 
 
98 
 
 That great patron of the arts, Lewis XIV, engaged him 
 to go to Paris, where he was allowed a pension of two hun- 
 dred livres. He followed that monarch to the field, and 
 painted most of his great exploits. His works are numerous, 
 but his best are still in the royal galleries, at Versailles, &c. 
 
 £150 0 0 Canvass, 4 f . 2 in. wide, by 3 f. 3 in. high, 
 
 CX. , JEAN BAPTISTE MONNOYER. 
 Bo rn in 1635, died 1699* 
 
 FLOWER PIECE. 
 
 The freedom with which the works of this artist are pen- 
 ciled, as well as the looseness of the drawing, gives them at 
 some distance, a superiority of character, even to those by 
 Van Huysum, for grace, if not for neatness and high finish. 
 They are copies of nature, but not botanically correct ; and 
 are rather too gaudy in the colouring. J. Baptiste was a na- 
 tive of Lisle, but learnt his art in Antwerp ; he came to Eng- 
 land at the request of the Duke of Montague, and we have 
 most of his best works in this country. 
 
 £\0 10 0 Canvass, 3 f. wide, by 3 f. 10 in. high. 
 
09 
 
 CXI. ABRAHAM MIGNON. 
 Born in 1639, died 1679. 
 
 FLOWERS, 
 
 The flower pieces of Mignon, if they want the high finish 
 of Van Huysum, or the Dutch artists, are yet drawn with 
 more freedom, grace, and spirit ; and equally natural. He 
 studied under James Murel, at Frankfort, where he was bom ; 
 afterwards in Holland, under David de Heem. 
 
 c£lO 10 0 Canvass, 2 f. 4 in. wide, by 2 f. high. 
 
 CXII. GERARD LAIRESSE. 
 Born in 1640, died 1711. 
 
 THE FIRST INTERVIEW OF iENEAS WITH DIDO. 
 
 The pictures of this rapid artist are numerous, and in 
 almost every collection. I have a number, more than here 
 exposed; four, only, are given as examples of his genius, and 
 different styles. The story in this is well told, and the archi- 
 tecture of the palace is most masterly executed. Gerard was 
 a native of Liege, but was brought into notice by a picture 
 merchant, named Vylenburg of Amsterdam. He lastly set* 
 tied at Utrecht, where he became blind some time before his 
 death. 
 
 £\0 10 0 Canvass, 1 f . 5 in, wide, by 2 f. high. 
 
100 
 
 CXIII. VENUS DEPLORING THE DEATH OF ADONIS, 
 
 £6 6 0 Canvass, 14| in. wide, by 2 f. high. 
 
 CXIV. hercules and omphale, — A Companion to 
 
 the last. 
 
 £6 6 0 Canvass, 3 f. 6 in. wide, by 2 f. 6 in. high. 
 « 
 
 CXV. BACHANALIAN SUBJECT, CHILDREN, &C. 
 
 of 10 0 0 Canvass, 3 f . 6 in. wide, by 2 f. 6 in. high. 
 
 CXV1. GODFREY SCHALCKEN. 
 Born in 1643, died 1706. 
 
 A MAGDALEN, IN MEDITATION, BY CANDLELIGHT. 
 
 The pictures of this artist have a great resemblance to 
 those by Eeckhout, the pupil of Rembrandt. He was a dis- 
 ciple of Gerhard Douw, to whom however he is much inferior. 
 His peculiar talent was the distribution of light from a candle, 
 
101 
 
 or torch, which, by his particular management, was inimitable 
 He was born at Dort, and lived long in England, where he 
 procured a large fortune by painting miniature likenesses. 
 
 £15 15 0 Canvass, ] 1 in. wide, by 13 J in. high. 
 
 CXVII. FRANCESCO MILLE, OR MILE, 
 Called, Francisque. 
 
 Born in 1644, died 1680. 
 
 LANDSCAPE EVENING. 
 
 The agreeable tone of colour which pervades the works of 
 this artist, is by some accounted tending to monotony ; but 
 the lightness of his pencil, and correctness of his drawing, 
 compensate, in a great measure, this fault. His model, for 
 composition, was Nicholas Poussin. He was a native of 
 Antwerp, where he studied painting under Laurentius Franck. 
 It is reported, by his biographers, that he was poisoned, per- 
 haps, upon very bad authority. 
 
