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 https://archive.org/details/noticesillustratOOreve_0 
 
NOTICES . 
 
 ILLUSTRATIVE 
 
 DRAWINGS AND SKETCHES 
 
 OF SOME OP THE MOST 
 
 IN ALL THE 
 
 PRINCIPAL SCHOOLS OF DESIGN: 
 
 BY THE LATE 
 
 HENRY REVELEY, Esq. 
 
 LONDON: 
 
 SOLD BY LONGMAN, HURST, REES, ORME AND BROWN; AND 
 HURST, ROBINSON AND CO. ; AND ALSO BY J. RAW, IPSWICH. 
 
 1820. 
 
J. RAW, PRINTEUj IPSWICH. 
 
TO THE RIGHT HONOURABLE 
 
 JOHN FREEMAN MITFORD, 
 
 BARON REDESDALE OF REDESDALE, 
 
 IN THE COUNTY OF NORTHUMBERLAND, 
 A3 A TRIBUTE OF RESPECT TO HIS TASTE AND KNOWLEDGE 
 IN THE 
 
 FINE ARTS, 
 
 AND IN PLEASING RECOLLECTION OF THE UNINTERRUPTED 
 FRIENDSHIP THAT SUBSISTED BETWEEN HIS LORDSHIP 
 AND THE editor's FATHER, 
 
 THIS VOLUME, 
 
 IS, 
 
 WITH SENTIMENTS OF HIGH REGARD, 
 
 BY HIS VERY GRATEFUL AND AFFECTIONATE FRIEND, 
 AND DEVOTED SERVANT, 
 
 HUGH REVELEY,. 
 
PREFACE BY THE EDITOR. 
 
 At the instance of several Friends whose 
 judgment I respect, I have been induced to 
 submit the following Pages to the Public. My 
 motive for having so long withheld them, arose 
 from the incorrect, as well as incomplete, state 
 in which my Father's Work was unfortunately 
 left. The objections on the first ground, have 
 been, I trust, in some measure removed by the 
 hind assistance of a Gentleman,* not entirely 
 unknown to the literary world, who, partly 
 from a passion for the subject, and partly too 
 (I fatter inyself) from a friendly feeling to- 
 wards the Editor, has devoted himself, with 
 much zeal, to the revision of the MS. : those 
 which weighed upon my mind from the defective 
 state in which that MS. was found, have yielded 
 
 • Thoraat Green, Esq. of Ipswich. 
 
 a 
 
( vi ) 
 
 to the suggestion, that any original and authen- 
 tic information on a subject so little touched, could 
 scarcely fail to he willingly and indulgently 
 received. For myself I can only say, that if, 
 in editing these " Notices," I shoidd fortunately 
 he considered as instrumental in affording either • 
 gratification or instruction to the Lovers of the 
 Art, and, at the same time, in worthily comme- 
 morating my Father's taste in one of his favour- 
 ite pursuits, my warmest wishes on the occasion 
 will he fully accomplished. 
 
 HUGH REVELEY, 
 
 Bryn y Gwjn, Merionethshire, 
 
( vii ) 
 
 INTRODUCTION BY THE AUTHOR. 
 
 Different Publications by Mr. Pilkington,* 
 Mr. Struttjf the Hon. Horace Walpole^ and 
 Mr. GUpin,^ may justly be considered as having 
 furnished invaluable aids to Admirers and Col- 
 lectors in Two of the grand Divisions of the Art 
 of Design — those of Painting and Engraving ; 
 but I am aware of no general and popular 
 Work which professedly treats of the Third — 
 the Drawings and Sketches of the great Masters: 
 yet they well merit a distinct consideration. 
 Less costly and magnificent, but more commo- 
 dious and accessible than Pictures, less various 
 and abundant, but more select and appropriate 
 than Prints, they have specific recommendations 
 in their favour, which can rarely be claimed by 
 either of the two other species of productions. 
 Paintings are usually the elaborate result of 
 
 * Dictionary of Painters. t Dictionary of Engravers, 
 
 t Anecdotes of Painters ; and Catalogue of Engravers. J Essay on Prints. 
 
 a 2 
 
( viii ) 
 
 many particular Studies ; and though hkely to 
 abound, therefore, in those excellencies which 
 spring from deliberation and reflection, can 
 scarcely be expected to exhibit that air of spirit 
 and freshness which attends the immediate 
 transfusion of our first and favourite ideas 
 upon paper : Prints, being, for the most part, 
 merely copies from original productions, besides 
 occasionally deviating into incorrectness,* will 
 naturally incline to tameness and feebleness of 
 character ; and even when original, and executed 
 with the point, must be ill adapted to rival, in 
 ease, and freedom, and a vigorous expression 
 of the thoughts, delineations struck off with aU 
 the prompt alacrity of the pen, the pencil, the 
 crayon, and the brush : Drawings, whilst in 
 design, composition, effects of chiaro-oscuro, — 
 every thing, in short, but depth and force of 
 
 * I have a striking example of this description, now before me. In an • 
 Engraving, hy Fantetti, from a penned Sketch by RafFaelle, of the formation 
 of Eve out ol Adam, Eve is represented as standing nearly upright, and 
 looking down upim Adam with some degree of simplicity, and cerlaii ly with 
 little either of dignity or grace : whertas in the original Drawing by thi& 
 great master, which is in ray possession, the figure ol Ev& is considerably 
 taller, the head mure reclined, the proportion of the limbs more beautiful ; 
 and there is altogether a purity of design aiid eloquence of expression, of 
 vfbieh the Print conveys no idea whatever. 
 
( ) 
 
 colouring — they give the fullest scope to an 
 artist for the exhibition of his talents, are the 
 primary means to which he has naturally re- 
 course for " bodying forth " his conceptions as 
 they arise fresh and warm in the imagination ; 
 and will of course, where colouring is not his 
 particular excellence, possess an interest and 
 charm, a unity of thought and vigour of execu- 
 tion, which his more finished productions, en- 
 feebled, frequently, by subsequent revision, and 
 impaired, in many instances, by an ill-judged 
 compliance with the hasty strictures of friends, 
 are little likely to retain. It is thus that the 
 Sketches of Andrea Mantegna, Michael Angelo, 
 Giulio Romano, Polidoro, Baccio Bandinelli, 
 Battista Franco, Parmigiano, Vasari, Pietro 
 Testa, and Luca Cangiasi, by all competent 
 judges are decidedl}' preferred to their Paint- 
 ings ; and even in the Studies of the Caracci and 
 Guido himself, there is frequently a freedom, 
 and fire, and masterly daring, which we look 
 for in vain in their more laboured compositions 
 from the easel. How far such productions 
 transcend even the most spirited operations 
 
( X ) 
 
 with the point, will be immediately felt by all 
 who have had an opportunity of comparing — 
 (and no comparison can be fairer) — the Draw- 
 ings of Rembrandt with his Etchings. 
 
 The Polite Arts, accordingly, were no sooner 
 cultivated in Europe, than collections of Draw- 
 ings were formed. Vasari mentions his having 
 a large Volume full ; — a treasure of which we 
 may in some measure estimate the value, by 
 calling to mind the illustrious Artists with 
 whom he was contemporary and connected. 
 Cardinal Leopold, of Tuscany, collected many 
 Thousand Drawings by the greatest Masters, 
 from the age of Cimabue to his own time, which 
 he disposed in chronological order: this noble 
 Collection was preserved in the Arch-Duke's 
 Palace at Florence, in about one hundred Vo- 
 lumes. — Father Resta's Collection, which is said 
 to have been the finest in Europe, consisted of 
 Sixteen Volumes Folio : it was formed for the 
 Bishop of Arezzo ; was sold to Lord Somers ; 
 and has since been dispersed. — Benedetto Luti 
 died possessed of more than Fourteen Thousand 
 Five Hundred Drawings; which were purchased 
 
( xi ) 
 
 by a Mr. Kent, and sold in England. — M. Cro- 
 zat's Collection, the largest probably in the 
 world, consisted of about Nineteen Thousand 
 Pieces ; of w hich Mr. Richardson has observed, 
 that though many were slight, and others small, 
 all were good : the greater part of this Collection 
 was purchased by the Empress of Russia. 
 
 No mention is made of any considerable Col- 
 lection in England, till the reign of Charles the 
 1st, when the Earl of Arundel purchased, at a 
 vast expence, a large one abroad. Erom that 
 time, man) capital Drawings have been brought 
 here from different parts of Europe. — Sir Peter 
 Lely died possessed of a very fine Collection, to 
 the amount of about Three Thousand, which 
 were sold in 1681. — Mr. Richardson, Sen. left 
 Four Thousand Seven Hundred and Fifty, 
 which were sold in 1 747 for about £2060. His 
 Son's Collection was sold in 17721. — By the dis- 
 persion of these and many other valuable As- 
 semblages, several Collections are now formed, 
 which are truly magnificent ; particularly the 
 Royal one at the Queen's Palace, the Duke of 
 Devonsliire's, the Earl of Pembroke's, and INIr. 
 
( xii ) 
 
 Barnard's,* with some others that will be found 
 referred to, in the following Pages. The free 
 access which I have enjoyed, through the Hbe- 
 rality of some of the Proprietors and the friend- 
 ship of others, to several of these Collections, 
 added to the opportunities which have occurred 
 of inspecting, more cursorily indeed, but still 
 with the eye of a Collector, various others of 
 distinguished eminence abroad, have furnished 
 me with many scattered Notices ; which I pro- 
 pose to assemble and arrange, in the hope that 
 a Work may thus be formed, which, in the 
 present dearth of information on so interesting 
 a subject, will not be entirely unacceptable to 
 the Lovers of the Fine Arts, 
 
 As it has been customary for some Proprietors 
 to affix a stamped or written Mark to the Draw- 
 ings in their possession, and it may he gratifying 
 to Collectors to ascertain through whose hands 
 their acquisitions have passed, I have subjoined 
 a List of as many of these Symbols of appropri- 
 ation as I have been able to authenticate. 
 
 * The three first, are supposed to be the richest in fine specimens of the 
 Roman and Lombard School, of any in Europe. Mr. Barnard's magnificent 
 Coilfclion, consisting of about Seventeen Hundred Pieces, was sold in 1787. 
 
( xiii ) 
 
 Drawings in Charles Ist's Collection. 
 
 Supposed to be Prince Rupert's Mark. 
 
 Supposed to be the Mark of Pope Leo Xthj or the 
 Bp. of Arezzo. 
 
 Duke of Devonshire. 
 
 Duke of Argyle : (The Argyle Arms emblazoned.) 
 
 Thomas Howard, Earl of Arundel. — Nicholas Lahi- 
 ere, an Italian painter and musician, and an able 
 judge of handling, collected the greater part, and 
 added the name in a fine Italian hand. 
 
 CEC 
 
 Supposed to be the Mark of the Earl of Chol- 
 mondeley. 
 
 5L. 
 { 
 
 Lord Somers, often wrote a small letter with a 
 number following, on the front of Drawings in his 
 Collection. The greater part of this Collection was 
 formed by Father Resta for the Bp. of Arezzo ; on 
 whose death, Mr. Talman, then in Italy, purchased 
 it for Lord Somers. 
 
 Sir Peter Lely. 
 
 jI Mound 1 Sir Edward Astley ; whose Collection of 
 Star. ) Prints was mostly sold in 176O. 
 
 6 
 
( xiv ) 
 
 Sir Joshua Reynolds. — This Stamp was on eleven 
 hundred and sixty-three of his Drawings. 
 
 Philip Henry Lanchvinch^ Page to Charles Ist. 
 
 J^/C J Peter Mariette. 
 
 John Peter Zoomes, a Dutchman and Friend 
 of Rembrandt. 
 
 D 7 T f^ichard Houlditch, Esq. : he was a South-Sea Di-- 
 j\Xl. rector in the year 1720, and died in 1736. 
 
 Dr. Peter Silvester. 
 
 ^'7) '•T'^ Jonathan Richardson, the Father, a Por- 
 »^;;;X*<§s/' trait-painter ; upon the back of whose 
 *^ Drawings we usually find letters and 
 
 SO 
 
 figures, which refer to his poi'tfolios. 
 
 Jonathan Richardson, the Son; died 1771: his Collec- 
 tion was sold in 1772. 
 
 . Thomas Hudson, Portrait-painter, Son-in-law and 
 ^2^^^ Scholar of Old Richardson: died in 1779, aged 
 78 ; and his Collection was sold in the same year. 
 
 TH 
 
 VT -T Van Hawkins or Haaken, Hudson's drapery 
 Jjj^ painter. 
 
 Mr. Flink, a great Collector at Rotterdam. 
 
( XV ) 
 
 iMRj ■^^'^^^^■^ Rysbrack, a Statuary. 
 
 Nicolini Haym, a Musician — and ' Nicolini 
 \ LJ Haym ' written on the border and on the back of 
 ' J. 1100 of his best Drawings. 
 
 John Barnard, Esq. of Berkley Square, 
 <^^r Mr. Hone the Portrait-painter : he died in 1786. 
 
 C. Jennings, Esq. 
 
 X ^ Wm. Baillie, Esq. a Commissioner of Stamps, 
 r and an ingenious Engraver. 
 
 GK 
 
 Charlotois. 
 
 Gerard Reynts ; a Dutch Collector, who lived in 
 the reign of Charles 1st. 
 
 Clive. 
 
 John Talman ornamented the Drawings in his 
 Collection with burnished gold borders ; and some- 
 times with a gold Cypher of three T's. 
 
 Mr. Pond's Drawings had no Mark ; but on the back, 
 he often wrote "A Pond: true :" they were sold in 
 
 1759. His Prints had the annexed Mark. 
 
 h 2 
 
( xvii ) 
 
 INDEX. 
 
 A 
 
 Albano, Francesco ... ... ... ... 98 
 
 Angeloj Michael Buonaroti ... ... ... 25 
 
 Angelo, Michael di Battaglia ... ... ... 186 
 
 Appelman, Bernard ... ... ... ... 235 
 
 Asselyn, John ... ... ... ... 222 
 
 Avercamp, Henry ... ... ... ... 231 
 
 B 
 
 Backhuysen, Ludolph ... ... ... 275 
 
 Bandinelli, Baccio ... ... ... ... SQ 
 
 Barlow, Francis ... ... ... ... 199 
 
 Baroccio, Federigo ... ... ... ... 55 
 
 Barrett, George ... ... ... ... 267 
 
 Bartoli, Pietro Sante ... ... ... 142 
 
 Bartolomeo ... ... ... ... 226 
 
 Bassan, Giacomo ... ... ... ... 48 
 
 Berghem, Nicholas ... ... ... ... I90 
 
 Bernini, Lorenzo ... ... ... ... 120 
 
 Berretini, Pietro ... ... ... ... II6 
 
 Bischop, John de ... ... ... ... 145 
 
 Bloemart, Abraham ... ... ... 84 
 
( xviii ) 
 
 PAGE 
 
 Bloemen, called Orizonti ... ... ... 236 
 
 Bodewyns, Nicholas ... ... ... 245 
 
 Bol, John ... ... ... ... ... 206 
 
 Bolognese ... ... . ... ... ... 219 
 
 Borgognone ... ... ... ... 189 
 
 Boscoli^ Andrea .. ... ... ... 65 
 
 Both, John ... ... ... ... 218 
 
 Boucher, Francis ... ... ... ... 158 
 
 Bout, Francis ... ... ... ... 245 
 
 Brandi, Giacinto ... ... ... ... 139 
 
 Breemberg, Bartholomew ... ... 226 
 
 Breughel, John or Velvet ... ... ... 208 
 
 Bril, Paul ... ... ... ... ... 20T 
 
 Brooking ... ... ... ... ... 277 
 
 Brower, Adrian ... ... ... ... 125 
 
 Brun, Charles le .. ... ... ... 137 
 
 C 
 
 Cabel, Adrian Vander . . . . . . 229 
 
 Callot, Jaques . . . . . . , . lOg 
 
 Canal etti, Antonio . . . , . . . , 249- 
 
 Cangiasi, Luca ., .. .. .. 52 
 
 Cantarini, Simone da . . . . . . 89 
 
 Canuti, Domenico Maria . . . . . . 141 
 
 Caracci, Ludovico . . . . . . , . 64 
 
 Agostino . . . . . . , , 65 
 
 Antonio . . , . , . , . 67 
 
 Annibale . . . . . . . . Qs 
 
 Caravaggio, Polidoro di . . . . . . iQ 
 
 Caravaggio, Michael Angelo da ,. 86 
 
 Carre, Michael .. .. ., 239 
 
 Castiglione, Giovanni Benedetto . . , . 135 
 
( xix ) 
 
 FAGS 
 
 Cavedone, Giacomo .. .. .. 72 
 
 Cesari, Giuseppe . . . • . . . . 81 
 
 Chatelain, J, B. .. .. .. 252 
 
 Cheron, Louis .. 151 
 
 Cignani, Carlo . , . . . . . . 102 
 
 Cipriani, Giovanni Batista . . . . , . l62 
 
 Claude, de Lorraine ,. .. .. 212 
 
 Clerc, Sebastian le ,. 14S 
 
 Clovio, Giorgio Giulio .. .. .. 15 
 
 Cocque, Martin de., ,. .. 247 
 
 Conca, Sebastiano .. .. 154i 
 
 Coreggio, Antonio da . . . . . . 37 
 
 Cortese .. .. .. .. .. 189 
 
 Cortona, Pietro da .. .. .. .« Il5 
 
 Cozens, Alexander .. .. .. .. 259 
 
 Cresti, Domenico .. .. .. 73 
 
 Creti, Donato .. .. 150 
 
 Cuyp, Albert .. ». .. .. 220 
 
 D 
 
 Diepenbeck, Abraham .. .. .. 96 
 
 Diest , Adrian Van .. .. .. .. 236 
 
 Dietricy, C. W. E. . . . . . . . . 255 
 
 Dietzch, J. C. . . . . . . . . 257 
 
 Dolci, Carlo .. .. .. .. 134 
 
 Dolobel, Nicholas ... .. .. .. 230 
 
 Domenichino . . . . • . . . 74 
 
 Douw, Gerard .. .. .. .. 172 
 
 Dughet, Gaspar .. .. .. 217 
 
 Duraoutier ... . • . • . . 1 82 
 
 Durer, Albert .. .. 23 
 
 Dusart, Cornelius .. .. .. 128 
 
( XX ) 
 
 FACE 
 
 E 
 
 Edwards, George .. .. .. .. 204 
 
 Elsheimer, Adam . . . . . . . . 209 
 
 Everdingen, Aldert Van . . . . . . 226 
 
 F 
 
 Pacini, Pietro . , . , . . . . 70 
 
 Page, Raymond de la . . . . 146 
 
 Faithorne, William .. .. .. .. 171 
 
 Farinato, Paolo . . . . . . . . 60 
 
 Ferg, Paul Francis . . . . . . . . 243 
 
 Ferri, Ciro .. .. .. .. 118 
 
 Franco, Batista .. .. .. .. 41 
 
 Frye, Thomas . , . . . . . . 18S 
 
 G 
 
 Gabbiani, Antonio Domenico ., 105 
 
 Gainsborough, Thomas . . . . . . 259 
 
 Garofalo, Benevento . . , . . . 34 
 
 Garzi, Ludovico .. .. . . ,. 100 
 
 Gelee, Claude .. .. .. .. 212 
 
 Gemigniani, Ludovico .. 150 
 
 Gennari . . . . . . . . . . 78 
 
 Genoels, Abraliam . . . . . . . . 235 
 
 Ghezzi, Pietro Leone .. .. 178 
 
 Giordano, Luca .. ,. .. .. 119 
 
 Giorgione . . . . . . . . 28 
 
 Giulio, Romano .. .. .. ,, 13 
 
 Goltzius, Henry . . . . . . . . 80 
 
 Goyen, John Van .. ,. .. ,. 211 
 
( xxi ) 
 
