THE NATIONAL GALLERY: A CATALOGUE OF THE PICTURES; WITH CRITICAL NOTES BY GEORGE FOGGO, AUTHOR OF THE ES5A.Y ON THE HISTORY, LITERATURE, AND PRESENT STATE OF THE FINE ARTS IN BRITAIN, TO WHICH THE PRIZE OF THE INSTITUTE OF THE FINE ARTS HAS BEEN AWARDED. PRICE SIXPBNCSL LONDON : H. G. CLARKE AND CO., 4, EXETER CHANGE. 1849. NOTICE. The National Gallbry is Open on Monday , Tuesday, Wednesday, and Thursday, to the Public generally, on Friday and Saturday to Artists ; from 10 till 5, during the months of November, December, January, February, March, and April ; — and from 10 till 6 during the months of May, June, July, August, and the first two weeks of September. The Gallery is wholly closed during the lasi two weeks of September and the whole of October, From tlie Library of Frank Simpson THE VERNON GALLERY. i^isft of f amtnip. 1 Portrait of Robert Vernon, Esq., three-quarters life size H. W. Pickersgill, R.A. The munificent donor of the Vernon Collection. 2 The Vintage — Composition . . T. Stotkard, R.A. 3 Lord and Lady- "William Russell receiving the Sacrament from the hands of Dr. Tiilotson, the day previous to execution ...... Johnston Exhibited at the Royal Academy in 1845. 4 William, Prince of Onuige, landing at Torbav, November 4, 1688 . . . . /. M. W. Turner, R.A. Exhibited at the Royal Academy in 1832. 5 Christ Lamenting over Jerusalem C. L. Eastlake, R.A. O Jerusalem ! Jerusalem ! which killest the prophets, and stonest them that are sent unto thee ; how ofcen would 1 have gathered thy children together, as a hen doth gather her brood under her wings, and ye would not 1 " — Luke, xiii. 34. 6 Returning from Market Sir A. IV. Calcott, R.A. Exhibited at the Royal Academy in 1834. 7 Sir Thomas More and his Daughter from a window in the Tower observing the Monks eoing to Execution /. E. Herbert, R.A. Stone wails do not a prison make, Nor iron bars a cage ; Minds innocent and quiet take That for a hermitage." — Lovelace. ** Sir Thomas More being now a prisoner in the Tower, and one day looking forth at his window, saw a father of iSyon, and three monks going out 8 21 THE VKRNU.N (JALLt:llY. of the Tower to execution, for that they had refused the oath of su- premacy; whereu})on, ]ie languishing, as it were, with a desire to bear them company, said unto his daughter Roper then present, * Look Meg^e, dost thou not see that these blessed fathers be now going as cheerfully to theyr deaths as bridegrooms to their marriage ? by which thou may'st see (mine own good daughter) what a great difl^rence there is between such as have spent all theyr days in a religious and penitential life, and such as have in this world, like wretches (as thy poor fatlior here hath done^ consumed all they have in pleasure and ease/ " — Roper's Life of Sir Thortias: More. Ex'uibited at the Royal Academy 'm 1846. 8 The First Ear-ring . . Sir D. IFilkie, E,J, Painted for the late Duke of Bedford, and purchased from the Dowager Duchess. 9 Fair Time . . . . fF. Mulready, R.A. Exhibited at the Royal Academy in 1840. 10 The Vintage in the Claret Vineyards of the South of France, on the Banks of the Gironde T. JJwins^R.A. Exhibited at the Royal Academy in 1848. 11 The Little Brigand . . . . T. Uwins, R.J. 12 Venice — The Bridge of Sighs, Ducal Palace, Canton House, &c. . . . /. M. W. Turner, R.A. Exhibited at the Royal Academy in 1833. 13 Clarissa Harlowe in the Spunoing House C. Landseei\ R.A, 14 Head of a Negro — life size . • fV. Simpson 15 Portrait of a Lady, unfinished Sir T, Lawrence^ P. R.A. Intended for a full-length portrait of the Dowager Countess of Darnley. It was purchased at Christie's; at the sale of Lawrence's unfinished works, &c. 16 Dutch Boats in a Calm ... E. JV. Cooke Exhibited at the British Institution in 1844, 17 Going to School . . . . T. Webster, R.A. Exhibited at the Royal Academy in 1836. Ktt Portrait, The Artist's Daughter . H. Howard, R.A. 19 Study of a Female Head . . E. V. Rippingille 20 Lifant Bacchus . . Sir M. A. Shee, R.A. 21 Portrait of Sir A. Hume . Sir J. ReijJinlds, PM.A. THE vt:rnon gallery. 22 " 3f 22 Portrait of Himself . . Sir J. ReynoLjs, IL rl, His pencil was striking, resistless, arkd grand ; His manners were gentle, complying, and bUnd ; Still born to improve us in every part, — His pencil our faces, his manners our heart -—Goldsmith. 23 Lake Avernus, The Sybil, and the Golden Bough /. M. W. Turner, h\A. Exhibited at the Royal Academy in 1840. 34 Youth at the prow and Pleasure at the helm Ett?/, R,A. Exhibited at the Royal Academy in 1832. 25 The Entrance to the Zuyder Zee . C Stanfield^ R.J. Exhibited at the Royal Academy in 1844. 26 Spaniels of King Charles' Breed . E, Landseer, R. A. Exhibited at the British Institution. 27 Nebuchadnezzar and the Fiery Furnace 6r. Jones, R.A. Then Nebuchadnezzar the king was astonied, and rose up in haste, and spake, and said unto his counsellors, Did not we cast three men bound into the midst of the fire ? They answered and said unto the king, True, O king. He answered and said, Lo, I see four men loose, walking in the midst of the fire, and they have no hurt : and the form of the fourth is like the Son of God. — Daniel, iii. 24, 25. Exhibited at the Royal Academy in 1832. 28 The Age of Innocence . Sir Joshua Reynolds, R.J. Purchased for the collection of the late Joshua Harman, Esq., for 1450 guineas. 29 Interior of a Synagogue at the time of the Elevation of the Law S. J, Hart, R.A. 30 The Pride of the Village . John Callcott Rorsley Exhibited at the Royal Academy in 1839. 31 Landscape — ^View in Italy • . R. Wilson, R.A. 32 Landscape — ^View in Italy . . R. TFilson, R.A. 33 Musidora, — ^life-size, seated . . Gainsborough 34 Coast Scene — after Vanderveide Sir A. W. Callcott, R.A. a6 Landscape, with Castle . . Sir A. fV. Callcott 36 The Watering-Place . . . Gainsborough ^7 L(Uid.>cap^^ — View iii Italy . . il. Wdson, li.A. 38—60 THE VERNxON GALL&RY. 38 Study in Oriental Costume . tV. Etty, B.J. £59 Sketch— a Dance . . T, Stothard, R.J. 40 Portrait of Lady Hamiltoii as a Bacchante Romneij, U.J. 41 Landscape — Sunset . . . Gainsborough 42 Study of a Head, for the large picture. The Discovery of the Body of Harold . . . W. Hilton, R.A. 43 The Surprise ..... Duhufe Formerly in the Collection of Lord Charles Townshend. 44 Nymph— a Study . • T. Phillips, R.J. 45 The Play Scene— Hamlet . D. Maclise, R.A, Exhibited at the Royal Academy in 1842. 46 The Treaty between the Spaniards and Peruvians H. P. Briggs, R.J. 47 Arabs Dividing Spoil . . Sir W. Allan, R.J. 48 Yorick and the Grisette , . G. S. Newton, R.J. They were all too large ; the beautiful Grisette measured them one by one across my hand; it would not alter the dimensions.^' — Siemens Sentimental Journey. Exhibited at the Royal Academy in 1830. 49 Wood-Cutters .... .J. Linnell 50 The Bagpiper^ — a small half-length Figure Sir D. Wilkie, R.J. 51 Dry Reading . . . A. Geddes, J.R.J. Portraits of Terry the actor, and his wife, sister of P. Nasmyth. 52 The Wooden Bridge . Sir A. W. Calcott, R.J. 53 Happy as a King ... W. Collins, R.J. Exhibited at the Royal Academy in 1836. 54 Woodland View . . . Sir D. Wilkie, R.J. 55 The Newspaper . . . . T. S. Good 56 The Benighted Traveller Sir J. W. Calcott, R.J. 57 Candaules, King of Lydia, his wife, and Gyges Etty,R.J. 58 The Raffle for the Watch . . E. Bird, R.J. 59 The Enthusiast ..... T. Lane 60 Egyptians — two Figures, seated . . W. Miiller THE VERNON OAliLERY. 61—77 61 The Lutist Lady and Attendants . W, FAty, R.A, 62 Prawn Fishers .... W. Collins, R,A, Purchased at the sale of the late Sir Francis Freelong's collection. (Ex- hibited at the Royal Academy in 1841.) 63 Interior of Burgos Cathedral . . Z). Roberts, R,A. 64 Lady Godiva preparing to Ride through Coventry 6r. Jones^ R.A. Exhibited at the Royal Academy in 1833. 65 The Windmill /. Linnell Exhibited at the Royal Academy in 1847. 66 The Dangerous Playmate . . W. Etty, R.A. 67 The Old Pier, Littlehampton Sir A. W. Calcott, R.A. Purchased at the sale of Lord de Tabley's collection. 68 The Valley Farm . . .J. Constable, R.A. The House in this Picture is that in which the Artist was born. 69 Port of Leghorn — the Gate leading to Pisa Sir A. W. Callcott, R.A. Exhibited at the Royal Academy in 1833. 70 Lake and Tower in De Tabley Park /. Ward, R.A. Exhibited at the Royal Academy in 1815. (Purchased at the sale of Lord de Tabley's collection.) 71 Sancho and the Duchess . . C. R. Leslie, R.A. A repetition, with many marked improvements, of the picture in the col- lection of General Wyndham. at Pet worth. (Exhibited at the Royal Academy in 1844.) Canyas, 4 ft. 11^ in. by 4 ft. 72 Farm-Yard with Cattle . T. S. Cooper^ A.R.A. Exhibited at the Royal Academy in 1834. 73 A Lady and Dog . . . . . H. Wyatt 74 The Dame's School . . , . T, Webster, R.A. Exhibited at the Eoyal Academy in 1845. 75 The Ford .... W. Mulready, R,A. Exhibited at the Royal Academy in 1842. 76 My Uncle Toby and the Widow C. R. Leslie, R.A. Uncle Toby is a Portrait of Jack Bannister, the celebrated comedian. (Exhibited at the Royal Academy in 1831.) 77 Sketch for the Battle of Trafalgar C. Stanfield, R.A. The Sketch for the large Picture painted for the United Service Clubc 78—99 THE VERNON GALLERY. 78 Nymphs binding Cupid . T. Stothard^ R.A. 79 Christ appearing to Mary Magdalen and the other Mary IF. Etty, R.A. And as they went to tell his disciples, behold, Jesus met them, saying. All hail ! And they came and held him by the feet, and worshipped him. Then said Jesus unto them, Be not afraid: go tell my brethren that they go into Galilee, and there shall they see me. — Matt, xxviii. 9, 10. 80 London Bridge— 1745 ... S, Scott 81 A Syrian Maid . . H. W. Pichersgill, R.A. 82 Battle of Borodino .... 6^. Jones^ R.A. Exhibited at the Royal Academy in 1829. 83 Juliet and her Nurse . . H. P. Rriggs, R.A. Exhibited at the Royal Academy in 1827. 84 Lake of Como ... C Stanjield, R.A. 85 The Last In . . . JV. Mulready, R.A. Exhibited at the Royal Academy in 1835. 86 The Peep-o'-day Boy's Cabin . Sir D. Wilkie, R.A. Exhibited at the Royal Academy in 1836. 87 View on the Canal of the Giudecca, Venice C. Stanjieldy R.A. Canvas, 2 ft. 11^ in. by 2 ft. 88 The Dutch Village . Sir W. A. Callcott, R.A. Exhibited at the Royal Academy in 1834. 89 Nymphs Bathing . . . T. Stothard, R.A. 90 Italian Girl with Tamburine . . Penry Williams 91 High Life^ — Low Life . . . E. Landseer^ R.A. 92 Italian Peasants Resting . . Penry TVilliayns 93 Groups of Bacchanals and Cupids— Sketch for the Stair- case at Burleigh . ^ . Tl Stothard, R,A. 94 Window in Venice during the Carnival fV. Etty^ R.A. 95 Reading the News . . Sir D. JVilkiey R.A. 96 The Way to Church - >. Cresivick, A.R.A. 97 FalstafF and Mrs. Page . . . Clint, R.A. 98 II Duetto . , . . . Etty, R.J. 99 x\ Coast Sketch — the Boat-liouse . Cooke THE VERNON GALLERY. 100—122 100 Portrait of Thomas Morton, Dramatist — three-quarters life size Sir M. A. Shee, P.R.J. 101 Head of a Capuchin Friar at Calais E, V. Rippingille 102 Lake Avernus . . • - B. Wilson, R,A. 103 Composition — a Battle . . T. Stothard, R.A. 104 The Saviour— a Study . . . W. Etty, R.A. 105 Edith Discovering the Body of Harold on the Field of Battle .... W. Hilton, R.A. 106 Portrait of John Fawcett, Comedian — three quarters life size. Sir T. Lawrence, P.R.A. 107 Portrait of Miss Stephens, now the Dowager Countess of Essex . . . . . /. Jackson, R.A. 108 Crossing the Brook . . Withering ton, R.A. 109 Fruit G. Lance Exhibited at the Royal Academy in 1848. 110 A Magdalene Etty, R,A. 111 Galileo H. Wyatt 112 Red Cap ..... G. Lance Exhibited at the British Institution in 1848. 113 The Casement . . . G. S. Newton, R.A. 114 The Greek Girl— a Study C. E. Eastlake, R.A. 115 Highland Piper and Dogs . E. Landseer, R.A. 116 The Cover Side . . . . E. R. Lee, R.A. The small group of dogs, keepers &c., was sketched in by E. Landseer, R.A. 117 The Dead Robin . . . H. Thompson, R.A. 118 Coast View . . . Sir A. W. Callcott, R.A. 119 The Council of Horses . . . /. Ward, R.A. Exhibited at the Royal Academy in 1848. 120 Utrecht G. Jones, R.A. 121 Dr. Johnson in the Ante-room of Lord Chesterfield E. M. Ward, A.R.A. Exhibited at the Royal Academy in 1845. 122 Chancel of the Collegiate Church of St. Paul at Antwerp Z>. Roberts, R.A. 123—137 THE VERNON GALLERY. 123 The Village Festival . .. F. Goodall " When the merry hills ring rounds And the jocund rebecks sound, To many a youth, and many a maid, Dancing in the chequered shade ; And young and old come forth to play On a sunshine holiday.'' — Milton : V Allegro. 124 Westminster Bridge — 1745 . • . S.Scott 125 Cottage, formerly in Hyde Park . P. Nasniyth 126 Lake Scenery in Cumberland • De Loutherhourg 127 The fallen Minister— a Sketch E. M. Ward, A.R.A. Exhibited at the Royal Academy in 1846. 128 Landscape P. Nasmytk 129 Showery Weather — Scene in Kent . F. JR. Lee, R.A. 130 Country Cousins ... J?. Redgrave, A. Exhibited at the Royal Academy in 1841. 131 Rustic Children — a Study . . Gainshorough 132 The Scanty Meal . . . . J. F. Herring Exhibited at the Royal Academy in 1847. 133 Study of a Head . • . . Hilton, R.A. 134 Bathers Surprised . . , . W.Etty,R.A. Exhibited at the Royal Academy in 1841. 135 Study for the Head of a Monk • W. Hilton, R.A. 136 The South-Sea Bubble, — A scene in 'Change-alley in 1720 E.M. Ward, A.R.A. The earth hath bubbles, as the water hath ; And these are of them.'*' — Macbeth. ** The crowds were so great within doors, that tables with clerks were set in the streets. In this motley throng were blended all ranks, all pro- fessions, and all parties ; — churchmen and dissenters, whigs and tories, country gentlemen and brokers. An eager strife of tongues prevailed in this second Babel ; new reports, new subscriptions, new transfers, flew from mouth to mouth ; and the voice of ladies (for even many ladies had turned gamblers) rose loud and incessant above the general throng." — Lord Mahon's History of 'England. Our greatest ladies hither come. And ply in chariots daily ; Or pawn their jewels for a sum, To venture it in Alley." — Ballad of the time. Exhibited at the Royal Academy in 1847. 137 Venice — a View towards the Dogano R. P. Boning ton Exhibited at the British Institution. THE VERNON GALLERY. 138—152 138 Interior of a Chapel— The Installation B. fTest, P.R.A. 139 The Hop Garland . . /T. F. Witherington, R.A. Exhibited at the Royal Academy in 1843. 140 Interior of a Highland Cottage — The Cradle A. Fraser 141 Fruit ....... 6r. Lance 142 The Dying Stag . . . E. Landseer, R.A. 143 Cupid and Nymph — Figures small life size W.Hilton, R.A, Exhibited at the Royal Academy in 1828. 144 The Meeting of Abraham's Servant and Rebekah TF. Hilton, R.A. And it came to pass as the camels had done drinking, that the man took a golden earring of half a shekel weight, and two bracelets for her hands, of ten shekels weight of gold. . . . And he put the earrios^ upon her face^ and the bracelets upon her hands." — Genesis, xxiv. 22, 47, (Exhibited at the Royal Academy in 1829.) 145 View of the Grand Canal, Venice /. M. W. Turner, R.A. 146 The Council of War in the Hall of Courtray L. Haghe. Exhibited at the New Water- Colour Society. 147 Scene from Le Diable Boiteux . . . A. Egg 148 Malvolio and the Countess . . D. Maolise, R.A. Exhibited at the Royal Academy in 1840. 149 The Fisherman's Home . . F. Daiihy, A.R>A. Exhibited at the Royal Academy in 1846. 150 Florimel in the Cottage of the Witch F, R. PiclcersgiU, A.R.A. Exhibited at the Royal Academy in 1843. 151 A Scene among the Cumberland Mountains — Mist clearing off . . . T. S. Cooper, A, R.A. Exhibited at the Royal Academy in 1847. 15^2 The Tired Soldier . . . . F Goodall Exhibited at the Royal Academy in 1842. 1 1 Hylas and the Water Nymphs — a Gi oup in Marble John Gibson^ R,A, When first the balmy spring-tide showers appear, And grass-green meads pronounce the summer near, The plants and flowers that in the meadow grow, A freshening green, or odorous scent bestow ; In brazen vase young Hylas went to bring Pure fountain -water from the chrystal spring : Fast by a lowly dell a well he found, With tufted moss and azure hare-bells crowned, Cerulean celandine, bright maiden -hair, And parsley crisp, and birdweed flourished there ; Deep in the fount the Naiads revel keep, Or floating, on the moonlight waters sleep ; Their midnight voices, rising round the ring, Scare the lone peasant from the sacred spring. When to the fount the hapless child applied His vase capacious to receive the tide, The Naiads seized his hand with eager joy, And through the sparkling current dragged the boy. — Theocritus, 2 The Right Hon. George Canning, Prime Minister — died 1827— a bust . . . . E. H. Baily, R.A , 3 Sir Walter Scott — a bust . Sir F. Chantrey^ R.J. 4 Duke of Wellington — a bust . E. H. Baily^ R.A, 5 Sir Isaac Newton— a bust . Baily, after Roubilliac. In Newton this island may boast of having produced the greatest and rarest genius that ever arose for the ornament and instruction of the species in philosophical, astronomical and mathematical knowledge. — Hume. 6 The Marquis Wellesley — a bust . J. Bacon, R.A. 7 Dr. Samuel Johnson — a bust , E. H. Baily, R.A. In the Hail at the foot of the Stairs IS THE Subscription Statue of Sir David Wilkie, R.A.D.C.L BY S. JOSEPH. This is doubtless a clever performance, and bears considerable likeness of the great artist's features and figure, but the sentiment and the style of costume are not true to his nature. The pallid cheek, light eyebrow, and deep-seated eye of Wilkie, with an eager, rather wild, expression of melancholy, and the unassuming, almost neglected simplicity of his dress, are ill compensated by an intent sharp- ness, and somewhat of an assumption of cleverness, in the features and the atti- tude, and a foppish affectation of the artist in the display of his cloak. Great men are not always simple, but when they are so, the appearance, like the stamp on gold or silver, should confirm our estimate of their merit. This error is dwelt upon because, from this statue the next generation may entertain an inaccurate notion of this great man, different, very different from the impression to be received from his best pictures, though not very unlike the tone of some of his letters from abroad when, far from the home-scenes of his best days, he cor- responded with princes and statesmen, and aimed at historical painting. Simple David Wilkie performed some of the most delightful works of art of the age : How far honours and titles added to his talent or fame we have to learn ; but surely the initials D.C.L. appear as ill-suited as the theatrical convulsive ac- tion of the legs and left hand of this figure. Thetis Rising from the Sea to console Achilles for the Loss of Briseis ; an oval in alto-relievo, less than half the size of life. BY T. BANKS, R.A. So saying, she left the cave, whom all her nymphs Attended weeping, and wherever they passed The parting billows opened wide a way. At faithful Troy arrived, in order fair They climbed the beach, where, by his numerous barks Encompassed, swift Achilles sighing lay. Then, drawing nigh to her afflicted son, The goddess, with a piercing shriek, his brows Between her palms compressed.' '—Homer, (Presented by his daughter, Mrs. Laviaia Foster, 1845.) IN THE VESTIBULE. The Waterloo Vase claims attention from its size, not for its beauty. This commemorative work of art is composed of three blocks of marble, origi- nally intended by Napoleon to celebrate his victories ; and was to have been placed in the palace of the King of Rome, tiien in course of erection in the French capital. On the abdication of the Emperor, these marbles were presented to the Prince Regent, at the instance and through the influence of Lord Burghersh, ambassador at the court of Florence. And the Prince, taking up the original idea, resolved to dedicate them as a memorial of the victory of the allies on the 18th of June, 1815. The task was confided to Sir Richard Westmacott by the Regent, and the sculptor has confined the design to a representation of the British hero attended by his staff, and issuing his orders for a charge of cavalry on that memorable day. Besides this principal design, an allegory was adopted, representing the British Monarch seated on the throne, to which Europe has retired for protection. Peace, with her attendant genii, bearing her appropriate symbols, presents, as a trophy of triumph, the palm-branch to the enthroned sovereign of our victorious isle. The top part of this colossal vase is decorated with foliage, from amongst which the handles issue, forming on the one side a figure of Defeat, and on the opposite one, that of Peace. Little judgment has been displayed in the situation selected for depositing this memorial. The deficiency of light renders it impossible to obtain such a view of as would enable any one to see the full amount of its merit or defects. The celebrated Regent diamond was imperfectly cut in order to leave the pre- rsious stone as heavy as possible ; beauty was sacrificed to quantity. The same feeling, with much less excuse, has marred all grace and grandeur in this per- formance. The outline wants variety, undulation, and boldness : it is formal and stiff. Instead of a bold, free, substantial lip, which would have conveyed the appearance of solidity as well as beauty, its meagre straightness destroys the very effect it was intended to produce. If the artist had tried to make a large vase instead of reminding us of large stones, he would have given bold masses of light and shade : it sadly wants them. The figures are a confusion of sameness, the scrolls and handles tame and formal. t^csented to the Nation by his Majesty, King William IV. THE NATIONAL GALLERY. Catalogtie of tbt pictures;. 1 The Resurrection of Lazarus . Sehastiano del Piomho ** He cried with a loud voice, Lazarus, come forth. And he that was dead came forth bound hand and foot, with grave-clothes : and his face was bound about with a napkin. Jesus saith unto them, Loose him and let him go.'' — John xi. 43, 44. The fame of this picture as the rival of Raphael's transfiguration has been the cause of much admiration, but the assumption of so exalted a position renders it peculiarly amenable to criticism. It is not sufficient that it possesses drawing and colouring in a respectable degree, unless it is found to contain also merit in composition, invention and sentiment somewhat approaching to those high qualities in the fine works of Raphael : we proceed to a strict examination. In an unenclosed burying ground amidst a number of persons Christ, in an energetic attitude, is addressing Lazarus seated on the edge of a stone tomb, eager to be free from linen bandages. Mary Magdalene, on her knees on one side of the Saviour, and St. Peter on the other in a similar attitude, are imploring either his help or his forbearance. Martha, the other sister of Lazarus, and several female mourners are behind on one side, and the Apostles and others complete the grouping on the other. If we try to imagine, from analogy, how Raphael would have composed this subject, we may suppose that he would have endeavoured to express cause and effect by uniting or combining the action of two separate moments. For this he is actually blamed by hypercritics, as regards the Transfiguration, and the lame man healed in the cartoon of Paul and Barnabas at Lystra, where the crutches are introduced at the moment of sacrifice. The^subject of Lazarus requires some such connection of two moments — that where Mary and the apostles solicit super- natural assistance, and the effect of that help in the revival of Lazarus : and how could that be better accomplished than by adhering to the text in the New Testa- ment. At the very moment of their intercession and eager anticipation of a result suited to their faith, a voice from the cave should attract attention ; the upraised arms and glaring eyes of Lazarus should announce the more than electric foi ce of Divine agency. Has Sebastian del Piombo done this } No I Instead, omitting the cave, he has adhered to the first part of the story only in all but the figure of Laxams, who has had full time to climb out of his tomb without any of tbov^^e mmt Interested in the event noticing him, and in the figure comfortably but l^^ctsdiy seated beside him on the tomb and already unswathing him. Only aii 12 THE NATIONAL GALLERY. old man, not likely to have been quick-sighted, and two still further off, look at Lazarus, two others are even staring into the empty tomb. The action of Mary, of Martha, and St. Peter, are true to the subject at the previous moment ; that of Christ is more objectionable, it belongs not to the Lord who thrice wept for those he loved : instead of lifting up his eyes" and saying Father I thank thee,^^ his attitude of direction, or even of defiance, seems more like driving out a demon than raising a virtuous man from the sleep of DEATH. The posture of Lazarus is evidently more in respect to the display of picturesque anatomical form than with regard to the subject : the same may be said of the figure relieving him of the clothes, sitting down to his work ; the action is indirect and he is devoid of emotion. Altogether, there is much action of a conventional kind, but no taste or judgment or breadth, either in the grouping or the lights and shade ; the men's heads are well executed from nature, of a fine severe character ; those of the women want grace and beauty. Raphael would undoubtedly have given us more simple dignity, more breadth of masses and of effect, more aeriel perspective and variety in the shades, more grace and beauty, more varied expression, more invention and better arrangement. For power of execution, correct outline, general tone of character and of colour, it may vie with the best of painters, but in rivalry of all that moves and all that charms the feelings and understanding of civilized man, it admits not of the comparison. As to the figure of Lazarus, the vulgar glory of the piece, we are told that Sir Thomas Lawrence had sketches by Michael Angelo for the figure in this picture." This may be : perhaps Sebastian, like most inferior composers, made use of sketches originally intended for some other purpose by the mighty Florentine, and was unable to engraft it properly in his work. Those who have seen nothing of Michael Angelo but the bad copy of his dream, may be excused for ascribing such a figure to that extraordinary man, others ought to know better. Let our countrymen gaze on Francia's beautiful productions, and reflect on the superiority of Raphael, and they will judge between our opinion and that of connoisseurs by profes- sion, who allow not common sense to interfere with conventional technicalities unfounded in nature and fortunately unknown to the bulk of mankind. Canvas. 