 £25 0 0 Canvass, 2 f. 4 in. wide, by 1 f. 9 in, high. 
 
102 
 
 CXVIII. MATHYS NEVEU. 
 
 Born in 1647, died 1721. 
 
 THE CONTENTED CUCKOLD TWO CHAMBER SCENES. 
 
 This and the next picture, are a pair of whimsical sub- 
 jects, representing the consequential effects of the unison of 
 youth, with age. The subject is well handled, and although 
 this painter's works cannot come in competition with those 
 of his master, Gerhard Douw ; yet as they are very scarce, 
 and generally highly finished, are desirable as furniture, or to 
 make up collections. They are however curious as the cos- 
 tume, exact, of the day, is preserved in them. Neveu was 
 born in Leyden, and studied under Toorn Vliet, and after- 
 wards with Gerhard Douw ; his chief merit lay in his neat 
 finish, and excellent colouring. 
 
 £25 0 0 Canvass, 2 f. wide, by 1 f . 9 in. high. 
 
 CXIX. Companion to the last. 
 £25 0 0 Canvass, 2 f. wide, by 1 f . 9 in. high. 
 
103 
 
 CXX. SIR GODFREY KNELLER. 
 
 Born in 1648, died 1726. 
 
 THE PORTRAIT OF THE YOUNG PRETENDER. 
 
 This, and the next picture in rotation, are good examples 
 of the pencil of Sir Godfrey : his incessant employment made 
 him a mannerist, and his portraits want spirit, though exqui- 
 sitely drawn, with a bold outline, and delightfully coloured. 
 He was born at Lubeck, studied sometime in Holland, tra- 
 velled to Italy, and lastly settled in England ; where he was 
 appointed state painter, successively, to Charles the Second, 
 James the Second, Wiliam the Third, Anne, and George the 
 First, succeeding Sir Peter Lely in this station. 
 
 £\0 10 0 Canvass, 1 f. 3 in. wide, by 1 f. 6 in. high. 
 
 CXXI. PORTRAITS OF TWO FEMALES. 
 
 This is a companion to the last, and is supposed to be the 
 portraits of Nell Gwynn and her sister. 
 
 £15 15 0 
 
104 
 
 CXXII. BONAVENTURE MAESTERS. 
 
 VIEW OF THE ENTRANCE TO THE DARDANELLES FROM 
 THE ARCHIPELAGO. 
 
 The works of this artist, and his disciple Van Salm, are 
 most curious ; they are painted in black and white, in imita- 
 tion of drawings : very little is known of the life of either, and 
 their pictures are not valued, though finely drawn, and with 
 good perspective. 
 
 £7 7 0 Canvass, 3 f. wide, by 1 f. 8 in. high, 
 
 CXXI1I. REINIER BRAKENBURG. 
 
 Born in 1649, died . 
 
 THE DANCING MASTER. A CHAMBER SCENE. 
 
 This is a highly finished picture, strongly coloured, and na- 
 tural ; something in imitation of Ostade : it is painted in the 
 costume of the day. The character of Brakenburg, was, in 
 all ways, correspondent with that of Brauwer ; he lived a 
 wretched dissolute life, and it is not known when, or where 
 he died. 
 
 ilO 0 0 Canvass, 1 f. 10 in. wide, by 1 f. 6 in. high. 
 
105 
 
 CXXIV. PHILIP ROOS, 
 Called, Rosa da Tivoli. 
 
 Born in 1655, died 1705. 
 
 A REPOSO IN A LANDSCAPE, WITH GOATS, &C. 
 
 A more magnificent landscape, of this artist's, is not to be 
 met with, than our present subject. It is composed with 
 such intelligence of the chiaro-scuro ; the penciling so free, 
 and lively, the animals so beautifully drawn, and the fore- 
 shortenings so good, that they almost appear to move ; this, 
 together with the beauty of the prospect, taken in the Cam- 
 pagna of Rome, amidst the remains of antiquity, which sur- 
 round that famous city, render it as interesting as beautiful. 
 It is said, the execution of this artist was so rapid, that he 
 finished a picture, of what is termed by painters a three-quar- 
 ter size, in half an hour ; or whilst the imperial ambassador 
 and a Swedish general, played one game at cards. It was 
 done on a wager, made by the ambassador, who amply re- 
 warded Roos for his ability and exertion. His broad manner 
 of penciling gives the hair and wool on his animals, so per- 
 fect a character of nature, that it is inimitable. This artist, 
 born at Frankfort, was the second son of J. H. Roos, a pain- 
 ter of eminence ; who trained all his sons, four in number, 
 to the profession. Philip became the best painter, from 
 his diligence and application to his studies, after he came to 
 Rome. 
 