 PAG K 
 
 Grimaldi, Francesco ,. .. 21.9 
 
 Grimm, Hieronymus . . . . . . 268 
 
 Guercino . . . . , . . . . . 76 
 
 Guido . . . . . . . . . . 87 
 
 H 
 
 Hackaert, John . . . . , . . . 232 
 
 Hagen, John Van . . . . . . . . 229 
 
 Hals, Francis . . . . . . . . 1 69 
 
 Hawken, Van .. .. .. .. 138 
 
 Hemskerk, Egbert, jim. . . . . . . 128 
 
 Hemskerk, Egbert, sen. . . . . , . 127 
 
 Heusch, Jacob de . . . . . . . . 237 
 
 Hobbema, Minderhout .. .. .. 223 
 
 Hogarth, William .. .. .. .. 159 
 
 Holbein, Hans . . . . . . . . 164 
 
 Hollar, Wencezlaus .. .. .. 192 
 
 Hondecooter, Melchior .. .. .. 195 
 
 Hondius, Abraham .. .. .. .. 195 
 
 Hoogstraeten, Samuel Van .. .. 124 
 
 I 
 
 Isman, J. .. ., .. .. .. 246 
 
 Jardin, Karel du .. .. .. .. I96 
 
 Jordaens, Jacob .. ,. .. .. 95 
 
 K 
 
 Kabel, Adrian Vander . . . . . . 229 
 
 Kneller, Sir Godfrey .. .. .. 176 
 
 Kuyp, Albert .. .. .. .. 220 
 
 C 
 
( xxii ) 
 
 PAGE 
 
 L 
 
 Laer, Peter Van .. • .. .. .. 187 
 
 Lambert, George .. ... .. .. 254 
 
 Lanfraiico, Giovanni . . . . . . 71 
 
 Lauri, Filippo .. .. .. 1S9 
 
 'Lely, Sir Peter . . . . . . . . 175 
 
 Lemens, Balthasar Van .. ., .. 142 
 
 Leoni. Ottavio .. .. .. .. l82 
 
 Lievens, John .. .. .. 170 
 
 Ligorio, Piero .. .. .. 15 
 
 Luiken, Jan . . . . . . . . 146 
 
 Luti, Benedetto .. .. .. 151 
 
 M 
 
 Mantegna, Andrea .. ,. 21 
 
 Maratti, Carlo .. .. 103 
 
 Mardio, Messio di . . . . . . 227 
 
 Marlow, William .. .. 251 
 
 Maturino . . . , , . . . 12 
 
 Mazzuoli, Girolamo , . . . , . 45 
 
 Mazzuoli, Francesco . . . . . . 42 
 
 Meer, Vander , , , . , . 238 
 
 Mellan, Claude .. .. ,. 155 
 
 Messio, di Mardio . , . . , . 227 
 
 Metzu, Gabriel .. .. .. 174 
 
 Meulen, Vander .. .. 194 
 
 Mieris, Francis, sen. .. .. ,. 173 
 
 Mireveldt, Michael . . . . . . 168 
 
 Mola, Pietro Francesco .. .. ,. lOO 
 
 Molyn, Peter .. ,. 233 
 
 Monamy, Peter ,. gyg 
 
 Mortimer, John Hamilton 161 
 
( xxiii ) 
 
 FACE 
 
 Moucheron, Frederick .. ., .. 23Q 
 
 Moucheron, Isaac , , . . . . S40 
 
 Murillo, Bartolome Estevan . . . . 131 
 
 Muziano, Girolamo .* 56 
 
 N 
 
 Neyts, A. E. . , . . . . 256 
 
 Nieulandt, William Van ., ,. 209 
 
 O 
 
 Oliver, Isaac .. .. .. l67 
 
 Oliver, Peter .. ,. .. l68 
 
 Orizonti .. .. 236 
 
 Ostade, Adrian Van .. 126 
 
 Ostade, Isaac Van . . , . , . 127 
 
 Oudry, John Baptist .. .. .. 201 
 
 P 
 
 Paduanino, il .. .. ,. 182 
 
 Palamedes, Anthony .. ,, 173 
 
 Palma, Giacomo, seru .. ., ,, sg 
 
 Palma, Giacomo, jun. . . , . , . gg 
 
 Pannini, Paolo . . . . . , 244 
 
 Parmigiano, il . . . . , . 42 
 
 Parrocel, Joseph .. ,. 197 
 
 Passeri, Giuseppe . . . . , . 106 
 
 Patel, Bernard .. ggg 
 
 Penni, Giovanni Francesco ., .. II 
 
 Perugino, Pietro . . . . S 
 
 Peruzzi, Baldassare . . . , , . 35 
 
 Pesaro, Simone da .. ,, gg 
 
 C 2 
 
( xxiv ) 
 
 PAG p. 
 
 Peters, Bonaventura . . . . . . 270 
 
 Pierino, del Vaga . . . . . . 19 
 
 Pietro, da Pietri .. .. .. 107 
 
 Pionibo, Sebastian del . . . . . . 30 
 
 Poelemburg, Cornelius .. ,. .. £10 
 
 Potter, Paui .. .. .. 193 
 
 Poussin, Nicholas .. .. .. 110 
 
 Poussin, Caspar .j .. .. 217 
 
 Primaticcio, Francesco . . . . . . 20 
 
 Procaccini, Camillo . . . . . . 62 
 
 Pupini, Biagio .. .. 21 
 
 R 
 
 Eademacker, Abraham .. .. .. 241 
 
 RafFaelle, di Urbino . . . . . . 5 
 
 RafFaellino, da Reggio ,. .. .. 59 
 
 Rembrandt Van Rhyn .. .. 121 
 
 Reni, Guido .. .. .. 87 
 
 Ribera, Josef .. 108 
 
 Ricci, Sebastiano . . . . . . 149 
 
 Ricci, Marco . . . , . . 242 
 
 Richardson, Jonathan .. .. 179 
 
 Ridinger, John Elias .. .. 201 
 
 Roghman, Richard . . . . . . 212 
 
 Romanelli, Giovanni Francesco . . . . 117 
 
 Roos, Philip ,. .. ,, 198 
 
 Rosa, di Tivoli .. .. .. I98 
 
 Rosa. Salvator .. .. 132 
 
 Rothtnhamer, John .. .. ,. 85 
 
 Rousseau, Jacques .. 227 
 
 Rubens, Peter Paul . . . . . . 90 
 
« 
 
 ( XXV ) 
 
 PAGE 
 
 Rysbrack, Michael .. ,, 156 
 
 Riiysdael, Jacob 224 
 
 S 
 
 Sacchi, Andrea .. 99 
 
 Saenredam . . . . • • • • 256 
 
 Salimbeni, Ventura .. .. .. 79 
 
 Salvator Ilosa . . . . . . 132 
 
 Salviati, Giovanni Batista . . . . 46 
 
 Salviati, Francesco . . . . . . 47 
 
 Sanzio, RafFaelle . . . . . . 5 
 
 Sarto, Andrea del . . . . . . 36 
 
 Sassoferrato . . . . . . 46 
 
 Schalcken, Godfrey .. .. .. 177 
 
 Scheilincks, William .. .. .. 230 
 
 Schidoni, Bartolomeo . . . . . . 82 
 
 Scott, Samuel .. .. .. 278 
 
 Seymour, James . . . . . . 203 
 
 Silvestre, Israel .. .. .. 228 
 
 Simonini, Francesco . . . . . . 202 
 
 Siranij Elizabetta . . , . , . ] 44 
 
 Smith, George . . . . . . 257 
 
 Snyders, Francis .. .. 185 
 
 Spagnoletto .. .. .. .. 108 
 
 Staevarts, Anthony .. ., .. 173 
 
 Stella, Jacques .. .. .. 115 
 
 Stork, Abraham .. .. ,. 276 
 
 Straeten, Nicholas Vander . . . . 243 
 
 Sueur, Eustace le .. .. 136 
 
 Swanefeldt, Herman .. .. », 215 
 
I 
 
 ( xxvi ) 
 T 
 
 Talman, John 
 Taverner, William 
 Tempesta, Antonio 
 Tempesta Peter Molyn) 
 Teniers, David, jun. 
 Testa, Pietro 
 Thornhill, Sir James 
 Tibaldi, Pellegrino ,. 
 Timoteo, di Urbino 
 Tintoretto, Giacomo 
 Titiano, Vecelli 
 TuU 
 
 U 
 
 Udino, Giovanni di . . . . . . 18 
 
 Vandermeer .. ,. ,. .. 238 
 
 Vanderbank, John .. .. .. 181 
 
 Vander Meulen, A. F. .. .. .. 194 
 
 Vandyck, Sir Anthony . . . , . . 93 
 
 Vanni, Francesco . . . . . . 83 
 
 Vasari, Giorgio . . . . , . 49 
 
 Velde, Adrian Van de . . . . , . 234 
 
 Velde, William Van de, sen. ,, .. 271 
 
 Velde, William Van de, jun. . . . . 272 
 
 Verdier, Francis . . . . , . 138 
 
 Vernet, Joseph .. .. .. 258 
 
 Veronese, Paolo . , , . , . 60 
 
 Vertue, George .. .. .. 180 
 
 Vecelli, Titiano .. .. 28 
 
 • • 
 
 • • 
 
 247 
 
 • • 
 
 
 250 
 
 • • 
 
 
 184 
 
 • • 
 
 • • 
 
 233 
 
 • • 
 
 • • 
 
 221 
 
 • • 
 
 • • 
 
 129 
 
 • • 
 
 • • 
 
 152 
 
 
 
 51 
 
 • • 
 
 • * 
 
 11 
 
 • • 
 
 • • 
 
 31 
 
 
 • • 
 
 28 
 
 ■ « 
 
 • • 
 
 251 
 
( xxvii ) 
 
 PAGE 
 
 Vinci, Lionardo di .. .. .. 1 
 
 Visscher, Cornelius ,. .. .. I70 
 
 Vitringa, W. .. .. ..271 
 
 Vlieger, Simon de .. .. 274 
 
 Vos, Martin de . . . . , . 50 
 
 Vroom, Henry Cornelius de . . . . 269 
 
 W 
 
 Waal, Cornelius de ... ... ... 186 
 
 Waterloo, Anthony ... ... ... 225 
 
 Watteau, Antoine ... ... ... 157 
 
 Wierix, John ... ... ... ll* 
 
 Wierotter, Francis Edmund ... ... 258 
 
 Worlidge, Thomas ... ... ... 183 
 
 Worrehuren ... ... ... ... 248 
 
 Wowermans, Philip ... ... ... 188 
 
 Wyck, John ... ... ... 200 
 
 Wynants, John ... ... ... 217 
 
 Z 
 
 Zachtleven, Herman ... ... ... 220 
 
 Zampicri, Domenico (Domenichino) ... ... 74 
 
 Zeeman, Reinier ... ... ... 270 
 
 Zuccarelli, Giacomo Francesco ... ... 253 
 
 Zucchero, Taddeo ... ... ... 57 
 
 Zucchero, Federigo ... ... ... 58 
 
MASTERS IN HISTORY 
 
 LIONARDO DA VINCI. 
 
 N. 1442. 
 D. 1520. 
 
 This celebrated artist may be regarded as the 
 founder of the modern school of painting. De- 
 riving little aid from the previous productions 
 of an art, which, from its revival by his feUow 
 coiuitryman, Cimabue, about two centuries be" 
 fore, still retained much of its original imperfec- 
 tion and uncouthness, he formed a style of his 
 own, incomparably more refined and elegant 
 than any thing which had yet appeared ; and 
 placed himself at the head of a long and illustrious 
 line of successors, few of whom, it may be pre- 
 sumed, would have attained the eminence they 
 did, but for the benefit of his precepts and 
 example. 
 
 Many of his drawings are preserved in the 
 first collections of Europe. — In the Ambrosian 
 library at Milan, are twelve large volumes of 
 
 B 
 
2 
 
 mechanics, which are considered as inestimable : 
 over them is an inscription recording, that James 
 1st of England, had offered three thousand 
 pistoles for one volume only.* In the same 
 repository is another volume of two hundred ca- 
 ricatures ; with about ten more, of miscellaneous 
 subjects.— In the Marquis of Casanede's collec- 
 tion, are sixteen of this master's cartoons, in 
 coloured chalks ; so admirable, that Raffaelle 
 himself copied them. — In the Royal collection 
 at the Queen's palace, in St. James' park, are 
 many fine ones ; particularly one of the Last 
 Supper, very highly finished in black chalk, 
 which has been engraved in JNIr, Rogers' Imita- 
 tions. Another folio volume of seven hundred 
 and seventy nine anatomical drawings, is in the 
 same noble collection : they were originally 
 collected by Pompeo Leoni, and are executed in 
 different styles ; many with a pen ; some, on 
 differently coloured paper, with red and white 
 chalk, or a metallic pencil ; and others, washed 
 and heightened : this volume, which belonged 
 
 * Mr. Evelyn, in his recently published Diary, observes on this subject, 
 (A. D. 1646) "My Lord Marshall himself told me, that it was he who 
 treated with Galeazzo" (tlie donor and author of the inscription) " for himself, 
 in the name and by the permission of the King ; and that the Duke of Feria, 
 who was then governor, should make the bargain : but my Lord, having 
 seen them since, did not think them of so much value." 
 
 Evelyn's Memoirs, p. 213. Eo, 
 
3 
 
 to Charles 1st, was preserved by the Earl of 
 Arundel, who carried it over to Antwerp with 
 him, at the beginning of Charles' troubles ; on 
 which occasion Hollar made many etchings from 
 it. — In the Duke of Devonshire's splendid collec- 
 tion, are forty small caricatures shghtly sketched 
 with a pen, many of which have been etched, 
 as imitations, by Count Caylus ; and others, of 
 an historical character, by S. Mulinari. — I have 
 also a highly finished portrait of himselt; in black 
 chalk ; with a most dignified expression of cha- 
 racter. 
 
 PIETRO PERUGINO. 
 
 N. 1446. 
 D. 1524. 
 
 A native of Perusia, applied himself with 
 
 indefatigable zeal to the attainment of perfection 
 
 in his art ; and placed himself, for this purpose, 
 
 under the instructions of Andrea Verocchio, at 
 
 Florence, an eminent designer, but bad colourist. 
 
 Perugino's abilities and diligence soon raised him 
 
 to distinction : but his surest and most lasting 
 
 claim to celebrity, arose unquestionably, from 
 
 B 2 
 
 1 
 
4 
 
 the honour he enjoyed of being the master of 
 Raffaelle ; whose transcendant genius speedily 
 outstripped the lessons of his instructor; and 
 enabled him richly to repay the attentions of his 
 guide, by affording him his invaluable assistance 
 in many of his Avorks. 
 
 The few drawings we meet with by Perugino, 
 are usually sketched with a pen, without any 
 cross hatchings. These are his first thoughts : 
 his more finished works are carefully shaded 
 with bistre, and heightened. In this style Mr. 
 Peachell has a capital drawing : the subject, is 
 the incredulity of St. Thomas : it consists of 
 thirteen figures ; and, considering the early stage 
 of the art, has great merit, with respect both to 
 composition and handling. — In Lord Hampden's 
 collection is a finished one of Christ bearing his 
 cross, with many figures. — There are imitations 
 of his works by Count Caylus, S. Mulinari, and 
 others. 
 
I 
 
 5 
 
 RAFFAELLE SANZIO DI URBINO. 
 
 N. 1483. 
 
 So superior are the productions of this won- 
 derful man to those of all other modern artists, 
 in ease, grace, dignity, expression of character, 
 and composition, that he is justly styled the 
 Prince of painters. His most celebrated works, 
 to borrow an expression from Sir Joshua Rey- 
 nolds in his Discourses, appear like the effect of 
 enchantment; and as if some superior genius 
 had struck them off at a blow. 
 
 Few private collections can boast of having 
 many original drawings by this master : many 
 bear the name ; but few deserve that honour, 
 being evidently done in imitation by his scholars, 
 among whom the most distinguished in this way 
 is Timoteo Di Urbino. — In the Royal collection, 
 among other unquestionable ones, are four which 
 deserve to be particularly noticed. The subject 
 of one, is Elymas the Sorcerer struck with blind- 
 ness; engraved, of the same size, by Silvestre 
 di Ravenna. Two others are the Miraculous 
 Draught of Fishes ; and Adam and Eve driven 
 
 out of Paradise, which has been engraved in 
 
 B 3 
 
6 
 
 Raffaelle's Bible : they are highly finished in In- 
 dian ink, and heightened in a masterly style. 
 The last, is the emblem of Hope, an elegant 
 female figure, in the finest taste of the antique : 
 she holds a flower in her right hand, and the 
 hem of her drapery with the other ; tripping 
 along with the most light and airy steps imagin- 
 able. — Many exquisite drawings by Raffaelle 
 enrich the collection of the King of France. — M. 
 Crozat possessed seven hundred and forty, attri- 
 buted to this master ; several of them, if we may 
 judge from the imitations, of superior excellence ; 
 but the most capital of all, a large Study with 
 the pen for his celebrated picture of the Transfi- 
 guration. — There are undoubtedly many other 
 originals in the different palaces at Rome : 
 Keysler, in particular, mentions one of the 
 Battle of Constantine, in the Borghese; from 
 which Giulio Romano painted in fresco, with 
 slight variations, his famous picture in the Va- 
 tican : this Mr. Richardson describes as being in 
 M. Crozat's collection ; and calls it the finest 
 di-awing in the world.— In the Bonfigliuoli palace 
 at Bologna is a capital one of the Slaughter of 
 the Innocents, framed and glazed, to preserve it 
 from the injuries of time : and Mr. Wright, in 
 his travels, mentions, that in Sig. Belucci's col- 
 lection was an original design for the picture 
 
7 
 
 ef St. Cecilia in the church of St. Giovanni in 
 Monte, varying a little from that celebrated 
 work, — In the Florentine collection of di*awings, 
 which compose one hundred and twenty large 
 volumes, are several which are esteemed origi- 
 nals : among these, is the principal group in his 
 picture of the Pest ; a Study for his Cartoon of 
 St. Paul preaching ; another, of Christ delivering 
 the Keys ; and a fourth, of a part of the Miracu- 
 lous Draught of Fishes. — In the Duke of De- 
 vonshire's splendid collection of drawings, are 
 nearly fifty by Ilaffaelle ; many of which are fine ; 
 and some, capital. One, of Constantine making 
 an Oration to his Troops, from which there is a 
 painting in the Vatican, is truly so : it was sold 
 at Sir Peter Lely's sale for one hundred pounds, 
 to JSI. Flink of Rotterdam ; whose collection, at 
 his death, was purchased by the Duke : the fi- 
 gures are outlined with a pen, shaded, heightened, 
 and highly finished ; but the white being some- 
 what changed, the effect is injured. In the same 
 collection is the original of the Madonna, painted 
 in the Palazzo Pitti at Florence, handled in a 
 similar manner ; a Study for the Dispute of the 
 Sacrament, executed with a pen ; the Head of 
 Pope Giulio the Ilnd, slight, but the size of life, 
 in red chalk on coloured paper ; the Study for 
 the upper part of the Transfiguration, and (in a 
 
8 
 
 separate drawing) two of the lower figures in the 
 same piece ; Mercury giving the cup of immor- 
 tality to Psyche, with the Cupid, as represented 
 in his picture of the Feast of the Gods ; another 
 of Mercury carrying Psyche to heaven ; the 
 Three Graces, in the same subject; and the 
 Twelve Apostles, as engraved by Marc Antonio ; 
 — all executed in red chalk, and highly finished. 
 — At the Earl of Besborough's, at Roehampton, 
 is a fine drawing by this master, consisting of 
 fourteen figures, highly finished and heightened, 
 but the subject unknown. — In Lord Hampden's 
 valuable collection are the following: the Slauffh- 
 ter of the Innocents, composed of nearly forty 
 figures, penned and heightened, and differing 
 considerably fi"om Marc Antonio's print; the 
 Title Page to Virgil ; the Baptism of our Savi- 
 our ; Justinian promulgating the Civil Law, 
 penned and washed ; and Joseph sold by his 
 Brethren, which is capital. — In Lord Frederick 
 Campbell's collection (which formed the reserved 
 part of the late Duke of Argyle's) is an exquisite 
 St. Cecilia, very highly finished in Parmigiano's 
 style of handling. — In 31r. Rogers' (for whose 
 Work it has been engraved) is ttie celebrated 
 drawing with a pen, of God the Father, pur- 
 chased at the sale of Mr. Richardson, who has 
 spoken of it with a rapture, which, admirable as 
 
9 
 
 the object of it unquestionably is, borders on 
 extravagance.* — Mr. Barnard, in his large and 
 valuable collection, has, among others, a Holy 
 Family with St. John, washed and height- 
 ened, corresponding with the picture in the 
 King of France's collection ; another of St. 
 John, in the same style of handling; and 
 the Study, for the Incendio del Borgo, of a 
 naked female figure carrying a pitcher, which 
 was formerly Dr. Mead's, and has been engraved 
 by Pond. — General Morrison has the Study, in 
 red chalk, of RafFaelle's Holy Family in the 
 Treasury at Loretto ; and a most elegant female 
 figure carrying a basket, heightened. — I am in 
 possession of four specimens by this master : the 
 formation of Eve, which has been alluded to in 
 the Preface : a group composed of Females, 
 Children, and a Satyr, at play : a Male and two 
 Females supporting Vases of Flowers — all exe- 
 cuted with a pen and bistre : and a Portrait, the 
 size of life, supposed to be his own, executed in 
 black chalk, with astonishing effect, and marked 
 with his autograph. — Among a few more draw- 
 ings by Raffaelle in England, I am informed 
 
 • "A man cannot look upon and consider this admirable drawing without 
 secretly adoring and loving the Supreme Being, particularly for endowuig 
 «nc of our own species with a capacity such as that of RafFaelle's." 
 