32ft. 6in. by 9ft. Gin. (Angerstein Collection.) Engraved by Vendramini, in 1828. 2 Landscape with Figures — Reconciliation of Cephalus and Procris at the instigation of Diana . . Claude A beautiful composition. The fine mass of trees in the middle of the picture--' supported by the mill and the one-arch bridge — the rocks an-d water, afford ♦ soothing mass of cool shade, boldly relieved on a morning summer sky, in whicl the distances bathe their silvery tints. The castellated hill and varied scener) complete one of the most delightful pictures in tiie Gallery. A similarity of tints in this picture with some by his countryo:ian and contemporary Lahyre may be noticed. Canvas. 3ft. 4in. by 5ft. 4in. (Angerstein Collection,) Engraved by Brown, 1777. 3 A musical Professor instrucLuig his Pupils — five figures, half- length, life-size. Ascribed to Titian — though more like Palma Veccio This picture wants everything but colour, and is a sample of the insignificance of that quality when principal, or alone, in a picture. The old man is as soft and THE NATIONAL GALLERY. 1-3 almost a8 flabby as the woman ; the boy is very ugly ; and the only part that can pretend to any energy is the face of the man holding a guitar : it reminds one at a long distance of the magnificent head of the friar performing on the harpsichord in the fine picture by Giorgione. It is easier to imitate colour than sentiment ; this picture belonged to King Charles I., and may be one of those spoiled by quicksilver in their way from Mantua, and have been skinned in the cleaning and repairing, but it is miserably drawn throughout. Canvas. 3ft, 2in. by 4ft. lin. (Angerstein Collection.) 4 A Holy Family — Adoration of a Shepherd Boy. . Titian The virgin mother is middle aged and devoid of all spirituality ; but the infant Christ is a beautiful small baby in shadow remarkable for its mellow transparency. St. Joseph is a fine looking figure, though not in character with our notions of St. Joseph ; instead of great humility in countenance and action his attitude, with his long stick across the way, is rather forbidding to the shepherd boy, who is more coarse than lowly, wanting the simple artlessness that we should expect and probably find in Correggio. The colouring and manner of painting are quite worthy of the master, the draperies soft but crisp. A few wrinkles in Joseph's forehead would have been a great improvement. Canvas. 3ft. 4in. by 4ft. Sin. (From the Borghese Palace. Bequeathed by the Rev. W. H. Carr.) 5 Italian Sea-port at Sunset, with Figures . Claude The orb of day lowering towards sun-set has that smoky haze which gives colour and warmth to the latter portion of a fine day prognostic of continued dry weather. Modern artists deny this sultry atmosphere to Italy. Claude may have done so too whenever he planted his easel some thousands of feet above the level of the sea, but he was too simple and too true an observer to commit that egre- gious mistake in the low vistas on the sea-coast. In this picture the tone is rather too russetty, but the fiickering light on the flapping waves, on the fine pic* turesque architecture, and especially on the animated figures, is peculiarly fortu* nate. It is a rich composition, with perhaps too much sameness in the coloiC and execution. Canvas. 3ft. 3in. by 4 ft. Sin. (Angerstein Collection.) Engraved by Goodall. 6 Landscape — David at the Cave of AdduUam , Claude And David was then in the hold, and the Philistines' garrison was then at Bethlehem. And David longed and said, O that one would give me drink of the water of the well of Bethlehem, that is at the gate ! And the three brake through the host of Philistines, and drew water out of the well of Bethlehem that was by the gate, and took it^ and brought it to David ; but David would not drink of it, but poured it out to the Lord, and said. My God forbid it, that I should do this thing."—! Chron. xi. 16—19. The fine silvery tints of the distance, and the strong but transparent shades in front, afford a strength not often attempted by Claude, but very successful in this picture. The misshapen rock that on the third plain fills up the extreme left is hard ; other parts are remarkably sweet and rich ; such are the left side cliff and trees, with their soft outlines blending into the light atmosphere and the fine mass of trees in the middle of the piece. The figures are too theatrical, and, therefore detract from the effect of the l&ndscape, which ought to be priEcipal, «md not be exposed to contrast with anything meretricious, * ki the official catalogue this picture is said to represent Sinon brouglit before B. 14 THE NATIONAL GAjoLERY. Priam ; the details of the painting, however, appear to accord more fully with ur description. Canvas. 3ft. 9in. by 6ft. 2T}in. From the Chigi Palace. (Bequeathed by Ihe R^v. W. H. Carr.) 7 A Study of Heads (See Companion, No. 37.) Correggio Seven or eight large heads, all from one model, and consequently all alike : alike in form, colour, and character, and, what there was no necessity for, all of one expression. The soft shadows, and simplicity of colour, are what we always lind in Correggio, who never required to exaggerate nature, but the general cast is heavy, and the execution deficient in variety ; a fault not usual in this master, who seldom failed to detach and distinguish the texture of the hair and draperies. Anxious to promote the exercise of individual opinion, along with the above, we submit the following from the celebrated and eccentric James Barry, a man of great talent, but who sometimes allowed his enthusiasm to lead him into the bombast of undefined criticism, as we consider it has done on the present occasion. Let others decide. ** These two pictures, containing eight or ten heads each, for the broad massive effect necessary for a large composition of figures removed from the eye, and for the enthusiasm, energy, and felicity of their arrangement, as well as broad, noble style of execution, outgo any thing I have ever seen of any other painter. The chiaroscuro, as well of each particular as of the whole together, is of the highest gusto , and truly divine J ^ Canvas. 5ft. by 3ft. 9in. From the Orleans Gallery. (Angerstein Collec- tion.) 8 A Dream — the Vices disclosed at the Last Judgment. after Michael Angelo A very bad copy of one of the finest pictures in the Royal Collection of Spain. It represents more than a dream, — man roused by the angel of futurity to the prospect of retributive punishment, which the artist has supposed to grow out of the peculiar vices of man. The original is about three times as large, and far superior in tone and execution ; in it the body of the waking figure is perhaps the most splendid imitation of nature in action that the art of painting affords, and reminds us of the Belvedere Torso, which Michael Angelo studied so earnestly. Other parts of the picture are also very fine, but much less finished. Of all its excellences we have but a faint, very faint, remembrance in the picture before us: it may, however, suffice to show us how much Michael Angelo surpassed common- place artists in conception and mental energy. Panel. 2ft. lin. by 1ft. 9in. From the Barberini Palace. (Bequeathed by the Rev. W. H. Carr.) 9 Christ appearing to Simon Peter after his Resurrection Annibale Caracci Fearful of martyrdom, St. Peter, flying from Rome, is met, on the Appian way, by Christ, of whom he asks, ** Whither goest thou?" who answers, '*To Rome to be crucified." Ti.f V. i^uch in a name, but in this picture we find little to admire. The ■•^ '-"T ^r^vward, and that of St. Peterin basso-relievo, areill-com- : id the aspect of the picture is remarkably cold and /ery carefaliy executed, £iid the leg well drawn, as co^^iULit i(^L^i..^ ..ii> ^oreishortened arm is much tvo smnll. The face is THE NATIONAL GALLERY. 11 handsome but not spiritual, nor even intellectual. The action of the figure is like an undertaker directing the march of a funeral. The aflfectation of a dark leg in contrast with and to relieve a light one is injudicious. The St. Peter is worse : hard, flat, crude, and in a constrained attitude, without intense feeling. The blue and the ochry draperies are very inharmonious, and stand in sharp, straight folds, devoid of grace and natural pliancy. Panel, 2ft. 6in. by 1ft. 9in. From the Aldobrandini Palace. (Parliament^iry purchase of Mr. Hamlet in 1826 for i?l,500.) Engraved by G. Doo. 10 Mercury Instructing Cupid in the presence of Venus Correggio The light in this picture has the characteristic brilliancy and softness of the master, the shades his mellow transparency. Beyond that our praise must be very small. The subject was indeed calculated to please, if the archness and beauty ascribed to Cupid, and the grace of Venus, -with the vivacity of Mercury, had en- livened the group; but, instead of these requisite distinctions, Venus appears only affected, Cupid an ugly dull scholar, and Mercury a heavy, stupid instructer. In our opinion, a picture so opposed to the fulfilment of its subject is a complete failure however executed ; but in this case the drawing is generally inefficient ; the colour and fleshy painting alone remain to compensate for the higher qualities of art, invention, or comprehension of the subject, composition, character^ and sen- timent. But we are told that this picture was in the collection of Charles the First, and, of course, it must be excellent. It was not the only time that unfor- tunate king was mistaken. We once heard an artist assert that a picture might want drawing, composition, expression, &c., and yet be a fine work of art. To such critics, and to them only, we commend this as a prodigy. Canvas. 5ft, lin. by 3ft. (Parliamentary purchase of Mr. Hamlet in 1834 , with No. 15, for ^11,550.) Engraved by Arnold de Jode. 1 1 St. Jerome doing Penance — single figure, half-lengtli, life- size • • • • • • • Guida Reni St. Jerome was born in a town called Stridon, on the confines of Pannonia and Dalmatia. He translated the Old Testament into Latin ; and died in the eightieth year of his age. a.d. 422. An excellent study from nature, boldly painted and indicating great anatomical knowledge. Canvas, 3ft. 10^ by 3ft. (Bequeathed by the Rev. W. H. Carr.) Engraved by D. Cunego, for the Schola Italien, 1769. 12 A Landscape — the Marriage Festival of Isaae and Rebecca Claude This picture is too much like being made up from various sketches, without that union that nature presents ; nor is it a beautiful scene, such as the subjecl required ; the hills in the distance are sharp and ill-shaped, and other portions of the picture are stripy and bald. The sky is alone beautiful, and the trees are carefully executed. It is certainly not a favourable sample of Claude's taste for natural beauty. It is either an unfinished duplicate or a copy from the picture in. the Doria Palace, known as Claude's Mill. Canvas. 4ft. llin. by 6ft. 7in. (Angerstein Collection.) Engraved by Mason and Goodall. THE NATIONAL GALLERT, 13 A Holy Family — figures, life-size . • Murillo Probably the most pleasing picture in the gallery. The composition, light, and effect, are very striking and agreeable ; and the flush of nature that pervades it tells amazingly ; the colour is rich, varied, and yet simple. As a picture to charm the eye and soothe the feelings, it must hold a foremost place in the art, but for the higher qualities that rank Raphael, Michael Angelo, and a few others, supreme, it has no pretensions. The Christ is like an amiable little boy looking up to heaven with hope and meekness: he might have looked forward to the living world with an expression of promise and heavenly confidence. The Virgin Mary has the sweetness of countenance we meet among country girls, but we must look to Raphael for the combination of virgin purity, maternal affection, and religious elevation of thought. Even the figure of the Almighty is more indicative of kindness and courtesy in a Spanish gentleman than of the awful power and ma- jesty that beseem the Creator. The little angels are picturesque and some of them pretty, but the whole of that part of the picture is too strong for aerial or imaginary objects. The figure of St. Joseph well suited the pencil of Murillo : in it his unassuming simplicity is seen to advantage. Canvas. 9ft. 6in. by 6ft. 10. Painted for the Marquis del Pedroso at Cadiz. (Parliamentary purchase in 1837, from Buckly Owen, Esq., for ^5,250.) 14 A Sea-port — the Embarkation of the Queen of Sheba on the occasion of her Visit to King Solomon . Claude A clear, bright picture, but it certainly has imperfections, especially on the foreground, which wants power. If we contemplate a space for two feet on all sides of the sun, including the ship and the tower, the soft but almost dazzling light claims full admiration, beyond that, richness and variety, force and freedom, become deficient, especially in the water and the ruins at the front of the paint- ing : nor is the composition some of Claude *s best j for instance, on the archway against the sea-tower, six or eight mop-headed orange-trees give an artificial, flimsy appearance, ill-suited to the place. If the view necessitated the represent- ation of such toy-like additions to fortification, he might have so grouped the light house and rigging of ships, with them, as to have softened or disguised the objection. A little of Gaspar Poussin's bold handling in the foregrounds of this, and some other of Claude's larger productions, would have added much to their effect. Canvas. 4ft Uin. by 6ft. 7in. (Angerstein Collection.) Engraved by James Pye. 15 " Ecce Homo/' (Behold the Man) — five figures, half-length Correggio Then came Jesus forth, wearing the crown of thorns, and the purple robe, And Pilate saith unto them. Behold the Man ! " — John xix. 5. This looks like the centre group of a large picture cut, otherwise the equal alue of the lights and the distribution of the parts would be incomplete ; but with that in consideration, the clearness, the sweetness and transparency of the whole show to wonderful advantage what oil-painting is capable of. The drawing is not learned, but the truth and simplicity of nature compensate for that want. Let us now examine more in detail. The action of Christ, rather the position of the hands, is somewhat affected, and the face is not impressed with superior power of mind and intellect : though full of feeling, it is more the feeling of indi- Tidual suffering than that modification of grief that might become the Saviour of THE NATIONAL GALLERY. 7 tbe world, conscious of the necessity and efficacy of his sacri^e. The sobbing and the cramped action of Mary are so true to tbe agonies of a fond mother in hopelessness, that it is with reluctance we compare it with what Raphael, Shakspere, or Milton, would have conceived : If we raise our ideas to their standard, we find that in this picture both mother and son are mere mortals, unsustained by faith and heavenly virtue. Nor is Pilate endowed with that dignity that high station requires and readily assumes. The soldier is more in character to his station and finely executed, but no more Jewish than all the other figures. Asa specimen of art this is a magnificent and exquisite performance without deep reading or extreme elevation. A copy of this picture, by L. Caracci, hangs in the next room, (No. 96.) Panel. 3ft. 2^in. by 2ft. 7lm, (Purchased by Government from Mr Hamlet, in 1834, with No. 10, for jgll,550.) Engraved by Bettelini. 16 A Landscape — St. George destroying the Dragon Tintoretto ** Renowned George, from the fell dragon's jaws, Redeemed Sabrina, Pomil's only heir, with slaughter Of the hell-produced fiend." — John Kirke, A sample of Tintoretto's usually powerful execution, but too ill composed to deserve attention from those who care more for the indications of mind and reflec- tion than for bold handling. It does not want energy of intention so much as concentration of interest and good taste. Canvas. 5ft. 2in. by 3ft. Sin. (Bequeathed by the Rev. W. H. Carr.) 17 The Madonna and Child, with Elizabeth and St. John ascribed to Andrea del Sarto ? The doubt of the originality of this performance as a work of this choice master is of importance to his reputation ; for it contains little of his usual merits. His rich, soft, mellow tone are indeed here, and also some of his delicate and charac- teristic variety of execution, but a sad want of his elegance, simplicity, and cor- rectness of form and expression is pen^eptible, with an affectation of Michael Angelo's < mtours and none of his energy. If this is a copy it is not creditable to either party, if considered as original it is still more unfortunate for the fame of so delightful a master. The arms of the St. John and the infant Christ are indeed well drawn ; the legs, on the contrary, evince feeble ignorance. Panel. 3ft. 6in. by 2ft. Sin. From the Aldobrandini Palace. (Bequeathed by the Rev. W. H. Carr.) Engraved by P. W. Tomkins. 1 8 Christ disputing with the Doctors — a composition of five- figures, half-length . . . Bernardino Luino, And it came to pass, that after three days they found him in tlie temple, sit- ting in the midst of the doctors, both hearing them and asking them questions. And all that heard him were astonished at his understanding and answers. And when they saw him, they were amazed ; and his mother said unto him. Son, why hast thou thns dealt with us? behold, thy father and 1 have sought thee sor- rowing.** — Luke Vir 4C--48. 18 THE NATIONAL GALLERY. This picture is frequently ascribed to the learned Leonardo da Vinci, but it requires very little experience to see that it is the work of a pupil, or imitator, with none of that extraordinary man^s knowledge and judgment. Not only is the age of Christ not attended to, but his dress, (jrnamented with jewels, is out of all character with the circumstances. Equal ignorance of anatomy is observable in the straight inflexible lingers, and the misunderstood form and ties of the muscles of the neck. Addison reckoned Leonardo da Vinci one of the three wonders of the world for knowledge, Lord Bacon and Sir Isaac Newton sharing the palm with him ; and the celebrated John Hunter was atonished at the depth and correctness of his anatomical studies ; and yet this very ignorant performance has been fathered upon him. Nothing can more forcibly illustrate the reckless want of discretion or of knowledge in pictorial critics. It is simply a beautiful furniture picture in imitation of Leonardo da Vinci's manner. The pretty lady-like face of the Christ, and the variety of other countenances, as well as the freshness of the colouring and caretul firii^h, are h» pleasing to the eye as the want of reflection and judgment are offensive to weli-cultivated taste. Some have attempted to evade the fault of the suitable age of Christ by supposing the picture to represent other incidents in his life ; but the figure is as much too young for them as it is too old for the received title, and is otherwise inconsistent with those apologies. Panel. 2ft. lOin. by .ft. lOin. (Becjueathed by the Rev. W. H. Carr.) Engraved for the Schola Italici. 19 A Landscape — with the Story of Narcissus . • Claude *' Here young Narcissus o'er the fountain stood, And viewM his image in the crystal flood ; The crystal flood retttjcts his lovely charms, And the pleased image strives to meet his arms.'* — Gai/, A soft sweet effect of obstructed sun-light, very like some of Wilson's; but the detail is more carefully wrought. There are two masses at different places, the fine group of trees and the castle beyond, whose mellow shade relieves on the glowing sky. The trees are unusually clear and transparent, their masses are bold, but the leaves light and feathery. The intermediate ground is much broken but beautiful ; and the distance of sea, hills, and winding shore are carefully and taste- fully worked. The large mass of cool, quiet shadow on trees, water, and figures in the foreground, give life to all beyond it, and repose to the whole composition ; but that advantage would be much more secured if the single figure of Narcissus on the water's edge broke alone on its solitude. The three nymphs are so many spots, and do not improve the sentiment of the landscape. These doubtful ladies remind us of the description of Italy in Goldsmith's Traveller, *' a mistress or a saint in every grove." As critics we must not overlook two ugly snake-like trunks of trees in the right-hand corner ; such neglected eye- sores occur in Gaspar Poussin and in many Italian pictures, scarcely ever in a good Dutch performance. Canvas. 3ft. lin. by 3ft. lin. (Preeented by Sir G Beaumont.) Engraved by Vivares. 20 Porlraits of Cardnial Hippolito de' Medici and of Sebas- tiaiio del Piombo . . Sebastiano del Piombo Hyppolitus of Medici, nephew of Pope Clement VII., was made a Cardinal at seventeen years of age, and sent to the Emperor Charles V. as legate, &c. He atti I wardw endeavoured to destroy his cousni Alexander de Medicis, whom the Kmj.t ror »ud the Pope had made tyrant of Florence, in order to place himself in the same odious position ; the plot being discovered, he retired towards Naples, THE NATIONAL GALLERY. 19 hnt died on the way thither, it is supposed from poison. He had immense revenues from the church, was much addicted to the theatre, hunting, poetry, and other accomplishments of a fashionable life, affected a military dress, and kept open house, as we are told, " for the unfortunate, and frequently for those who were guilty of the blackest crimes. He died in 1535, aged 23. He was natural son of Julian de Medicis : his own son became a knight of Malta. The Cardinal appears in this picture a fine-looking fellow with a rather sinister expression, and so well depicted, that we cannot doubt the likeness. His hand is rather swollen. As an individual, the face of Sebastiano del Piombo is less elegant and aristocratic — but even superior for truth and rich execution. There is nothing equal to it in his Lazarus. The deep rich tone of the whole is admirable. The draperies are also very fine. Panel. 4ft. Gin. by 3ft. 8in. From the Borghese Palace. (Bequeathed by the Rev. W. H. Carr.) 21 Portrait of a Lady — half-length . , Bronzino A graceless ugly picture, executed with more skill than taste. The dingy colour of the lady must either be the consequence of Bronzino's eye, an effect common among artists, or we may suppose her to be a relative of the painter. This is the sort of dark tan, so ad mired by many and so fiercely attacked by Hogarth in his championship or native talent. The shadows are dark but blended off to insipidity. Panel. 1ft. llin. by 1ft. 6|in. From the collection of the Duca de San, Vitala of Parma. (Bequeathed by the Rev. W. H. Carr). 