 «£l00 0 0 Canvass, 4 f . 7 in. wide, by 3 f. 6 in. high. 
 
106 
 
 CXXV. MARCO RICCL 
 Born in , died 1730. 
 
 CHRIST AT THE POOL OF BETHESIDA. 
 
 This grand design, upon a subject so very common, is 
 truly excellent. The elegant taste with which it is composed, 
 the rich, and grand finish of the architecture, compensate for 
 a want of force in the colouring. 
 
 Marco was the nephew of Sebastian Ricci, from whom he 
 learnt his art ; he came with him to England, and returned 
 with him to Italy, where he died 
 
 ,£18 0 0 Canvass, 6 f . 3 in. by 5 f. high. 
 
 CXXVI. FRANCESCO SOLIMENE. 
 Born iii 1657, died 1747. 
 
 THE SUBREPTION OF IPHIGENIA, BY DIANA, EROM 
 SACRIFICE. 
 
 This is one of those subjects recorded in ancient history, 
 which painters and poets, since the days of Homer, who, by 
 the by, does not mention the circumstance, have treated as 
 Tiighly sublime, and worthy the effort of their genius. iEs- 
 
107 
 
 chylus, Euripides, Virgil, Ovid, 8cc. amongst the poets; and, 
 I believe, every painter since the days of Apollodorus, have 
 essayed it. 
 
 The composition and design, of this picture, is but little 
 varied from what may be seen, on this subject, by other mas- 
 ters. It is a lively picture, is finely drawn, with the true Lan- 
 franco sweep, or line of beauty, of Hogarth, with considera- 
 ble expression, character, and softness. Solimene was born at 
 Nocera de Pagani, near Naples ; and relinquished literature, 
 for painting. The number of pictures, which issued from a 
 pencil, equally rapid with that of his competitor Luca Gior- 
 dano, in the course of a life protracted to the length of 90 
 years, is incredible. The two following are by this master. 
 
 £25 0 0 Canvass, 3 f. 4 in. wide, by 3 f . 2 in. high. 
 
 CXXVII. A PAIR OF HEADS, STUDIES. 
 
 The bold manner of the execution, in these two paintings, 
 gives us a clear idea of the extent of power, in penciling, of 
 this artist. 
 
 £25 0 0 Canvass, 1 f. 5f in. by 3 f. 2 in. high. 
 
 CXXVIII. Companion to the last. 
 £25 0 0 Canvass, 1 f. lOjin. wide, by ] f. 11 in. high. 
 
108 
 
 CXXIX. SEBASTIAN RICCL 
 Born in 1659, died 1734. 
 
 A PAIR. SURREPTION OF IPHIGENIA, FROM 
 SACRIFICE. 
 
 A hackneyed subject, finely represented. The drawing is 
 true of this picture, and the colouring good, though not of 
 much force. Seb. Ricci's works are pretty numerous in Eng- 
 land, as he resided here ten years. He was born at Belluno, 
 in the marquisate of Trevigiano, and studied at Venice, Bo- 
 logna, and Rome; from thence, being invited to Vienna, he 
 painted at the palace of Schoenbrun ; from Vienna he came 
 to London ; after some years, he returned to Venice, and died 
 there. His paintings are very mellow, bold and free. 
 
 il7 0 0 Canvass, 3 f. wide, by 1 f . 8 in. high. 
 
 CXXX. IPHIGEN I A LEADING TO SACRIFICE. 
 
 Companion to the last. 
 £17 0 0 Canvass, 3 f. wide, by 1 f . 8 in. high* 
 
109 
 
 CXXXL MICHAEL CARRE. 
 Born in 1666, died 1728. 
 
 LANDSCAPE, CATTLE, AND FIGURES. 
 
 The character of this picture is in the first manner of this 
 artist after Berchem, and painted with much delicacy and 
 beauty; the animals are well designed, and touched with much 
 force and spirit. M. Carr6, born at Amsterdam, studied under 
 Berchem, but afterwards followed the style of Vander Leew, 
 by which he lost much of his fame. He came to England, 
 where he did not receive the encouragement he expected, 
 returned to Holland, and from thence to Prussia, where he 
 found his paintings fetch a better price. His taste was to 
 paint, in large, decorations for halls, saloons, &c. 
 