 C 
 
10 
 
 that the most capital are in the collection of the 
 Earl of Pembroke at Wilton. 
 
 Notwithstanding the various manners in which 
 Raffaelle's drawings are handled, the practised 
 connoisseur is seldom at a loss respecting their 
 originality : a peculiar touch and character run 
 through the whole ; as distinguishable and obvi- 
 ous, as the hand-writing of a constant corres- 
 pondent. In most of them, too, we may discern 
 a faint outline, sketched with black-lead or chalk, 
 evidently prior to that with which he finished 
 the drawing. Many prints have been engraved 
 as imitations by Count Caylus — S. Mulinari — 
 M. Pond — Robert — Ryland, in IVIr. Roger's 
 Work — ^Prestel — and other Engravers. 
 
11 
 
 TIMOTEO DI URBINO, called BELLA 
 VITE. 
 
 N. 1470. 
 D. 1524. 
 
 Made such an early progress in his profession, 
 that Raffaelle invited him to Rome, and pre- 
 vailed on him to become his assistant : here he 
 improved exceedingly ; and painted some grand 
 Compositions in conjunction with that master. 
 
 His drawings are scarce : they are usually " 
 executed with a free pen ; and so much in Raffa- 
 elle's style of handhng, that they frequently 
 pass as the productions of that master. There 
 is a specimen of his manner in the Crozat collec- 
 tion : the subject, is Moses saved by Pharaoh's 
 Daughter. 
 
 GIOVANNI FRANCESCO PENNI. 
 
 N. 1488. 
 D, 1528. 
 
 Called il Fattore, from being entrusted with 
 the management of Raffaelle's domestic affairs, 
 was a native of Florence ; and becoming, when 
 very young, a disciple of that great artist, pur- 
 sued his profession with an ardour which soon 
 rendered him eminent in history, portraits and 
 landscapes. 
 
 c 2 
 
12 
 
 His manner of drawing was in imitation of 
 Raffaelle's : and this he never altered ; so that 
 many of his productions are mistaken for those 
 of his master. — In the Royal collection are a few 
 by Penni, which have great merit; and Mr. 
 Barnard has a beautiful one of Jupiter and Juno, 
 highly finished with wash, and heightened : but 
 one of the finest I have seen, is in the collection 
 of Lord Frederick Campbell — the Birth of St. 
 John, in bistre-wash, and heightened. — INIr. 
 Peachey has likewise a captivating Holy Family, 
 in the same manner. 
 
 MATURING. 
 
 N. 1490. 
 D. 1527. 
 
 A Florentine ; was the disciple of Raffaelle^ 
 and the inseparable companion of Polidoro di 
 Caravaggio. Although the generality of his 
 works are copied from the antique, there is 
 often an originality in his composition, which is 
 pleasing. 
 
 His drawings are usually penned, and washed 
 with great care : his outhne is very correct ; and 
 his style of handling bears so close a resemblance 
 to that of Giulio Romano, that it is often diffi- 
 cult to distinguish their productions. 
 
13 
 
 GIULIO ROMANO. 
 
 N. 1492. 
 D. 1546. 
 
 The favourite and best disciple of Raffaelle, 
 was a native of Rome ; and is said to have im- 
 bibed his classical taste and poetical imagination, 
 from a frequent perusal of the works of Homer. 
 
 His drawings in general are executed in much 
 
 the same style of handling as Raffaelle's, but are 
 
 very inferior in point of grace, dignity, and 
 
 charm of composition ; though they are stiU 
 
 greatly preferred to his pictures, which are iU- 
 
 coloured. — The best of his drawings are said to 
 
 be at JNIantua, where he resided some years. — In 
 
 the Royal collection are several very fine ones. 
 
 — The Duke of Devonshire has many ; among 
 
 which is a capital one of the Centaurs and Lapi- 
 
 thas, penned. — In Lord Hampden's collection is 
 
 a most beautiful figure of a Boy carrying a Bra- 
 
 sier with fire in it, washed with bistre, and 
 
 penned ; and another of Regulus in the Cask, 
 
 with figures, which has been engraved. — Lord 
 
 Frederick Campbell has twenty, very fine, from 
 
 the antique : and Mr. Barnard has, among 
 
 others, a capital circular one, which has been 
 
 c 3 
 
14 
 
 engraved. — In my own collection is a Sleeping 
 Boy in bistre, shaded with a fine effect of chiaro- 
 oscuro : and a large Upright, of a Triumph of 
 Bacchus, slightly executed in pen and bistre, 
 but with a classic elegance of design, and un- 
 common richness of composition. — A favourite 
 method of designing, with Giulio Romano and 
 many of the old masters, was this : having 
 sketched the subject upon thin paper with char- 
 coal, they rubbed the same substance over the 
 back ; then placing the sheet thus prepared upon 
 fresh paper, calked the design upon it with a 
 metallic style ; and finished the impression thus 
 taken off, by shading, either with the same 
 substance, or some wash, which was usually 
 brown, — There are imitations of his style in 
 Pond's, Rogers', and the Crozat works ; and by 
 Scacciati, Hollar, Prestel and others. 
 
15 
 
 PIERO LIGORIO. 
 
 N. 1493. 
 D. 1573. 
 
 A Roman ; was a disciple of Giulio Romano, 
 and particularly eminent as a designer. — In the 
 King of Sardinia's collection, are whole volumes 
 of his drawings ; but they are otherwise extreme- 
 ly scarce, and highly valued. — A very fine 
 Allegorical Piece, with several figures, correctly 
 drawn, and in a grand style, is in the Duke of 
 Devonshire's collection : it is penned, washed, 
 and heightened, in a bold manner. 
 
 GIORGIO GIULIO CLOVIO. 
 
 N. 1498. 
 D. 1578. 
 
 A native of Sclavonia ; went young to Rome, 
 and devoted himself entirely to painting, in 
 miniature, both history and portraits. Vasa,ri 
 mentions his works with rapture ; and dwells 
 particularly upon their exquisite finish. 
 
 The few drawings we meet with by him, are 
 usually Portraits in black and coloured chalks, 
 highly wrought up. One of the finest in this 
 style, is the Head of Dante, crowned with 
 laurel, in Lord Hampden's valuable collection. 
 
16 
 
 POLIDORO DI CARAVAGGIO. 
 
 N. 1495. 
 D, 
 
 A disciple of Raffaelle, and one of his princi- 
 pal assistants at the Vatican, designed in a great 
 style. His best drawings are after the antique : 
 but even those of his own invention, are in 
 higher esteem than his paintings, on account of 
 the disagreeable darkness of his colouring.* He 
 had many different manners of handling : some 
 of his drawings are penned ; others are washed 
 and heightened upon coloured paper ; and many 
 are shaded with bistre, and the figures firmly 
 outlined with a pen. — In the set of drawings of 
 Raffaelle's school in the Royal collection, are 
 some by Polidoro, of great merit ; and particu- 
 larly, several Vases, outlined with a pen and 
 washed with brown, which have been engraved. 
 — The Duke of Devonshire, among many, has 
 a large and capital one, of the Rape of Helen,^ 
 executed with a pen, heightened, and highly 
 
 • Ricliardson observes, " that Polidoro, upon paper or in chiaro-oscuro, ij 
 <Mie ot the foremost in tlie school of RafFaelk ; but give him colours, and you 
 remove hira back many degrees." p. 214. 
 
17 
 
 finished. — In Lord Hampden's collection, is a 
 magnificent frieze in five parts, in the same style 
 of handling, which has been engraved by Golt- 
 zius. — Sir Abraham Hume has a volume of 
 about sixty pieces, many of which are very fine. 
 — Mr. Barnard has some that have been brilliant- 
 ly touched upon and heightened by Rubens, 
 which are very capital indeed. — I possess a long 
 drawing of part of a frieze, being a Triumphal 
 Procession of Children : and a large Upright of 
 the Triumph of M. Aurelius, in bistre-wash, 
 highly finished, and which has been engraved 
 of the same size. — The few imitations we meet 
 with of this master's drawings, are engraved by 
 S. JNIuHnari — Andrea Andreani — and Pond. In 
 Mr. Rogers' Work is the Birth of Jupiter, fi-om 
 an antique basso-relievo, outlined with a pen 
 and washed with bistre. 
 
 D 
 
18 
 
 GIOVANNI DI UDINO. 
 
 N. 1494. 
 D. 1564. 
 
 Whose real name was Nanni, was one of 
 Raffaelle's scholars; and excelled in painting 
 grotesque ornaments, composed of animals, birds, 
 fruits, flowers, &c. The drawings we meet with 
 by him (which are few) are usually executed 
 with a free pen. — In the Crozat collection were 
 some fine ones : and Mr. Barnard has two Birds, 
 that are admirable. — We now and then see some 
 attempts of this master at historical subjects ; 
 but in this line he was as inferior to the other 
 scholars of Raffaelle, as he was superior to all 
 the world in his own ; in which he is allowed to 
 have surpassed the antients themselves, in some 
 of their principal excellencies. — The few imita- 
 tions we have of his drawings, are executed by 
 Count de Caylus, C. Knapton in Pond's Work, 
 and a few old Engravers. 
 
19 
 
 PIERINO DEL VAGA. 
 
 N. 1500. 
 D. 1547. 
 
 Was born in Tuscany of mean descent, but 
 early in life shewed a great genius for his pro- 
 fession ; and of aU Raffaelle's scholars, approached 
 the nearest to the style of his master. — Few of 
 the drawings we meet with by this artist, are 
 from his own ideas : in general they are taken 
 from the works of others, or from the remains 
 of antient sculpture in and about Rome ; but 
 with alterations of his own, so that many have 
 the appearance of being originals, — In the Royal 
 collection are some which are fine : and the Duke 
 of Devonshire, among several, has a capital one 
 of the Feast of the Gods ; consisting of many 
 figures, penned and washed on coloured paper. 
 —Mr. Barnard has likewise a fine spirited Rattle 
 Piece, penned and washed with bistre, which is 
 engraved in Mr. Rogers' Work. — There are 
 other specimens in the Crozat collection. 
 
 D 2 
 
20 
 
 FRANCESCO PRIMATICCIO. 
 
 N. 1490 . 
 D. 1570. 
 
 . Was a native of Bologna, of noble descent ; 
 and became Giulio Romano's best scholar. He 
 was employed by Francis the 1st, in the decora- 
 tions of his palaces ; and to him the French are 
 indebted for their first taste in the art of design. 
 — Some of his best paintings (of which Lord 
 Hampden has the drawings in red chalk) are in 
 the palace of Fontainbleau ; but at present they 
 are so much damaged from neglect, that it is 
 difficult to judge of their original merit. 
 
 There are several of his drawings, extremely 
 fine, in the Royal collection, as well as in that 
 of the Duke of Devonshire : they are slight, 
 and handled in red chalk, after the maimer of 
 Lord Hampden's.— Mr. Richardson mentions 
 his having seen a very fine one in the late Mr. 
 Fl ink's cabinet at Rotterdam, of Hercules and 
 Dejanira in the Grotto, in two several beds, as 
 preparing to celebrate the Feast of Bacchus ; 
 with attendant figures carrying lights, &c. — 
 Imitations of this master's style of drawing are 
 very scarce. 
 
BIAGIO PUPINL 
 
 A Bolognese, who flourished about 1530, was 
 an eminent painter, and generally imitated the 
 style of Raffaelle and Parmigiano, with great 
 success. — His drawings are in general highly 
 finished with pen and wash, and heightened, on 
 coloured paper ; and possess a considerable degree 
 of merit. 
 
 ANDREA MANTEGNA. 
 
 N. 1451. 
 D. 1517. 
 
 Was a native of INIantua, of mean parentage, 
 
 but possessed with a fervent passion for the arts. 
 
 He formed his taste principally from the antique, 
 
 which he studied with enthusiasm ; so that his 
 
 pictures are rather cold and hard, and his pencil 
 
 stiff. His chief excellence consists in correctness 
 
 of design ; — a striking feature in his drawings, 
 
 which are usually executed with a firm broad 
 
 pen. — There are several fine ones in the Royal 
 
 collection ; but the most capital piece I have 
 
 D 3 
 
92 
 
 seen, is in the possession of the Duke of Devon- 
 shire : it is large ; and the subject, the Sea-Gods 
 riding in Triinnph on the Ocean ; handled in a 
 most masterly style, and abounding with fire 
 and spirit.^ — Mr. Barnard has a Cup, very highly 
 finished with a pen, which has been engraved 
 by Hollar ; and a large allegorical piece from 
 Liucian's description of a Painting by Apelles, 
 representing his being brought before King Pto- 
 lomy on a charge by his rival Antiphilus of 
 conspiring against that monarch's life, and in 
 whose presence he is attended by Mistrust, Ig- 
 norance, Envy, Calumny, Innocence, Deceit, 
 Villainy, Penitence and Truth. This drawing 
 was held in such high estimation by Rembrandt, 
 that he made a copy from it, which enriches the 
 same collection.* — I have a Battle of Sea-Gods, 
 fighting for their Nymphs, highly finished ; 
 much in the style of his well-known and ad- 
 mirable etchings. — There are imitations of Man- 
 tegna's drawings by Andrea Andreani, and 
 other old Engravers. 
 
 These drawings were sold in February 1787 by auction for fifteen guineas. 
 
S3 
 
 ALBERT DUKER. 
 
 N. 1471. 
 D. 1528. 
 
 A native of Nuremburgh, painted landscapes 
 and portraits as well as history ; etched ; engra- 
 ved both on copper and wood ; and possessed an 
 intimate acquaintance with every branch of the 
 art, on several departments of which he wrote 
 learned Treatises. Composition he understood 
 perfectly, and he drew with tolerable correctness ; 
 but his figures are devoid of grace and dignity, 
 and we see but little of effect in any of his 
 works. 
 
 His drawings, which are scarce, have not 
 much to recommend them. They are in general 
 upon coloured paper ; and are stiff and laboured. 
 He outhned and shaded the dark side of his fi- 
 gures with a pen ; the light sides are stroked 
 with white ; and the distances are by no means 
 well preserved. Notwithstanding these defects, 
 there is a degree of merit throughout, beyond 
 tvhat we should expect fi-om so early a master, 
 and one who had received only a German edu- 
 
24 
 
 cation. — I have a fine drawing attributed to him, 
 which came out of Mr. Richardson's collection, 
 in the above style of handling : the subject, is a 
 Pope, attended with seven figures carrying 
 Banners, &c. allaying the fury of a Plague ; 
 various dead bodies are scattered at different dis- 
 tances, and some are in the act of being conveyed 
 out of a town. To this I have since added ano- 
 ther, much finer, representing the Mockery of 
 our Saviour ; entirely executed with a pen, and 
 very highly finished. — We meet with very few 
 imitations of this master's drawings ; unless we 
 Consider as such, his wood engravings, which are 
 numerous. There have lately been some exe- 
 cuted by Adam Bartsch of Vienna. 
 
25 
 
 MICHAEL ANGELO BUONAROTI. 
 
 N. 1474. 
 D. 1564. 
 
 A native of Tuscany, excelled in sculpture, 
 painting, and architecture. Though nobly de- 
 jscended, his decided passion for design induced 
 his father to place him, at fourteen, under the 
 instructions of Domenico Ghirlandaio, the most 
 eminent painter then at Florence ; but his fervent 
 and daring genius soon burst the confines which 
 at that early period limited the art, and towered 
 at once, as to its native sphere, into that region 
 of the sublime and the terrible, in which he has 
 never been approached by any subsequent artist. 
 " He broke furiously" says Richardson (alluding 
 particularly to his celebrated figure of David with 
 a Sling, at Florence, and his stupendous picture 
 of the Last Judgment* in the Vatican) " through 
 the dry and stiff style of his predecessors ; and, 
 hke a flash of lightning, dazzled the world 
 with his great manner:" upon another occasion, 
 on the back of a drawing I have seen, he styles 
 him "the divine madman." Much of the grandeur 
 
 * As I stood before this picture, says a late traveller, ray blood chilled as 
 if the reality were before rae, and the very sound of the trumpet seemed to 
 pierce my ears. 
 
 E 
 
26 
 
 and elevation of his ideas may be ascribed, I 
 think, with probability, to his passion for the 
 poetry of Dante. 
 
 The original sketch for the Last Judgment, 
 is in the gallery of the Duke of Parma : and in 
 that of the Grand Duke of Florence, is another 
 large one, with figures eight inches high, which, 
 in point of design, is considered as superior to the 
 painting. — INIany detached figures of the same 
 subject are in different collections here : Mr. 
 Barnard has two ; one, executed with a pen, 
 suspected to be a copy ; the other, unquestion- 
 ably original and infinitely the finest, highly 
 finished in black chalk, representing the particu- 
 lar Daemon, with asses ears and entwined by a 
 serpent, to which the artist gave the likeness of 
 the Pope's Master of the Ceremonies. — In the 
 Royal collection, among many others, are four 
 very capital drawings of this master ; three of 
 which have been engraved by Bartolozzi : the 
 first is a Study, from an Academy figure, for a 
 Resurrection of Christ, highly finished in black 
 chalk ; the next, a Prometheus ; the third, an 
 emblematical piece of Ten Archers Shooting at 
 a Target placed against a Term, with a Cupid, 
 in red chalk ; and the fourth, likewise emblema- 
 tical, in the same style, consisting of twenty-six 
 Boys, with personifications of Gluttony and Fa- 
 
27 
 
 mine. — Mr. Lock has a very fine one, in black 
 chalk, of Jupiter and Leda, above eight feet 
 long by six high ; which has been engraved in 
 small by an old master.* — In Mr. Cosway's col- 
 lection is as admirable a drawing by this master 
 as can be seen : it represents the Head of Atro- 
 pos, one of the Destinies ; highly finished in 
 black chalk, with an expression of ferocity in 
 the countenance which is truly terrific : there is 
 an old engraving from it, with some variation ; 
 but it by no means does justice to the drawing 
 either in point of expression or effect. — It would 
 be endless to describe all the drawings I have 
 seen by this master, since such is their estimation, 
 that no choice collection is without some. — In 
 general they are executed with chalk or a vigor- 
 ous blunt pen ; and in either case are handled 
 with great care and precision : his outline is de- 
 termined and correct ; and every muscle is justly 
 and forcibly marked with cross hatchings ; al- 
 though many of his chalk drawings, merely 
 from being rubbed, exhibit the appearance of 
 having been afterwards softened by a stump. — 
 Imitations of his style have been engraved by 
 Mulinari and other old masters. 
 
 * It was sold by auction lately at Christie's in Pall Mall. 
 E 2 
 
28 
 
 GIORGIONE. 
 