22 A Dead Christ, with Angels • . . Guercino A fine picture of the second order, wherein the material qualities surpass the intellectual. For drawing, breadth of light and tone, it is an excellent specimen of this master's power, although the upper right arm of the Christ is bent the wrong way : but this is an exception to the general correctness. The angels, as usual, have all the solidity and common feeling of mortality. Copper. 1ft. 2iin. hy 1ft. S Jin. From the Borghese Palace. (Bequeathed by the Rev. W. H. Carr.) Engraved by P. W. Tomkins. 23 Madonna and infant Christ (La Vierge au Panier) Correggio A pretty subject very prettily treated. The joyful hilarity of the child and the sweet endearment of the mother are delightful : indeed, the expression of Mary is more elegant and elevated than usual in Correggio 's pictures, half way between Raphael's refinement and Murillo's simplicity ; but the head is large. The drawing of the right leg of the infant is ill fore-shortened. The colour of this picture is soft and delicate, more silvery than others by this master, and the effect is clear, simple, and very brilliant : it is highly finished though freely wrought. Panel. 1ft. lin. by lOin. From the Royal Collection of Spain. (Purchased by Government in 1825, for ^3,800.} Engraved by Francesco Aquila, 1691. 24 Portrait of Giulia Gonzago, with the Emblems of St. Cecilia .... Sebastiano del Piombo Colossal, not elegant ; careful but not delicate ; the colouring monotonous asad heavy : more like the females in his picture of Lazarus than his splendid b2 20 THE NATIONAL GALLERY. portraits of Hyppolito de Medicis and himself : we are inclined to think that Sebastian© always painted a man's head better than a woman's ; in this case, the attempt to flatter a favourite of his patron is far from successful. Canvas. 3ft. by 2ft. 6in. From the Borghese Palace. (Bequeathed by th« Rev. W. H. Carr.) 25 St. John in the Wilderness, filling his Cup from a RiU that gushes from the Rock — half life-size Annihale Caracci A study from nature of little merit, with a back ground landscape superadded which is good but out of proportion. The arm on which the figure should rest is deficient of action : the colouring is monotonous. Canvas. 5ft. 5in. by 3ft. lin. (Angerstein Collection.) 26 The Consecration of St. Nicholas, as Bishop of Myra — composition of nine figures, life-size . Paulo Veronese St. Nicholas was Bishop of Myra, in Lycia. He was the chosen patron of youth, and is usually styled the Boy Bishop.'' He died about a.d. 392. His festival was held Dec. 6. A chapel in Westminster Abbey is dedicated to this Saint. This fine picture is of a higher order than many of Paul Veronese's can pretend to. It has dignity, expression, and composition in a high degree ; and for tone, colour, and bold varied execution would do honour to any painter. The heads are from fine well-chosen models and the action tells its story without confusion. A few incorrectnesses may be remarked as exceptions to the generally fine and accurate drawing, especially the consecrating bishop's right hand, which is ugly and convulsed. As usual, the angel in the upper part of the picture is too substantial, and would require cords to support him as much as any zephyr at the opera ; its draperies are indeed much more corporeal than the flimsy textures of the play-house, being made of well spun material calculated to resist the weather, and to withstand wear and tear. The remarkable qualities of this painting are solemnity suited to the subject, freedom and vigour of execution attempered to truth. Canvas. 9ft. Sin. by 5ft. 9in. (Presented by the Governors of the British Institution.) 21 Portrait of Pope Julias 11. (a.d., 1503,) life-size, three- quarters ...... Raphael There may be sufficient authority for ascribing this portrait to Raphael, and it is in manner very like others of his performances, but it is less characteristic. Had it represented some other pontiff than the marshal Julius, who was more fit to be king of Italy than the head of the church, we should be satisfied with the simplicity and unassuming representation of meekness in old age, not without intelligence, that distinguish it : like many of bis works it has enough of soft and rich colouring to convince us that the great master of intellectual art was not so deficient in that respect as recipe critics pretend. Panel. 3ft. 6in, by 2ft. Sin. From the Falcouieri Palac*. (Angerstein Col- THE NATIONAL GALLERY. 2i 28 Susanna and the Elders . • . Lodovico Caracci Now, when the maids were gone forth, the two elders rose up, and ran unto her, saying, Behold, the garden doors are shut, that no man can see us, and we are in iove with thee/' — Susanna 19, 20. If we were to give way to our predilections for this excellent painter, we should, like many others, see nothing but what is admirable in this production ; but such a display of partiality and feeling to the sacrifice of truth and judgment would ill become us as critics. The story is a simple one, but liable to very different im- pressions on the beholder, according to his education and habitual dignity of cha- racter, or the coarser tendency of his passions and habits. An artist may be sup- posed to adopt the one or the other intention according to the public or patron he wishes to please. In this composition the intention is doubtful. The action of Susanna might have been that of modesty if accompanied by a suitable expres- sion of terror and purity ; but it is quite otherwise in consequence of the smirk of the mouth and the leer of the eyes. It would almost seem as though Lodovico Caracci, who was a man of better education and thoughts than Annibale, intended to rival what is so exquisitely accomplished in the Venus de Medicis, a modest delicacy of sentiment in the action, combined with a graceful composure of feature in which lurks an inward glow of unsubdued passion. But in this represen cation of Susanna the modesty appears affected and pretended, and the expression is deficient in all the better part. — Nor would it have been commendable if all that is admirable in the Venus had been transferred to the canvas, as the senti- ment of Susanna is so opposite to that of the heathen goddess of passionate love. On the other hand, the elders are coarse heavy persons, not at all remarkable for that glow of excitement, for that false sparkling of the eye that corrupt old age occasionally assumes as the last fiickerings of a selfish career of sensuality and intemperance. Neither have they the aspect of men who in outward show ranked as respectable and well-informed. The rich mellow tone, the breadth of light and shade unbroken by accidental folds or forms, the varied texture and the freedom of drawing, are masterly and fine ; perhaps the arm of the Susanna is more fleshy than elegant. Canvas. 4ft. Sin. by 3ft. 7in. From the Orleans Collection. (Angerstein Collection.) 29 A Holy Family. (Madonna del Gatta) • Barroccio A very pleasing /?fc/?/re by this imitator of Correggio ; but in addition to want of reflection and common sense, which we consider as ridiculous in art as it would be in a poem, we may add, that the faith and good feeling that are essential to religion are also wanting. A pretty little curly-headed boy, St. John, clutching a goldfinch, holds it up as an enticement, to the carnivorous propensities of a cat, for the amusement of the infant Saviour. The Madonna points with interest to the fun, and St. Joseph looks on with complacency. Of such a subject we can only say that ignorance and cruelty usually go together, but here they are wound ap with infantine mirth and unconsciousness so as to disguise and exasperate the want of feeling. The composition is very pleasing, and the colouring harmonious, though, as usual with Barroccio, it is the anatomy of Correggio without his luminous pulpy skin. The two infants seon to have been copied from handsome nature ; but St. Joseph and the Madonna are like blurry reminiscences of another^s peculiar productions. Had Barroccio only seen, and never copied, Correggio** pictures, and have reasoned more, he would probably have been a great painter. Canvas. 3ft. 9in. by 3ft. From the Cesare Palace at Perugia. (Bequeathed by the Rev. W. H. Carr.) Engraved by A. Cardon. THE NATIONAL GALLERY. 30 A Sea-port. — The Embarkation of St. Ursula and her Virgin Coin pau ions .... Claude It is unnecessary to criticise severely the figure subjects of this delightful painter of land and water, sky and trees, and all the charms of atmosphere and vegetable life, of the retirement of the woodlands and the splendour of palatial architecture. The stories introduced are mostly such as an uneducated man, on obtaining a smattering of mythological or legendary lore, is likely to affect, the romance of poetry and history : they necessarily appear as appendages more or less inconsis- tent with the style and circumstances of surrounding objects. A Queen of Sheba, or St. Ursula, embarking on bo?ird a frigate, or even a seventy-four gun ship, is not more inconsistent than King David in the dress of a bandit of the seventeenth century. The friends of Claude may indeed point to others of more instruction, such as Salvator Rosa, Rubens, and the like, as even more gufity of vulgar igno- rance. Be it so ; whilst we turn our attention to the brilliancy of light liberally sprinkled over the rich and elegant Italian architecture : the flapping waves and various well-rigged vessels in the port ; the sunny distance and the silvery reflexes on nearer objects are very beautiful ; nor, apa^-t from the title, are the figures contemptible : let it be a preparation for some courtly trip or regatta, and their actions will not offend, but rather assist the composition. We here again see orange-trees and myrtles, indicative of ». genial climate in unison with the sunny splendour that gladdens all around : bat here they are better introduced than in No. 14 : they belong to a palace, not a fortress : they harmonize with other objects : in port they are in character. The management of masses and details is so admirable that a complete harmony of breadth and of crispness is accomplished. This is indeed one of the few large pieces by Claude in this collection which con- vey an idea of his powers. Purchased by Mr. Locke of Norbury Park, from the Barberini Palace ; sold afterwards to Mr. Van Heythuson, for j^3,000 ; it then passed into Mr. Des Enfans' hands, who sold it to Thomas Moore Slade, Esq., for £\ ,200. Sold to Mr. Angerstein, for ^2,500. Canvas. 3ft. Sin. by 4ft. llin. (Angerstein Collection.) Engraved by Fittler. SI A Landscape with Figures; representing Abraham pro- ceeding to a high place for the Sacrifice Caspar Poussin The works by this master in our national collection are generally choice exam- ples of his talent, and therefore give him almost undue advanta^^e over rivals less favourably represented ; the one before us is a very rich scene, executed with un- common vigour and effect. The free but judicious touch, so peculiarly charac- teristic of rocky mountains, varies with the softer and rich foliage in a masterly gtyle, and with equal truth. The scene is one of those ex})anses of rich and varied nature, comprising water, hills, and vales, in endless profusion, seen through the opening of a fine foreground of hill and trees that ever charm the lovers of nature. All is boldly, yet most carefully studied, every part relieving in due proportion, and displaying that knowledge of composition without which even the imitation of beautiful nature is often marred. The only exception worth men- tioning is the light cioud that curves round the outline of the tree in the middle i{ the picture. Tl!e brilliancy of the sky is just in due harmony with the bright distance and tiie w(4l- rounded and effective masses on the foreground. When we contemplate this liisijlily- wrought, well-understood picture of nature, we feel the same satisfaction as we do from a line engd^»ving by Vivares or Woollett ; and THE NATIONAL GALLERY. 23 either case proves that, even in landscape, all the rich and gay tints of the pallet \re not needed to please us. Critically speaking, this masterpiece, however )owerful its effect, has but a moderate share of colour, black, white, and green /prevailing over more decided prismatic tints. If we compare it with the Claudes, we shall find it powerful through the effect of light and shade, but cold of colour. This artist has a great advantage in the sober but really efifective introduction of figures into his compositions : other figures toiling up the hill would have been quite as appropriate as Abraham with a torch, and Isaac with a faggot, but the harmony of colour, effect, and action, is complete. Canvas. 5ft. Sin. by 6ft. 6in. From the Colonna Palace. (Angerstein Col- lection.) Engraved by John Pye. 82 Ganymede carried off by Jupiter's Eagle — life-size Titian *' FlushM Ganymede, his rosy thigh Half covered in the eagle's down, Sole as a star, shot through the sky, Over the pillared town.*' — Tennyson, This is a fine composition, less powerful and less studied than Michael Angelo's of the same subject ; but the action of the boy, indicative of anxiety without chance of an alternative, and the eager eye and beak of the eagle, produce a fine effect, well sustained by the rich flesh-colouring. The fault of the piece is that it is over- wrought, and consequently the freshness of animation, as well as of tint and touch, is partly obliterated ; it is, therefore, more fit for a nobleman's mansion Chan a national edifice. Engraved by D. Cunego for the Schola Italici, Canvas. An octagon — 5ft. Sin. in diameter. From the Colonna Palace. (Angerstein Collection.) 33 The Vision of St. Jerome — The Virgin sitting in the clouds, with the youthful Christ resting on her lap ; St. John the Baptist sleeping below . . Parmegiano One of the most distinguished performances of this singular artist ; it possesses most of his beauties, and a large share of his vicious excess. Signiorrelli and Michael Angelo, painting for the Florentine republic, had carried energy and majesty to a prodigious height of epic dignity. Leonardo da Vinci and Raphael i suited also a varied patronage. Titian and Correggio turned their eyes towards : the more enticing charms of colour and of grace as leading qualities in art. Some | sudden change of social circumstances might have regenerated former enthusiasm or have kindled fresh originality ; but the loss of their commerce had enfeebled \ the Italian states ; the loss of freedom had paralysed their energies ; and patronage, no longer national or emulous, was becoming a fashion and not a necessity. Manly rivalry and unaffected criticism were supplanted by genteel connoisseurship and precedent. For this transition state of taste Parmegiano was peculiarly suited ; and no doubt his employers found in this very picture the majesty of Michael Angelo, the elegant refinement of Raphael, the rich colouring and tone of Titian, and the grace oi Correggio. And so may fashionable connoisseurs of the present day ; but those who value the untrammelled freshness of original genius will see only the mimic affectations of composition, majesty, and grace. St. John, a portion of the vision, is the vigorous and most solid part of the picture, and the living man the faintest. This is not very consistent. This figure of St. John, the inhabitant of a wilderness, instead of the of action suited to his mode oi 24 THE NATIONAL GALLERY. life, has the contortion and affectation of an amateur performer on the stage : it is true that the head has enough of character and expression to convince us that th« artist would have done well if he had dared to feel nature in his own way without considering what others wished him to do ; if he had added dignity and enthu- siasm to the features of a mountain goat-herd, or boldly copied the mystic wild- ness of some holy friar untainted by the vanities of fashion. The Madonna and Christ have the appearance of being painted from a dexterous sketch after figures by Raphael with a considerable infusion of Michael Angelo's arrangement and affectation of attitude, and the sleeping St. Jerome reminds us of some of Cor- reggio^s most awkward foreshortenings. All this is certainly performed with considerable skill, and the tone of the whole picture has much of Titian's richness and depth, the imitation of colour being more practicable and less offensive than that of form or sentiment. It is a conspicuous but meretricious production. Panel, lift. 6in. by 5ft. Painted for the Buffaline family in 1527. (Presented by the Directors of the British Institution, who gave for it ^3,050.^ Engraved by fionasoni, a contemporary of Parmegiano. 34 Adonis quitting Venus for the Chase . Titian ** Rose-cheek'd Adonis hied him to the chase ; Hunting he loved, but love he laugh*d to scorn ; Sick-thodghted Venus makes amain unto him, And, like a bold-facM suitor, 'gins to woo him." — Shakspere, One of several pretended originals. This picture is composed of a display of form, especially the figure of Venus, which affords a beautiful academic outline. The Adonis is better for attitude suited to the subject, but sadly deficient in elegance and dignity ; although supposed to represent Philip II., the figure is short and vulgar, the arms long and the leg a little bandy : they are probably portraits of some nobleman and his mistress, and indicate the early application of the arts to individual vanity so denounced by Professor Fuseli as frequent in England from the reign of King Henry VIII, to our own days. The Cupid in the background is clumsy and devoid of grace. The whole merit of the piece must be sought, and will be found, in the colour and mode of painting, and so far it is harmonious, rich and pulpy, perhaps too much alike all over, but displaying great freedom and talent. A repetition of this picture is in the Dulwich Gallery. (No. 263.) Canvas. 5ft. 9in. by 6ft. 2in. (Angerstein Collection.) Engraved by Giulio Sanato, 1558. 35 Bacchus and Ariadne . . . Titian _«< Young Bacchus, flushed With bloom of youth, came flying from above, With Satyrs and Sileni born In Indian Nyse. Seeking thee he came, O Ariadne ! with thy love inflamed. They blithe from every side came revelling on, ' i Distraught with jocund madness, with a burst Of Bacchic outcries, and with tossing heads. Some shook their ivy-shrouded spears, and some From hand to hand, in wild and fitful feast, t^natch'd a torn heifer's limbs ; some girt tbemselvei With twisted serpents/' &c. — Catullus, THE NATIONAL GALLERY. 25 The splendour and yet perfect truth of the colouring of this picture must con- vince us of the superior excellence of Titian in that portion of the art. To those who may have been struck with the gaudy blue that threw some of the draperies and the distant mountains out of harmony before the picture was lately painted, it may be right to mention that, the blemish was the consequence of a chemical effect of ultramarine blue on lakes and some other colours glazed over them or mixed with them, which in time it destroys. All besides in this painting is so pure and free from affectation of colour, and so varied, that, to artists who require the precedent of high authority and example in support of nature it is of singular value. The drawing is also generally good, though somewhat deficient in ele- gance. Another recommendation is the great amount of action in the figures without violence. The choice of his principal characters, Bacchus and Ariadne, is hardly satisfactory. Whatever some critics may have said to swell out a sen- j tence, we not only do not find any of what is bombastically called divine, but we I think we have often seen much finer nature ; and the Ariadne has none of the majestic form indicated in the magnificent antique bust ; nor is she sufficiently young or elegant. The Bacchante playing the cymbals, and the little satyr dragging after him a calfs head, are full of animation and of the spirit of the sub- ject, and much of the same joyous vivacity is perceptible through the other attendants on the jolly young Bacchus. As to the landscape distance, it is by no means equal to some other backgrounds by the same master : that of his Peter Martyr is probably, for truth, force, character, tone of colour and execution, the finest in existence : that before us, with some of its character, is however patchy and unequal : the distant hills, as above-mentioned, are injured by the crude work- j ing up of the ultramarine, but the masses of leaves on the trees are very much | heavier than in Titian's best works. The draperies are mostly freely wrougiit, flowing, vigorously painted in his usually bold manner : some are, however, too much detailed, and the white one on the ground with an empty jug looks like an early example of that loose practice, which afterwards prevailed, of composing pic- | tures on scholastic principles of equal proportions, however superfluous to the ] subject the additions might be. If this performance was executed for the Duke Alphonso of Ferrara, in 1512, it evinces already a great difference between the pure or even rigid style of the republics of Etruria and the florid taste of the aristocracies of the Adriatic. Much has been said of the extraordinary display of knowledge of the subject : most of the episodical illustrations are from poems to which a reference was not very difficult. Several crude or scratchy lights that impair the harmony are the work of the cleaners. Canvas. 5ft. 9in. by 6ft. Sin. From the Villa Aldobrandiui. (Purchased by Government, in 1826, from Mr. Hamlet, for ed King Charles to falter in his desperate proceeding. He accepted the bribe from Rubens^ hand, but he dared not to avow and fulfil the base contract. He afterwards sent the intriguing Gerbier into the Netherlands in the hope of seducing the people from their allegiance to Spain, and getting; them to elect him as their sovereign. By such proceedings he excited the con- tempt of the Dutch, who under Van Tromp and De Witt, in 1639, destroyed the Spanish fleet in Dover harbour, in despite of King Charles' outraged autiiority,. and in presence of an English fleet; whilst the English people witnessed the destruction of the Spanish papists with joy and exultation/' After his death the king's pictures being sold by the Puritans, this remarkable one was taken to Genoa as an ornament to the palace of the Doria family of illustrious merchants. The commercial prosperity of that city and the wealth of individuals having ceased, it was purchased by the late Duke of Sutherland for 4,000/., and presented by him to the National Gallery. This is the real history of this picture, and we feel assured that Mr. Landseer will not quarrel with us for putting it in its true light. Canvas. 6ft. 6in. by 9ft. din. Engraved by Heath. 47 Adoration of the Shepherds . . Rembrandt And it came to pass> as the angels were gone away from him into heaven, the shepherds said one to another, Let us now go even unto Bethlehem, and see thi& thing which is come to pass, which the Lord hath made known unto us. And they came with haste, and found Mary, and Joseph, and the babe lying in » manger/* — Luke\\. 15 — 17. So far as effect is concerned this is even superior to the picture of the Woman taken in Adultery (No. 45) : it is more simple and true, but here again the prin- cipal figures are faulty from want of elegance and refinement : the blaze of light upon tbem^ the softened yet strong effect of the man who is relieved in dark upon that effulgence, the general composition and the execution are very fine : the character of the Shepherd would satisfy us also if the object of devotion and the immaculate mother were of a higher character. Canvas. 2ft. lin. by 1ft. lOm. (Angerstein Collection.) Engraved by Burnet. 48 Landscape : Tobias and the Angel . BomenicJiino And as they went on their journey, they came in the evening to the river Tigris, and they lodged there. And when the young man went down to wash himself, a fish leaped out of the river, and would have devoured him. Then the angel said, Take the fish, and the young man laid hold of the fish and drew it to land."— jTo/^iY vi. 1—3. An interesting well selected view from nature ; but its quality of execution and effect partakes too much of the solid masses and general surfaces that historical painters prefer : it has too much the appearance of objects arranged in a room and lighted through a window, not enough of the atmospheric featheriness of out- door landscape. The figures are well painted and the whole shows great judg^ ment and talent, and much truth. Copper. 1ft. 5^in. by 1ft. 7in, From the Cclonna Palace. (Bequeathed b j tLe Rfcv. W. H. Curr.) THE NATIONAL GALLERY. 3! 