 £30 0 0 Canvass, 2 f. 8 in. wide, by £ f. high. 
 
 CXXXII. SEBASTIAN CONCA. 
 Born in 1676, died 1764. 
 
 ANGELS WITH FLOWERS. 
 
 This pretty design is in the style of Correggio, and beauti- 
 fully executed, with the true grand gousto, for boldness and 
 
110 
 
 freedom. Conca was a pupil of Solimene, born at Gaeta, 
 and, when near forty years of age, went to study at Rome. 
 His genius was fertile, his pencil flowing, and his colouring 
 fascinating, especially his carnations. His paintings were 
 much sought after, and are seen in most good collections. He 
 was made a knight by Pope Clement XI. 
 
 £30 0 0 Canvass, 2 f . 8 in. wide, by 2 f. high. 
 
 CXXXIII. BALTHASAR DENNER. 
 Born in 1685, died 1747. 
 
 AN OLD WOMAN'S HEAD. 
 
 The singular taste of this artist, to expend so much time on 
 such subjects, is a convincing proof that, whatever may be 
 said of him, if he was a painter, he had no genius ; and Mr. 
 Fuseli's philippic on his merits, however severe, is just. He 
 says, " Denner was born to be a fac-similist, not a painter. 
 With the most anxious transcription of parts, he missed the 
 whole, and that air of life which is the result of imitation."— 
 Denner was a Hamburgher, and gained his reputation by 
 painting the portraits of the German princes. He came to 
 Holland, and afterwards to England, where he had good en- 
 couragement. His works are mostly admired for the minute 
 exactness of copy. 
 
 £70 0 0 Canvass, 16 in. wide, by 10 in. high. 
 
Ill 
 
 CXXXIV. ANTONIO CANAL, 
 Called, Canaletto. 
 
 Born in 1697, died 1768. 
 
 A PAIR. VIEWS IN VENICE. 
 
 The precision seen in the topographical part of these pictures, 
 which have certainly been drawn with the assistance of the 
 camera-obscura, is seldom to be met in paintings of other 
 artists ; yet is there a scientific knowledge of the picturesque, 
 which is enchanting. He was the son of a scene painter of 
 Venice. He studied at Rome, and settled at Venice, whence, 
 and the surrounding country, most of his views are taken. 
 
 £7 0 0 Canvass, 1 f. 11 in. wide, by 1 f . 5 in. high, 
 
 CXXXV. VIEW IN VENICE. 
 
 £7 0 0 Canvass, 1 f. 11 in. wide, by If. 5 in. high, 
 
J 12 
 
 CXXXVL ZUCCHERELLL 
 Born in 1708, died . 
 
 LANDSCAPE AND FIGURES. 
 
 This Italian artist's pictures must be classed with the best, 
 in this province of the art ; they are not exceeded by any for 
 natural character and sweetness, and are touched with a flow- 
 ing and mellow pencil, yet are exquisitely finished. The figures 
 have the true Italian costume, and are finely drawn. 
 
 £84 0 0 Canvass, 3 f. 10 in. wide, by 2 f . 8 in. high. 
 
 CXXXVII. GEORGE LAMBERT. 
 
 Born in ,died, 1765. 
 
 view in st. james's park. 
 
 This topographical view of St. James's Park, is one of those 
 pictures which engage our attention, more from the knowledge 
 of the scite, than beauty of the landscape. The figures are 
 living memorials of the costume of the day, about the year 
 1745. The landscape is beautifully and accurately drawn and 
 coloured, though the subject will not admit of any great 
 beauty. Lambert is said to have imitated Gaspar Poussin ; 
 
113 
 
 but, I think, he imitated W ooten more : for what I have seen 
 of his works, although executed in good perspective and ac- 
 curacy, have little of the poetic in them. 
 
 c£50 0 0 Canvass, 5 f. wide, by 3 f. 2 in. high. 
 
 * 
 
 CXXXVIII. TIEPOLO. 
 
 LANDSCAPE, WITH RUINS AND FIGURES. 
 
 Though the works of this artist are well known, for their 
 peculiarly marked vigour, taste, and freedom of penciling, as 
 well as correctness of drawing, yet are they not held in high 
 estimation ; nevertheless, they must be classed amongst the 
 best of the productions of modern Italy. He flourished about 
 the year 1740. 
 