 N. 1478. 
 D. 1511. 
 
 From his knowledge of the chiaro-oscuro, pro- 
 duced a veiy high rehef and most striking effects 
 m his paintings ; but in his drawings, we never 
 see any attempt of this nature. In general they 
 consist of Heads only, handled with a bold and 
 spirited pen ; and some have the addition of a 
 wash. — In this style are a few in the Duke of 
 Devonshire's collection ; which are the finest I 
 have seen. — Both his drawings, and the imita- 
 tions of them, are extremely scarce. 
 
 TITIANO VECELLI. 
 
 N. 1480. 
 D. 1576. 
 
 Who received instructions from Giorgione, 
 soon rose to distinguished eminence in history, 
 portraiture, and landscapes ; and attained a pu- 
 rity and truth of colouring, which have hitherto 
 stood unrivalled. It is to be lamented that this 
 excellence is never to be seen in his drawings : 
 
29 
 
 though in every other respect they have great 
 merit; and being at the same time rare, are 
 eagerly sought for by the connoisseur. They 
 are usually historical, or landscapes, shghtly 
 sketched with a spirited reed pen, so as instantly 
 to manifest the handling of a great master. His 
 most finished ones have the addition of a wash, 
 to produce some striking effect of chiaro-oscuro : 
 — an accident which I have never seen more 
 finely expressed, than in a large upright drawing, 
 in my own collection, consisting of three figin-es 
 by Lamp-light. — In Mr. Barnard's collection is 
 also a capital Landscape, washed with bistre, 
 which has been engraved by Grimaldi. — The 
 Duke of Devonshire has two Studies, penned, 
 of Holy Families, which are very captivating : 
 and Titian's own Portrait, in black chalk, upon 
 grey paper. — Lord Hampden has likewise a fine 
 penned Landscape, with a beautiful Female 
 figure, having a Mandoline in her hand, lying 
 at length on the foreground. — There are some 
 of his drawings in the collection of the King of 
 France ; particularly a penned one, of a IMerry- 
 making, on three large sheets of paper, which is 
 highly esteemed. — Imitations of his style have 
 been executed by Andrea Andreani, and other 
 old masters ; as well as in Mr. Rogers' Work. 
 
30 
 
 SEBASTIANO DEL PIOMBO. 
 
 N. 1485. 
 D. 1547. 
 
 A Venetian, acquired his style of colouring 
 under Giorgione ; and became eminent both in 
 history and portrait painting. 
 
 His usual style of handling in his drawings 
 (which are scarce) was with black chalk, much 
 after the manner of those by his friend INIichael 
 Angelo ; but some are executed with pen and 
 wash upon blue paper. — In this style is a very 
 fine one in the collection of Mr, Barnard. It is 
 the original design for the Altar Piece in the 
 Church of S" Maria del Popolo at Rome ; the 
 subject, the Adoration of the Shepherds. — There 
 are few imitations of this master's drawings to 
 be met with. 
 
n 
 
 GIACOMO TINTORETTO. 
 
 N. 1512. 
 D. 1594.. 
 
 A Venetian, acquired his style of designing 
 from IVlichael Angelo, and of colouring from 
 Titian. With such powerful assistance, added 
 to his great abilities and indefatigable zeal, he 
 could not fail of becoming a great artist ; and to 
 this he joined a rapidity of execution truly won- 
 derful, though, it must be confessed, with too 
 great a neglect in the expression of the passions. 
 
 His drawings are scarce, owing to his daring 
 habit of committing his first ideas at once to the 
 canvas, without any previous Study. The few 
 we meet with, are usually executed with great 
 spirit, and in a grand style, upon coloured paper, 
 and heightened. His slighter ones are merely 
 scribbled with a pen, with so many peiitimenti^ 
 that the intention, in many cases, is not easily 
 made out; and are evidently his first ideas, 
 thrown on paper nearly as fast as he conceived 
 them. Of this description I have one, formerly 
 in Mr. Pond's collection, consisting of eight fi- 
 gures, four of which are employed in the erection 
 
32 
 
 of a Cross. — In Mr. Barnard's collection is one 
 of the Virgin in the Clouds, with two figures 
 kneeling, done in turpentine on coloured paper. 
 — There are a few imitations of his style by Le 
 Sueur ; and in Mr. Rogers' Work is a Study for 
 a Crucifixion. 
 
 GIACOMO PALMA, the Old. 
 
 N. 1548. 
 
 Was a disciple of Titian ; whose style he so 
 closely copied, that his works in general are much 
 esteemed, though in design he was frequently 
 incorrect. 
 
 His drawings are very scarce. The few we 
 meet with, are usually executed in a slight 
 manner ; though Lord Hampden has a figure of 
 Christ in the INIanger, attributed to him, which 
 is tinted with great effect ; and Mr. Barnard, 
 the Incredulity of St. Thomas, with eleven 
 .figures, which is very masterly. 
 
33 
 
 GIACOMO PALMA, the Younger. 
 
 N. 1544. 
 D. 1628. 
 
 Was nephew to old Palma, and the disciple 
 of Tintoretto ; but studying afterwards the works 
 of Titian, he formed a manner which in some 
 measure combined the excellencies of both those 
 masters. 
 
 His drawings have great merit. They are in 
 a free slight manner: the figures are usually 
 outlined with a pen, and washed ; though others 
 are penned only, with a kind of ragged stroke : 
 his most finished ones are heightened ; and some 
 are handled in red chalk : but it is remarkable 
 that the extremities of his figures are scarcely 
 ever made out ; and there is a certain character 
 prevailing through the whole, by which they 
 are instantly recognized from those of any other 
 master. In 1764, by the sale of the Sagredo 
 collection, at IVIr. Longford's, more than three 
 hundred circulated among the Virtuosi : till then, 
 few of his drawings had been seen in England. — 
 One of the finest, the Saints worshiping Christ, 
 penned and washed with bistre, is in Mr. Bar- 
 nard's collection. — Mr. Peachey has a fine one, 
 
 F 
 
34 
 
 in his finished style, of the Woman accused of 
 Adultery : it consists of thirteen figures ; and 
 the subject is most beautifully treated. — I have 
 a venerable Head in red chalk ; the portrait of 
 his uncle, old Palma. — Many of his drawings 
 are inscribed with the date of the year and day 
 on which they were executed ; and some have 
 a short sentence alluding to the subject. — There 
 are imita:tions by Scacciati and others ; and Mr. 
 Rogers has one, in his Work, of the Woman 
 wiping Jesus' Feet with her Hair. 
 
 BENEVENTO GAROFALO 
 
 N. 14-81. • 
 D. 1559- 
 
 A native of Ferrara, received his first instruc- 
 tions from Domenico Laneto, an artist of some 
 credit. At the age of nineteen he went to Rome ; 
 where he scarcely suffered a day to pass without 
 making designs from the most celebrated Works 
 of Michael Angelo and Raffaelle — particularly 
 the latter, whom he studied so intently, that 
 his best pictures partake much of the design 
 and colouring of that great master. 
 
35 
 
 His drawings in this country are so extremely- 
 rare, that there are few opportunities of judging 
 of his style : they are mostly done on dark paper, 
 and heightened by fine strokes. — I have the 
 Descent of the Holy Ghost or Cloven Tongues, 
 on blue paper, heightened with white, highly 
 finished : and there is an imitation of another, in 
 Mr. Pond's Work, which is penned, washed and 
 heightened. 
 
 BALDASSARE PERUZZI. 
 
 N. 1481. 
 D. 1536. 
 
 A native of Volterra ; shewed an early genius 
 for painting, which he very assiduously cultiva- 
 ted ; and was particularly noted for imitating, 
 with great exactness, the different styles of the 
 most celebrated masters. 
 
 His drawings, which are very scarce in England, 
 are esteemed for their fine composition. In the 
 Crozat collection is a specimen of one, consisting 
 of figures with a Lion ; the subject, unknown : 
 
 it is penned, washed and heightened. 
 
 F 2 
 
36 
 
 ANDREA DEL SARTO. 
 
 N. 1488 . 
 D. 1530. 
 
 Possessed uncommon abilities ; and adorned 
 his native city, Florence, with many admirable 
 paintings. 
 
 His slighter sketches are executed with a small 
 pen : but his finished drawings are usually hand- 
 led with black and red chalk, so as to have the 
 effect of paintings ; and are highly esteemed. — 
 In the Royal collection are several by him, in 
 this style, which are beautiful ; but one, of the 
 Saints Protectors of Florence (from which there 
 is a painting in the Palazzo Pitti there) is capital. 
 — The Duke of Devonshire has a noble Head 
 of Giacomo Sansovino, the sculptor, with a 
 bonnet on, in black chalk; and Mr. Barnard 
 has two striking ones, of Herodias, in black, and a 
 personage unknown, in red chalk.— I have a Bag- 
 Piper in red chalk, with a cloak and bonnet on, 
 which was once Dr. Mead's, executed in a mas- 
 terly style. — Imitations of his drawings are very 
 scarce. 
 
 r 
 
37 
 
 ANTONIO DA COREGGIO. 
 
 N. 1494. 
 D. 1534. 
 
 The historical drawings of this renowned and 
 exquisite painter are usually executed, in a slight 
 manner, in red chalk ; and his portraits in cray- 
 ons. The outline of his figures is often incorrect ; 
 but the incomparable grace and beauty with 
 which they are invested, make one almost bhnd 
 to the defect. — In the Royal collection are a few 
 fine drawings by this artist ; and Mr. Richardson 
 possessed, among others, the Study for his celebra- 
 ted picture of the Notte at Modena.— About sixty 
 enrich the Crozat collection ; the most capital of 
 which are washed and heightened. — Mr. Cosway 
 has the Reading IMagdalene, in this style ; most 
 highly finished: the lower parts are somewhat 
 mutilated ; but the head, breast and arms appear 
 to be perfect. The picture is in the Grand 
 Duke's palace at JNIodena. — Mr. Biondi, the 
 painter, has a capital drawing, attributed to Co- 
 reggio, as highly finished as the above, and in 
 
38 
 
 the same style of handling, upon a brown ground, 
 representing an Angel offering a Bird to the 
 Child Jesus, who is on the Virgin's lap, attended 
 by St. John : the characters of the several figures 
 are most captivating. — In the Duke of Devon- 
 shire's collection are two beautiful Studies of two 
 Boys, done slightly with a pen and wash. — Mr. 
 Barnard has a Study for the Cupola at Parma ; 
 another, of Jupiter and Juno, in red chalk ; and 
 God the Father, supported by seventeen Angels, 
 highly finished, in red chalk also. — General 
 Morrison has some, in the same style of hand- 
 ling, which are exquisite. — -In my own collection 
 is a small red chalk sketch of an Angel convey- 
 ing a blessed Spirit through the air, of matchless 
 grace. — There are three specimens of his style 
 in Mr. Rogers' Work ; Captain Baillie has fa- 
 voured us with one, of a Group of Angels, in red 
 chalk ; and we have others by Scacciati. 
 
39 
 
 BACCIO BANDINELLI. 
 
 N. 1497. 
 D. 1559. 
 
 A Florentine ; eminent as a sculptor and 
 architect, was but an indifferent painter: his 
 drawings, however, have great merit. They are 
 chiefly Studies of the Naked, executed with a 
 firm, broad and bold pen : others are done in 
 chalks ; but those in the first manner are most 
 admired, being in a greater style: his figures 
 are often void of grace, and his composition is 
 seldom good ; but his knowledge of anatomy is 
 strongly marked in them all. — In the Royal 
 collection are about twelve of his pieces, penned, 
 which are extremely fine ; and in the Duke of 
 Devonshire's, is a penned figure of St. Jerome, 
 very masterly both in design and execution. — 
 Lord Hampden has a very capital representation 
 of the Death of Ananias, consisting of six and 
 twenty figures, handled with a pen, and possess- 
 ing the very unusual recommendation of being 
 extremely well composed. — Mr. Cosway, among 
 
40 
 
 others, has a fine upright drawing by this 
 master, penned, of naked figures dragging dead 
 Bodies off the Field of Battle : — and I have a 
 spirited sketch of Herculean figures in Procession, 
 in the same style. — Mr. Hervey has a most un- 
 common one, fi'om the subject, being a View of 
 the Cascade with the SibyU's Temple at Tivoli. 
 — Mr. Rogers has given us a specimen of his 
 style in an upright drawing of Two Lovers. — 
 In the Public Dining Room at Hampton Court, 
 over the chimney, is a Portrait of this artist by 
 Coreggio. 
 
41 
 
 BATTISTA FRANCO. 
 
 N. 1498. 
 D. 1561. 
 
 A Venetian ; was defective in colouring, but 
 his drawings are much esteemed. In general 
 they are Studies from the antique, or the works 
 of great painters ; and are executed, with the 
 utmost correctness, with a free small pen : but 
 when he copied the drawing of any artist, he 
 then imitated his style of handling so closely, 
 that the nicest eye is frequently deceived. Mr. 
 Richardson takes frequent opportunities of ex- 
 tolling the merits of Battista's drawings; and 
 those who have seen them, will scarcely think 
 his praises exaggerated. — In the Royal collection 
 are some fine ones : Lord Frederick Campbell 
 has others ; and Mr. Barnard has more : all hand- 
 led with a pen, and most of them taken from 
 the antique. — Mr. Rogers has given three speci- 
 mens of his style.* 
 
 G 
 
42 
 
 FRANCESCO MAZZUOLT, called IL 
 PARJMIGIANO. 
 
 N. 1504. 
 D. 1550. 
 
 Being but an indifferent colourist, he dedicated 
 the greatest part of his time to drawing and 
 etching. His taste of design is delightful ; and 
 his figures, in general, have a species of grace 
 and elegance seldom seen in the works of any 
 other master : though it must be confessed that 
 they are often affected ; and generally too tall 
 and slim for that standard of proportion which 
 we are taught to consider as the perfection of the 
 human form. 
 
 His drawings exhibit every mode of handling : 
 yet there is a prevailing character throughout, 
 which renders them easily distinguishable from 
 those of any other artist. Sometimes he finished 
 with a small pen, in black or red ink only ; to 
 others he added a wash ; and some are upon co- 
 loured paper and heightened : many are in red 
 and black chalk ; yet all exquisite in their several 
 styles. — Mr. Richardson mentions his having 
 seen, in the late Mr. Flink's collection, a capital 
 
43 
 
 and highly finished drawing, penned, washed 
 and heightened, of the Marriage of St. Joseph 
 and Mary : this noble piece is now in the collec- 
 tion of the Duke of Devonshire ; and I can 
 testify that a more exquisite production of the 
 kind was never seen : — it has been engraved. 
 In the same cabinet are many other fine ones ; 
 particularly a representation of the Worshiping 
 the Golden Calf, composed of many figures, uporL 
 coloured paper ; and an Adoration of the Shep- 
 herds, which has likewise been engraved. — In 
 the Royal collection are many beautiful Groups 
 and single figures, executed in different styles, 
 in four very small volumes, which belonged to 
 Charles the 1st. — Lord Hampden has the fol- 
 lowing, which particularly deserve notice : the 
 Martyrdom of Two Saints, with other figures : 
 the Adoration of the Magi , which has been en- 
 graved : the School of Athens, after Raffaelle, 
 in light pen and wash, described by llichardson : 
 the Battle, engraved in Pond's Work : and 
 another, highly finished upon grey paper, and 
 which has been engraved on wood by Parmigi- 
 ano himself, of an unknown subject, where a 
 Female figure, attended by an Old Man, is 
 pointing to the Virgin and Child, with Angels, 
 in the Clouds. — Among several in Lord Frede- 
 rick Campbell's collection, is a most captivating 
 
 G 2 
 
44 
 
 Female figure, supplying a Lamp •with Oil. — 
 Mr. Peachey has a very capital and highly fi- 
 nished drawing of a Decollation, consisting of 
 thirty four figures : — it came out of the Pamfili 
 palace at Rome, and has been etched by Parmi- 
 giano himself. — In Mr. Barnard's collection are 
 about fifty ; among which is a particularly fine 
 Study, in black chalk on blue paper, for his 
 picture of the Madonna della Rosa. — In my 
 possession is a Virgin and Child, full length, in 
 red chalk, highly finished ; which has been en- 
 graved, as an imitation, by Metz, — Specimens 
 of his style will be found in the Works of 
 Pond, Rogers, Captain BaiUie, Bossi, Parmigiano 
 himself, and the Wood Prints of many old 
 Masters. 
 
'4^ 
 
 GIROLAMO JMAZZUOLT. 
 
 Was the cousin and disciple of the last artist ; 
 and his principal merit consisted in imitating 
 the style and manner of his relative, though he 
 never attained that refinement of elegance by 
 which Parmigiano's works stand so peculiarly 
 distinguished. 
 
 His drawings, in general, are penned and 
 slight ; and sometimes, from similitude of design 
 and handling, pass for those of his master. — The 
 finest I have seen, is in Lord Hampden's collec- 
 tion, representing the Marriage of Joseph and 
 the Virgin, with nearly thirty figures ; executed 
 with the pen, in bistre, and heightened : it has 
 been engraved. — There are a few imitations of 
 this master's drawings by S. Mulinari, Adam 
 Bartsch, and others. 
 
46 
 
 GIOVANNI BATTISTA SALVI, called 
 SASSOFERRATO. 
 
 N. 1504. 
 D. 1590. 
 
 Acquired great skill under the instructions of 
 Francesco Penni : he then applied himself assi- 
 duously to studying the best works in Rome, 
 and attained such accuracy in imitating the 
 styles of the different masters, that his pictures 
 are often mistaken for the originals themselves. 
 
 Tlie few drawings we meet with by this 
 artist, are executed in black chalk on blue papCT ; 
 and highly finished. — Mr. Barnard has some, in 
 this style, which possess considerable merit : 
 and in the Royal collection is a volume full; 
 many of which are capital. 
 
47 
 
 FRANCESCO SALVIATL 
 
 R 151 0. 
 D. 156£ 
 
 A Florentine, was eminent both as an histori- 
 cal and portrait painter. In the early part of 
 his life he contracted a friendship with Vasari, 
 to whom he was indebted for the greatest part 
 of his professional knowledge; but afterwards 
 improved under the instructions of Baccio Ban- 
 dinelli. 
 
 His drawings are scarce ; and are usually 
 finished in black or red chalk, with considerable 
 effect. — In the Duke of Devonshire's collection, 
 are some Heads in red chalk : — Lord Hampden 
 has, among others, the Virgin and Child with 
 St. John, in a very captivating style : — and Mr. 
 Barnard, a beautiful representation, in black 
 chalk, of the Three Graces, after the antique. 
 
48 
 
 GIACOMO BASSAN. 
 
 N. 1510. 
 D. 1592. 
 
 Whose real name was Da Ponte, improved, 
 as a painter, by studying and copying the works 
 of Titian and Parmigiano at Venice ; though he 
 struck out a manner of his own, entirely differ- 
 ent from both. Peasants and villagers at work, 
 with cattle, which he touched with great cha- 
 racter ; and scriptural pieces, treated in the same 
 rustic style, were the subjects which he usually 
 handled : in these he displays much truth and 
 vigour of colouring ; but little of taste, expression 
 or elegance. 
 
 His drawings, which are scarce, are inferior 
 to his paintings. Those we meet with, are usu- 
 ally executed with a pen and wash upon blue 
 paper : they are slight, undetermined, and ge- 
 nerally incorrect in their outline. — In the Duke 
 of Devonshire's collection are a few in this style. 
 — Lord Hampden has one, tinted and highly 
 finished, attributed to this master ; it represents 
 the Staying of the Plague, and consists of fifteen 
 figures. — In Mr. Barnard's collection is an up- 
 right one of three figures, which is fine. — I have, 
 
49 
 
 likewise, a large Upright, representing a Patri- 
 archal Family, with their Cattle, Sheep, &c. 
 halting on a Journey : a Piper reclines in one 
 corner ; and the Patriarch himself raises his up- 
 lifted hands towards a hovering Angel. The 
 whole is forcibly executed with the brush alone, 
 in a very characteristic style, in brown wash ; the 
 distance only being faintly tinted with green. 
 
 GIORGIO VASARl. 
 