40 Portraits: three Heads — half-length . Vandyck The principal head is very brilliant and expressive, but the execution wants pre- cision, and the hand which is affectedly exhibited for admiration is long, meagre, and graceless. The second face is also well though very subordinate from the subdued effect. The likenesses are evidently excellent and the colouring fine, but they want a little more delicacy of finish. Canvas. 3ft. 9in. by 3ft. 9in. From Sir Joshua Reynold's collection. (Angerstein Collection.) Engraved by J. H. Robinson. 50 St. Ambrose refusing to allow the Emperor Theodosius to enter the Cathedral at Milan while under the ban of the Church for the massacre at Thessalonica . Vandyck With Rubens' imperfections this lacks his fire : an imitation of one master by another is never successful unless it is a marked improvement on the original. The conception here wants intensity and homogeneity. The Emperor is deficient in dignity and the Saint in apostolic spirituality. The by-play of the spectators is very imperfect ; the animation not being varied according to the age and circum- stance. In freedom of execution, in colour, and effect of daylight, it is however, a brilliant performance, though some parts, especially the hands, are too large : the heads are strong imitations of nature. The costume is very faulty, as in the introduction of the mitre and crosier with the Roman Sagumand, buskins, &c. Canvas. 4ft. lOin. by 3ft. 9in. (Angerstein Collection.) Engraved by J. H. Robinson. 51 Portrait of a Jew Merchant — three-quarters, life-size, Remhrandt A very powerful representation of an unpolished wealthy individual. The rough features, the grizzly beard, and warm fur cap ; the substantial drapery and somewhat clouded splendour of effect are worked to a good purpose with a masterly hand. It is cliaracteristic, picturesque, and possesses a sort of savage dignty. Canvas. 4ft. 5in. by 3ft, 5in. (Presented by Sir G. Beaumont.) Engraved by Burnet. 52 Portrait of Cornelius Vander Geest — half-length, life-size^ Vandyck Here Vandyck appears to wonderful advantage. After gazing at a fine portrait Vy Rembrandt we come to a still finer by his more aristocratic contemporary. The colouring, breadth of light, delicacy and truth of detail, and, above all, th^ sentiment of thoughtful refinement in this face speak forcibly in support of th« eloquent powers of the art ; it is indeed a prodigy of execution under good judg- ment and excellent taste. If we had seen no other proofs of their talent, we should unhesitatingly give the palm to Vandyck ; but we must not forget that in historical composition he was too much disposed to oscillate between Titian and Rubens at the expense of originality, whilst Rembrandt, with certainly less grace and elegance, surpassed him g'>'eatly in original power, in conception, and intense Taried expression. 32 THE NATIONAL GALLiSKY. Erroneously called "GervHrtius" in the Official Catalogue. Panel. 2ft. 7in. by 2ft. 2in. (Angerstein Collection.) Engraved by G. Doo. 53 liUiKlbcape — Evening ; with Horses, Cattle, and Figures ** The evening now with blushes warms the air, The steer resigns the yoke, the hind his care, The clouds above with golden edgings glow, And falling dews refresh the earth below." — Garth, This painter was too contracted in his views of Nature to rank as one of high poetical claims, but the brilliancy and sweetness of his sunny effects charm the eye and please the fancy of all who delight in the recollection of a mild summer's day. Tins is a good specimen of his talent, every part is well and carefully exe- cuted, the effect is simple and true, the composition unaffected and rich, Th« variety of figures and animals, of sunny sky and reflective waters, of hill and tree and shelving banks, is truly delightful ; and though no part would perhaps stand M stern criticism beside a fine Paul Potter, in the absence of that wonderful painter's productions, this appears all that we can desire ; every detail joining harmoniously the various parts of the soothing scene. Its details are since the late cleariing more distinct, but the whole is less sunny. Canvas. 4ft. 4iD. by 6ft. 6in. (Angeratein Collection.) Engraved by GoodalL 54 A Woman standing in the Water . • Rembrandt ** Rembrandt's bathing nymph Dipping her lovely limbs in the translucent lymph."—/. P, Davis. A figure as remarkable for the skill of the artist as for the absence of all pre- tensions to refinement. We have heard artists of reputation extol this vulgar performance as more extraordinary than the intellectual purity of Raphael; and our quotation is an instance of the infatuation. This is artistic criticism in its worst form ; placing very coarse nature above intellect : for effect and colour it is indeed excellent. Panel. 2ft. by 1ft. 6J-in. (Bequeathed by the Rev. W. H. Carr.) 55 Landscape with the Death of Procris . . Claude Cephalus, whose name was worn Within the bosom of the blushing morn, He had a dart was never set on wing, Bffe- " l^i-ai^ -?'W with it >*: ^fi * Coming where he lay wearied with hunting all a summer's day, jwe ftiiWicwhat heard within the thicket rush, i^Msa creaming it some hart hid in a bush, Uiniam ntmself, then set on wing a dart, Whwii look a sad rest in the restless ijeart THE NATIONAL GALLERY. 33 Of his chaste wife, who, with a bleeding heart, Left love and life aisd slept in endless rest.*' — Wm. Browne, A dark, rich, transparent effect with a single glowing spec-k of sun emerging from behind a shrouding cloud scarce above the horizon. This is in charactei witli the subject, and beautifully painted. It may not so generally pleast «s Claude's more distinct pictures, but its poetical claim is much liigher and, aione in a good light, would make a deeper impression on men of superior taste. Canvas. 1ft. Sin. by I ft. 7in. (Presented by Sir G. Beaumont.) Engraved by Brown, 56 Landscape, with Figures . . Annihale Caracci Islands covered with trees, very well painted and like nature ; a soft retiring distance with a sky like a careful imitation of nature, but wanting brilliancy of light and freshness of handling. The shades are too dark, and the boats and figures, though clever, rather out of keeping ; that is, spotty on the dark land- scape. The whole is very carefully finished. Canvas, 3ft, IJin. by 4ft. 4^in, (Bequeathed by the Rev, W. H. Carr.) 57 Sl Bavon causing his Wealth to be distributed among the Poor — a finished study . . ascribed to Rubens So far as the general rules of grouping are concerned this is a iine composition. In that it is more like a work of Coypel than of Rubens. Bavon, a lord of Brabant, on hearing St. Amand preach against the temptations of this world, ffesolved to amend his luxurious life, and after giving his property to the desti- tute, turned anchoret. He is here seen as descending from the church followed by St. Amand with a fellow -prelate and others : his lordship's retinue are ready to receive him and accompany him home : the future saint has, we must suppose, already given orders for a distribution of money among the beggars about the steps of the church ; and as the indication of his intended humility he has placed his coronet at the feet of St- Amand, who receives the token of pious self-denial with surprise and delight. So far the subject is told, though conventionally; and we are at first sight pleased with the courtly parade of the dependants of Lord Bavon on one side and the highly aristocratic splendour of the ladies on the other, compared with the wretchedness of the begging crew. But there is more to please the eye than to improve our sympathies ^ind satisfy reason. The figure of St. Bavon is more like a proud nobleman ordering his name to be written at Kt th^e head of a subscription for a thousand pounds, than like the contrite peni- teat sinner with eyes and heart for the miseries of humanity, whilst his imagina- tion turns to an offended but merciful Saviour. The princesses, though more like common-place alms-givers, divide the interest: the old St. Amand is full of benignity^ but his interesting figure is greatly impaired by that of his mitred coadjutor, who is stusck in front of him in a stiSf pomposity that harmonizes not with the subject. As to the beggars, they arfi as sturdy and vulgar- looking a& (ohurch-door idlers may be, a»d we see no interesiting exception. With consider- able skill and asp^, this pickire wants the lire and daring of Rubens and his varied carnations and dashing execution ; the colour is heavy and unvaried, and the handling more like a copyist than that of genius. Panel. 3ft. ^Jin. by 5ft. S^in. (Bequea4;hed by the Rev. W. H. Carr.) 58 Study from Nature . . • Claude A confusion of trees rather minutely painted, and with unequal merit. Canvas. 1ft. S^in. by 1ft. 4^. (Presented by Sir Beaumont.) 34 THK NATIONAL GALLERY, 59 The Brazen Serpent . • Rubens " And the Lord sent fiery serpents among the people, and they bit the people ; and much people of Israel died ; Therefore the people came to Moses, and said, we have sinned, for we have spoken agonist the Lord, and against thee ; pray unto the Lord, that he take away the serpents from us. And Moses prayed for ths people. And the Lord said unto Moses, make thee a fiery serpent, and set it upon a pole : and it shall come to pass, that every one that is bitten, when he looketh upon it, shall live. And Moses made a serpent of brass, and put it upon a pole, and it came to pass, that if a serpent had bitten any man, when he beheld the serpent of brass, he lived/' — Numbers xxi. 6—9. This picture was previous to the year 1845 remarkable for a deep, sober tone, characteristic of the subject ; cleaning has made it more like other pictures by this master, and proportionally less awful and impressive. The head of Moses is masterly and fine, but neither he nor Aaron pt>ssesses the delegated dignity we have a right to expect in vicegerents of the Almighty. They are short and heavy, and their draperies want elegance ; the Aaron is indeed vulgar : but the woman in the middle of tt)e picture with her face half-shadowed and foreshortened, is beautifully expressive, the old woman who clings to her, and the man lying on the immediate foreground, are finely terrible in their agony ; and the mother holding up her dead child is also very striking : unfortunately, though the painter judiciously lowered his colouring to the gloom of the subject, he forgot to deprive the figures of that load of flesh that goes so much contrary to our sympathies and to good taste in a subject of this kiiui. Canvas, 6ft. 2in. by 8ft. 9in. (Purchased by Government, 1837; with No. 13, for i 7,350.) Engraved by S. Bolswert. 60 Building the Tower of Babel . Leandro Bassant And they said, go to, let us build us a city and a tower, whose top Tway reach unto heaven, and let us make us a name, lest we be scattered abroad upon the face of the whole earth.'* — Genesis xi. 4. Such is the title of a picture that represents some twenty or thirty workmen labouring on a common-place building without a particular object or incident. The conception is therefore very defective. There is a good deal of action, the lights are dispersed amongst deep masses of strong shade ; the painting is very firm, and the colouring is of the unaffected Venetian character. The distance is too strong. Canvas. 4ft. 6in. by 6ft, 2in. (Bequeathed by Lieut.-Col. J. H. Ollney.) 61 Small Landscape — ^the Annunciation . Claude ** And the angel said unto her. Fear not, Mary ; for thou hast found favour with God. And, behold, thou shalt conceive in thy womb, and bring forth a son, and his name shall be Jesus, He shall be great and shall be called the Son of the Highest/'— fi'/. Luke vii. 20—22. A delicious summer morning. The aerial distance fading in the ethereal light, the smooth water crossed by the bridge, and freshening the shrubby banks and felicitous trees are peculiarly charming : the castle on the acclivity adds character to the composition, and the unity of effect , the careful yet free execution and deli- cate tints are beautiful. It is a model for the quiet, gradual receding of plan* without affectation or violence, and nevertheless with ample variety. Canvas. 1ft. 8in. by 1ft. 5in. Presented by Sir G. Beaumont.) Engraved by Pye. THE NATIONAL GALLEKY. 35 C).2 A Dance of Bacchanals in honour of Pan Nicholas Poussin Is too much of one colour and alike in execution, and like a bas-relief in com- positicn. The figures are flat and hard of outline, except the two children catch- ing at tiie juice of the grapes, they are beautiful : the heads are varied in charac- ter, and true to nature. The distance is very free, and delicate both in colour and execution. Canvas. 3ft. Sin. by 4ft. 8in. (Purchased by Government of Mr. Hamlet for ^'2,500.) Engraved by S. S. Smith. 63 Landscape — Prince Ouistiniani and his Suite returning from the Chase . . Afmibale Caracci A fine landscape : the sky and distance are delicate and some of the trees are very light and well pencilled, but the rocks are smooth and lumpy, and the shades too black ; some of the gay dresses are also scarcely in harmony with the very sober tints of surrounding nature. Canvas. 3ft. 5in. by 4ft. 5in. From the Guistiniani Palace at Rome. (Be- queathed by tne Rev. W. H. Carr.) 64: Landscape — Return of the Ark from its Captivity among the Philistines . . Sebastian Bourdon And they of Beth-shemesh were reaping their wheat-harvest in the valley : and they lifted up their eyes, and saw the ark, and rejoiced to see it. And the €art came into the field of Joshua, a Beth-shemite, and stood there, where there was a great stone.'' — 1 Sam, vi. 12 — 14. A composition with little reference to nature; rocks, buildings, sky, trees, mingled without feeling : like a set task. Canvas. 3ft. 5in. by 4ft. 5in. (Presented by Sir G. Beaumont.) 65 Cephalus and Aurora • . Nicholas Poussin This picture is flat and outliny ; but the general tone is very sunny and rich. There is more facility than power or elegance ; the Cupid holding up the portrait is ugly, and, from an awkwardness in the composition, appears as if supporting the winged white horse — very like a wooden imitation of that of Troy. The ex- pressions are well but not varied. Among the works of great masters this may be called fiimsy. Canvas. 3ft. 2in. by 4ft. 3in, (Bequeathed by G. J. Cholmondely, Esq.) 66 Landscape — Rubens' Chateau . . Rubens Has great warmth and truth, but with too muc'h seeking after detail, and ccnse- quently a lack of repose, especially in the crumply sky. A large mass of fore- ground is however deep and wonderfully transparent with details well worked and in good keeping. There are in other plans some parts as true in their blend- ing warm light atmosphere, but generally there are too many lights and shades ; everv part is amazingly true, but there are too many parts. Psnel. 4ft. Sin. by 7ft. 9in. From the Balbi Palace at Genoa. (Presented by Sir G. Beaumont.) Kiigraved by George Cooke. THE NATIONAL GALLERY. 67 The Holy Family, with St. George, a Female Saint, and Angels . . . JRubens The figures in the corner are supposed to be portraits of Philip, king of Spain, and the Archduchess Isabella.'*— Pa^^at^aw^. The lights in this picture have a beautiful freshness ; yet are there doubts of its ©riginality. Canvas. 4ft. lin. by 5ft. 4in. (Angerstein Collection. 68 A Landscape — View near Albano . Gaspar Poussin A line mass of shade with trees ; steep hills in the distance give character and dignity to a picture which in inferior hands would have been no more than the view of a road between a high bank and a wood. It is wonderfully bold, firm, and transparent : the sheep and their driver appear to move. For colour this is also a beautiful specimen of the master. Perhaps the wood- side is darker than it need be. Canvas. 1ft. 7in. by 2ft, 2in. From the Corsini Palace. (Bequeathed by the Rev. W. H. Carr.) 69 St. John preaching — a composition of Six Figures Mola The voice of one crying in the wilderness, Prepare ye the way of the Lord, make his paths straight. — Mark i. 4. Firm, vigorous painting after nature ; it partakes of the black shades and broad lights of Caravaggio's manner. It is not well composed, and wants refinement and variety. Canvas. 1ft. S^in. by 2ft. 2in. (Bequeathed by the Rev. W\ H. Carr.) 70 Cornelia showing her Children as her only choice jewek — half-length, life-size . . Paduaniim The story is made out, but the children are not very interesting : we do not see in thein the future undaunted defenders of the people of Rome. The mother is better, and her hands are elegant. Canvas. 4ft. Sin. by 4ft. (Bequeathed by Lieut. Col. J. H. OMney.) 71 Landscape, with Figures — Morning • Jan B th The sun rising behind a mountain and light moving clouds in a rich atmo- sphere, have all the charm that distinguishes this painter^s productions. The rocky foreground, with well-foliaged trees^ the rich, transparent^ and almost lu: cious effect, the free and animated figures are carefully executed. Canvas. 3ft. 9in. by 5ft 3in. (Presented by Sir G. Beaumont.) 72 Landscape, with Tobias and the Angel . Remhrandt A bold rough sketch : it is very strong, but the heavy distance counterbalances that merit. Panel. 1ft. lOin. by 2ft. lOin. (Bequeathed by the Rev. W. IL Carr.) Engraved by M*Ardell. 73 The Conversion of St. Paul . JErcole da Ferrara *' And Saul, yet breathing out threatenings and slaughter against the disciples of the Lord, went unto the high priest, and desired of him letters to Damascus to the synagogues, that if he found any of this way, whether they were men or women, he might bring them bound unto Jerusalem. And as he jour- TUK NATIONAL GALLERY. 37 neyed, he came near Damascus : and suddenly there shined round about him a light from heaven : and he fell to the earth, and he heard a voice, saying unto him, Saul, Saul, why persecutest thou me? And he said, Who art thou, Lord ? And the Lord said, I am Jesus whom thou persecutest : it is hard for thee to kick against the pricks. And he trembling and astonished said. Lord, what wilt thou have me to do ? And the Lord said unto him, Arise, and go into the city, and it shall be told thee what thou must do. And the men which journeyed with him stood speechless, hearing a voice, but seeing no man. And Saul arose from the earth ; and when his eyes were opened, he saw no man : but they led him by the hand, and brought htm into Damascus. And he was three days without his sight, and neither did eat nor drink.'* — Acts ix. 1 — 9. Has a great deal of expression and feeling, but neither composition nor keeping. The patches of bright coloured draperies prevent anything like mass of effect, and the whole is a confusion of good intentions. Such a picture must convince us of the insufficiency of other merits without some degree of composition and arrange- ment of effect. The two dead figures on the foreground would be very well, but for the red and blue draperies. In many respects it resembles Mantegna's works ; with much of his feeling it is more confused and more tawdry. Panel. 1ft. llin. by 2ft. Sin. From the Aldobrundino Palace. (Bequeathed by the Rev. W. H. Carr.) 71' Spanish Peasant Boy — half-length . . Murillo A perfect representation of a vulgar subject, with the ugly features, the sly meanness of expression and sulphureous hue that belong to squalid abject humf^ lity of condition. The truth and transparency superadd a technical charm beyond the subject , yet is there an approach to heaviness in the execution, or in the per- vading tint of sickly lemon hue. Canvas. 1ft. 9in. by 1ft. Sin. (Presented by M. M. Zachary, Esq.) Engraved by W. Humphries. 75 Landscape, St, George destroying the Dragon Domenichino With that they heard a roaring hideous sound, That all the ayre with terror filled wide, j And seem'd aneath to shake the steadfast ground. Eftsoones that dreadful dragon they espyed, I Wfiere stretched he lay upon the sunny side I Of a great hill, himself like a great hill, y But all so torne as he from far descryde I Those glistening armes, that heaven with light did fill, j He roused himself full blyth, and hastened them untill, | The knight gan fayrely couch his steady speare. And fiercely ran at him with vigorous might : The pointed Steele, aiming rudely theare, His harder hyde would neither pierce nor bight, But glancing by, forth passed froward x'lghV — Spenser A careful landscape, in a dark firm style, suited to the iron-aged subject ; yet with too much of truth for a representation of a fabulous monster. If we once depart from the simplicity of nature, it is dangerous to allow our dupes to catch a glance of her physiognomy, lest the comparison destroy all illusion. The princess is prettily drawn, and the drapery nicely worked. Panel. 1ft l^in. by 2ft. lin. (Bequeathed by the Rev. W. H. Carr.) 36 THE NATIONAL GALLERY. 76 Christ on the Mount of Olives • . . Correggio He knelt, the Saviour knelt and pray'd When but his Father's eye Look'd through the lovely garden's shade On that dread agony ; The Lord of all above, beneath, Was bowed with sorrow unto death/' — MrSc Hemam, " And he came out, and went, as he was wont, to the mount of Olives ; and he was withdrawn from them about a stone's cast, and kneeled down, and prayed, saying, Father, if thou be willing, remove this cup from me : nevertheless, not my will, but thine be done/'— /S'^. Luke xxii. 39 — 42. A poor copy of the picture in the Duke of Wellington's collection. The angel is graceless and the general effect is a white light on a dark landscape ground. Panel. 1ft. 2in. by 1ft. 4in. (Angerstein Collection.) Engraved by Volputo ; by Antonelli; by Mutto« 77 The Stoning of St. Stephen — a small composition of mne figures . ..... Domenichiiio ^* Then they cried out with a loud voice, and stopped their ears, and ran upon him with one accord and cast him out of the city, and stoned him; and the wit- nesses laid down their clothes at a young man's feet, whose name was Saul. And they stoned Stephen, calling upon Gody and saying. Lord Jesus, receive my spirit. And he kneeled down, and cried with a loud voice. Lord, lay not this sin to 1 heir charge. And when he had said this, he fell asleep. And Saul was con- senting to his death." — Acts vii. 57 — 60. A pretty simple picture, with much truth of expression: it rather wants grouping. Canvas. 2ft. lin. by 1ft. 7in, From the collection of Lucien Buonaparte. (Bequeathed by the Rev. W. H. Carr.) 78 The Holy Family . . , Sir Joshua Reynolds The St. Joseph is dull and singularly heavy, and the Virgin mother unintellec- tuai and rather affected. This picture has acquired great celebrity through the splendid engraving by Sharp. For general aspect it is striking, but it looks like an unfinished and rather crude imitation of Correggio. The draperies are washy, and the figures seem paralyzed and immovable. Some of these failings are not perceptible in the print. The infant Christ's head is fine, but by no means spiritual. Canvas. 6ft. 5in. by 5ft. 9|in. Purchased at Lord Gwyder's sale for 1,995/. (Presented by the Governors of the British Institution.) 79 The Graces sacrificing to Hymen . Sir Joshua Reynolds * * The three beautiful daughters of Sir William Montgomery, preparing to iecorate a terminus of Hymen with wreaths of flowers.'* These conventional allegorical portrait pieces can seldom stand the test of criticism : they are usually made up of conceit and flattery. We imagine the jraces to be three beautiful sisters no doubt, but unless you suppose them to be inimated with every varied charm, one full of wit and arch liveliness; another THE NATIONAL GALLERY, 39 eliegant, thoughtrul, and modest; and the third distinguished by superior dignity, &c., there can be no poetry, no variety. This is the necessary consequence in this picture. The composition is straggling, and the lights are sprinkled in spots over the canvas. The faces are pretty, and the forms generally elegant but not correct Canvas. 7ft. Sin. by 9ft. Gin. (Bequeathed by Lord Blessington.) Engraved by Watson. 80 The Market Cart .... Gainsborough A fine rich effect boldly put in, and the whole very picturesque and English ; the details are not delicately handled nor are the reflexes of the sun-light suffi- ciently studied, but the distance is soft and airy. Canvas. 6ft. 2^in. by 5ft. ^in. Purchased at LordGwyder's sale for which decorated the same harpsichord. Panel. 1ft P^in. by 2ft. llin. From the Lancelotti Palace. (Bequeathed by Uic Rev. W. H. Carr.) 94 Pan (or Silenus) teaching Apollo to play on the Reed Pipe Annihale Caracci The young Apollo has much simple grace, and the expression of an intelli- gent boy pleased with his own attempt, yet timidly awaiting the decision of his master, who, in that carelessness of attitude that is characteristic of a pro- fesgional adept, and who clings to the comforts of this life. tho«xh cltamiDg the THE NATIONAL 6ALLEKV. 