 £50 0 0 Canvass, 5 f. wide, by 7 f. high. 
 
 CXXXIX. CARLO MARATTA, 
 
 COPY OF THE MARRIAGE OF ST. CATHARINE BY 
 CORREGGIO. 
 
 This picture, the copy of the one in the Museum at Paris, 
 is an instance of the nearness with which artists have copied 
 
114 
 
 the ancient masters ; it is given in this series, for the purpose 
 of showing what has been done in pastichi . 
 
 This copy of the Sposalizio, is supposed to be from the 
 pencil of Carlo Maratta. 
 
 40 0 0 Canvass, 3 f , 9 in. wide, by 4 f . 3 in. high. 
 CXL. JACOPO AMIGONI. 
 
 THE PARTING OF HECTOR, WITH ANDROMACHE, RE- 
 FORE HIS RENCONTRE WITH ACHILLES. 
 
 The subject of this picture has nothing novel to recommend 
 it ; for, notwithstanding it is designed with taste, and the figures 
 well drawn, there is little sentiment, and as little grace, in 
 them. The colouring of this artist's pictures, is too cold and 
 pale, in general ; but that seems, in this instance, a fault he 
 has obviated. Amiconi is better known by name, than most 
 painters of the age in which he lived ; but although his works 
 are in every collection, nothing certain is known of his life. 
 
 £\3 0 0 Canvass, 4 f. 6 in. wide, by 6 f. 6 in. high. 
 
115 
 
 CXLI. VIOLANTE BEATRICE SIRXES. 
 Bom in 1710, died . 
 
 PORTRAIT OF HERSELF AND FATHER. 
 
 This portrait is sweetly painted, full of warmth and life 5 
 the delicate manner of introducing her father's likeness, into 
 the picture, is delightful. She was a native of Florence, and 
 went to Paris with her father, who had the appointment of 
 goldsmith to the King. Upon his advancement to a lucrative 
 employment, by the grand duke, he returned to his native 
 country, with his daughter. The duke expressed a particular 
 regard for her, and ordered her portrait to be placed in the 
 Gallery of Artists at Florence. 
 
 pf 15 0 0 Canvass, £ f. wide, by 2 f. 5 in. high. 
 
 CXLII. PATEL. 
 
 LANDSCAPE, RUINS AND FIGURES. 
 
 There is a freedom and suavity in the penciling of this ar- 
 tist's pictures, together with a force, brilliancy of colour, and 
 strong opposition of light and shade, which is extremely beau- 
 tiful ; and by which he has acquired the title of the French 
 
116 
 
 Claude. No records of his life are extant, that I can trace, 
 but his pictures will prolong the life of his fame. 
 
 il8 0 0 Canvass, 2 f . 2 in. wide, by 17 in. high. 
 
 CXLIII. RYMSDIKE. 
 Born in , died 1782. 
 
 THE TRIBUTE MONEY "RENDER TO CMS AR," &C. 
 
 The composition of this picture is grand, and well designed, 
 but it has been so often treated, that it is hard to say, if it is in 
 composition or design original. The Christ has not much of 
 nobleness, or character of divinity ; but some of the heads are 
 wonderfully drawn, and with much expression. This artist 
 was a German, and painted a long while in England : he died 
 at Bath, but his age is not known. I have an engraving of 
 this picture, by himself. 
 
 £30 0 0 Canvass, 6 f. 8 in. wide, by 4 f. 9 in. high. 
 
 CXLIV. WILLIAM HOGARTH. 
 Bom in 1698, died 1764. 
 
 FALSTAFF AND HIS COMPANIONS, AT GAD'S HILL. 
 
 Though this original genius, and famous engraver, was not 
 himself of the opinion of the world at large, that he designed 
 
117 
 
 better than he painted ; as his excellence, in the one, has 
 never been exceeded, so his enemies would not allow him the 
 merit he really possessed as a painter. Unfortunately he 
 thought himself equal to Vandyck in portrait, and Correggio 
 for expression. His pictures of Marriage a la Mode, in the 
 select and magnificent collection of J. J. Angerstein, Esq. 
 if he had never painted more, are a lasting monument of his 
 real abilities ; no pictures can be better, or have a more ori- 
 ginal cast than these, for the style of painting, where he was 
 truly a master. This is a subject where Hogarth was at 
 home, and it is, though not highly finished, a good picture. 
 £10 0 0 Canvass, 3 f . 4 in. wide, by £ f. 4 in. high. 
 