 N. 1512. 
 D. 1576. 
 
 Of Tuscany ; the well-known autlior of the 
 Lives of the Painters, possessed great learning 
 and abilities, and was eminent for invention ; but 
 being defective in colouring, his drawings are 
 in higher esteem than his paintings. These are, 
 however, very scarce : what we meet with, are in 
 general highly finished in bistre, and heightened, 
 Mr. Strange, the engraver, has a capital one in 
 this style, which was formerly in the Crozat col- 
 lection : the subject, is the Convocation of Cre- 
 mona, composed of nine figures, well grouped, 
 finely drawn, and with incomparable force and 
 truth of expression. — In the Duke of Devon- 
 shire's collection is an Allegorical piece, repre- 
 senting Justice, penned, and washed with bistre, 
 
 H 
 
50 
 
 MARTIN DE VOS. 
 
 N. 1520. 
 D. 1604. 
 
 Of Antwerp ; had a ready invention for history 
 and landscapes, and acquired some improvement 
 from studying the best works at Rome ; but he 
 is still deficient in grace and expression ; and 
 the style of the Flemish school may be observed 
 to predominate through all his works. 
 
 There are but few of his drawings in England. 
 Those I have seen, are executed with a pen, 
 and washed with a blue tint : the figures were 
 carefully outlined ; but tame and without ex- 
 pression. 
 
 PAOLO FARINATO. 
 
 N. 1522 . 
 D. 1606. 
 
 Of Verona ; had a fine taste of design and 
 happy invention, but was defective in the art of 
 colouring ; so that his pictures bear no competi- 
 tion with his drawings. These are usually done 
 upon coloured paper, washed, and heightened. — 
 
51 
 
 In the Royal collection is a folio volume of his 
 designs, mostly in this style, and possessing, in 
 general, considerable merit. — Mr. Barnard has 
 two, deserving particular notice : a St. Jerome, 
 which has been engraved by Kirkall ; and a 
 Virgin, the Saviour, and St. John, upon blue 
 paper, penned, washed, and heightened. — The 
 Duke of Devonshire has some in red chalk. — In 
 the Crozat collection we have a specimen of his 
 handling, engraved by Nic. le Sueur. 
 
 PELLEGRINO TIBALDI. 
 
 N. 1527. 
 D. 1600. 
 
 Of Bologna ; very early in life applied himself 
 to studying and copying the most distinguished 
 works in that city : he afterwards pursued the 
 same course at Rome ; where he acquired a force 
 of colouring and beauty of design, that raised 
 his productions into the highest estimation. 
 
 His drawings, which are extremely scarce, are 
 
 usually executed in red chalk. In the Royal 
 
 collection are a few, of this description ; and 
 
 among them, a fine Emblematical piece, which 
 
 has been engraved by Bartolozzi. 
 
 H 2 
 
52 
 
 LUCA CANGIASI. 
 
 N. 1527. 
 D. 1585. 
 
 A Genoese ; though a very indiiFerent colourist, 
 possessed a richness of invention, and facility of 
 execution, which enabled him to produce a pro- 
 digious number of admirable drawings. Of these 
 he was at first so careless, that he suffered his 
 family to light fires with them ; and we are in- 
 debted to his pupil Tavarone for saving many, 
 thus devoted, from the flames ; but finding at 
 length that he was not successful with the palette, 
 and that his designs were eagerly sought after, 
 he dedicated his time entirely to that branch of 
 the art. 
 
 His drawings are usually executed with a 
 blunt reed pen, in firm and determined strokes ; 
 though some are washed, and a few are upon 
 coloured paper and heightened. In general they 
 are slight : but those he sent as presents to his 
 friends, are more carefully finished ; and have 
 usually inscribed beneath, the address of the 
 persons to whom they were presented : of which 
 
53 
 
 description, I have one, of a Holy Family, ad- 
 dressed to his friend Arnolfino, a Lucca. His 
 figures are well designed, in a bold square* style, 
 with ample folds in the draperies. His small 
 groups, too, are well formed : but in large ones, 
 where the subject required subordinate masses, 
 he is often spotty ; and consequently defective 
 in harmony throughout. In his Battles, parti- 
 cularly, this defect is very conspicuous : but 
 here, though his horses, too, when introduced 
 are heavy and otherwise ill drawn, there is a 
 fire and spirit prevailing in every part, which 
 absolutely astonishes. He is often great in ex- 
 pression , and particularly happy in the art of 
 bold foreshortening. It is remarkable that in 
 all his figures the eyes are without balls. — There 
 are few collections without some of Cangiasi's 
 drawings. — In that of the Duke of Devonshire 
 is a fine one of a Venus and Cupid. — In Lord 
 Frederick Campbell's are an upright one of a 
 Young Man ; and the Martyrdom of St. Law- 
 rence, which is spotty. — Mr. Dalton, among 
 nearly thirty, has an upright one of a Noli JVIe 
 Tangere, in which the Magdalene is as graceful 
 a figure as ever came from the pencil of Guido. 
 
 * The excess of this quality, for which he has been sometimes censured, is 
 only seen in his small histoncal Groups i and then chiefly in the Heads o£ 
 his figures. 
 
54 
 
 — Mr. Cosway has a beautiful washed drawing 
 of a Cupid in the act of Stringing his Bow, 
 which has infinite expression ; and in point of 
 elegance of design, equals the finest conceptions 
 of Coreggio.— I have the same figure, on a larger 
 scale, slightly penned : and amongst many others 
 of great merit, some of the horrific kind, in 
 which the expressions of pain and agony are as 
 strongly marked as in the works of INIichael An- 
 gelo or Spagnoletti : particularly a large one of 
 the Vulture devouring the Liver of Prometheus ; 
 where the determined and correctly flowing line 
 of the figure, seems to have been formed at arm's 
 length, and may be said to resemble the flou- 
 rishes of a writing master. — There are specimens 
 of his style of handling in Jackson's, Pond's, 
 and Rogers' Works : others, of an antient date, 
 marked g g. — n f e. — p. s. r. (which is the mark 
 of Pietro Stefanoni) ; and some by S. Mulinari, 
 and Prestel. 
 
55 
 
 FEDERIGO BAROCCIO. 
 
 N. 1528. 
 D. 1612. 
 
 A native of Urbino ; was considered as one of 
 the most graceful painters of his time, both in 
 history and portrait. He endeavoured, as his 
 works manifestly evince, to imitate RafFaelle in 
 design, and Coreggio in colouring ; but the 
 muscular parts of his figures, are often over- 
 charged. 
 
 His drawings are much esteemed for correctness 
 of outline, and fine effect. — Some, of superior 
 excellence, are in the Duke of Devonshire's 
 collection : one, the giving Alms to the Poor, 
 with many figures ; and another, a noble figure 
 of St. Francis, deserve particular notice : they 
 are washed and heightened, in a masterly style. 
 — Lord Hampden has a most beautiful Boy's 
 Head, in coloured chalks, upon grey paper: 
 and JNIr. Barnard, a very spirited representation 
 of the Entombing of Christ, executed in pen 
 and wash on blue paper, which has been engra- 
 ved by Egidius Sadeler. — Mr. Cosway has an 
 Annunciation of the Virgin, washed and height- 
 ened, which is fine. 
 
56 
 
 GIROLAMO MUZIANO. 
 
 N. 1528. 
 D. 1590r 
 
 A native of Aqua Fredda in Brescia; by 
 studying with attention the most celebrated 
 works at Rome, became eminent in the different 
 departments of history, portraiture, and land- 
 scape ; but particularly the former, where he 
 has contrived very happily to blend the truth 
 and beauty of Venetian colouring, with the 
 grand style of design, and bold muscular ex- 
 pression, of Michael Angelo. 
 
 His drawings are very scarce. Mr. Barnard 
 has one of the Entombing of Christ, finished in 
 black and red chalk, with seven figures, which 
 is particularly fine. 
 
57 
 
 TADDEO ZUCCHERO. 
 
 N. 1529- 
 D. 1566. 
 
 Was a native of the Duchy of Urbino ; and 
 went, at the early age of fourteen, to study paint- 
 ing at Rome. Here he remained some time, in 
 such distressed circumstances, that to gain a 
 miserable subsistence, he was reduced to the 
 necessity of grinding colours for the shops : his 
 passion for the art, however, and eager ambition 
 to excel, overcame every difficulty ; and devoting 
 all his leisure moments to the study of the 
 antique and the best works of Raffaelle, he be- 
 came eminent in every branch of his profession 
 but that of colouring, in Avhich he never was 
 successful. 
 
 His drawings have considerable merit. They 
 are usually executed with a pen, and shaded 
 with bistre. — Lord Frederick Campbell has some 
 large ones in this style, which are very fine. — 
 Mr. Walpole has two, in colours, the Triumphs 
 of Virtue and Vice, which are capital. — Mr. 
 Barnard has a circular one of the Birth of Christ, 
 penned, washed and heightened, displaying great 
 ability. 
 
 I 
 
t 
 
 58 
 
 FEDERIGO ZUCCHERO. 
 
 N. 1543. 
 D. 1609. 
 
 The younger brother of Taddeo, had a still 
 greater genius for his profession, than the other ; 
 and rose to still higher reputation. 
 
 His principal drawings in England, are por- 
 traits ; which are usually executed with coloured 
 chalks. A capital one, in this style, is in the 
 Duke of Devonshire's collection ; and Mr. Horace 
 Walpole has several, of this description, which 
 are very fine. — The only historical piece I have 
 met with, by this master, is in the collection of 
 Mr. Barnard : it consists of many figures ; and 
 the subject, is the Introduction of a Nun. — In 
 the Crozat cabinet, were a hundred and twenty- 
 seven of his drawings, designed from the favour- 
 ite pictures he had seen in Italy : and M. Mari- 
 ette met with twenty-four, pourtraying the 
 wretched life of his brother Taddeo. — There are 
 specimens of his style in the Crozat work ; and 
 others by S. Mulinari and Scacciati. 
 
S9 
 
 RAFFAELLINO DA REGGIO. 
 
 N. 155 2. 
 D. 1580. 
 
 Was a disciple of Federigo Zucchero ; but 
 made so rapid a progress, that in the first year 
 his works were as highly esteemed as those of 
 his master. He coloured with a bold relief: 
 and that he designed correctly, is evident from 
 his finished drawings. These are extremely 
 scarce, and greatly valued. — The Duke of De- 
 vonshire has a fine one, of this description, 
 representing the Entombing of Christ, which 
 has been engraved by Andrea Andreani, in imi- 
 tation of the drawing, but on a larger scale. — I 
 have a semicircular one, consisting of eight fi- 
 gures : the subject, apparently, a High Priest 
 deliveriiiff the Infant Jesus into the arms of 
 another Priest, after the ceremony of Circum- 
 cision. 
 
 I 2 
 
60 
 
 PAOLO VERONESE. 
 
 N. 1532. 
 D. 1588. 
 
 Was contemporary with Tintoretto, and paint- 
 ed several pictures in conjunction with that 
 master, to whose style he in some degree assi- 
 milated his own. With little knowledge of the 
 chiaro-oscuro, and in general a considerable de- 
 ficiency of expression, there is, in his best works 
 at least, a magnificence in the design, combined 
 Avith a richness and harmony of colouring, which 
 captivate the eye, and almost overpower the 
 judgment. 
 
 He seldom painted a picture without first 
 making a drawing as a study : and this he often 
 carried to a high degree of finish. The figures 
 are generally outlined with a pen, then washed 
 with a light tint, and afterwards heightened 
 with white ; but in so particular a style, that an 
 effect of different gradations is produced, which 
 we seldom see in the drawings of any other 
 master. His sketches are usually very spirited ; 
 and executed upon blue paper, in Indian ink or 
 
61 
 
 bistre, without any previous outline. — Mr. Ri- 
 chardson gives an account of a magnificent 
 drawing by this master of the Feast of Belshaz- 
 zar, in Mr. Flink's collection ; consisting of nine- 
 ty-eight figures ; and executed upon a greenish 
 ground, washed and heightened. — In the Royal 
 collection, and that of the Duke of Devonshire, 
 are many excellent ones : but the finest I have 
 seen, is the property of Mr. Barnard, and repre- 
 sents the Virgin in the Clouds appearing to St. 
 Catharine ; executed with a pen, washed, and 
 heightened : — there is an engraving from it. — In 
 Mr. Rogers' Work is an imitation of one of his 
 sketches for the Magdalene anointing our Savi- 
 our's Feet, in the Refectory of the Padri Servi, 
 and wliich formed one of his four celebrated 
 Banquets, at Venice. It has been etched by Va- 
 lentine le Fevre, in two sheets ; and by N. Cochin, 
 in one. 
 
CAMILLO PROCACCINI. 
 
 N. 1546. 
 D. 1626. 
 
 A native of Bologna ; enriched Genoa with 
 many of his best pictures, among which is a 
 capital one of the Last Supper, particularly 
 esteemed for the correctness of its design — a 
 quality in which it is to be lamented that too 
 many of his works are defective. 
 
 His drawings have been rendered extremely 
 scarce by an unfortunate consignment of whole 
 ehests-full of them to Spain, where they have 
 never since been heard of. They are usually 
 executed with a free pen, and washed ; as may 
 be seen by an imitation of one, in Mr. Rogers' 
 Work, the subject of which is David marching 
 ■with Goliah's Head before Saul. — I have a beau- 
 tiful drawing by this master, of a Cupid over- 
 powering a Satyr. 
 
63 
 
 ANDREA BOSCOLI. 
 
 N. 1553. 
 D. l6oa 
 
 Of Florence; may be recorded as the first 
 artist who introduced into the Florentine School 
 of painting, a true knowledge of the chiaro- 
 oscuro. To a grand style of composition, he 
 united great freedom of execution ; and such 
 was his attention to nature, as the fountain-head 
 of art, that he was never without a pocket-book, 
 in which he sketched, at the moment, whatever 
 object presented itself of an interesting character. 
 
 The few drawings we meet with by this master 
 in England, are in general penned and washed 
 with bistre, in a bold but hard and rough style. 
 Of such. Lord Frederick Campbell has a few, 
 which are fine : and at Mr. JNIoser's sale there 
 were several from the antique, equally so ; two 
 of which are now in my possession.* 
 
 ' Mr. Green, of Ipswich, has a sketch, in this style, of a Saint kneeling 
 before an Altar, with a Procession in the distance ; very slight, but spirited 
 and forcible. Ed. 
 
t 
 
 64 
 
 LUDOVICO CARACCI 
 
 N. 1555. 
 D. 1619. 
 
 A native of Bologna ; having assiduously stu- 
 died the works of the best masters, endeavoured 
 to combine the captivating grace and elegance of 
 Coreggio, with that vigour and energy of style 
 which may be regarded as peculiarly his own. 
 
 His drawings, which are scarce, have great 
 merit. He in general carefully outlined his 
 figures with a fine pen, and washed with bistre : 
 at other times he drew upon coloured paper, 
 washed, and heightened : and frequently he 
 sketched upon parchment or paper, in oil, with 
 a brown tint, and heightened. I have a large one, 
 in this last style of handling, of the Slaughter 
 of the Innocents, which is very masterly : it 
 consists of nearly forty figures ; many of them 
 marked with admirable expression.— In the Duke 
 of Devonshire's collection, is the Ascension of 
 the Virgin, in a similar style of handling ; and 
 the same subject beautifully treated with a pen 
 and wash. There is another, of the Virgin and 
 Child, in black chalk, equally captivating. — Mr. 
 
65 
 
 Knight has the Virgin suckling the Infant Christ, 
 which is perfectly divine : it is executed with a 
 loose pen and wash ; and has been engraved by 
 I. C. I. 1625. — In Mr. Barnard's collection, is a 
 circular one of the Virgin and Child, on coloured 
 paper, washed and heightened, of great beauty. 
 — In Pond's and Rogers' Works, we have imi- 
 tations of this artist's style of handling. 
 
 AGOSTINO CAKACCI. 
 
 N. 1558. 
 D. 1602. 
 
 Acquired the greatest part of his knowledge 
 in the arts, under the instructions of his cousin 
 Ludovico. He was skilled in etching, poetry, 
 and music, as well as painting and drawing : 
 but in the latter department he particularly ex- 
 celled ; and gave a striking proof of it, while at 
 Parma, in a most magnificent copy from Coreg- 
 
 gio'§ celebrated Cupola in that city. 
 
 K 
 
66 
 
 The generality of his drawings, like his etch- 
 ings, are admired for the deUcacy of their outhne, 
 combined with the freedom of the handhna;: 
 they are usually executed with a fine pen, and 
 shaded with bistre ; but occasionally we meet 
 with them in red or black chalk. — In the Duke 
 of Devonshire's collection, is a large, though 
 sUght one, of the Communion of St. Jerome, 
 on green paper, washed and heightened. — Mn 
 Knight has the Finding of Moses, sketched with 
 a loose pen : — and Mr. Barnard, among others, 
 has the drawing which has been etched by Pond. 
 — In my collection is a large, bold, full-length 
 figure of Tiburzio Passerotti, in the act of colour- 
 ing; bearing date June 1577: the outline is 
 forcibly and freely drawn with a reed pen, in 
 bistre ; and the shadows are thrown in with a 
 brush and Indian ink. — There are imitations of 
 his style of handling in Mr. Rogers' Work. 
 
67 
 
 ANTONIO CARACCI. 
 
 N. 1583. 
 D. 1618. 
 
 Called II Gobbo ; was the natural son of A gos- 
 tino, under whose instructions, assisted by those 
 of the illustrious Annibale, he rapidly acquired 
 a proficiency, which makes every lover of the 
 art deeply regret the short time he was allowed 
 to exercise it. 
 
 His drawings are particularly scarce. The 
 only one I have ever seen, is in the Duke of 
 Devonshire's collection : the subject, is the Bap- 
 tism of the Eunuch ; with many figures : it is 
 of large dimensions ; washed and heightened, on 
 yellowish paper ; and has unquestionable merit. 
 
 K 2 
 
68 
 
 ANNIBALE CARACCI. 
 
 N. 1560. 
 D. 1609. 
 
 The drawings of this celebrated artist, as 
 might naturally be presumed, are, for the most 
 part, subservient merely to the various and 
 magnificent productions, in fresco and oil, with 
 which he has enriched the world of art, and im- 
 mortalised his reputation as a painter. They are 
 usually slight, but very masterly ; and more free 
 and loose in their execution, than those by Lu- 
 dovico or Agostino Caracci. He had several 
 diiferent styles of handling ; as pen and wash ; 
 pen only ; and black chalk on coloured paper, 
 heightened : in which last manner, Mr. Richard- 
 son particularly notices an incomparable drawing 
 of the Holy Family which he saw in Italy. — 
 In the Royal collection are many of his works ; 
 but one — the Study for his famous picture of 
 the Triimiph of Bacchus — of extraordinary merit : 
 it is about four feet long, by two high : the 
 figures have been first sketched out with black 
 chalk, and then touched with a spirited pen. — 
 The Duke of Devonshire has several fine ones : 
 — and Lord Hampden has the Dance which has 
 
69 
 
 been engraved by Pond. — His Studies for the 
 Farnese Gallery, which alone amounted to six 
 hundred, Avere in the Crozat collection. — His 
 landscapes are generally penned, with great 
 spirit and freedom. IVIany are in the collection 
 of the King of France : and imitations have 
 been executed of them by Corneille, JMasse, and 
 other engravers. — Mr. Barnard has a very fine 
 one, penned and washed, where figures are 
 dragging a Net : and a Portrait, as large as life, 
 in red chalk, of most masterly execution. — My 
 own collection is enriched, by a curious caricature 
 of " II Gobbo " standing at the Easel, outlined 
 in bistre and shaded with black, of which a good 
 imitation has been engraved by Pond : — by a 
 small, slight, pen-sketch of a INIagdalen : — an 
 enraged Lion, in the same style, boldly fore- 
 shortened : — a St. Francis receiving the Stigmata, 
 handled in bistre and red chalk, with astonishing 
 effect : — by a most masterly design, of large di- 
 mensions, of a Satyr, his Son, and Cupid, raising 
 a Boy upon a Goat's back, freely executed with 
 a reed pen : — and by a Landscape, in red chalk, 
 embellished with the figures of a Musician touch- 
 ing his Theorbo, and a train of Females designed 
 with uncommon grace and beauty. — There are 
 specimens of his style of handling, in Pond's and 
 Rogers' Works. 
 
70 
 
 PIETRO FACINI. 
 