43 fame of superior qualifications, seems to impart shrewd and liberal instruction and commendation. The Apollo, however interesting, is not at all of a godly- nature. Pan, though without the distinction of goat's legs, has enough of the animal in his countenance, which is very expressive and natural. The eye askance, the fleshy cheeks, and large full-fed limbs, have peculiar character. Panel. 1ft. 2in. by 2ft. Sin. From the Lancelotti Palace. (Angerstein Col - lection.) Engraved by P. Cunego. 95. A Classical Landscape. A Storm, with Dido and ^Eneas in the Cave; the figures by Albano . Gaspar Poussiti ** Meantime the gathering clouds obscure the skies, From cloud to cloud the forky lightning flies,. The rattling thunder rolls ; and Juno pours A wintry deluge down and sounding showers i 'j'he company dispersed to coverts ride, And seek in homely cots or mountain's hollow side. The rapid rains, descending from the hills. To rolling torrents raise the creeping ri!ls : The queen and prince, as love or fortune guides, One common cavern in her bosom hides. '* — Virgil. This is a splendid effect of sudden storm. Somt; of the trees rustle before the- breeze, others bow or crack under the gust. The distance is too strong ; and the figures in the sky, which are peculiarly elegant, are, however, too plainly seen : the light on the Cupid holding the large white wooden horse, is also too briglit r not so the gleam on the little winged cherubs above, the spring-like glimmer oir them tells well. Canvas. 4ft. lOin. by 7ft. 4in. From the Falconieri Palace. (Beoueathed by the Rev. W. H. Carr.) 96 The Ecce Homo" . ascribed to Ludovico Caraccr An indifferent copy after No. 15 in this Gallery. Canvas. 3h. 4|. by 2ft. Sin. (Bequeathed by the Rev. W. H. Carr.) j| I 97 The Rape of Europa . . , Paulo Veronese^ || ** Methinks the pictured Bull we see * is amorous Jove. — It must be he I ii How fondly blest he seems to bear That fairest of Phoenician fair — Moore's Anacreon. I A picture very like needlework, and very inferior to our poetical extract : the jj composition is faulty in two respects. First, it contains the same figures over again at two distinct moments, on the foreground and in the distance ; and, secondly, the grouping of figures, legs and arms, trees, &c., is all by twos, either from some ignorant patron's whim, we may suppose, or an unfortunate oversight in the artist. The principal figures are not engaging ; that of Europa is ug)y^ and not very young, and the Jupiter-bull is flabby and without air. After all such subjects, unless differently understood, scarcely deserve the employment of high or refined talent : neither for conception or performance do we consider this picture calculated to increase the reputation of the artist who painted the conse- cration of St. Nicholas (No. 26), whatever technical admirers may say. Canvas. 4ft. llin. by 2ft, Sin. From the Orleans Gallery. (Bequeathed by the Rev. W. H. Carr.} 44 THE NATlOlVAL GALLERY. 98 A View of L'arica , , . Gaspar Poussirim ** Here are thick woods, where sylvan forms abide ; And merry tracks made by the goat and deer, Pierce into glades and caverns, bowers and halls, Built round with ivy.* Clear, agreeable, and rich colour, with a pleasing admixture of landscape, building and figures, but the handling is less firm than this painter's is in his best works : one small tree in particular which stands out on the sky, is stippled with spotty lines quite unlike the varied pliancy of leaves in nature. Canvas. 1ft. 7in. by 2ft. 2in. From the Corcina Palace. (Bequeathed bv the Rev. W. H. Carr.) 99 The Blind Fidler^ — a composition of twelve figures Wilkie. Wilkie's simple views of rustic or familiar events have so much of nature and of sentiment that they please all classes, and, we believe, natives of all countries, and yet they are especially English, though devoid of the extreme peculiarities, on which his countryman. Sir Walter Scott, was too apt to rely for success in his very popular writings. It is therefore probable that Sir David's performances will endure the longest in public estimation. Of course this observation is prin- cipally applicable to his early pictures ; for when he attempted to represent Spanish or Italian scenes in a loftier tone, his sympathies were wanting, and without them Wilkie became a common man. We do not blame him for making the attempt, but we censure the patronage of those who, by rewarding him injudi- ciously for hasty productions which the world disapproved, and which they themselves did not admire, encouraged his departure from the native path in which he met no rival. With unfeigned reverence for the sentiment of this great painter, we shall faithfully point out the excellencies of this performance ; and for the consideration of those who have less opportunity of examining it, we shal also notice what appear to us exceptions to its merit. The blind fiddler and his wife with a baby in arms, have entered the cottage, and seated near its entrance the old man is scraping such music as the unsophis- ticated family may rejoice in, as the cause of occasional hilarity. On such occa- sions, to the extent of their means, every Englishman is proverbially hospitable. The omission of this characteristic is the worst thing in the picture ; and remem- bering Yorick*s repast with the peasants of the Bourbonnais, we blush at the difference, though we rejoice that our countryman, Sterne, did justice to French hospitality. The next objection is, that the fiddler wants intellectuality of coun* tenance and elegance of feature calculated to enhance our sympathy for the bereavement of one, who, dark and joyless himself, is the cause of happiness to others : the vulgarity of the wife's face is also unfortunate, though the simple ease with which she holds her infant is inimitable ; their little boy, tired alike of music and of wandering, has found his way to the fire. The cottager's infant springing towards its father's glowing face as he snaps his fingers and attunes his action to music and parental fondness, are the principal charm of the piece, and the two little girls who have suspended their play to gaze in awe and astonishment at the sightless minstrel are at once silently expressive and very conducive to that prin- cipal accident : the elder daughter, disturbed by the noise her brother makes as he mimics the fiddler with the bellows on his shoulder, reconciles us to the in- harmonious but likely incident : perhaps the mother is the least successful figure in this group : the intention and attitude are right, but the expression of the face is not sufficiently lively or agreeable, i'he grandfather, with his back to the fire, is too inexpressive to add to the incident, as his picturesque and rdther fine h»ad THE NATIONAL GALLERY, 45 might hare done. The colour is simple and true, but rather samely : we think it has improved by repeated varnishing, the shadows becoming deeper and richer: it is very carefully, and in some respects, too nicely finished ; as more force in parts, particularly among the cabbage, saucepan, &c., on the foreground, would have added variety and relief. Panel. 1ft. llin. by 2ft. lin. (Presented by Sir G. Beaumont.) Engraved by John Burnett. 100 The Death of Lord Chatham — a composition of 55 figures, all portraits ..... Copley. There are lines of composition in this picture that might, on a cursory view, impress us with a notion that it is an historical representation of a national event ; but on a closer examination we find those lines more like the mathematical ser- pentines of a made flower-garden than the varied paths in nature's exuberant landscape : the subordinate parts dispute precedence with the great incident. The figure of Lord Chatham is not sufficiently made out, and others are too unimportant and evidently arranged : this is the fault of the piece, which is otherwise well painted, of a fine colour, and full of talent. As a collection of portraits of the peers of England at an important period, it is an interesting picture. Had the surrounding figures been better grouped in with the dying patriot, and the efiect on individual heads and figures been more subservient to the general subject, it would have been a national record worthy of the subject and honourable to the art. Canvas. 7ft. 6in. by 10ft. lin. (Presented by the Earl of Liverpool.) Finely engraved by Bartolozzi, in 1782. 101 — 4 The Four Ages of Man . . . Lancret. This small series of toy-pictures was formerly ascribed to Watteau, surely on very slight grounds ; for that master, though really the leader of corruption in art when it commenced under Louis XIV., was a man of great talent, sensual indeed in the application of rare qualities, but possessing a keen eye for the beauties of nature, of which, to please his customers, he selected the most glowing and luscious, and cast by those of a more wholesome and modest kind. In these pictures we find a little of his skill, more of his manner, and still less of moral feeling. They are common-place views of the subjects, treated with smart facility but little force or variety of character, with pretty colour, tolerable correctness, and the taste of the French court of the time. 101. Childhood. — Is a nursery brood playing in an architectural hall. A little boy placed in a go-cart, drawn by brother and sisters dressed like court ladies and gentlemen. The nurse and baby are very ugly : the other figures are better. 102. Youth.— -A sort of appendix to the ladies* toilet. Courtly, gay young folks, quite fashionable, quite frivolous ; the young lady cooly exhibiting her stocking up to the knee, and the young gentleman contemplating it, are very indicative of bad education, scarcely of the feelings of youth. Another, trimming her frill and ribbons, at a glass held by a young fop on one knee, is the other important incident in this exhibition of trash in place of sentiment. Such devia- tions from nature and propriety, made Sterne call the generation of French gallants the worst set of marksmen that ever tried Cupid's patience. 103. Manhood. — This is a singular title for a party of idle flirting fashion- ables lolling on the grass to see two full-sized fellows shooting at a mark with 46 THE NATIONAL GALLERY. bows two feet and a half long. The landscape is a charming recollection of nature in the luxury of summer. 104. Old Age. — The old woman spinning and the sleeping nnn are in character, but the crippled old fop, courting a pretty young girl, might do as a satire on the corrupt age, not as a distinguishing characteristic of the subject. The dogs and trees are equally inapplicable, being all young. Sun-set, winter, and the wreck of centuries form no part of the scene. The execution is very respectable. Let these pictures be compared with the moral instruction of Hogarth's Marriage a la Mode," or even Wilkie's Blind Fiddler," and it will be seen that the arts do not excel under the patronage of a corrupt court ; that on the contrary they then sicken and lose their natural and intellectual energy. Canvas. 1ft. lin. by 1ft. 5|^in. (Bequeathed by Lieut. Col. J. H. Ollney.) Engraved by Larmessin. 105 A small Landscape . . Sir George Beaumont. A free clever sketch from nature. Panel. T^in. by 9^in. (Presented by the Dowager Lady Beaumont.) \06 A Man's Head — a Study . Sir Joshua Reynolds. Ill drawn, the perspective curves and projections not being understood ; the colouring is simple and true. Canvas. 1ft. lin. by 1ft. Gin. (Presented by Si. G. Beaumont.) Engraved by S. Reynolds. 107 The Banished Lord . . Sir Joshua Reynolds. A study of a head, so nick-named for want of subject. It is vivid and well- coloured, not well-drawn : the eyes are animated rather than expressive. The general aspect is somewhat vulgar. Canvas. 2ft. Gin. by 2ft. lin. (Presented by the Rev. W. Long.) Engraved by J. R. Smith. 108 Landscape — Maecenas' Villa at Tivoli . Wilson. **The ruins of the villa of Maecenas, at Tivoli, on the banks of the river Arno, which runs into the Tiber, twenty miles distant from Rome. The building to the right of it among the cypresses was a convent of Jesuits. The temple beneath that was built in honour of the god Tusis. The spring which issues from the rock on the left is the Blandusian fountain of Horace, whose villa stood behind the trees on the left, fronting the villa of Maecenas. The dress of the two women dipping for water is the present dress of that country. — The Artisfs own Memorandum, One of the richest coloured paintings in the collection. The sky is light, glowing, and full of motion, but the clouds are deficient in perspective, rising like masses of smoke : nor are the ruins beautiful : but the trees are well painted in rath«f fiat masses. Canvas. .3ft. lOin. by 5ft. Gin. (Presented by Sir G. Beaumont.) Engraved by Le Keuz. THE NATIONAL GALLERY. 47 109 A Woody Landscape, with Cattle and Figure s, Gainsborough. ■ On the grassy bank, Some ruminating lie ; while others stand Half in the flood, and often bending, sip The circling surface.'' A vigorous transcript of nature, amounting to a fine composition ; with enough of colour, and more effect, but very deficient in detail and study. This applies to every part, sky, trees, water, cattle. x\s a sketch, or a preparation for higher finish, it might entitle Gainsborough to Sir Joshua's campiiment, when in the hearing of Wilson he called him our best landscape painter. The Wilson's next to this piece are hardly so powerful but more excellent from nicer study. One or two of Gainsborough's fine portraits brought to this gallery from Hampton Court would enable us to test Wilson's repartee —that he was not our hest land- scape painter, but the best portrait painter of that day. Canvas. 4ft. lOin. by 5ft llin. (Presented by Lord Farnborough.) Engraved by W. Miller. 110 Landscape ; the Story of Niobe and her Children fVilson Harden'd with woes, a statue of despair, To ev'ry breath of wind unmoved her hair ; Her cheek still reddening, but its colour dead, Faded her eyes, and set within her head : No more her pliant tongue its motion keep, But stands congealed within her frozen lips ; Stagnate and dull, within her purple veins, Its current stopp'd, the lifeless blood remains ; Her feet their usual offices refuse ; Her arms and neck their graceful gestures lose ; Action and life from every part are gone, And even her entrails turn to solid stone.'' — Ovid, Compared with the preceding picture by Gainsborough this is more soft, more studied, more finished ; the general tone of atmosphere, the trunks and branches jf the trees, &c., are evident instances of this difference. As in other examples by this master, the foliage is in flat masses and the clouds rise too perpendicu- larly : in these respects Gainsborough's have the advantage : his skies are indeed less luminous and moving, and, so far as aerial perspective is concerned, less true and distant, but the lines are more horizontal and therefore suited to their remote position : his trees are too unfinished to prove his capacity for handling charac- teristic foliage ; he escapes that difficulty, but his masses are boldly and freely worked in. He is perhaps stronger and rather more picturesque than Wilson, «7ho, on the other hand, is the most poetic and classic. Gainsborough seizes effect, light and shade ; the other represents air and climate. The subject of this composition is a bold one and given with interest, the figures being in good harmony with the landscape and very well drawn and painted. Our great doubt is as to the propriety of placing Apollo and Diana in the shady side of a cloud. It would seem more correct and poetical if they were in all their glory shootinir death from above the clouds. Canvas. 3ft. lOin. by 5ft. Gin. (Presented by Sir G. Beaumont.) Engraved by WooUett. THE NATIONAL GALLEiiY. 1 1 1 Portrait of George Augustus Elliott, Lord Heathfield, with the Keys of the Fortress of Gibraltar in his Hand — tliree-quarters, life-size . . . • Reynolds The last exploit of this great military commander was the defence of the im- portant fortress of Gibraltar against an armament which exceeded that of any former siege. It consisted of a fleet of nearly fifty sail of the line, with innu- merable frigates and smaller vessels ; and on the land side stupendous batteries and works mounting 200 pieces of heavy ordnance, assisted by an army of 40,000 men, commanded by a victorious general, and animated by the presence of two princes of the blood royal of France. To oppose this armament, the garrison had only 7000 veteran soldiers commanded by officers of approved courage and activity. The result is well known to have been one of the most glorious achievements recorded in history. A fine, simple, characteristic representation of the brave defender of Gibraltar, well composed , and rich and mellow in colouring and effect. The style of paint- ing is perhaps rather too soft alike all over. Canvas. 4ft. Sin. by 3ft. Sin. (Angerstein Collection.) Engraved by Earlom ; and G. Doo. 112 Portrait of Hogarth .... Hogarth This portrait of a man of extraordinary genius, placed as it is in this gallery with a choice set of his master works is indeed honourable to our country : whoever contemplates it with reference to the accompanying pictures of the ** Marriage a la Mode," must be struck with its faithfulness. The determined look and vivid eye bespeak one who looked sharp into the manners of the age, And boldly catalogued its follies and its crimes : nor is it to be overlooked for its merits of execution: compared with the fine portrait, by Reynolds, of Lord Heathfield, it is as true, as bright, and as firm ; not quite so rich but more delicate in colour ; in arrangement and accompaniments alone it is inferior, they are too distinct and over-wrought, particularly the dog and the curtain ; had they been more dexterously managed in effect, that of the painter* s face would have been wonderfully illusive. Canvas. 2ft. llin. by 2ft. Sin. (Angerstein Collection.) Engraved by Gibbon. 113 to 118— The Marriage a la Mode " . Hogarth This series is one of the best samples of Hogarth's dramatic genius, and replete as it is with truth, character, satire, varied incident and moral instruction, they prove his talent to be as unrivalled among painters of common life as Moliere remains among writers on similar subjects. Intent upon his story, un- mindful of trifling consequences unless they tended to elucidate his great pur- pose, they set before us in a striking but natural and consecutive view, not only those general features in human passion and action that limit the attempt of most artists, but even the nicer shades of expression and by-play and the gradual shifts and undulations of plot and incident. His works are not apparently much like Fielding's novels, yet they display similar knowledge of human nature; similar contrivance and combination ; similar skill at pourtraying the whims, follies and vices, however disguised, of a corrupt yet barbarous society. Some of the same disregard of nice delicacy of manner may be observed occasionally in both, and yet both were powerful and correct delineators of fashionable refine - mtatt as well as strong depictors of the coarse traits of the lower ordert. THE NATIONAL GALLERY. 49 Hogarth is more often pathetic, and his moral is more evident and certain. To be thus compared with a writer of extraordinary genius is what few artists could risk : Hogarth stands the comparison advantageously in all essential points, lii suavity and mellow shading we think Fielding superior. No artist ever under- stood the real purpose of his talent better than Hogarth. In early life he had, like others, sought to please the world of fashion ; unable to submit to its con- ditions, before his mind could be enfeebled by its control, he turned about and became, instead of the flatterer of a few, the instructor of millions. His Rake's Progress,*' and that of the " Harlot,'' his Good and Bad Appren- tices" and other essays, opened a new view of the capabilities of painting, — a school of reality and moral instruction. He was also the great champion of original native genius in opposition to fashionable cant and pretensions in taste and the arts. His vigorous exertions for the independence of the British artists continued up to the year 1757 : then made Serjeant Painter to the King, he seems to have supposed that it was an official duty of his appointment to turn political caricaturist of the opponents of government ; in this he was much less successful than in his independent effusions such as we find sprinkled pretty thickly through the pictures before us; as in the first, ** The Contract ;" all the pictures that surround the impoverished nobleman's apartment are foreign works, most of them copies from known paintings, displaying a total want of taste for good subjects suited to English society; they are chiefly suffering martyrs, scenes of cruelty and by-gone superstitions. In others even viler subjects are introduced, but not worse than are often to be seen in the collection of educated persons. 113 The Contract of Marriage. — The opening scene of a drama exhi- biting the progress and consequences of fashionable vice and folly. A life of extravagance has brought a proud earl to the necessity of repairing bis shattered estate by some sacrifice of his family dignity : clinging with rooted prejudice to those expensive enjoyments which cause his poverty ; costly though unsatisfactory works of art and virtu, high living (the parent and nurse of his gouty constitution), gambling and other follies that in his estimation beseem a gentleman ; instead of setting an example to his only son — the hope and pride of his lofty family, by wholesome retrenchment, he resolves to sacrifice that son's happiness, and may be his honour, by an unsuitable marriage, that will replenish his coffers and at least retard the eventful ruin. On the other hand a thrifty citizen, though long habits of trade and usury have shaded into debasing avarice, is anxious to crown his wealth with a more lasting and dazzling title than that of alderman, and having but one daughter to inherit his treasures, uncon- scious of the danger of sudden transitions of station, heedless of her feelings and her happiness, he resolves to bargain for the reversion of a coronet to his grand-children. His desire for the alliance of hereditary title and privilege blind him to the staring effects of hereditary disease and even to the ruinous consequences of hereditary extravagance. The haughty nobleman points to his pedigree as beyond all price ; the miser, whose ambition overcomes his prudence, and awed by the stateliness that surrounds him, mechanically examines tlie deed. The young couple are present, and their actions and expressions foretell the sequel of this unholy bargain ; the heartless indifference, yet fasUiottable airs, of the heir apparent, are quite enough to make the alderman's daughter fearful of the consequences. At such a moment the attentions of the young lawyer are to a withering heart as dew to a parched rose-bud. The composition of this piece is rich and original, the characters true and distinct, and the execu- tion, as it ever ought to be, though firm and good, subservient to the subject The portrait of the earl's ancestor in the pomp of a gartered peer, combining the attributes of Jove and hovering cherubim with plate armour and a fuU 50 THE NATIONAL GALLERY. modern wig, is a smart but not an exaggerated satire on the presumption and taste of the age. 114 Represents the First CoNS^auENCEs of Dissipation. — At one o'clock in the day the Countess, after a laie card-party, is drowsily seated at her lonely breakfast. Her lord has returned home and thrown himself on a chair at the opposite side of the fire, having evidently spent his night in riot and de- bauchery : his broken sword speaks as plain as *' Hoyle on Whist'' at her lady- ship's feet. Nor are other explanatory indications wanting, such as a woman's cap in place of a handkerchief in his lordship's pocket ; but the attitudes and ex- pressions are admirable studies of human nature under peculiar circumstances. The lady is indicative of ennui and unsubdued passion ; the lord is like a man too habitually addicted to profligacy to shake off the cause of misery that stared him in the face. By introducing a pious steward, the painter has obtained a striking contrast both to the reckless lord and lady surrounded by tasteless luxuries and to the drowsy servant in the adjoining apartment amidst candles burning in the sockets at mid-day. As he carries away a heap of unpaid bills with a single receipt, he prays for regeneration, the subject of the volume in his pocket. The accessories comprise a rich amount of satirical episodes on fashionable taste ; pictures of saints surrounding a naked Venus nearly concealed by a curtain ; a Cupid playing the bag-pipes ; uncouth china figures, and a clock encompassed by rubbish peculiarly heterogeneous and absurd : it consists of a fat naked Chinese sitting in the shade of a tree with two real candles in front of him ; on the branches above, on each side the clock, are represented live fish as fierce as if in their own element, and above, next to them a cat quite unconscious that they are good eating. If we suppose the lid of the empty snuff box in her ladyship's hand to contain a picture of Counsellor Silvertongue, her attitude and expression leaves no doubt of the state of her mind : as to his lordship he is a complete picture of selfish help- lessness, wanting- the energy of a man and the manners of a gentleman. 