 CXLV. SIR JOSHUA REYNOLDS. 
 Bom in 1723, died 1792. 
 
 VENUS BLINDFOLDING CUPID. 
 
 This picture is a copy of one by Titian, done by Sir Joshua, 
 when at Rome ; it is only put in this collection a sa specimen 
 of his works, whose merit as a portrait painter, has been ad- 
 mitted to exceed, for grace, all his cotemporaries. 'Tis a pity 
 time should have laid such strong hold, on the latter works of 
 this artist ; and it is much to be lamented, that so much 
 beauty, taste, sweetness, and grace, displayed in the pictures 
 of this enchanting painter, will, in less than half a century, be 
 lost for ever. 
 
 £30 0 0 Panel, 6 f. wide, by 4 f. high. 
 
118 
 
 CXLVI. GAINSBOROUGH. 
 
 Bom in 1727, died 1788. 
 
 LANDSCAPE, WITH A STAGE COACH AT AN INN. 
 
 The works of this artist claim our attention, from the ge- 
 nuine character of nature which they represent, standing fore- 
 most in the ranks of the productions of English artists. But 
 let us not overrate, what is justly estimable. Why should the 
 works of an artist, who boasts no schooling, but nature, be 
 put in competition with those whose merits are derived from 
 high classical study, and pursued in the genial regions of 
 Italian scenery. A Vandyck, a Claude, and a Rubens, have 
 their peculiar merits ; why combine them all in a Gainsbo- 
 rough ? This picture is not shown as a chef d'oeuvre' of 
 this artist, but merely for his manner, which was very unequal. 
 He was born at Sudbury, and came to London at an early 
 age, and commenced portrait painter; in which he certainly 
 excelled, but his fort was landscape. That picture of his, in 
 the collection of the Earl of Carlisle, of a boy attending pigs, 
 is an exquisite performance. 
 
 £20 0 0 
 
 Canvass, £1 in. wide, by 27 in. high. 
 
11D 
 
 CXLVII. VERNET. 
 
 SEA PORT EVENING. 
 
 This most beautiful painting may be placed by the side of 
 a Claude or a Poussin, without danger of losing in its merits, 
 by such contact. The repose and keep of this picture, is ex- 
 quisite; and the harmony of the design and composition, 
 shows the hand of a consummate master of the art. 
 
 60 0 0 Canvass, 4 f. wide, by 2 f. 10 in. high. 
 
 CXLVIII. RICHARD WILSON. 
 Bom in 1714, died 1782. 
 
 LANDSCAPE — DIANA AND ACTEON. 
 
 The merits of this artist are, now, universally admitted ; 'tis 
 a pity he had not possessed more amenity of manners, by 
 which to have conciliated the good will of his cotemporaries ; 
 but, unfortunately, like poor Barry, he remained a voluntary 
 victim to his own humours, and lived in a state little beyond 
 indigence, whilst in the zenith of his powers, and when those 
 powers were decaying, he was appointed Librarian to the 
 Royal Academy. 
 
 £50 0 0 Canvass, 6 f. 4 in. wide, by 4 f. 5 in. high. 
 
120 
 
 CXLIX. GEORGE MORELAND. 
 
 Born in 1764, died 1804, 
 
 a farrier's shop. 
 
 A droll but natural transcript, of nature in low life. The 
 best pictures of this artist are, where he has combined land- 
 scape with his figures. They are accurate representations of 
 nature. Alas, poor Moreland ! born with genius of the first 
 class, what might he not have attained had his education been 
 fostered, and genius cultivated ! The misery in which he 
 passed his early days, clung to him through life ; low, bad 
 company, the associates of his youth, corrupted his morals, 
 and, perhaps, inclination, or habit, completed his ruin. He 
 died like many, who have been the best copyists of debased 
 human nature, Brauwer, Brakenburg, &c. as wretched as the 
 wretchedest. 
 
 £\0 0 0 Canvass, 1 f . 4 in. wide, by 1 f . 1 in. high. 
 
 CL. LANDSCAPE, AND CATTLE. 
 
 A picture of the last-mentioned artist,in a different style. 
 £6 0 0 Canvass, 1 1 in. wide, by 7 in. high. 
 
 THE END. 
 
OK