 N. 1560. 
 D. 1602. 
 
 A native of Bologna ; was the disciple of An- 
 nibale Caracci. He had a lively invention ; was 
 a pleasing colourist, and a master of effect : but 
 is too often chargeable with incorrectness and 
 mannerism. 
 
 His drawings are very scarce. They are usu- 
 ally executed on coloured paper, washed, and 
 heightened. In this style I have somewhere 
 seen, a St. Francis at prayers, with God the 
 Father, and Angels, above; — a Study for his 
 celebrated picture in the Capuchin Church at 
 Bologna. 
 
71 
 
 CAVALIERE GIOVANNI LANFRANCO. 
 
 N. 1581. 
 D. 1647. 
 
 A native of Parma ; was at first the disciple 
 of Agostino, and afterwards of Annibale Caracci, ' 
 whose taste of design and style of colouring he 
 pursued with eager emulation ; and many of 
 whose works at the Farnese Palace he had the 
 honour of finishing, after Annibale's decease. 
 His subjects in general are grand, and he exe- 
 cuted with a ready and free hand ; but his 
 colouring is too black ; and he was not suffici- 
 ently skilled in the art of the chiaro-oscuro. 
 
 His drawings are extremely scarce. They 
 are either slightly penned ; or, when more 
 finished, handled in black or red chalk. — In the 
 Duke of Devonshire's cpllection, are a few in 
 this last style, which are very masterly. 
 
72 
 
 GIACOMO CAVEDONE. 
 
 N. 1577. 
 D. 1660. 
 
 A native of Sassuolo ; learned to design in 
 the school of the Caracci, as well as those of 
 Baldi and Passerotti ; and to perfect himself in 
 colouring, he studied the most capital works of 
 Titian at Venice. His best productions partake 
 of the merits of all these masters ; and form a 
 very agreeable compound of the several manners 
 of each. 
 
 We meet with few of his drawings in England : 
 in Mr. Barnard's collection, however, is a very 
 fine specimen of his powers, on the subject of 
 Abraham offering up his Son Isaac. 
 
73 
 
 DOMINICO CRESTI. 
 
 N. 1558. 
 D. 1638. 
 
 Called Passignano, from the place of his birth 
 near Florence, possessed uncommon abilities ; 
 but too often luxuriated in magnificent and 
 splendid compositions, which have an imposing 
 appearance at first view to the eye, but are des- 
 titute of those quaUties which secure a deep and 
 lasting admiration. 
 
 His drawings are extremely scarce. He out- 
 lined his figures firmly with a bold and deter- 
 mined pen, and washed with brown. At Mr. 
 Hillier's sale of prints and drawings, in February 
 1784, a fine one was disposed of, which is now 
 in my possession: it represents Sleep in the 
 arms of Night ; and has been engraved, in the 
 way of imitation, in Mr. Rogers' Work. 
 
74 
 
 DOMENICHINO. 
 
 N. 1581. 
 D. 1641. 
 
 Was born at Bologna ; and after having received 
 his first instructions in the art from Denis Calvart, 
 became a disciple of the Caracci ; under whose 
 guidance, assisting his natural genius by the most 
 intense application, he rose to the highest rank 
 in his profession ; and with respect to correctness 
 of design, elegance of forms, a just expression 
 of the passions, and felicity and grandeur of con- 
 ception, is regarded as second only to Raffaelle 
 himself. Nor was this all : in landscape painting 
 he towered, if possible, to still higher excellence ; 
 and his pure, sublime and classic scenery, enriched 
 with admirable figures, acquired him a reputa- 
 tion nearly equal to that which he derived from 
 the best of his historical compositions. 
 
 The drawings which express his first thoughts, 
 are executed with a pen, in a very slight and un- 
 determined manner:— Mr. Richardson calls them, 
 cliaracteristically enough, " spirituous scrabbles 
 and tliey certainly exhibit stroke upon stroke, 
 
75 
 
 in a manner so confused, as should seem to in- 
 dicate some degree of difficulty or hesitation in 
 giving forms to his ideas : but his more finished 
 pieces, which rarely contain above a single figure, 
 sometimes only the extremities of figures in 
 large, or bits of drapery, treated in black and 
 white chalk upon coloured paper, are handled 
 in a style incomparably more bold and determin- 
 ed ; and attest, at first view, the superior talents 
 of the artist. — In the Royal collection are up- 
 wards of seventeen hundred of his drawings, 
 bound up in large volumes. Many of these are 
 capital ; but one, in red chalk, of St. John des- 
 patching his two Disciples to ovn* Saviour, of 
 transcendant excellence : — it has been engraved 
 by Bartolozzi. — The Duke of Devonshire has a 
 Diana and her Nymphs, done slightly with a 
 pen and wash, of great beavity and grace.— 
 General IMorrison has two Landscapes, penne<J 
 on blue paper and heightened, which are very 
 masterly : — and Mr. Barnard has a grand Histo- 
 rical Piece in red chalk, which has been engraved, 
 as an imitation, by Captain Baillie. — In my own 
 possession is a rustic Female, pensively looking 
 down, with folded hands, finely executed in 
 black chalk upon brown paper. — There are seve- 
 ral imitations of his style in JVIr. Rogers' Work. 
 
76 
 
 GUERCINO. 
 
 N. 1590. 
 D. 1666. 
 
 Of Cento; though he studied long in the 
 school of the Caracci, refused to adopt their 
 style of colouring; and seduced by striking 
 effects, and popular admiration, attached him- 
 self, in preference, to the violent tones and 
 overcharged chiaro-oscuro of Caravaggio. 
 
 That Guercino's conceptions were generally 
 pleasing, often elegant, sometimes grand, is at- 
 tested by his numerous drawings ; which may 
 be found, and in considerable esteem, in every 
 respectable collection in Europe. — In the Royal 
 one at the Queen's palace, there are fourteen 
 large volumes full, besides many loose in port- 
 folios. They are executed in different manners : 
 some are in chalks ; others are penned ; and 
 many are washed and shaded with bistre, in a 
 masterly style. — Lord Frederick Campbell has 
 the capital Venus and Adonis with Cupids and 
 Dogs, finished in red chalk, which has been 
 engraved by Bartolozzi. — In Lord Hampden's 
 
77 
 
 collection is Herodias and her Daughter, with 
 John the Baptist's Head ; and the Boy with a 
 Bird and an old Man, which has been engraved 
 in Pond's Work. — Mr. Barnard, among others, 
 has the Virgin and Child, in the same Work. — 
 But perhaps the finest collection of Guercino's 
 drawings in England, is in the possession of Mr. 
 Hervey, of Welbeck Street. They are contained 
 in about twelve volumes ; and were inherited 
 from his uncle Mr. Bouverie, who purchased 
 them of Francesco Formi at Bologna, into whose 
 possession they had come, from a great grandson 
 of Guercino ; being the same which are noticed 
 by Carlo Malvasio, in his Lives of the Bolognese 
 Painters. — Among many fine specimens in my 
 own collection, I would particularize, the Exe- 
 cutioner carrying St. John's Head in a Charger ; 
 and a three-quarter figure of a warlike Youth, 
 grasping a Spear with one hand and his Mantle 
 in the other. — Guercino's landscapes are usually 
 executed with a free pen, and some are washed *, 
 but have no great merit either in design or effect. 
 — Numerous imitations of his style have been 
 engraved by Bartolozzi : there are some in Mr. 
 Rogers' Work , and others by JMulinari, Ottavi- 
 ani, &c. 
 
78 
 
 BENEDETTO GENNARI. 
 
 N. 1633. 
 D. 1715. 
 
 Of Bologna ; was the nephew and disciple of 
 Guercino ; whose works he copied with such 
 success, that many of his drawings, particularly 
 such as are in red chalk, have been mistaken 
 for those by that master : on a closer inspection, 
 however, they will be found very inferior in 
 point of handling ; and we shall look in vain for 
 that spirited touch, by which the genuine pro- 
 ductions of Guercino are distinguished. I'hey 
 are not however without that degree of merit, 
 which entitles them to a place in the first collec- 
 tions. 
 
79 
 
 CAVALIERE VENTURA SALIMBENI. 
 
 N. 1557. 
 D. 1613. 
 
 Called Bevilaqua, was a native of Siena. He 
 was eminent in invention, colouring, and ele- 
 gance of" design — a quality peculiarly conspicu- 
 ous in the small number of his drawings we 
 meet with in England. Till recently, the only 
 one I had ever seen here, was that in the pos- 
 session of Mr. Barnard : it is the Adoration of 
 the Host, with thirteen figures ; the Heads of 
 which are very fine, and have wonderful ex- 
 pression ; the whole executed with a pen and 
 washed with purple : but at Mr. Hillier's sale, 
 in 1784, another very fine drawing by this 
 master was disposed of; it was St. Stephen 
 stoned, consisting of many figures, correctly 
 designed, abounding in expression, and admira- 
 bly disposed ; finished, like the former, with a 
 pen, but shaded with bistre. 
 
80 
 
 HENRY GOLTZIUS. 
 
 N. 1558 . 
 D. 1617* 
 
 Was born at Mulbrecht, near Venlo ; and 
 became a great proficient in the art, by liis inde- 
 fatigable study of the antique in different parts 
 of Italy, which he visited early in life, as well 
 as of the most celebrated works of the first 
 masters there : yet, with all these assistances, his 
 taste of design is by no means elegant or natural ; 
 his manner is wild and extravagant ; and his fi- 
 gures, as is manifest in his prints in chiaro- 
 oscuro, exhibit an appearance of constraint and 
 distortion. 
 
 His drawings, which are usually executed in 
 coloured chalks, are so extremely rare in this 
 country, that I have hardly ever met with one ; 
 and the few I have seen abroad, have been prin- 
 cipally Heads : these were very highly finished ; 
 the flesh with red, the other parts with black 
 chalk, so as to give something of the effect of 
 painting. — His sketches are penned, and height- 
 ened with spirit, on coloured paper. — In the 
 Works of Mr. Ploos of Amsterdam, is a close 
 imitation of a Head. 
 
81 
 
 GUISEPPE CAVALIEUE CESART. 
 
 N. 1560. t 
 D. 1640. 
 
 Called, from his birthplace, D'Arpino ; with 
 the assistance of a happy genius for his profession, 
 acquired a hght and pleasing manner of design ; 
 in some respects pecuhar to himself, since it 
 partook neither of the higher refinements of 
 modern art, nor the graceful simplicity of the 
 antique. Although his drawing is in general 
 good, the contour of his figures is occasionally, 
 in many parts, overstrained : but the airs of his 
 Heads are well designed ; and they have often 
 great expression. 
 
 The few drawings we meet witli by this 
 artist, are usually done in coloured chalks. — In 
 the King's writing-closet at Hampton-Court, is 
 one, of the Birth of Venus, in this style, con- 
 sisting of five figures. — In the Duke of Devon- 
 shire's collection, is an exquisite representation, 
 in red chalk, of Andromeda bound to the Rock ; 
 — the figure most elegantly designed, and full 
 of expression. — IVIr. Barnard has one, equally 
 fine, in black and red chalk, the subject of 
 
 M 
 
82 
 
 which, is Prometheus attacked by the Vulture : 
 — and I have a most highly finished upright one, 
 from the Pamfili collection, in red chalk, of 
 Adam and Eve driven out of Paradise ; in which 
 the drawing, execution, and expression, are 
 equally admirable. 
 
 BARTOLOMEO SCHIDONI. 
 
 N. 1560. 
 D. 1616. 
 
 A native of Modena ; received his principal 
 instructions in the school of the Caracci ; but 
 preferring afterwards the style and manner of 
 Coreggio, he so far imbibed the excellencies of 
 that great master, that several of his paintings, 
 as well as drawings, pass under that name. 
 
 The latter are very scarce in England. The 
 few I have ever seen, are handled in a bold 
 style, with chalks. — Mr. Rogers has favoured 
 us with an imitation of a Heroine's Head, in 
 black chalk. 
 
83 
 
 FRANCESCO CAVALIERE VANNT. 
 
 N. 1563. 
 D. 1610. 
 
 Was bom at Siena ; and received his first in- 
 structions from Arcangelo Salimbeni : he then 
 placed himself under Passerotti for two years ; 
 and afterwards prosecuted his studies at Rome : 
 but returning to his native country, he became 
 so enamoured with the works of Baroccio, that 
 he adopted him exclusively as his model ; and 
 devoting his whole powers to an imitation of his 
 style, gradually rivalled, if he did not excel, the 
 best productions of that celebrated artist. 
 
 His drawings, like his paintings, are chiefly 
 on religious subjects ; and are usually executed 
 in black or red chalk. Of the latter description, 
 the Duke of Devonshire has several admirable 
 ones, which sufficiently evince his predominant 
 excellencies — fertility of invention, and correct- 
 ness of design. 
 
 M 2 
 
84 
 
 ABRAHAM BLOEMART. 
 
 N. 1 564-. 
 D. 1647. 
 
 A native of Gorcum ; painted portraits, land- 
 scapes, and cattle, as well as history , and all 
 Avith a free and spirited touch ; to which we may 
 add, in general, the praise of captivating effect : 
 but it is justly observed, that his figures appear 
 to be the mere productions of his own fancy, 
 with little of genuine nature about them ; and 
 still less that elegant nature, which seems almost 
 confined to the Italian school. 
 
 His historical drawings, on this account, are 
 rarely admitted into very choice collections. 
 The few I have seen, are penned and washed 
 with admirable facility and freedom ; but have 
 little else to recommend them. — His landscapes, 
 which are executed in the same style, have 
 more merit. They are generally taken from 
 nature; and the buildings on the foreground 
 have often a slight wash of red, in imitation of 
 brick. I have a small one in this manner, of a 
 very pleasing character. — Specimens of his hand- 
 ling have been published by Cornelius Ploos, of 
 Amsterdam. 
 
85 
 
 JOHN ROTHENHAMER. 
 
 N. 1564. 
 D. IbOti. 
 
 A native of Munich ; quitted his own country 
 early in life, and went to Rome, and afterwards 
 to Venice, where he improved in colouring by 
 fixing on Tintoretto as his model. His small 
 pictures are most esteemed ; and in general are 
 very highly finished : but unfortunately, with 
 all his care, the taste of his country may be de- 
 tected in most of his figures. 
 
 His drawings, which are commonly executed 
 with a pen, washed and heightened, are, for the 
 most part, very stiff, and tame in their effect, — 
 The Duke of Devonshire has a superior one, in 
 this style, of Diana and her Nymphs bathing, 
 in which the figures are correctly designed, but 
 stiU, as usual, inelegantly formed. 
 
86 
 
 MICHAEL ANGELO DA CARAVAGGIO. 
 
 N. 1569. 
 D. 1609. 
 
 Gained for a time an extravagant reputation, 
 and seduced, more or less, some of his most 
 eminent contemporaries — Domenichino, Guer- 
 cino, and Guido — by striking out a new style 
 of painting, in which he aimed at extraordinary 
 effects by violence of contrast. As he had no- 
 thing but this to recommend him, little can be 
 expected from his drawings ; which are very 
 scarce, and, when met with, prove the slightest 
 and most careless Studies imaginable. — In Mr. 
 Rogers' Work we have a specimen of one, which 
 is somewhat more made out : it consists of five 
 figures, supposed to be a Merchant and his 
 Slaves, asleep in the Temple of Esculapius. 
 
87 
 
 GUIDO RENI. 
 
 N. 1 574. 
 
 Was born at Bologna ; he acquired the prin- 
 cipal part of his knowledge, in the school of the 
 Caracci ; and having afterwards studied the 
 antique, as well as the most celebrated masters 
 of Italy, formed a style of his own, little inferior 
 to any of them. In point of expression, it must 
 be confessed, he was seldom great ; but grace 
 and beauty may be considered as almost charac- 
 teristic of his works. 
 
 His drawings are excellent ; and exhibit abun- 
 dant proofs of the character and genius of the 
 artist. — In the Royal collection are some histori- 
 cal pieces, admirably fine ; particularly a Fortune 
 in black chalk, and a Holy Family, penned: 
 both of these have been etched by himself ; as 
 well as some small Madonnas in the same cabinet, 
 which were formerly in the Bonfigliuoli collec- 
 tion. There are likewise two volumes of Heads, 
 many of which are of a most captivating charac- 
 ter: one, an Ecce Homo, highly finished with 
 chalks upon a yellow ground, is exquisite ; and 
 
88 
 
 abounds with the most pathetic and touching 
 expression : the rest are handled in different 
 manners; some are in black chalks upon blue 
 paper, and touched with white ; others are in red 
 chalk ; and a few are penned. — In the collection 
 of Mr. John King is a very fine Head of one of 
 the Hours in his celebrated picture of Aurora, 
 very highly finished in crayons. — In the Duke 
 of Devonshire's collection is a capital Study, 
 penned and washed, and with some variations in 
 the composition, for his picture of Bacchus and 
 Ariadne : besides several pieces of great beauty, 
 in red chalk. — In General JMorrison's, is a small 
 Virgin and Child, in red chalk, of captivating 
 grace : and Mr. Barnard has a noble Head of St. 
 Andrew, handled in a very grand and powerful 
 style. — I, too, have the Portrait of a INIan un- 
 known, beautifully executed with a brush : and 
 a turbaned Female Head, the size of life, in 
 coloured chalks, possessing great dignity of ex- 
 pression. — Specimens of his manner have been 
 engraved by Coriolano, and other old masters, 
 as well as by S. Mulinari. — In Mr. Rogers' 
 Work we have a Reposo, but more highly finish- 
 ed than the original drawing : and Captain Baillie 
 has given another imitation. 
 
89 
 
 SIMONE CANTARINI DA PESARO. 
 
 N. 1612. 
 D. 1648. 
 
 After receiving the instructions of other 
 masters, placed himself, from a decided predilec- 
 tion to his style, under the directions of Guido : 
 and though his morose and arrogant disposition 
 — a source of perpetual disquiet to himself and 
 all around him — soon occasioned a separation 
 from that amiable artist, he copied his manner 
 with such surprising accuracy, that many of liis 
 compositions, to the present moment, pass as 
 Guido's. 
 
 His drawings are usually executed in red 
 chalk ; and are rather slight. — In the Royal col- 
 lection are many of his works, in red chalk, 
 which are highly beautiful : and Mr. Barnard 
 has a representation of Jupiter and Europa, 
 handled in this style, in which the figures 
 are designed with great elegance : — it has been 
 engraved by Zocchi. — In Mr. Rogers' Work, we 
 have an imitation of his style of drawing ; but, 
 like that of Guido, more highly finished than 
 the original : the subject, is Boys playing with 
 a Lamb. 
 
 N 
 
90 
 
 PETER PAUL RUBENS. 
 
 N. 1577 . 
 D. 1640. 
 
 Born at Antwerp, a city unusually prolific of 
 painters, may justly be regarded as the head * 
 and glory of the Flemish school ; and certainly, 
 in fertility of invention, splendour of colouring, 
 facility combined with force of execution, and 
 richness of effect, has never been surpassed by 
 any painter of any age or country. With so 
 many qualifications for attaining the very highest 
 eminence in the art, it is deeply to be deplored 
 that he had not imbibed a purer and better taste 
 of design : but in his historical compositions, 
 wherever dignity and beauty are required, an 
 eye accustomed to the higher graces of the Itali- 
 an school, is sure to be repelled and offended : — 
 the figures are correctly, and in many respects 
 wonderfully, drawn ; but, in most instances, are 
 miserably defective, the female ones especially, 
 in elegance of form. — His genius seems to have 
 particularly luxuriated in allegorical and emble- 
 matical representations, as affording the amplest 
 opportunities for displaying the richness of his 
 imagination ; and notwithstanding many offences 
 
91 
 
 against good taste, they are truly magnificent 
 and astonishing productions. — His portraits are 
 excellent ; and if they have not the sedate and 
 impressive majesty of Titian's, are animated with 
 a glowing character of life and freshness, peculi- 
 arly his own. — Nothing can be more admirable 
 than his landscapes: they are usually faithful 
 representations of particular scenes in nature, 
 embellished by some striking effect ; and are 
 quite unrivalled in their way. — Every branch of 
 the art seems to have been congenial to him : in 
 his animals and huntings he has certainly sur- 
 passed Sneyders, the greatest master of that 
 walk, in his own particular department. 
 