115 An insight into the Husband's Profligacy. — We had already seen enough to judge that his connections were not the most honourable ; but in this scene we find him plunged deep in the society of the vicious and the vulgar. In the residence of a French quack he has extorted, by threats, from a girl to whom he had been introduced, the avowal of her own unhealthy condition and the me dical treatment she has been subjected to by the bandy legged miscreant before him. The pill-boxes and the symptoms of salivation leave no doubt of the im- position on his credulity, or the deceit practised on him by the procuress, who to the craft of her present detestable course joins the desperation of one who had associated with murderers and thieves ; she resents the affront on her honour, and threatens to stab him. The fierce expression of her countenance, the threatening attitude, the profusion and showy nature of her dress, and the branded mark, F.C., on her breast give her a formidable appearance ; but the knotty fibres of the quack are not so easily disturbed, his passive admiration of the whole circumstance shows how indifferent it is to him to abide a discovery that cannot hurt him and may turn to his advantage. His employer and partner in guilt is the only person to whom he considers himself answerable, and he is unaccustomed to converse with any but the vicious or deluded portions of society, of whose folly, of whose vices and secrets, he is the unfeeling trustee. The contrast between him and the procu ress, whose character amongst men of rank and fortune and consequently whose means of existence are at stake, is equally forcible and true to nature. The small size and youth, the suffering and blighted prettiness of the victim of their detestable practi ces excite a hopeless compassion that aggravates our hatred and contempt for his lordship, whose expression of the mixed feelings of folly and of triumph for the tardy conviction of an imposition from which he suffered is a THE NATIONAL GALLERY, 51 master-piece beyond the comprehension of observers who think, with Sir Joshua Reynolds, that opposite expressions can not be depicted in a face at one time ; the furniture of the room, consisting of a skeleton and anatomical figures, stuffed animals, especially a wolf's head, mechanical contrivances, mummies, old armour, &c., are explanatory of the assumption and savage nature of this pretender to science. Hogarth has rendered the machinery subservient to his contempt for Royal French Academies. They are labelled : ** two superb machines, one to set shoulders and the other to serve as a corkscrew, invented by Monsieur de la Pillule. Examined and approved by the Royal Academy of Sciences of Paris," The general tone and effect of this picture are very satisfactory ; and the execution throughout, even of figured stuffs, &c., may vie with highly finished specimens of less genuine artists. 116 The Toilet. — By the death of the old Earl our hero is now a Peer of the realm, and his wife a Countess ; however ill assorted, they are alike profuse and extravagant. Their residence is the resort of every fashionable folly and vanity. We here see them of a morning preparatory to an evening of brilliant extravagance, as patrons of acknowledged talent : two celebrated foreigners, a singer and a flute ac* companiment, are rehearsing choice selections to them. But their exotic skill is but little attended to except by one of those obsequious attendants on rank and Afluence, who rather allow their bohea to spill or grow cold than miss an op- portunity of extolling whatever is under the protection of the great ; and an old fop of nearly equal pretensions to connoisseurship : they affect ecstasy. Not so an old country squire who, whip in hand, has fallen asleep at the murmuring of sweet sounds, and who probably dreams of horses and dogs, whilst the principal persons of the drama are engrossed in more ominous thoughts. Her ladyship at her toilet under the hands of a Swiss valet, or a French coiffeur, takes more delight in Counsellor Silvertongue's lisping compliments than in the harmony of Italians song or mellow flute. Lolling on a couch he shows her the plan of that evening's masquerade, and points to the pageant on a painted screen. It is evident that the assignation is favourably received, nor is the Earl unconscious of impending dis- grace ; about to sip from his cup, he would fain hear the words that are drowned in music, and contending passions bewilder his brain. His vacant stare, heightened by the ridiculous decoration of paper crackers in his hair, is very peculiar and characteristic of a man who has fallen into his own trap ; whose vanity is scorched by jealousy for a wife he never loved or esteemed, whose life has been to her an example of worthlessness. This is observed by the negro servant ; and a black boy among the antiquities purchased at the sale of the late Sir Timothy Baby- house's effects, is particularly amused by a figure of Acteon with the horned head of a stag; the pictures around the room consists of indecent subjects by old masters and the portrait of the Counsellor. In this as well as in the other pictures of the series the main object of the story directly enforced without display of art, and the character of each figure is well marked ; the self-sufficiency of the oft-flattered performers, the affectation of the parasites, and the fully absorbed friseur, are more conspicuous but not more impressive than the bye-play of the leading characters of the subject, a remarkable instance of adherence to the principles of nature which others would have sacri- ficed to conventional rules. Had the Countess a more intellectual countenance ; if she appeared a little conscious of unusual danger ; if a slight touch of nervous superstition held some small share in her satisfaction, this would perhaps be the most interesting of all these fine works of genius ; but Hogarth seems to have in- teded his heroine for a representative of very ordinary intelligence. The scene takes place in the bed-room, a French fashion then adopted by our nobility. 117 The Encounter. — Unaware o^ a jealous eye, the Countess and the 52 THE NATIONAL GALLERY. seductive Silvertongue met at the masquerade, whence they were followed by her newly waked A.rgus, who makes his way into the apartment they have entered at a bagnio, and rushes sword in hand at the Counsellor, who, though undressed, meets him ; in the encounter the Lord is run through ; the murderer escapes by the window, and the watch entering finds the Countess in grief and remorse lamenting her husband^s fate : he staggers and dies. The story is complete and the figure and expression of the Lady equally so, containing all that we wished a glimpse of in the preceding subject. Here, indeed, we find that sense of what is right, so strangely but almost always roused into new life at the fatal termination of a course of folly, that indication of sympathy and conscience that triples the beauty of the female face and mixes commiseration with our abhorrence. The pictures about the room are, as usual with Hogarth, indications of the subject and scene : that of the Judgment of Solomon is a master-piece in this way that might open the eyes of those who doubt the possibility of explaining in a picture more of the subject than is enacted at the moment. The lady's mask, and a bundle of sticks with a wooden cross, have equal claims to attention in this respect, though the satire of frailty assuming the especial guise of sanctity is to be found under similar circumstances in the Spectator. Again^ the hasp and key on the floor leave no doubt of the door having been broken open ; and it may here be suggested that painting is so competent to distinguish various past moments that if either had been partly under his lordship's foot, it would denote that he must have broken it open : as it is not so we doubt it. The attitude and ex- pression of the dying lord have much nature but little elegance. So careful was Hogarth to omit no incident expressive of cause and effect that the candle is effected by the opening of the window by the Counsellor in his flight, 118 Death of the Countess. — The splendid dream is past : honours are succeeded by infamy and remorse : extravagance has led to a penniless title. The Countess and her only child, the minor peer, have sought an ungracious refuge at her father's residence in the city, but the scene of her unambitious childhood pre- sents nothing but regret and bitter reproaches to an unpitied widow. In the mean time the Counsellor is taken, tried, and hanged for the murder : this adds the last drop to the Countess's cup of misery : the very title is galling and reproachful as it is ridiculous, amidst objects of habitual vulgarity. In sorrow and sickness, without hope or comfort, she sends for laudanum and puts a rash end to her worldly suffer- ings. The physician and the apothecary find the case desperate ; the old nurse brings the crippled child to bestow a last mark of affection on its wretched parent, whilst her father whose feelings are ever absorbed in pelf — takes the jewels from the fingers, and the. apothecary, pointing to the last dying speech and confession," threatens the booby waiting-man with the gallows for fetching the poison : such are the main circumstances in this picture. The expressions take a range as wide as the characters. The scrofulous heir to a tarnished title, and the old nurse who had witnessed the mother's infantine gambols and has outlived her joys and pre- tensions, are animated with the benevolent affections of nature, and their attention seems to spread an additional regret over the dying features of the Countess ; her sordid father, amidst his care for wealth, has evidently hard breathings of affliction and disappointment. The dogmatic insolence of the apothecary is in strong con- *vast with the stupid terror of the servant who sees the gibbet awaiting him for '♦^consciously fetching the laudanum. Every thing in the room speaks of the -i^tizen's vulgar ideas and importance. A well kept ledger and tables of compound interest with pipes and the liquor bottle are under especial care, coarse speci- mens of Dutch pictures constitute his principal luxury and fire buckets attest his pradence ; but the aldermanic gown and gold-laced hat denote his magisterial «, and children are laughing at the debasing effects of intemperance. It is a degrad- ing subject, happily much less frequent than formerly, when all classes in this country confounded excess with hospitality. Still the delineation of nature by a man of genius usually possesses touches of feeling on which philosophy can dwell and where our best feelings can find a wholesome excitement. The aged woman near the trough contemplating the fallen sot, is of so fine a character and so natural, that we readily imagine her condition and her simple history, the length- ened annals of a country life cheered by some rays of sunshine amidst many a winter blast. The principal group, where the jolly countryman doubts whether 54 THE NATIONAL GALLERY. to accompany his children home or to listen to his comrades' appeal to another finishing bumper, is also sprinkled with acute interest. For rich mellow colour- ing and broad clear effect, this figure is a masterpiece ; for expression he is evidently a little the worse for drink, but hearty and happy : the sunny light on his brilliant smock frock, on the gay 'kerchief, and his ruddy complexion, assume a richness and a glow very different from the anxious grief of his little daughter, who needs not to turn her face to call forth our sympathy. Her elder sister is also a nice figure, and as well coloured as the father, but less pathetic than the little girl. The boors are varied, and such as they would be in action and expres- sioa. The blue jacket of one looking at an empty bottle is much too dark, and breaks the effect of harmony. The man drinking near the house, is from a face or very fine character : the accessories, the draperies, &c., are nicely, perhaps too carefully, executed, as in some instances they become spotty, as though the group or the figure constituted a separate picture : barring this slight detraction, the whole painting an4 colouring is exceedingly clever, but it has not the keen satire of Hogarth's election scenes, nor the home-pathos of Bloomfield's Richard and Kate. Canvas. 3ft. lin. by 4ft. 2in, (Angerstein Collection.") Engraved by Finden. 123 Landscape, with figures hy Moonlight . . Williams A sweet moonlight scene. An old castle on a bold rock, that casts its shadow on a river that flows beneath, hills covered with woods, and groups of trees along the winding stream, make up a beautiful and romantic picture of nature. The moon rising behind the castle, flickers on a small portion of the spangled waters, and casts light on a boat and figures on the front of the picture. It is a well selected view and well rendered : the trees, though elegant and picturesque, are rather too precise in the working. The effect would be completely beautiful if a little more richness of foliage on the left softened the most uninteresting por- tion of the distance. Panel. 2ft. by 2ft. Sin. (Bequeathed by Lieut. Col. J. H. Ollney.) 124* Portrait of the late Rev. William Holwell Carr Jackson A simple finely painted head, beautifully coloured ; delicate, rich, and varied in tint, very fleshy ; more varied and delicate than Reynold's Lord Heathfield, more pulpy than Hogarth's portrait : the light is famously managed. Canvas. 2ft. Gin. by 2ft. lin. (Bequeathed by the Rev. W. H. Carr.) 125 Portrait of Isaac Walton (died 1683) . Housman A careful imitation of nature, over-wrought, and with too much striving after colour, but well. Canvas. 2ft. Gin. by 2f. lin. (Bequeathed by Dr. H. Hawes.) Engraved by Bovi, 1794. 126 Orestes and Pylades brought as Victims before Iphigenia Benjamin West Resjiectable, but too much on recipe, although it shows rather more approxi- raation to nature than others by Mr. West, in this collection. Canvas. 3ft. 4in. by 4ft. 2in. (Presented by Sir G. Beaumont.) Eiigraved by Basire. 55 127 View in Venice ..... Canaletti A deep brown tone, with g^reat triuti, pervades this picture: the principal building in the middle distance too dark, and generally the lights want a more vivid aspect. It is however very masterly and the details are very bold. Canvas. 4ft. by 5ft. 4in. (Presented by Sir G. Beaumont.) Engraved by Le Keux. 128 Portrait of the Right Hon. William Wyndham Sir J, Reynolds William Wyndham was an accomplished orator and statesman, and Secretary of War in Mr. Fox's administration. A good portrait of that able senator : simple, light, handsome, gentlemanly, and reflective. The colouring is very good, yet it hardly equals Jackson's por- trait of the Rev. Holwell Carr, near it : it is too sombre. Canvas. 2ft. 6in. by 2ft. lin. (Bequeathed by G. J. Cholmondely, Esq.) Engraved by J. Jones. 129 Portrait of Mr. Angerstein . Sir Thomas Lawrence This portrait is fairly coloured, with a lively look, and the white hair is nicely softened into the breadth of light on the forehead ; but all is spoiled by a thin- ness of execution, with little sharp touches that render old age ridiculous, and the art flimsy. Canvas. 3ft. by 2ft. Sin. (Presented by his Majesty William IV.) Engraved by Young; and by Scrivin. 130 Landscape, with figures — The Corn Field Constable A faithful but coarse copy of an English scene. A boy drinking from a pool, with dark leaves, brambles, and thistles around, a rough bank with trees, and an old gate ofi* the hinges, a plough, a dog, and sheep, make a picturesque fore- ground, that wants only charm of execution, rich tones, and mellow softness, to be beautiful. The distance is made up of a corn field, a meadow, and a village church. It is a good amount of pleasing materials, and the arrangement is agreeable, but the distance is heavy and wants perspective, as do the solid and crumpled clouds. The trees are well drawn, but everywhere the coarse plastery manner spoils the intentions. Seen through a tinted glass or several coats of varnish, it would be a fine picture. Canvas. 4ft. Sin. by 4ft. (Purchased and presented by J. Constable's admirers.) Engraved by D. Lucas. 131 Christ Healing the Sick in the Temple Benjamin West And the blind and the lame came to him in the Temple ; and he healed them." — Matthew xxi. 14. The general arrangement in this picture is, like all Mr. West's, good ; and the action of Christ, with the attention divided between the sick man and the dying infant in its mother's arms, is true to the subject : the wholesale of the picture is well, so much 80 as to give promise of better details. This first general arrange- ment or composition having been spent on the foreground groups, the figures behind are put in as actors performing unconnected parts ; that is, each has a soliloquy, m expression of his own, tending usually to the principal objects ia 56 THE NATIONAL GALLBRY. the picture (the two groups above mentioned,) but not forming groups of them- selves, not in families of mutual sympathy. Thus, the healing of the sick is not concentrated on one individual, but it is restricted to two ; it does not shade off among distant episodes. The figure of Christ is rightly selected as tall and elegant, but it wants firm- ness, and the face is very deficient in high intelligence, character. His drapery is very conventional — two long folds of similar proportions of a curve mark the division of the body towards the left arm and stiffen the action ; on the other side the indication of the hip, thigh, and leg is forced and affected. No drapery of the substance before us would give so bold a line, and with a tunic beneath it is doubly wrong. The faces are not only like being done all from one model, but as if with the same brush and the same tone of feeling, except the sick man in the midst, whose face is more studied, more lively, more individual and effective, than any other : in all else there could be no necessity for looking at nature at all, since an obstinate predetermination has prevented outward observation or im- pressions. We can see that Mr. West was far from deficient in natural sensi- bility, but he repressed it, and subjugated that exquisite gift of nature to the cold regulations of conventionality. For this performance three thousand guineas were paid by an Institution founded for the extension and cultivation of taste ; — a vast sum. Canvas. 9ft. by I4ft. (Presented by the Governors of the British Institution.) Engraved by Heath. 132 The Last Supper (not hung up) . Benjamin West " And as they were eating, Jesus took bread, and blessed ity and brake it, and gave it to the disciples, and said. Take, eat ; this is my body. And he took the cup, and gave thanks, and gave it to them, saying, Drink ye all of it ; for this is my blood of the New Testament, which is shed for many, for the remission of &\w^V ^Matthew xxvi. 26—28. A feeble performance, which has been removed from the Gallery. This appears a sad slur on the quondam President of the Royal Academy, but the exhibition of bad pictures by gentlemen who have filled that high office, reduce public respe<:t for its authority. Canvas. 6ft. by 9ft. (Presented by his Majesty George IV.) 133 Portrait of Mr. Smith, Comedian Gentleman Smith") Hoppner He was the original ** Charles Surface,*' in the School for Scandal.'* Well painted, and very fleshy ; life-like, and yet it is like an actor : this comes from the light blue coat, the delicate rosy tints in the face, the carefully dressed hair, and the assumed smile. Canvas. 2ft. 6in. by 2ft. lin. (Presented by Mr. Sergeant Taddy.) 134 A Landscape ... ... Decker There is a fine mellow tone over this piece, as simple as Gainsborough's ; the shades are, however, rather black, and the handling somewhat heavy and deficient in variety. The effect of a clouded sun is, nevertheless, vei7 effective ; and the old walls, with a few trees, like the entrance to many an old agricultural town, shows what simple objects suffice to make a picture much better tlien far- fetched complicated composition. Panel. 2ft. lin. by 1ft. 7in. (Bequeathed by Lieut. Co). J. H. Ollney.) TPlE NATIONAL GALLERY. 57 135 Ruins with Figures — a Composition . Canaletti This is the contrary from 134, by the same artist. It is all arrangement^ with sharp outlines, more skill thau truth, recollection rather than the breathing of vivid nature. Canvas. Ik. lOin. by 2ft. 5in. (Bequeathed by Lieut. Col. J. H. Ollney.) 136 Portrait of a Lady (not hung up) Sir Thomas Lawrence A feeble work, now removed from the Gallery, where it injured the reputation of the master ; and yet scarcely inferior to another of larger dimensions, that re- mains. Fashionable reputation and name will not always suffice to posterity. Canvas. 7ft. lOin.by 4ft. lOin. (Presented by F. Robertson, Esq.) 137 Landscape — a Study from Nature . . Van Goyen A good simple sketch from nature of a cottage on a heath, freely wrought : the sky is rather too soft. Panel. 1ft. 4in. by 2ft. (Bequeathed by Lieut. Col. J. H. Ollney.) 138 Ancient Ruins, with Figures . • . Paolo Pannini Clever painting, nice colour, with a fine soft effect of atmosphere on the fore- ground objects, and on those at a distance, hence a want of proportionate serial distance to bear out the lineal perspective of objects. Canvas. 1ft. 7^in. by 2ft. lin. (Bequeathed by Lieut. Col. J. H. Ollney.) 139 Rehgion attended by the Virtues — Composition of eleven Figures — life-size . , . . A. Kauffman Pretty, pretty, pretty : one mind, one form, one age, all but the children. Surely the Virtues cannot be all alike. Modesty and courage, decision and pru- dence, hope, faith, and charity, are differently expressive and variously constituted. Art that can see no such difference in nature, is peculiarly contracted and to ns insipid. It reminds one of a little girl who asked an artist why he did not paint the gentlemen, in the picture of a dying saint, as pretty as the ladies. The colour of this picture is pretty, and the execution graceful, but with little power. Canvas. 7ft. by 9ft. (Bequeathed by James Forbes, Esq., for whom it was painted at Rome.) Engraved by Worthington. . 140 Portrait of a Lady • . . . Van der Heist Hard and colourless, but a close imitation of nature in feature and ex- pression. Panel. 2ft. 9iin. by 2ft. 9|in. (Bequeathed by Lieut. Col. J. H. Ollney.) 141 The Palace of Dido — ^neas presenting himself before the Queen ..... Steenwyck A hard liney representation of bad architecture, in utter defiance of the story, and, in various ways, of good sense and good taste : like a tracing from an ivory- model. Copper. Ift. 3Jin. by 2ft, Sin. (Bequeathed by Lieut. Col. J. H. Ollney., 58 THE NATIONAL GALLERY. 142 John Philip Kemble, in the character of Hamlet^ — Full- length, life-size . . Sir Thomas Lawrence Really a portrait of John Kemble, in the part of Hamlet. The face is effective, but with a fixedness of thought and features that remind us more of the sitting to an artist than of the philosophizing prince in Shakspeare. Hamlet was emphati- cally a thinker, Kemble decidedly an actor. This painting represents Kemble, not Hamlet. Horatio and the grave-digger are wanting : Shakspeare is wanting. 'Tis not the play of Hamlet without the part of Hamlet, but the part of Hamlet without the play. As already stated, the head is an effective piece of face paint- ing, with glaring splashes of white in the eyes : the linen is also too white : the hands have no action, and the lower limbs have a sort of mediocrity correctness about them. The moon lighted back ground, however opposed to the daylight on the face, is the best part of the picture. In a shilling modern exhibition this was a striking picture ; in a Gallery of select works of various periods its claims are very moderate. Canvas. 10ft. by 6ft. 6in. (Presented by His Majesty William IV.) Engraved by S. Reynolds. 