 Owing to his practice of throwing his first 
 thoughts at once upon canvas, or at most making 
 a small sketch in chiaro-oscuro, very few of his 
 drawings are extant upon paper. — In the Duke 
 of Devonshire's collection are some fine ones in 
 black and red chalk, and three Studies of Trees 
 in crayons. — In Lord Hampden's are two dj-aw- 
 ings of Lions and Cows, penned ; the Head of 
 Mr. Hobbes the philosopher, in black and red 
 chalk ; and a large representation of the Martyr- 
 dom of St. George, consisting of nearly twenty 
 figures, in coloured chalks, which has all the 
 effect of a painting. — General Morrison has a 
 capital one, in black chalk, of a Lion couching. 
 
 N 2 
 
92 
 
 — Mr. Knight has one, of Rubens' Wife, in black 
 chalk, which has been imitated in Mr. Rogers' 
 Work : and Mr. Cosway has an Apostle's Head, 
 in coloured chalks, in a great style, and with 
 prodigious effect. — In Mr. Barnard's collection, 
 among several, are some very fine : particularly, 
 an Angel's Head, in coloured chalks ; a Study of 
 Angels for the cieling at AVhitehall ; a Portrait 
 of Himself and Wife ; the Study of a Lioness 
 for his picture of Daniel in the Lions' Den, in 
 black chalk ; the Study for his Assumption of 
 the Virgin, also in black chalk ; Diogenes look- 
 ing for an honest man, consisting of twenty-two 
 figures in red and black chalk — engraved in the 
 Dusseldorf Gallery ; and the Death of a Saint, 
 attended by six Angels, washed and coloured 
 in a great style. — Mr. Harvey has two Studies 
 of Silenus ; slight, in black chalk.* — In Captain 
 Baillie's Work is an imitation of an upright 
 drawing of a Syamese Priest in black chalk; 
 and Prestal has engraved another imitation of 
 the same piece. 
 
 * Mr. Green, of Ipswich, has a most capital Head by this master, the 
 bize of iile, in red and black chalk, on brownish paper, lieightened, a Study 
 for one of his Lion Hunts ; in which an enraged animal, by a spring from 
 behind, having infixed his talons on the skull, the expression of sudden and 
 ghastly horror,,in every muscle and feature, absolutely cur(}les the blood. £d. 
 
93 
 
 ANTHONY VANDYCK. 
 
 N. 1599- 
 D. lb"41. 
 
 Took instructions from Rubens ; and, with 
 less richness of invention, certainly, and vigour 
 of execution, partook of many of the great qua- 
 lities of his illustrious master. In his historical 
 compositions, the scholar may be thought to have 
 somewhat the advantage in sober dignity : but 
 no competent judge, sufficiently acquainted with 
 the works and merits of both artists, will ques- 
 tion, for a moment, the sincerity or sagacity of 
 Rubens — whose generous and noble nature was, 
 on every occasion, far above all jealousy — when 
 he recommended his favourite pupil to attach 
 himself to portrait ; a species of painting, of which 
 he became the most pure and perfect model, 
 assuredly, that the world has ever witnessed. 
 
 Owing to the paucity of his historical compo- 
 sitions, and the habit, which he adopted from 
 his master, of committing his first thoughts to 
 canvas, Vandyck's drawings are still scarcer than 
 those by Rubens. Some few, however, are to be 
 met with, in great collections. — The Duke of 
 Devonshire possesses his Sketch-Book, once Sir 
 
94 
 
 Peter Lely's, in which he has made Drafts from 
 many of the favourite pictures he met with in 
 Italy. In the same collection is a fine represen- 
 tation of the Entombing of Christ, penned and 
 washed ; a Study, with a pen, of some Cows, 
 from nature ; and another, of Trees. — In Lord 
 Hampden's collection are two fine ones : one, 
 the taking down from the Cross ; the other, the 
 Interment of Christ, with six figures ; both, ex- 
 ecuted with a pen, and washed. — Lord Frederick 
 Campbell has the Earl of Arundel's Portrait, in 
 black chalk, which is capital ; and, what may be 
 regarded as a great curiosity, a Landscape from 
 nature, slightly penned and tinted. — General 
 Morrison has two Studies of Trees and Plants, 
 tinted, which are masterly. — Mr. Barnard has a 
 very fine Head, in black chalk, which has been 
 engraved in imitation by Captain Baillie. — I have 
 a Dead Clu-ist reposing on the Lap of the Virgin, 
 at the foot of the Cross ; slightly and roughly exe- 
 cuted in bistre, with the brush alone ; but with 
 wonderful force of expression : — his Study for the 
 Portrait of D. D'Aremberg ; — and a sketch of 
 the Passion of our Saviour, in pen and wash, 
 most spiritedly executed, and with a very fine 
 effect. — There are other specimens of his style 
 of handling, by Count Caylus ; and in Mr. Ro- 
 gers' Work, by Ryland. 
 
95 
 
 JACOB JORDAENS. 
 
 N. 1594. 
 D. 1678. 
 
 With all the assistance he derived from 
 Rubens, and studying the designs of the most 
 celebrated masters whose works were to be found 
 in Flanders, could never get rid of the Fle- 
 mish taste, in its most offensive form. His 
 characters are always inelegant, and incorrectly 
 drawn : but they have truth and expression ; 
 and his colouring was brilliant, with a perfect 
 observance of the chiaro-oscuro. — We meet with 
 the same excellence in his finished drawings, 
 particularly such as are tinted : and even in 
 those which are in black and white only, there 
 is often an effect which we seldom see in the 
 drawings of any other artist. — In the Royal col- 
 lection are some very fine ones, where the figures 
 are outlined with a pen, tinted, and carefully 
 finished : one, which appears to be a copy from 
 Rubens, is capital. — Mr. Barnard has the follow- 
 ing, which are very fine : a Study, in colours, 
 for his famous picture of Twelfth Night ; ano- 
 
96 
 
 ther, of the proverb of " Letting the Cat out of 
 the Bag ; " a Concert, consisting of nine figures ; 
 a Piper, in black and red chalk ; and some Stu- 
 dies in oil, upon paper. — I have a representation 
 of Christ desiring little Children to come to him, 
 executed in red chalk and brown wash, with a 
 vigorous effect. 
 
 ABRAHAM DIEPENBECK. 
 
 N. 1607- 
 D. 1675. 
 
 A native of Bois le Due, and disciple of 
 Rubens, was originally a painter on glass ; but 
 on his going to Italy, he discontinued that 
 practice, and worked in oil. Though he could 
 never entirely divest himself of the bad taste of 
 his country, he acquired considerable reputation 
 from the uncommon quickness of his invention ; 
 and a hand which happily seconded this talent, 
 by executing, with facihty and freedom, what- 
 ever his imagination suggested. 
 
97 
 
 His drawings, which consist chiefly of devo- 
 tional subjects, title pages, and designs for the 
 decoration of books, are, in general, neatly finish- 
 ed in wash, and heightened. One of the most 
 capital, was in the late Duke of Argyle's collec- 
 tion : it was an Upright, twenty-six inches by 
 twenty-one ; the subject, the Marriage of our 
 Henry the Vlth, with Margaret of Anjou : there 
 were nearly forty figures in the piece , many of 
 which were portraits ; and towards the left corner 
 were represented Charles the Vllth of France, 
 with his Queen, in a Gallery, under a Canopy 
 of State. 
 
 0 
 
98 
 
 FRANCESCO ALBANO. 
 
 N. 1578 . 
 D. 1666. 
 
 Was a native of Bologna ; but completed his 
 studies at Rome. VX^ith little knowledge of the 
 chiaro-oscuro, and feeble powers of expression, 
 he rendered himself popular by adopting a soft, 
 mellifluous style of painting ; replete with grace 
 and beauty, in the representation of boys and 
 virgins ; bat bordering close on the insipid, 
 whenever the occasion demanded either dignity 
 or force 
 
 His drawings are scarce : and are usually 
 slight sketches in red chalk ; though some are 
 very highly finished in bistre, and heightened^ 
 Of these, Mr. Cosway has two circular ones, of 
 the Seasons ; and Lord Bute the remaining two, 
 which are equally fine : — all have been engraved. 
 — In Mr. Barnard's collection, is a Study of four 
 Boys, in red chalk, of great beauty. — Mr. Rogers 
 has favoured us with two imitations : one, of a 
 highly finished drawing of St. Joseph with the 
 Boy Jesus, in Lord Bute's collection ; the other, 
 of Caricatures of Painters, slightly sketched in 
 red chalk. 
 
99 
 
 ANDREA SACCHI. 
 
 N. 1594. 
 D. 1661. 
 
 A Roman, was the disciple of Albano ; but 
 far transcended his master in correctness of draw- 
 ing ; as well as taste of design, which was of a 
 grand and elevated character. He likewise ex- 
 celled in portrait, and architecture. 
 
 His style of drawing was graceful, light and 
 elegant. He usually worked with red chalk : 
 but we rarely meet with any of his drawings in 
 England. In the little Mezzanino palace at 
 Rome, are said to be some after the famous 
 Cupola of Coreggio : but we are not told how 
 they are handled. 
 
 o 2 
 
100 
 
 LUDOVICO GARZI. 
 
 N. 1688. 
 D. 1721. 
 
 A Roman ; was a scholar of Andrea Sacchi, 
 and contemporary with Carlo Maratti, whose 
 style he so closely imitated, that his works are 
 frequently mistakeh for those by that master. 
 His invention and colouring were fine ; and his 
 design correct. 
 
 He usually outlined his figures with a pen ; 
 washed, and heightened. In the Crozat collec- 
 tion was a capital drawing by this master, of St. 
 Philip de Neri, in this style of handling, washed 
 with green. 
 
 PIETRO FRANCESCO MOLA. 
 
 N 1609. 
 D. 1665. 
 
 A native of Lugano ; was the most dfstinguish- 
 ed disciple of Albano. He possessed a lively 
 imagination and ready invention ; and excelled 
 equally in history, landscapes, and caricatures. 
 
101 
 
 His drawings, which are very spirited, though 
 slight, are generally penned and washed with 
 bistre. — iMr. Knight has a fine one, on blue 
 paper, of Neptune driving the Winds ; which is 
 of very masterly execution. — Mr. Barnard has a 
 Virgin in the Clouds, in the same style of hand- 
 ling : — and I possess, in a similar style, two 
 caricatured Portraits of Jesuits, reading, which 
 have infinite merit and humour : — and also Moses 
 and the Ihirning Bush, finely executed with a 
 brush, after Raffaelle. — We meet with few imi- 
 tations of this master's drawings : in Mr. Rogers' 
 Work, however, are two specimens ; one of 
 which, is Abel offering up his Sacrifice. 
 
102 
 
 CARLO CIGNANI. 
 
 N. 1628. 
 D. 1719. 
 
 A native of Bologna ; was for some time the 
 disciple of Albano, but afterwards directed his 
 particular attention to the works of RaffaeUe, 
 the Caracci's, and Coreggio ; forming from the 
 whole a pleasing style of his own, essentially 
 different from that of any of these masters, and 
 combining many of the excellencies of eacli. He 
 was happy in a very elegant invention : and his 
 figures, which are correctly designed, are dispo- 
 sed with admirable taste and judgment. 
 
 These qualities are particularly conspicuous 
 in his drawings, most of which are executed 
 with red chalk. Amongst several in the Royal 
 collection, two of this description are peculiarly 
 captivating : one, a representation of Bacchanali- 
 an Boys ; the other, of Fauns and Satyrs : both 
 have been engraved by Bartolozzi. — I have a 
 large Upright of the Annunciation, highly finish- 
 ed in red chalk, of great merit, and in which 
 the expression in the countenance of the Virgin, 
 is particularly fine. 
 
103 
 
 CARLO MARATTI. 
 
 N. 1625. 
 D. 1713. 
 
 Who was a native of Camerino, and a scholar 
 of Andrea Sacchi, appears to have attained dis- 
 tinguished eminence by an unremitting study 
 of the antique,* and the most celebrated works 
 of modern masters. The reputation which he 
 acquired by this course of discipline, was justly 
 considerable : but it must be confessed that in 
 all his productions there is a laboured heaviness 
 and insipid monotony ; with a total absence of 
 that originality, vigour and facility, for which 
 no exercise of judgment, or shew of grandeur, 
 will atone. His happiest talent was in devoti- 
 onal expression ; but the expression was repeated 
 till it lost its interest. 
 
 In the Carthusian Convent at Rome, are 
 many of his drawings ; and several in the Royal 
 collection here ; but the most capital one in 
 England, is a large emblematical representation 
 
 * Young Richardson mentions a friend of his father, who had seen a 
 sketch-book of Maratti's which contained three hundred of that artist's Stu- 
 dies from the Head of the Antinous alone t 
 
104 
 
 of Painting, with many figures, in the posses- 
 sion of the Duke of Devonsliire. In the same 
 cabinet, too, among many others, is a beautiful 
 piece, in coloured chalks, of Nymphs surprised 
 by Satyrs. — Lord Hampden has the Caricatures 
 in red chalk, which have been engraved by 
 Pond : — and General Morrison has the Portrait, 
 from which an etching has been made, of Padre 
 Sebastiano Resta, looking over a Book of Draw- 
 ings, highly finished in red chalk, and with a 
 striking character of nature. — Mr. Rogers has a 
 very fine St. Charles of Borromeo at Prayers, 
 handled in pen and Indian ink : — and Mr. Bar- 
 nard, one of the most angelic Heads of a Boy 
 that imagination can conceive, in red chalk. — 
 In my possession is a divine figure of an expiring 
 Cleopatra, highly finished in red chalk : and an 
 Adoration of the Shepherds, very finely com- 
 posed, in red chalk and wash. — Imitations of 
 this master's drawings, have been engraved by 
 Basire, and others. The Virgin in the Clouds, 
 surrounded by Angels, out of Mr. HiUier's col- 
 lection, was executed by the former. 
 
105 
 
 ANTONIO DOMENICO GABBIANI. 
 
 N. 1652. 
 D, 1726. 
 
 A Florentine ; very early shewed a decided 
 predilection for the arts ; and received his prin- 
 cipal instructions from Valentino Spada, who 
 excelled in drawing with a pen. The proficiency 
 which Gabbiani made under him, and other 
 artists of eminence in the principal cities of Italy, 
 procured him the patronage of Cosmo the Ilird ; 
 and he soon became distinguished for correctness 
 of design, grandeur of ideas, and rapidity of 
 execution. 
 
 His drawings, which are scarce in England, 
 are chiefly executed with a pen, in a very bold 
 and spirited style ; of which some judgment may 
 be formed, from the numerous imitations by C. 
 Gregori, Scacciati, Ad. Sveilart, Cioci, Santi 
 Paccini, Bartolozzi, Cipriani, and other engra- 
 vers — The late D. Chauncey had a finished 
 Study for his picture of a Reposo, which hangs 
 
 in the Grand Duke's Apartment at Florence: — 
 
 p 
 
106 
 
 it has been engraved by Bartolozzi. — Mr. Hervey 
 lias several very fine Heads in chalks, attributed 
 to Gabbiani : they are chiefly copies from Co- 
 reggio, Guido, &c. 
 
 GUISEPPE PASSERI. 
 
 N. 1654. 
 D. 1714. 
 
 A Roman ; was a favourite disciple of Carlo 
 Maratti, and followed his style with distinguish- 
 ed success. — His drawings are by no means 
 common. In Lord Hampden's collection are a 
 few : one, representing the Adoration of the 
 Shepherds, washed with red and heiglitened, is 
 very bold and effective. — We seldom meet with 
 imitations of this master's drawings : but in the 
 Crozat collection is the Assumption of the 
 Virgin, a circular drawing, heightened. 
 
107 
 
 PIETRO DA PIETRI. 
 
 N. 1665. 
 D. 1716. 
 
 A native of Rome or Novara, was likewise 
 a scholar of Carlo Maratti ; but joined to his 
 instructions an attentive study of the works of 
 Raffaelle, of which we may often discern the 
 fniits, in the grace and elegance which spread a 
 charm over his figures. 
 
 We meet with but few of Pietro's drawings 
 in England : a circumstance much to be regret- 
 ted, as they frequently possess a degree of merit 
 which we seldom see in the works of the most 
 admired artists. — In M. Crozat's collection was 
 a drawing in high estimation, by this master, of 
 the Virgin attended by many Saints ; an imita- 
 tion of which has been engraved by Count 
 Caylus. 
 
 p 2 
 
108 
 
 JOSEF RIBERA, called SPAGNOLETTO. 
 
 N. 158.9. 
 D. 1656. 
 
 Was born at Xativa, in Spain ; but being 
 siezed, from the first dawnings of his mind, with 
 an ardent love for the art of design, and finding 
 few opportunities of cultivating that passion in 
 his own country, he went over, at the early age 
 of sixteen, as an adventurer, to Italy, with no 
 other resources than his genius. At Parma he 
 devoted himself, with great zeal and success, to 
 the study and imitation of the beautiful produc- 
 tions of Coreggio: but meeting subsequently with 
 some of the works of Caravaggio, his imagina- 
 tion was entirely captivated by the grand, awful, 
 and imposing manner of that master ; and placing 
 himself under his guidance, he adopted that 
 dark, but forcible and effective, style, which he 
 ever afterwards retained. 
 
 His drawings are very rare in England. The 
 few we meet with, attributed to him, are slight 
 penned sketches ; touched, like his etchings, 
 with great fire and spirit ; and exhibiting, as his 
 chosen theme, some appalling scene, selected 
 for its horror, from history sacred or profane. 
 
109 
 
 JAQUES CALLOT. 
 
 N. 1593. 
 D. 1635. 
 
 So well known as an exquisite engraver, is 
 not less distinguished by the merit of his draw- 
 ings ; which display the same sportiveness of t 
 fancy, and delicacy combined with spirit of ex- 
 ecution, that characterise his prints. — They are 
 usually sketched with a pen, and washed ; though 
 many are done in black or red chalk : but the 
 most finished, are always executed with the pen 
 alone, in the style of his etchings. — At the 
 Queen's palace are many very fine ones ; and in 
 the collection of the King of France, are about 
 fifteen Landscapes that are admirable. — Lord 
 Hampden has a capital Temptation of St. An- 
 thony, done in bistre and heightened ; differing 
 considerably from his print on that subject. — 
 The Duke of Devonshire has a large Landscape 
 from nature, with Figures, highly finished with 
 a pen. — Lord Frederick Campbell has a beautiful 
 Village scene, with numerous Figures dancing 
 in the shade of a large Tree ; outlined with 
 
110 
 
 black chalk and shaded with bistre. — I have a 
 small Book containing twenty-four Views taken 
 from nature, by Callot, during a voyage which 
 he made in the Mediterranean : the names of the 
 places, and the times when the views were taken, 
 are inscribed in his own hand. This curious 
 Volume was presented to me by a particular 
 friend, who accidentally met with it abroad; 
 and is probably unique. 
 
 NICHOLAS POUSSIN. 
 
 N. 1594. 
 D. 1665. 
 
 Though a native of Andely in Normandy, 
 from the theatre of his studies and exertions 
 may justly be regarded of the Italian school : 
 and affords a remarkable and encouraging exam- 
 ple, of a talent for the art, originally considerable, 
 no doubt, but beyond all question progres- 
 sively advanced to the distinguished eminence 
 it afterwards attained, by study, meditation, and 
 reflection. At the outset he is said to have been 
 
Ill 
 
 captivated with the colouring of Titian and the 
 Venetian school — the first step which is usually 
 made in tlie progress of good taste : but he soon 
 neglected beauty of tint, for that of form ; and 
 discovered that perfection of form, was more 
 successfully sought in antient sculptures, than 
 in the most esteemed productions of the greatest 
 modern artists. This taste for the antique, too, 
 it probably was, that led a mind, natarally in- 
 quisitive, and feeling strongly for the dignity 
 of the art, to cultivate a more intimate acquaint- 
 ance with the events of antiquity, historical and 
 fabidous, sacred and profane, than any painter 
 had before attained. — His figures, as might be 
 presumed from such a course of discipline, are 
 always correctly designed, and of a great charac- 
 ter : in their attitudes, it must be confessed, 
 they too often exhibit a semblance of constraint; 
 in his earlier productions, they are by no means, 
 on every occasion, happily disposed ; and perhaps, 
 through all his works, there prevails too evident 
 an appearance of thought and study : but the 
 richness of his invention, supplied from such 
 ample and valuable stores ; the admirable judg- 
 ment with which these resources are employed ; 
 the consummate knowledge which he displays 
 of human character and passions ; and the rigor- 
 ous observance of propriety, in all the accessories 
 
112 
 
 of costume, scenery, and buildings, place him 
 unquestionably in the first rank of his profession ; 
 and have obtained him universal homage, as the 
 most intellectual painter, without exception, that 
 ever existed ; — a painter of whose productions it 
 may justly be affirmed, that the more highly 
 we cultivate our taste and our judgment, the 
 more occasion we shall find to relish and admire 
 them. 
 