143 Portrait of John, Earl Ligonier, on Horseback ascribed to Sir Joshua Reynolds He was a distinguished military officer in the reigns of Queen Anne, George I., and George II. He accompanied George II. in his campaigns, and commanded a part of the army at the battle of Dettingen. He was afterwards a Field- Marshal, Commander-in-Chief, and Master- General of the Ordnance. He died in 1770. A libel on our fine portrait colourist. It is a dingy wooden concern, without delicacy or variety, and decidedly of German extraction^ Canvas. 9ft. 2in. by 7ft. lOin. (Presented by His Majesty William IV.) Engraved by Fisher. 144 Portrait of Benjamin West, P.R.A. — Full-length, life- size . . . • . Sir Thomas Lawrence This duplicate is not quite equal to the picture sent to America. The figure and dress are heavy, and the background samely : the face, especially the light side, is good ; the colour being fresh, delicate, and replete with breadth and light, but the shades are too grey to belong to it. Canvas. 1ft. lOin. by 5ft. lOin. (Presented by His Majesty William IV.) Engraved by C. Rolls. 145 A Man's Portrait .... Van der Heist A good fleshy face, broad of light and firm of expression : not so the mode of painting : it is over-wrought. Panel. 12in. by Sin. (Bequeathed by Lieut. Col. J. H. OUney.) 146 View of the Port of Rotterdam . . . Storck A busy scene, with much truth ; rather too much alike in the different plans : wants toning and delicate serial distances. Canvas. 1ft. llin. by 2ft, 5in. (Bequeathed by Lieut. Col. J. H. Ollney.) THE NATIONAL GALLERY. 147 Cephalus and Aurora — a Cartoon . Annibale Caracc\ A very fine drawing with elegance as well as Academic skill : has much action and clever composition ; the general arrangement, clouds, cupids, &c., is vert graceful : the two principal figures are less so, though full of meaning. Cephalm is rather heavy than elegant, and Aurora is far from beautiful. She is very deti cient in the faint blush and light serial forms of early morn. Paper. 13ft. 6in.by 7ft. 6in. (Presented by Lord Francis Egerton.) j 148 The Triumph of Galatea — a Cartoon Agostiyio Caracci Composition, grace, and beauty, frustrated by indelicacy : the drawing is of a fine order, being varied according to the subject and character. Altogether, as examples of the mode of executing Cartoons, these are excellent specimens. In a purer age, a time of high national feeling and moral sense Agostino would have been an artist of transcendent merit. Paper. 13ft. 6in. by 7ft. 6in. (Presented by Lord Francis Egerton.) 149 A Calm at Sea . . . Vandervelde the Younger A charming little sea-piece, with wonderful space in the distance. It is so smoothly finished as almost to cause a doubt of originality, which we hasten to get rid of in order to fully enjoy the freshness, the aspect of nature and sweetness that pervade it. anel. Sin. by llin. (Bequeathed by Lord Farnborough.) 150 A fresh Gale at Sea . . Vandervelde the Younger More like an unpremeditated sketch after nature, animated and freshening, but a little black. The surface of the painting is liable to some of the same objection as the preceding. Canvas. 9in. by 1ft. lin. (Bequeathed by Lord Farnborough.) ! 151 Leda — not hung up . . Pietro Francisco Mola. A very clever specimen of the master, well composed, and finely executed in a free, bold, masterly style, but not first rate for the higher qualities of mind or refinement that some men can show even in objectionable subjects. Probably tne sensual grossness of the subject had something to do with the injury done to this picture some time ago, when a poor cripple dashed his crutch through it : it has not since appeared in the Gallery. Canvas. 1ft. 2 in. by 1ft. Sin. (Bequeathed by Lord Farnborough.) i 152 A Landscape — Evening . Vander Neer and Cuyp There is wonderful truth in all the details of this picture, but there is a want of harmony of parts and a deficiency of breadth that counteract its great merit. The choice of scene is both simple and agreeable : it seems as though we had dwelt in the neighbouring village and often skirted the winding rivulet as the sun or the moon bespangled its waters : but the dark shadows that break the middle distance, mar the illusion and trouble the view ; whilst clouds, like balls of cotton, rising on the horizon, spoil a sky otherwise beautiful for its light and truth. Canvas. 3ft. llin. by 6ft, 3 in. (Bequeathed by Lord Farnborough J53 Girl seated by a Cradle, in which an Infant sleeps Maes Very simple nature, well painted : has no pretensions to composition. The 60 THE NATIONAL GALLERY. faces of the children are extremely well : the accessories are very inferior, and a little management of chiaro-scuro is generally waniiiig : perhaps the pervading tint is rather red. Panel. 1ft. 3 Jin, by 1ft. Jin. (Bequeathed by Lord Farnborough.) 154 A Musical Party . . David Tenters the Younger. A vulgar caricature, very clever, with monstrous noses and distorted limbs not fit to be painted. What a figure to handle a guitar ! He has two right legs. The keeping is incomplete throughout, the blue and white in contrast ; yet the general colouring is as delightful as the taste is abominable. Panel. lOin. by 1ft. 2in. (Bequeathed by Lord Farnborough.) 155 The Misers . . . David Teniers the Younger For colour and imitation of nature equal to Rembrandt : the exquisite tran- sparency and the effect on the money and parchment are quite magical. The faces are of a good character and well imitated from nature, but the pencilling in them, and in them only, is small and hard though the light is broad and clear. Canvas. 2ft. Jin. by 2ft. 9 in. (Bequeathed by Lord Farnborough.) Engraved by F. Vanden Steen. 156 A Study of Horses ..... Vandyck A splendid study of a white horse. The colour is rich and clear and the execu- tion bold, free, and precise ; but the head and the right front leg look somewhat as if done from a dead horse. It has been over-varnished. Panel. 3ft. Gin. by 5ft. llin. (Bequeathed by Lord Farnborough.) 157 Landscape — Sunset ..... Rubens Sketch from Nature. The sun, through a cloud, spreads a rich mellow light over the whole landscape, and it is splendidly, and with much truth, reflected into the shades, with a softness peculiar to Rubens. Notwithstanding so much warm sunlight, the distance recedes admirably. After so much praise, if we look to the execution and taste, in form and arrangement, we shall find but little to com- mend ; the trees are not graceful or well worked in, the clouds have no elegance, and around the sun they are clumsily painted. These defects are serious, bu^ they prove that one quality in perfection will secure a high position to a work of art. Panel. 1ft. 7in. by 2ft. 9in. (Bequeathed by Lord Farnborough.) Engraved by Bolswert. 158 Dutch Boors regaling . David Teniers the Youngest The man with a glass in his hand is smart and well : for form and expression he is quite above par for Teniers ; quite an elegant boor. The woman behind him in the genteel occupation of filling a pipe is an uncouth companion, and her dress, of too cold a blue, does not harmonize : the distance has all Teniers' silvery softness. Panel. lOin. by 1ft. IJin. (Bequeathed by Lord Farnborough.) 159 The Dutch Housewife ... . Maes The faces are very well painted, but the accessories are heavy : there is no com« position : the colour, though very good, wants a little freshness and variety. Panel, i^ft. IJjn. by lUin. (Beq^ueathed by Lord Farnborough.) THE NATIONAL GALLERY 61 160 A Holy Family (a Riposo) . Pietro Francis :o Mola The subject is nicely treated, and the landscape is very sweet though deficient in serial perspective : time has rendered it more heavy anti black than the painter intended. The attitudes of the figures are delightful : the action of the baby and mother is light, graceful, and pleasing. The flying cherubs are pretty, but too real and solid : not lii^e filmy ether. Canvas. 1ft. by 1ft. 6in. From the Orleans Collection. (Bequeathed by- Lord Farnborough.) 161 An Italian Landscape with a Cascade. Gaspar Poussin. An uncommon fine study : rocky mountains, steep banks with trees, curling clouds, and in the middle scene a town and a water-fall, all remind us of a region strongly characteristic of volcanic vicissitudes. The admirable distance though rough and bold recedes perfectly : the silvery hues and softly sunlighted tips of the mountains contrasted with the rich tones of nearer trees, are as masterly as they are true to the modesty of nature ; it seems altogether as though no re-touch, no after thought had meddled with its original impressions. If anything could be desired, it would be a more ample foreground. The figures are capitally put in, quite part of the picture. Canvas. 2ft. lin. by 5ft. 5in. From the Colonna collection. (Bequeathed by Lord Farnborough.) 162 The Infant Samuel. . . Sir Joshua Reynolds. " The Lord called Samuel, and he answered, Here am I.'* — 1 Sam, iii. 5. It is strange how idly painters indulge in misnomers : this is a simple and ti5(-refore beautiful figure of a little boy praying, conceitedly nick-named as above, for which purpose a smoky explosion a little larger than that of a cracker has been introduced behind ; an episode in bad taste compared with the simplicity of the little figure on its knees humbly committing its welfare to the supreme dis- penser of all things. The colour, effect, and expression are very satisfactory ; at once touching and agreeable. Canvas. 2ft. lOin. by 2ft. 3 in. (Bequeathed by Lord Farnborough.) Engraved by Dean, 1788 ; and C. Knight, i;92. 163 View on the Grand Canal, Venice^ • . Canaletti A fine view of that dethroned queen of the Sea, Venice ; more pleasing and illusive than No. 127, but less masterly. It has the accuracy, and with it some of the cold fixedness of a view seen in a camera-obscura : the water is glassy and dull, but the light and shade on the buildings are soft and pleasing, rather interfered with by precise liney details. Canvas. 4ft. lin. by 6ft. 8 in. (Bequeathed by Lord Farnborough.) \ (>4 The Holy Family. . , , Jacques Jordaens An indifferent Jordaens, painted all alike. The colour looks superficial, and the figures are common, unintellectuai, and coarse, Ttiere is considerable power of hand, but neither taste nor judgment. Panel. 4ft. by 3ft. (Presented by the Duke of Northumbortand. 62 THE NATIONAL GALLERY. 165 The Plapie at Ashdod — Coinpositioijuii' forty-one figures Nicholas Poussin ** And the Philistines took the ark of God, and brought it from Ebenezer unto As^lidod. When the Piiilistines took the ark of God, they brought it into the • house of Dagon, and set it by Dagon. And when they of Ashdod arose early on the morrow, behold, Dagon was fallen upon his face to the earth before the ark of the Lord. And they took Dagon and set him in his place again. And when they arose early on the morrow morning, behold, Dagon was fallen upon his face to the ground before the ark of the Lord ; and the head of Dagon and both the palms of his hands were cut off upon the threshold ; only the stump of Dagon was left to him. But the hand of the Lord was heavy upon them at Ashdod, and he destroyed them, and smote them with emerods, even Ashdod and th^ coasts thereof.'^ — J Sam. v. 1 — 6. A very unfinished copy of the fine picture in the gallery of the Louvre, it can , hardly give a right notion of the touching incidents in the original, which is full of effective and fearful groups, possessing much character : in it the infant by its dead mother raising its piteous look to strangers has both beauty and sentiment in a high degree. The woman, whose pity seems to incline her to become, in spite of danger, its foster parent is also very interesting, but the man who accompanies her is unnecessarily coarse of form , and so is the boy beside them. In the copy we have the faults, but little of the beauties. Canvas. 4ft, 5in. by 6ft. 8in. From the Colonna Palace. (Presented by the Duke of Northumberland.) Eiigiaved by Baron. 166 A Capuchin Friar . . ascribed io Rembrandt There is no want of truth and nature. The general aspect and tone are soft, transparent, subdued, and agreeable, but it wants Rembrandt's vigorous touch and intmtive energy, his impulse, his texture. Canvas 2ft. 10 in. by 2ft. 1 m. (Presented by the Duke of Northumberland.) 167 The Adoration of the Wise Men — a Drawing in brown and white .... Baldassare Peruzzi ** When Jesus was born in Bethlehem of Judea, in the days of Herod the king, behold there came wise men from the east to Jerusalem, saying, Where is he that IB born king of the Jews ? for we have seen his star in the east and have come to worship him.*' — St» Matthew ii. 1 — 3. An inconsistent assemblage of rocks and architecture, with numerous figures crowded though with ample space : the lights are spotty like a second-rate piece of bronze work : it is indeed a very skilful production in a bad style ; but withai it possesses considerable grandeur and elegance in the drawing of the groups. Paper. About 4ft. 6in. square. (Presented by Lord Vernon.) Engraved by Agostino Carracci. 168 St. Catherine of Alexandria — Single figure, three- quarters, half the size of life . . BaphauL With some of Raphaels peculiarities, this performance has scarcely any of his merit: it may be clear, distinct, and even graceful, but is also affected, the face mawkishly so ; the hands are so to. The features are not successfully drawn, and the left hand is very broad. The general colour is good, the draperies w« earefolly done but rather hard i the border across the breast is one stripe of THE NATIONAL GALLERY, 03 black unbroken by ligat. The distance is delicate. Those who know Raphael only by specimens such as this, nna^t JN>n suit the Cartoons at Hampton Court, and fine prhits after his exquisite productioiis. Panel. 2ft. 4 in. by 1ft. 9 in. From the Aldobrandini Collection. (Pur- Qhased by Government of Mr. Beckford, in 1839, for 5,500/.) Engraved by the Baron Desnoyers, 1824. 169 St. Francis adoring the Infant Christ . M. da Ferrara Avery poor and ridiculous composition. An instance of the want of elevation in untaught, inexperienced minds. The Almighty appears, as in a pulpit, preach- ing, and the Holy Ghost officiating as clerk under him : by taking oft the root of the church, the painter contrived to show a band of musical angels. So much for the arrangement: the faces are very superior: they are not only well but they are abundantly varied in form and feature, with a sober tone of thinking, which, however, has not equal variety. There is no breadth of light on the dra- peries, and the flesh tints are too red. Panel. 2ft. by 1ft. 7in. From the Lecari Palace, at Genoa. (Purchased by Government of Mr. Beckford, in 1839, with No. 170, for 1,850/.) 170 The Holy Family with St. John, accompanied by Saints and Angels ...... Garofalo In this picture we perceive similar natural abilities to those of the preceding, improved by cultivation. It has more light, more charm and grace, but also more affectation : the grouping is not equal to some of this master's ; and the two old heads (St. Joseph and St. Elizabeth) are so smoothly combed as to be like soft lamb's wool : the clouds have the same fault. The Virgin mother has consider- able beauty, but the drapery over the left leg is very uncouth. The little St. John has the real merit of the master : at once Michel- Angeloesque and like nature. X3anvas. 2ft. 64in. by 1ft. ll^in. (Purchased by Government of Mr. Beck- ford, in 1839, with No. 169, for ^1,850.) 171 Portrait of Sir John Soane Architect (d. 1837.) John Jackson A clever likeness of a man of science remarkable for his foppish appearance ; it behoves a painter to represent the peculiarities of his sitters, but it is surprising that the carefully dressed wig, the extremely delicate complexion, and the simper- ing small mouth in an architect approaching to fourscore years of age, should not have struck Sir John himself as ridiculous. With all these drawbacks it fuily withstands Lawrence's picture of Mr. Angerstein near it. Canvas. 2ft. 6in. by 2ft. (Presented by the Governors of the British Insti- tution.) 172 Christ and his Disciples at Emmaus . Carravaggio And it came to pass as he sat at meat with them, he took bread and blessed it, and brake and gave to them. And their eyes were opened and they knew him." — St.LuJce^ xxiv. 30, 31. This picture has rather a Spanish surface look on it ; it is cleverly painted in a fine manner and like nature, with a soft texture spread over ail. The old man to the right is rather faulty ; the nose is large and his short beard looks funny ; the hand is not sufficiently foreshortened from being smaller than the further one, but it is very well painted, drawn and coloured. The white turning up of the sleeve of the man to the left is very injudicious and seriously 64 THE NATIONAL GALLKRY. i;ijures the harmony of tht picture. Christ's face is too fleshy, but it ig fine. U is a highly fi*iished specimen of the mastet. Canvas. 5ft. 7in. by 61t. 5 in. From the Borghese Palace. (Presented by the Right Hon. Lord Vernon.) 173 Portrait of a Gentleman — three-quarters — life-size. Giacomo Bassano Has some resemblance to a beautiful Jansen though Titianesque : it is wefl finished and very true to nature, broad of light and has an intelligent look. The eyes are not quite alike. The dress has been as carefully finished as the face, but it lias somewhat darkened. This picture looks particularly well at a distance. Cauvas. 3ft. llin. by 3ft. 2in, (Presented by Henry Gaily Knight, Esq.) 174 Portrait of a Cardinal — Half-length, seated Carlo Maratti The qualities of this portrait are very similar to those of contemporary produi;- tions by the eminent French portrait painters Mignart and Philipe Champagne : it is in colour rather cold but like nature and indicates intelligence. The carna- tions of the face are very true, but in general it wants tone, especially the wMie dress : in this the French contemporaries had more tact. Canvas. 3ft. llin. by 3ft. 2in. (Presented by Henry Gaily Knight, Esq.) 175 Portrait of Milton (?) . . . Fander Plaa§ Probably a correct, though rather an unfavourable likeness of our gredt poet ; it is hard and heavily wrought ; the eyes appear diseased, but from their decided direction they hardly appear blind. The face indicates about fifty-eight years of age, the hand only thirty-five. Canvas. 2ft. 4in. by 1ft. 11 in. (Presented by Capel hofft, Esq.) Engraved by W. Stevenson, Norwich, 1797. I7G The Infant St. John, vvitli the Lamb • Muriti0 Behold the Lamb of God/' One of the most delightful pictures in the Gallery. The observer should iiiqifire why it is so. It is mostly dark ; it is not of a rich varied or delicate colourings leg is strikingly too light and far from an elegant shape : it is an ill-washed o* rather a dirty faced child, and the lamb is by no means equal to some by i^utch masters Wiierefore then is it so great a favourite with ail classes and kinds of' persons ? It is a pretty simple subject full of the happy, unaffected, playful kind feelings of life : the effect is vivid and simple, unbroken by rich or brilliant colours^ but not at all deficient in that broad general aspect of flesh colour and fleshy sttb- substai.ce that all can see and appreciate. It strikes home to our sympathies without convention, hence we forget to dwell on imperfections. It proves tfcjt art is most effective wlu n it closely reflects the form, aspect, and best feelings of nature ; nor does it require perfection to enlist our best feelings • the lover may be told that his mistress has a lar^e tnouth, small eyes, a swarthy complexion, and so on : he ascertains the truth of the observation but the smile of affection oblite- %tet the cons deration. Art that can produce the like effect ex?;el«» ail cOnveL»- rtUinjal perfections. CaavKs. fth, 5iu. by 3ft 7iu, From the Collection of Mons, Robit* (Pur- chaseifbT Uovt-riiuient from Sir Simaii Clarke's Collection for ^£'2,100.) THE NATIONAL GALLBRV. 65 177 The Magdalen — half-length, life-size . Guido Rem Quite the reverse of the preceding : herp the natural abilities of the master are set on pleasing the spectator more than on the study of human expression for its own sake. Form and display of animated features are placed in attitude for our admiration. No woman in real grief ever did so : it is an affectation unworthy of a real artist; such an exhibition wins the applause of incompetent judges, but not our sympathy : Guido was often employed to repeat this same feat of skill. The instance before us is not capital ; one eye is higher than the other, the colouring is cold and the mode of painting, though skilful, is hard. Engraved by J* Bouillard, in the Gallerie de Palais Royal, Canvas. 2ft. 7in. by 2ft. Sin. From the Orleans Gallery. (Purchased by Crovemment from Sir Simon Clarke's Collection, for ^2,100.) 178 Serena rescued by the Red Cross Knight, Sir Calepine —composition of five principal figures, small size William Hiltoii ** Then out aloud she cries Where none is nigh to hear that will her sue, And rends her golden locks * * * * Now mote you understand that to this grove Sir Calepine by chance, more than by choice, The self-same evening Fortune hither drove As he to seek Serena thro' the woods did rove. * * * * Eftsoones he saw one with a naked knife, Ready to launch her breast, and let out loved life : With that he thrusts into the thickest throng," &c. — Spenser, This picture has a deal of action, and tells its story better than most, but it is hardly rich of composition, and the Serena is rather like a model in an attitude. The Red Cross Knight is not elegant, but very energetic : the terror of the ungodly crew is well depicted. One crouching in front of the pyre somewhat balances the coroposition, which is otherwise too much in parallel lines. The Serena is a nicely drawn figure, and the whole is in a simple unaffected style formed on nature more vigorous in intentions than in execution : the colouring is good, rather than rich or brilliant. The condition of this painting is a sad instance of the consequences of injurious vehicles. Panel. 4ft. 7in, by 7ft. 7in. (Purchased from the artist's executor in 1841, by a committee of gentlemen, admirers of his talent, and presented by them to the National Gallery.) 179 Tlie Virgin with the Infant Christ, and St. Anne en- throned, surrounded by Saints Francesco Francia Before the throne in the front, is the little St. John, with the standard of the l4amb, pointing to the infant Saviour above ; on the left are St. Sebastian, and St, Paul ; on the right, St. Lawrence and St. Romualdo. A fine example of refined talent before facility overcame sentiment : it there- fore cannot boast that force of execution or massing of composition that distinguish many later productions ; but, for close and careful imitation of nature, truth oi form, colour, and expression ; for simple chiaro-scuro and elegant taste, very few have excelled, not many have approached it. The face of the Virgin Mother is very sweet and lady -like, and of an elevated character. The little Christ and St. John are elegant, interesting children, and the four saints have merits of similar 06 THE NATIONAL GaLLERY. kind, but there is no variety between them : the same person, similar features^ hair, beards, oomplexion, &c., wonld imply that all were done from one model. Panel. 6ft. C|in. by 6ft. From the Lucca Collection. (Purchased by Go- vernment in 1841, with No. 180, for £3,500.) 180 The Virgin, and two Angels weeping over the Dead body of Christ . . . Francesco Francia The same merits that distinguish the preceding picture are conspicuous in this, with more chiaro-scuro. The Christ is peculiarly elegant in form and feature, but stiff and hard, like ivory. The sorrowing mother is wonderfully true to nature as a parent in grief, but without extraordinary personal beauty or the self- possession of absolute faith. One of the angels is very beautiful, the draperies are carefully and well painted, richly coloured, and well cast. The whole is executed with infinite care and good taste. Though exceedingly pathetic, the exprcHsions never overstep the modesty of nature. How superior is their simplicity to Guido's affectation ! Panel. 3ft. 2in. by 6ft> lin. From the Lucca Collection. (Purchased by Government in 1841, with No. 179, fori?3,500.) 181 The Virgin with the Infant Jesus, and St. John— Land- scape back-ground . . Pietro Perugino With much of the purity and elegance of Francia and Raphael, this is a hard liney picture; the outlines are. however, full and graceful. More composition of light and shade, less care of detail and more freedom of execution, would have made Perugino a great master. Those merits, added to his own, produced Raphael. The lines of composition and the expression are good. The mode of paiating is most faulty • it is like thin- washing it. Panel. 2ft. 2^in. by 1ft. 5Jin. (Purchased by Government of Mr. Beckford. inl841, fori:800.) 182 Heads of Angels— Studies from Frances Isabella, thtr Daughter of Lord William Gordon Sir Joshua Reynolds These little heads are beautifully coloured and painted, but the expression seems *ather too human, rather dull than etherial ; more like a recollection after death than a vivid impress : not so the likeness of the features,-— they are stropgly indi- cative of living nature : they are painted with charming facility and lightness. Engraved by Simon, and by S. Reynolds. Canvas. 2ft. 6in. by 2ft. lin. (Presented by Lady W. Gordon.) 183 Portrait of Sir David Wilkie — half-length ; life-size r. Phillips, KA. Born, 1785, in Scotland ; died, 1841, on board the Oriental^' steamer. An excellent portrait of our popular favourite: painted in 1829, when 44 years of age, well coloured, broad of light, and very like. To be more strikingly expressive of Wilkie's countenance and condition, there should be more depth and shadow in the eyes, and the lips should be straighter and thinner : a Scotch peculiarity, seldom attended t o by our artists. Canvas. 3ft. 3in. by 2ft. 2in. (Presented by the artist in 1841.) 181 Murder of the Innocents . denominated a Raphael '* Thf^n Herod slew all the cliiliiren that were in Bethlehem, and in all the coasts thereof, from two yeai'S old and under," — St. Matthew ii. 16. THE NArlONAL OALLKRY. 67 The outline of this bit of a cornpoaition may have been by Raphael, but that exquisite master is not responsible tor the daubing that stands before our eyes under half an inch of varnish. As a composition, it can only be looked upon as a number of bits and actions thrown together in a hurried way as a preparatory experiment. It is therefore confused and without order. We perceive that in the outline there is expression, but it is sadly marred by the heavy painting that destroys variety and refinement. The colouring is, indeed, rich and true, though without variety or freshness, like the working of a dull imitator. As an outline, it is more like a number of trials for one episode than a variety of episodes. So much remorseless brutality among the murderers, and so little maternal heroism in the mothers, must give an erroneous notion of Raphael's perceptions and senti- ment, to persons unacquainted with the elegance and varied sympathies that dis < tinguish his best works preeminently. A Cartoon. 9ft. llin, by 9ft. Sin. (Presented by the late Prince Hoare to the Governors of the Foundling Hospital, and by them deposited in this Gallery.) 185 Portrait of Sir William Hamilton — full-length ; seated Sir /. Reynolds He was British Envoy at the Court of Naples, from 1764 until 1800. He died in England at an advanced age, in 1803. Quite a portrait of a gentleman ; Sir William with a very reuuced share of intellect or enthusiasm. The leg is ill-drawn and out of keeping, too white for its position. The canvas is not well filled. Engraved by H. Hudson. Canvas. 8ft. 6in. by 5ft. llin. (The property of the British Museum ; de- posited by the Trustees in this Gallery, in 1843.) 186 Portraits of a Flemish Man and wife John Van Eyck In the back -ground are a bed, a mirror, and a window partly open ; the objects in the room are distinctly reflected in the mirror. A branch brass chandelier hangs from the ceiling, with a candle still burning in it ; in the fore-ground is a ismall poodle. In the frame of the mirror are ten minute circular compartments^ in which are painted stories from the life of Christ ; and imediately under the mirror is written, '* Johannes de Eyck fecit hie, 1434," Certainly an interesting specimen of so early a period of oil-painting : inte- resting for the beautiful state of preservation, the accuracy and careful delineation and finish of ail the details in a Flemish apartment at the beginning of the 15th century. The composition is very unassuming and formal ; the faces are ugly ; the attitudes stiff, but very true to nature in colour, form, and expression. The draperies are hard but richly coloured : the whole is amazingly finished i few objecti in painting can, in this respect, and for illusive effect, vie with the lamp and the mirror before us. It would be very important to our artists to find out with what oils so much finish and glazings were performed, and yet preserve their freshness for nearly four centuries. Panel. 2ft. 9in. by 2ft. ^in. (Purchased by Government of Major-General Hay, in 1842, for M'60.) 187 Apotheosis of James the First . • • Ruhens This is, no doubt, a first sketch for the centre picture at White Hall, now the chapel royal : to an artistes eye it has great merit of colour, execution, and also drawing • there is a silvery truth, a light yet vigorous facility, an aerial harmony but seldom equalled It is, however, a sUly subject sidiculously treated, but with amazing talent. The pedantic James, the last king of England who consigned human ▼ictims to the flames for what, in his wisdom, he deemed witchcraft and heresy, &s here represented in boots, cloak, and steel armour, borne through the clouds THE NATIONAL GALLERY. by Minerva and Mercury, attended by the Graces and other mythological worthies. A greater compound of inconsistency is, perhaps, not to be found in any other picture. A king, whose only good quality was his dread of warfare, painted in plate- armour, and guided by Minerva ; the plunderer of Sir Walter Raleigh's widow and children, who assumed to himself the right of judging between man and his Creator, not only in his own dominions but in others, in the straight way to heaven ; the self-styled Solomon, who wrote on polemics and witchcraft, and burnt, as hereticfs. those who differed but a shade from his own opinions, in the company of heathen divinities ; (he spirit of the awkward, gawky James the First, boots, and what not, attended by the Graces : such is the subject entrusted by his son, King Charles, to Rubens, at the time they were together plotting the ruin of Protestantism in the Netherlands. Without money to pay the enormous debts bequeathed by his foolish I'ather, Charles managed to pay three thousand pounds (equal to 8,000/.) for that mockery of good sense and religion by some deemed pious, at the Royal Chapel. Panel. 2ft. lin. in diameter. (Purchased by Government from Lord Eldin, in 1843, for ^200. 188 Portrait of Mrs. Siddons— full-length life-size Sir Thomas Lawrence This celebrated actress, the sister of John Kemble, died in 1831, in her seventy- sixth year. A heavy, clumsy, inelegant woman, with red cheeks, and squeezed into an ill- fitted tight dress. Could such a woman excel in the representation of Queen Catherine ? Mrs. Siddons, such as Sir Joshua Reynolds painted, did. Engraved by W. Say. Canvas. 8ft. 2^in. by 4ft. 8|in. (Presented by her friend, Mrs. Fitz Hugh^ in 1843.) 189 Portrait of the Doge Loredano, in his state robes Giovarmi Bellini He died in 1521, having filled the office of Doge from 1500. The perfection of dry imitation of skin and bone. It is very true, very simple, broad and clear of effect, though most carefully finished : it looks like immovably fixed life, a petrifaction that still allows consciousness and internal animation t the extraordinary finish of the figured dress, and the tine preservation of the whole, are surprising. Panel. 2ft. by 1ft. 5 Jin. From the Grimani Palace, at Venice. (Purchased by Government of Mr. Beckford, in 1844, for ^630.) 190 Portrait of a Jewish Rabbi — half-length life-size Rembrandt A first-rate specimen. As like nature as Van Dyck ; the light is soft and broad, the shadows unobtrusive and transparent, it is beautifully touched in, and the features of the sharp-looking old man have an intelligence and delicacy more in comparison with the fine Van Dyck than Rembrandt's Merchant in this collection. The beard and the eyes are most masterly. The only imperfection that is conspicuous is a touch of light on the nostril too sudden for sober keeping, ^'^n. by 2ft. 2in. (Purchased by Government from the late Mr. JttrmMtf WtruKii 8 x^ollection, in 1844,, for MAl'^ lU.) TMK NATIONAL GALLERY 69 191 The youthful Christ embracing St. Jonn . Guido Reni Two very poor heads. That of Christ is like an unintellectual woi»an, and the eyes and mouth are ill drawn. The St. John mav be something better, but Ss quite tame and common. Engraved by J. B. Cecchi. Canvas. 2ft. Sin. by 1ft. 7in. (Purchased by Government from the late Mr. Jeremiah Harmar's Collection, in 1844, for ^409 10^) 192 His own Portrait — small oval . • Gerard Dow A tolerably good portrait, but not a fine specimen of the master. Is it by him ? The hair is wiry, the drapery stiflf, and the face, for him, flat and unfinished. Panel. 7-jin. by 5 Jin. (Purchased by Government from the late Mr. Jere- miah Harmar's Collection, in 1844. for ^131 5^.) 193 Lot and his Daughters leaving Sodom — three half-length figures ; life-size . . . • . Guido And Lot went up out of Zoar, and dwelt in the mountain, and his two daughters with him.'^ — Genesis xixc 30. A vulgar subject, boldly but coarsely treated. What could induce the painter of Saviours and Magdalenes to debase his pencil in this manner ? The old man is large, stupid, unfeeling, strong, and roughly painted ; the daughter to the right is strangely bundled up in draperies, and the face by no means handsome. Her sister carrying the wine is much better, and her head-dress is very gracefully arranged. The subject is but too well implied by the want of refinement in the expressions. The merits of execution are considerable, but not in a pure style ; the old man is of a brick-dust that does not harmonise with the cool grey tints in the daughters. By half-initiated persons this may be considered in the grand style of art ; to those who can feel the superiority of Raphael, it is only large. KaphaePs attention to nature and sentiment precluded the display of facile execution. Engraved by D. Cunego for the Schola Italica, Canvas. 3ft. 9^in. by 4ft. lO^in. From the Lancelotti Palace. (Purchased by Government from Mr. Penrice's Collection^ in 1844, for ^1,680.) 194 Judgment of Paris Biibens More of this master's fine colour, but more finished and more carefully drawn than usual. It is not very well composed ; but the great fault is want of know- ledge of the subject and consistency in the characters : the haughty Queen of the Gods, the towering warlike Pallas, and the insidious goddess of the tender passion, are all alike, from one model and with one mind. The task of selection must have puzzled the umpire. No contemptuous envy animates the first, nor proud disdain sits on Minerva's brow ; neither is there superior loveliness or persuasi\e charm in Venus herself. Cupid, in the corner, is well drawn and beautifully coloured, but the face is ugly with a discontented expression. Paris is well intended but vulgarly drawn, especially the legs. Mercury, near him, is fat and stupid. A fine back ground, well painted and splendidly managed, adds much to the delightful natural colour of the naked figures. Very few pictures by Rubens are so free from some degree of extravagant brilliancy of tint. Perhaps it is a little monotonous. Engraved by J. Couche and Dambrun for the Gallerie du Palais Royal. Panel. 4ft. 9in. by 6ft. Sin. From the Orleans Gallery. (Purchased by Go7*ni- BQcnt from Mr. Penrice's Collection, in 1844 j for ^4,200.) 70 rHB NATIONAL GALLBRY. 195 A Portrait, supposed to be of a Medical Professor — half- length life-size — his left hand rests upon a skull ascribed to Claessens the younger How any intelligent men could take this insignificant production for the ^ork of Holbein, we are at a loss to imagine ; it may be of his time, and the hardness of outline is consistent with it, but, every good quality is wanting : the attitude is common and awkward, the expression of dull insufficiency is vulgar, the arms and hands ill drawn and even out of proportion. Smooth painting and tolerable colouring cannot make up for want of talent. Panel. 3ft. 2in. by 2ft. 5in. (Purchased by Government from Mr. Rochardi in 1845, for ^630.) 196 Susanna assaulted by the two Elders in the garden of her husband Joachim, at Babylon — three half length figures ; life-size .... Guido Rent Now when the maids were gone forth, the two elders rose up, and ran unto her saying, Behold the garden doors are shut, that no man can see us, and we are in love with thee." — Susanna 19, 20. Susanna is a pleasing figure, delicate in complexion and expression, but, at usual with this painter, the attitude is studied for the spectator, nor is the ex- pression at all adequate to the urgency. The sturdy brick-dust coloured twin elders, cast in the same rough mould, seem rather intended for violent contrast with the silvery tint of Susanna than as important characters in the subject. Even their coarse natures would admit of varied expressions and demeanour; nor would variety of form, complexion, and age, have been neglected in a well-reflected CO Deposition. Engraved by Cornelius Visscher, and by P. Beljambe, for the Gallerit^-du Palais Royal, Canvas. 3ft. lOin. by 4ft. I'm. From the Lancelotti Palace. (Purchased by Government from Mr. Penrice's collection, in 1845, for ^1,260.) 197 Philip the Fourth of Spain and his Grandees hunting the wild boar — numerous small figures . Velasquez This is a clever, powerful sketch, with faulty perspective. In hot climates, a dusty atmosphere in the low grounds will often cause the hills to stand out strongly against the sky ; a peculiarity that requires great care in the manage- ment and truth of the perspective, both proportionate and aerial. The weakness of effect and faulty proportion of a portion of the second plan here injures the keeping. These are, at least in part, original defects which have by some been ascribed to rash cleaning. The landscape distance is, though somewhat heavy, very powerful, and a few figures on the foreground are very well indeed ; deep in tone, thought, and character. The scene has not the costly splendour that might be expected from the subject. Canvas. 6ft. 2in. by 10ft. 3in. Formerly in the royal palace at A4adrid. (Purchased by Government of Lord Cowley, to whom it was presented by Ferdinand VIL, in 1846, for ^^2,200.) 198 The Temptation of St. Anthony in the Desert Annibale Caracci The Saint, tempted on each side by Demons, is reclining on his back, and appears engrossed at the moment by a vision above of the Saviour supported by Angels. At his feet is a crouching lion. THK NATIONAL. GALLERY. n Ts not this again the frequent misnomer ? Is not this fine picture too high in character, too refined in expression for Annibalft? The composition, the deep tone» the severe character, are worthy of Ludovico, the elegance and purity, of Agostiuo. Tlie Saint's countenance is finely expressive ; the awe-stricken lion, though in form like a wooden image of tiie animal, is also full of expression ; the leading demon is a strong bold figure In the clouds, the upheld Divinity is very well as a being after the Ukenesss of humanity, but nothing beyond ; and the supporting young angels, though pretty and clever, have small heads, and long legs. With these imperfections it is still cne of the finest pictures in the Gallery. Engraved by G. Andran, and by B. Farjat. ^^opper. 1ft. 7 Jin. by 1ft. IJin. From the Borghese Gallery, at Rome (Purchased by Government of the Earl of Dartmouth, 1846, for £'735.) 199 Lesbia weighing Jewels against her Sparrow Schalken A common -place portrait. Panel. 64in. by 5in. (Bequeathed by Richard Simmons, Esq., in 1846.) 200 The Madonna in prayer, half-length — life-size Sassoferrato Is very clever, even elegant, but cold and hard, which fault is aggravated by the crude blue drapery. The shades of the face are too dark and black, though the light is clear and broad. There is considerable talent in a bad school. Canvas. 2ft. 5in. by 1ft. llin. (Bequeathed by Richard Simmons, Esq.) 201 A Sea-port, with shipping . • . Joseph Vernei Everything in this picture is well ; the arrangement and composition of ever; part is judicious and accoi ding to the rules of taste, but evidently arranged. It ii carefully and neatly executed, but compared with the productions of the contem< porary artists, Pannini and Canaletti, cold and sharp : it wants variety of ezecu tion and pulp. Copper. 2ft. |in. by 2ft. Q^in. (Bequeathed by Richard Simmons, Esq.) 202 Domestic Poultry . . . • Hondekoete\ Full of merit in its way, but not pleasing or finished. A little more, and th( feathery lightness and action so well represented would have made it a favourite as it is, the want of little varieties, especially on the wings and neck of the brick dust coloured cock thwart every other merit Yet it is, with that exception, lik nature. Canvas. 2ft. lOin. by 3ft. Sin. (Bequeathed by Richard Simmons, Esq.) 203 Conventual Charity — Monks distributing bread amonj the poor, at the door of a convent — composition o twenty- one small figures . . Van Hari A bustling, studied picture, in which escb figure, however humble or mean seems to aim at predominance : it consequently wants concentration of efi'ect am of sentiment, judicious subordination of parts, and general interest: they all ap pear accustomed to walk on high heels, especially the bare-footed beggars. It i a skilful waste of acquired talent. Panel. 2ft. JJin. by 3ft. 9|in. (Bequeathed by Richard Simmons, Esq.) n THE NATIONAL GALLERY 204 Dutch Shipping — a Brisk Gale . . Bakhuizen Like all this artist's works, it has motion in the sky and waters, but the ships and even the billows are lumpy, compared with his finest pieces. Canvas. 3ft. 4fin. by 4ft. 6Jin. (Bequeathed by Richard Simons, Esq.) 205 The Itinerant Musicians • . . Dietrich Well coloured, well painted, but the effect so broad as to be deficient in con- centration ; and, what is worse, the same defect pervades the sentiment. There is no touching incident, no variety of age or mind ; the boy playing the bag-pipes is as much like a man of forty-five, nor is the little girl infantine. Engraved by J. G. Wille, in 1764. Panel. 1ft. 5Jin. by 1ft. lin. (Bequeathed by Richard Simmons, Esq.) 206 Head of a Girl — life size . . . Gre?ize A showy specimen, with enough of passion, but none of the sentiment that charms us in this artist's best pictures. It is well coloured, though mealy of sur- face ; the drapery is ropy. Panel. 1ft. 6in. by 1ft. Sin. (Bequeathed by Richard Simmons, Esq.) 207 The Idle Servant. ...... Maes A kitchen maid has fallen asleep over her work ; before her on the floor are strewed various kitchen utensils ; and on a cupboard behind her, a cat is in the act of stealing a duckling ready trussed for cooking. Another servant standing by her side with a beer-kvulk in her hand, is smiling at the disorder around. In an inner apartment in the back-ground, the family is seen at dinner. In this picture there is neither composition nor aerial perspective : the shadows are black, yet the lights are broad, clear, well coloured, and brilliant. Panel. 2ft. 3^in. by 1ft. 9 Jin. (Bequeathed by Richard Simmons, Esq.) 208 Landscape with figures — the finding of Moses Breenbery •* And the daughter of Pharaoh came down to wash herself at the river ; and ber maidens walked along by the river's side, and when she saw the ark among :he flags, she sent her maid to fetch it. And when she had opened it, she saw :he child; and, behold, the babe wept. And she had - compassion on him, and ;aid : this is one of the Hebrews' children. Then said his sister to Pharoah's laughter. Shall I go and call to thee a nurse of the Hebrew women, that she may lurse the child for thee ? And Pharaoh's daughter said unto her, Go. And the naid went and called the child's mother." — Exodus ii. 5 — 8. Is carefully done, in parts soft and heavy. The monuments are affectedly )laced for display : the figures are well drawn. Panel. 1ft. 4 Jin. by 1ft. 10 Jin. (Bequeathed by Richard Simmons, Esq.) J09 A rocky and woody Landscape with figures, representing the Judgment of Paris. The Figures by Cornelius Poelemberg ..... Both A beautiful scene, rich and most carefully executed ; too much so ; for every art, — sky, rocks, trees,— exhibits a perfection of pencilling that usurps the place f light : it wants masses of effect, but it is transparent and skilful. The subjccc Judgment of Paris) is ill chosen. Canvas 3ft. 3in. by 4ft. SJin. (Bequeathed t>y Richard Simmo HB NATIONAL GALLERY. 73 The Building of the Church was commenced in the tenth, and finished in the eleventh century ; the Campanile, which was commenced in the ninth, wa« not completed until the fourteenth century. Is not equal to the other specimens in the Gallery, and looks dirty ; it has» however, the merits of the master's effect and truth. Canvas. 2ft. 4in. by 3ft. lljin. (Bequeathed by Richard Simmons, Esq.) 211 A Battle — in the fore-ground a skirmish of Cavalry — a town burning in the distance . Hugtenburg Has life and action, but no delicacy ; nothing to engage our sympathies. Panel. 1ft. 4|in. by 1ft. llin. (Bequeathed by Richard Simmons, Esq.) 213 A Merchant and his Clerk — small full-length figures De Keyset A skilful, dry, detailed performance without keeping or discretion. The light on the legs is quite as bright as that on the face ; and the boots are more carefully wrought than the features : the composition and attitude take from an ill-chosen perspective ; it is like a very inferior Terburg. Panel. 3ft. |in. by 2ft. 3iin. (Bequeathed by Richard Simmons, Esq.) 213 The Vision of St. George — the knight in full armour lying asleep, attended on either side by a female figure. The back ground is a varied landscape . Raphael A careful stipply production like a very early performance, though in parts exhibiting the free, flowing, graceful forms and breadth of this great artist's mature works. The female figure on our right is beautiful in these respects, with a very pleasing countenance : nor is that on the left deficient in simplicity, truth, and sentiment. The sleeping Knight between them is very inferior ; the attitude is easy, but he is like a dull big schoolboy, and his dress is too dark for the har- mony of the composition. The colouring is otherwise good, and the draperies free from tlie stringy sharpness that might be expected in an early production, and which would be consonant with the timid composition, the punctured outline traced from the paper sketch in the same frame, and the unartistic landscape back ground, painted trom recollection, rather than directly from nature. Perhaps the great ma8ter, years after he first painted it, took it up again and improved some portions of the picture ; perhaps it was intended for an illustration to a printed book. Those who imagine that the large works alone of tne master display his merit, will not admire this miniature composition ; but to those who think that mind is both immeasurable and imponderable, it will give great pleasure. Engraved by L. Gruner, 1847. Panel. Tin. square. From the Borghese Palace. (Purrhased by Govern- ment from the Executors of Sir Mark Sykes, in 1847, fori;iOOO.) 214^ The Coronation of the Virgin . . Guido Bent (Bequeathed by William Wells, Esq., in 1847.) 215 Nymphs and Satyrs — not hung up Francu Wouters (Presented by Mr. M. Forster.) 216 A Landscape — not hung up . . Salvator Rosa (Bequeathed by her late Royal iii^ihness the Princess Sophia Matilda. [71 NATIONAL GALLERY. 217 Portrait of William WooUett, Historical Engraver to I His Majesty, born 17^5, died 1785 G. Stuart (Presented by Henry Farrer, Esq.) 218 The Adoration of the Kings . Baldassare Peruzzi (Presented by Edmund Higginson, Esq.) 219 The Dead Christ and Angels. . Gio. Antonio Ruzzi. (Presented by Sir W. C. Trevellynn, Bart ) PlUiSKNTED OR BEQUEATHED TO THE NATIONAL GALLERY, From iU Foundation in 1823, to the present year ^ 1848. Sir George Beaumont, Bart . prefd 16 Pictures. 1826 1 »» 1826 1 1827 William Wilkms, R.A . presented 1 1827 ^1 1 T 1 Til 1 1- 1 1828 I 1828 The Dowager Lad j Beaumont • . » . . presented o 1828 1 « T 1831 The Rev. William Holwell Carr . . . . bequeathed 3'i 1 » 1831 5 1835 James Forbes, Esq. . bequeathed 1 1835 1 1835 6 > r 1837 Lieut. Col. John Harvey OUney . . . , bequeathed 17 1837 1 1837 The admirers of John Constable, K A. . . presented 1 1837 1 > » 1837 1 1837 2 CarfooTis, 1838 9 Pictures. 1838 The Rev. Dr. Hawes, of Salisbury . . . . bequeathed 1 »• 1838 Charles, Lord Farnborough . bequeathed 15 '» 1839 Henry Gaily Knight ....... . presented 2 1839 1 1839 . presented 1 1841 The admirers of W. Hilton, R. A. . . , . presented 1 1841 1 1842 1 1842 The Governors of the Foundlmg Hospital ; deposited 1 1842 The Trustees of the British Museum • . . deposited 1 1 » 1843 . presented 1 1845 • bequeathed 1 11 1845 . presented 1 1 1 ;S45 . presented la ilto rt'liv-TO 1846 14 PictUTTS. 1847 • bequeathed 1 The Governors of the British Ins^ution • • presented e