 His drawings present the same features as his 
 paintings, with this advantage, that the eye is 
 not repelled by that cold austerity of tone, which 
 too often chills the spectator, at first glance, in 
 his latter and more serious productions from the 
 easel. — In the Royal collection at the Queen's 
 palace, are two volumes of his designs : one is 
 from the cabinet of Cardinal JMaximi, and con- 
 tains many which are very fine ; but there is one 
 piece, particularly, of Bacchanals, penned and 
 shaded with bistre, that is quite inimitable, and 
 transports the mind at once to the classic regions 
 of poetical enchantment : the others, are chiefly 
 Sketches washed with Indian ink. — In the Duke 
 of Devonshire's collection, is Poussin's first 
 design for his picture of Moses Striking the 
 Rock; which is very capital, — Lord Frederick 
 Campbell has the original Figures which he in- 
 serted in Lionardo da Vinci's Drawing-Book, 
 
113 
 
 penned and washed : * and I have a drawing, in 
 the same style, of MUo carrying a Bull ; and a 
 Female Attendant, loaded with a Boar, a Hare, 
 and a Bird ; taken from a Bas-Relief upon a 
 Monument in the Villa Albano. — There are 
 imitations of his style in Pond's and Rogers' 
 works. 
 
 * Sale of Mr. Edwards' library, commencing April Sth, 1815. 
 Art. 377. 
 
 Leonardo da Vinci Regole e Precetti della Pittura, Fol. Manuscript, with 
 original drawings by Nicholas Poussin, morocco. 
 
 The original MS. of L. da Vinci was deposited with the Barberini family. 
 M. de Chanteiou, Minister of France at the Court of Rome, wishing to 
 obtain a transcript of the rules for drawing, employed Nicholas Poussin, then 
 pursuing his studies at Rome, lo make drawings of what L. da Vinci described, 
 &c. See the Catalogue. 
 
 Purchased by Mr. Thane o£l02. 18. 
 
 SIBDIN'S DECAMERON, 9tH DAY, VOL. 3, P. 118. 
 
 This, if not the express work alluded to in the text, is eWdently one of a 
 similar character. On this subject Felibien observes : 
 
 " Ce fut par son raoyen," la Cavalier del Pozzo, " qu'il efit la communi- 
 cation des Ecrits de Leonardo da Vinci, lesquels 6toient dans la Bibliotheque 
 Barberine. II ne se contenta pas de les lire, il dessina fort correctement 
 tontes les figures qui servenl pour la demonstration et pour I'intelligence da 
 Discours : car il n'y avoit dans I'original que de foibles ^quisses." Ed. 
 
114 
 
 JOHN WIERIX. 
 
 N. 1550. 
 
 A very laborious and indefatigable engraver 
 of history, in small, has left some drawings, 
 which, without exception, are the most highly 
 and wonderfully finished, with a small pen, that 
 can be met with in the whole compass of modern 
 art. Those which I have seen, are inscribed 
 with his name, and bear date about I6I8 : evinc- 
 ing, if the date of his birth be correct, a command 
 of eye-sight at so advanced a period of life, which, 
 if we take into account the unsparing diligence 
 with which he had exerted this faculty — for his 
 engravings are mostly of the same minute and 
 elaborate character — may be considered as second 
 only, in point of curiosity, to the works that it 
 enabled him to produce. 
 
115 
 
 JAQUES STELLA. 
 
 N. 1596 . 
 D. 164.7. 
 
 A native of Lyons ; early shewed a genius 
 for the arts, and had ah'eady made considerable 
 progress in them, when at twenty, he went into 
 Italy for the prosecution of his studies. He 
 here, by sedulous application, acquired a fine 
 taste for design, though his colouring always 
 remained bad. 
 
 In his drawings, which in England are scarce, 
 we see his principal excellencies : his figures 
 being correctly drawn ; and with a great air of 
 truth and nature in their attitudes. — I have ten 
 small ones, on religious subjects, with a Frontis- 
 piece, dated 1625; executed with a pen, and 
 carefully shaded with bistre and Indian ink. 
 They possess considerable merit : and were pre- 
 sented to me by the same friend from whom I 
 received the ciu'ious little Volume of Callot's 
 Views in the INIediterranean. 
 
 Q 2 
 
116 
 
 PIETRO BERRETINI DA CORTONA. 
 
 N. 1596. 
 D. 1669. 
 
 Went young to Rome ; and with little more 
 instructions than what his natural genius derived 
 from a contemplation of the works of the great 
 masters there, rose to be a painter of distinguish- 
 ed eminence. His invention, composition, and 
 colouring, were equal to those of the first artists : 
 but he was frequently incorrect in his outline ; 
 and his figures are inclined to be heavy, by being 
 too short in their proportions. 
 
 His finished drawings are rarely to be met 
 with : a few slight sketches sometimes appear, 
 which, though not sufficiently determined, have 
 great spirit : the figures are generally outlined 
 with a brush, and faintly washed with brown. — 
 I have, among others, a Battle in this style ; 
 which, though very scrabbling in its execution, 
 has much bustle and animation : — and the Head 
 of a Female, in black and red chalk, with a fine 
 expression of character. — In Mr. Barnard's col- 
 lection is one of his best drawings, penned, 
 shaded with bistre, and heightened : it represents 
 Coriolanus attended by his Guards, Plebeians,,. 
 &c. — In Mr. Rogers' work is an imitation of his. 
 style of handling with pen and bistre. 
 
117 
 
 GIOVANNI FRANCESCO ROMANELLI. 
 
 N. 1617 . 
 D. 1662. 
 
 Was Pietro da Cortona's favourite and best 
 scholar ; and in every branch of the art, except 
 colouring, approaches very near to his master, 
 whose style he closely imitated^ 
 
 His drawings have been always esteemed on 
 account of the correctness of his figures, and the 
 graceful air of their heads y but upon the whole, 
 it must be confessed, they have too often a ten- 
 dency to the tame and the insipid. His usual 
 style of handling, was with a pen and wash. — 
 The Duke of Devonshire has some in this 
 manner : but we meet with but few in other 
 collections. — In Pond's and Rogers' Works, are 
 imitations of his style ; and there is one by 
 Captain Baillie. 
 
in 
 
 GIRO FERRI. 
 
 N. 1634. 
 D. 1689. 
 
 In aD his works closely and even servilely 
 imitated his master, Pietro da Cortona. His 
 pictures are in some esteem ; but his drawings 
 are greatly preferred, as exhibiting somewh^ 
 more of spirit and originality of design : though 
 even here tliere is a tendency to feebleness and 
 inanity, which deducts considerably from their 
 value in the estimation of choice collectors. In 
 large collections, however, they frequently occur : 
 there are several in the Duke of Devonshire's 
 and Mr. Barnard's ; most of which are penned 
 and washed. — Mr. Rogers has given an imitation 
 of his handling, on the subject of Ceesar preferring 
 the Agrarian L/aw ; in which the figures are 
 carefully outlined with a pen, and shaded with 
 bistre. 
 
119 
 
 LUCA GIORDANO. 
 
 N. 1632. 
 D. 1705. 
 
 A Neopolitan; after having studied under 
 Spagnoletto and Pietro da Cortona, and examin- 
 ed the works of Coreggio and the best Venetian 
 masters, appears to have fixed on the splendid 
 style of Paolo Veronese, as his model. AVith 
 the talent, which he too frequently exercised, 
 of so closely imitating the manner and handling 
 of every celebrated painter as to deceive the 
 nicest connoisseur, he unqviestionably possessed 
 great powers of original composition, in a bril- 
 liant imagination, and surprising dexterity of 
 hand. 
 
 This last quality forms a striking feature in 
 his drawings ; which are however extremely 
 scarce. They are, in general, slight; penned, 
 and washed with Indian ink In this style I 
 have a few small ones, on Scriptural subjects, 
 attributed to this master, which have great 
 merit in point of design. 
 
120 
 
 LORENZO BERNINI. 
 
 N. 1598. 
 D. 1680. 
 
 Was celebrated as a sculptor, a painter, an 
 architect, a composer of music, and a writer of 
 comedies ; but it was as a sculptor that he prin- 
 cipally excelled, as is attested by the numerous 
 statues from his chisel, dispersed through every 
 part of Italy. As a designer, he has very consi- 
 derable merit ; though his figures are too often 
 deficient in grace, and the draperies frittered. 
 
 Many of his best drawings are in the cabinet 
 of the Grand Duke of Tuscany, collected by 
 Cardinal Leopold. In England they are scarcely 
 ever seen. — In the Duke of Devonshire's collec- 
 tion, however, are two : one, is Jupiter with his 
 Eagle, freely penned and washed ; the figure of 
 the God, possessing great dignity of form and 
 attitude : — the other, is the Head of Christ. — In 
 Mr. Rogers' Work are three imitations of his 
 style of handling with pen and bistre- wash : two 
 of them, are Angels bearing the Pillar and 
 Cross ; the other is a Monument. 
 
I 
 
 121 
 
 REMBRANDT VAN RHYN. 
 
 N. 1606. 
 D. 1674.. 
 
 This extraordinary painter very early gave 
 indications of that passion and those talents for 
 the art, by which, with little aid from the in- 
 structions of others — for he stands alone, as an 
 artist — he raised himself to such distinguished 
 eminence in portrait, history and landscape. 
 His first manner resembled that of Mieris, and 
 was very highly worked up : but being struck 
 with the forcible chiaro-oscuro of Jacob Pinas, 
 he changed it to one exactly opposite, abounding 
 in strength, boldness, and a most astonishing 
 effect ; produced, not like Caravaggio's, through 
 mere violence of opposition, but by a sort of 
 graduated and harmonised contrast, which has 
 never been equalled. In dignity, grace, and 
 beauty, he is unquestionably very deficient : his 
 figures, particularly where he attempted to shew 
 the nude, are ill draAvn, and as ill proportioned : 
 but the magic of his light and shade, and the 
 brilliancy and force of his colouring, strike one 
 almost blind to his defects ; and on subjects 
 where the qualities in which he failed are not in 
 
122 
 
 particular request, he assuredly stands without 
 a rival in the art. 
 
 Rembrandt's drawings are, in general, sketches 
 intended only to regulate and perfect his own 
 ideas: but even these, slight as they are, are 
 very masterly ; and his figures have often won- 
 derful expression. His finished drawings, which 
 are usually penned and shaded with bistre, 
 have effects nearly equal to his best paintings ; 
 and where he does not aspire too high in his 
 subject, are capital indeed. I have one, in this 
 style, which is admirable. It represents an Old 
 Man sitting and reading a large Book which 
 he holds upon his knees: the principal light 
 i"S from a Lamp suspended near the Chimney, 
 having a fire-place beneath, over which hangs a 
 Kettle. This valuable drawing, wliich is about 
 six inches square, was a present from Sir James 
 Thornhill to Mr. Richardson, Sen. as appears 
 from an acknowledgment written on the back of 
 it ; and was purchased by me at the late Mr. 
 Hudson's sale, at Langford's, Covent Garden, 
 in 1779. Other fine specimens of this master 
 in my collection, are, a Lion couching, in bistre, 
 of matchless truth and force : — St. Peter heahng 
 the Cripple at the Gate of the Temple, with pen 
 and bistre, in which the force of expression in 
 the countenance and position of the Cripple, is 
 
123 
 
 particularly fine : — Tobit and the Angel, from 
 Sir J, Reynolds' collection, with a brilliant effect 
 of chiaro-oscuro : — and a full-length Portrait of 
 a Leyden Student, inscribed with the name of 
 W. Belldes, 1644, on the cap. — In Lord Hamp- 
 den's collection, amongst several slight ones, is a 
 Descent from the Cross, uncommonly effective. — 
 General Morrison has some small Landscapes, a 
 few of which are tinted, extremely spirited and 
 forcible. — In the Duke of Devonshire's collection 
 is a very fine representation of Jews assembled 
 in their Synagogue, of prodigious power. — Mr, 
 Barnard has one, of the Woman of Samaria going 
 to the Well ; exhibiting the most, if not the 
 only, elegant figure I ever saw from his pencil. 
 In the same collection is a very masterly Land- 
 scape in pen and bistre, where the effect is asto- 
 nishing. — Mr. Knight has another Landscape of 
 equal merit: but many of Rembrandt's most 
 capital and finished drawings are in Holland and 
 Germany. — There are various imitations, as spe- 
 cimens of his style. In Pond's Work is a close 
 one, of a Son praying by his dying Father. Mr. 
 Rogers has favoured us Avith eight : Captain 
 Baillie with several ; and there is one by Van 
 Ploos of Amsterdam. 
 
 E 2 
 
124 
 
 SAMUEL VAN HOOGSTRAETEN. 
 
 N. 1627. 
 D. 1678. 
 
 Of Dort ; was a disciple to Rembrandt, and 
 for some years retained the style of his master's 
 handling ; particularly in his portraits, which 
 are the best of his works. Having studied after- 
 wards at Rome, he came to England, where he 
 received great encouragement ; and returned rich 
 to his own country. 
 
 His drawings, which are much in the style of 
 Rembrandt's, are very little known in England ; 
 though in Holland and Germany there are few 
 collections without them. — The only capital one 
 I have ever seen here, is in the possession of Mr. 
 Barnard ; and represents a Magdalen at prayers : 
 it is penned, washed with bistre, and tinted; 
 and has an effect nearly equal to those by Rem- 
 brandt. 
 
125 
 
 ADRIAN BROWER. 
 
 N. 16O8. 
 D. 1640. 
 
 Of Haerlem ; was a disciple of Frank Hals ; 
 and succeeded admirably in the representation 
 of those scenes of low life, the drinking bouts 
 of Boors, &c. in which the taste of his country 
 appears so strangely to luxuriate. 
 
 His drawings, which are scarce, are in general 
 slightly executed in black chalk, but with much 
 freedom and spirit. — In the Royal collection are 
 some in this style, which are excellent. — Lord 
 Bute has many, equally so : — and Mr. Barnard, 
 among others, has a group of Peasants at Table, 
 penned and washed with Indian ink, which is 
 handled with infinite spirit. — There are many 
 imitations of his style by different engravers. 
 
ADRIAN VAN OSTADE. 
 
 N. 1610. 
 D. 1685. 
 
 Was likewise a disciple of Francis Hals ; and 
 treated the same subjects as Brower, but with 
 perhaps still less reserves, and a yet richer vein 
 of low but genuine humour. 
 
 His drawings have great merit. The more 
 finished ones, are often tinted with good effect. 
 His slighter ones, are generally penned and 
 washed : though sometimes they are executed 
 with black chalk ; in which style I have one of 
 a Dance of Boors, abounding with truth and 
 humour. — Mr. Barnard has many, in different 
 manners ; and, amongst tliem, a Conversation, 
 executed with pen and bistre, that has a very 
 striking effect ; and another of a Dance, replete 
 with spirit. — Imitations of his style have been 
 engraved by Ploos of Amsterdam, Prestel, and 
 others. 
 
I 
 
 127 
 
 ISAAC VAN OSTADE. 
 
 N. 1617. 
 
 The brother and scholar of Adrian Ostade, 
 deserves mention, as having imitated his style so 
 exactly, that his works are frequently mistaken 
 for Adrian's ; though, on a close inspection, 
 they are evidently inferior. 
 
 EGBERT HEMSKERK, the Old. 
 
 N. 1610. 
 
 Was happy in catching and expressing, with 
 a great air of truth, every humourous incident 
 that fell in his way. His touch is free and 
 spirited, his expression excellent, his colouring 
 transparent, and a fine harmony and effect pre- 
 vail through most of his paintings. 
 
 His drawings, which are scarce in this country, 
 are usually very slight. — In Mr. Barnard's collec- 
 tion are two Conversations in red chalk, which 
 are masterly : — and I have a representation of 
 Boors playing at Cards and carousing, which 
 though executed with nothing more than a bit 
 of paper rolled up, dipped in tallow, and burned, 
 has gi eat merit in point of expression, grouping, 
 and spirited handling. 
 
128 
 
 EGBERT HEMSKERK, the Young. 
 
 N. 1645. 
 D. 1704. 
 
 Imitated, with good success, the style of the 
 elder Hemskerk and Brower. 
 
 His drawings are usually penned and shaded 
 with Indian ink ; and abound with much low 
 droUery in the representation of boors, devils, 
 enchantments, &;c. 
 
 CORNELIUS DUSART. 
 
 N. 1665. 
 D. 1704. 
 
 Was Ostade's best scholar ; and very nearly 
 attained to his master's excellence in giving a 
 just and lively exhibition of nature in low life. 
 
 His drawings are very scarce in England. — 
 The best I have seen, are in Mr. Barnard's col- 
 lection : they are tw o Com ersations, executed 
 in coloured chalks, with much correctness of 
 design and humour of expression. 
 
129 
 
 PIETRO TESTA. 
 
 R 1611. 
 D. 1650, 
 
 A native of Lucca ; was a bad colourist, but 
 a great proficient in drawing and etching; though 
 a certain air of wildness and incoherency, it must 
 be confessed, runs through all his productions. 
 
 The few drawings we meet with by this 
 master, are generally slight, and handled in a 
 most rapid style, with either a pen or brush : 
 but his more finished ones are executed, with 
 great care and correctness, with a pen only. Of 
 this latter description are many in the Royal 
 collection ; in several of which, we see striking 
 expressions of cruelty and ferocity. — Mr. Ri- 
 chardson, too, particularly mentions a drawing 
 he had by this master, of the Slaughter of the 
 Innocents, which he preferred, for its pathos, 
 even to that of Raffaelle himself, engraved by 
 Marc Antonio. — In Lord Hampden's collection, 
 also, is a capital and highly finished drawing by 
 Testa, in pen and bistre, on the horrid subject 
 
 of Cato tearing out his Bowels. — In the Duke 
 
 s 
 
130 
 
 of Devonshire's, is an unknown subject higlily 
 finished in Indian ink on bkte paper — In Mr. 
 Rogers' collection is a very fine one, penned, of 
 the Holy Family, which has been engraved by 
 Bartolozzi : — and JNIr. Cosway has one, in a 
 slighter manner, penned, of Friars, administer- 
 ing the Sacrament to the Sick and Old, who are 
 attended by Death ; and consisting, in the whole, 
 of nearly forty figures, which is extremely spirit- 
 ed. — I have one, of Abraham in the act of 
 sacrificing Isaac, which, though only slightly 
 executed with a brush and Indian ink, is very 
 masterly. The composition is excellent. The 
 Father, a figure of great dignity, is represented 
 with his arm stretched forth, ready to strike the 
 blow, but is withheld by an Angel ; whilst 
 Isaac, on his knees, reclined upon the Altar, 
 appears, with uplifted hands, resigned to his 
 expected doom. — In the Crozat collection of 
 prints, we have specimens of his style. 
 
131 
 
 BARTOLOME ESTEVAN MURILLO. 
 
 N. 1613. 
 D. 1685. 
 
 One of the few painters of the Spanish school 
 whose works are sufficiently known and appre- 
 ciated in this country, was born at Pilas near 
 Seville ; and after having attained considerable 
 proficiency in the art, rather by the force of his 
 own genius than from any adequate instructions, 
 placed himself, for still farther improvement, 
 under the guidance of the celebrated Velasquez 
 at JNladrid. He here acquired a higher and 
 more refined style of history and portrait paint- 
 ing : but he stiU remains indebted for a large 
 portion of his fame, to his earlier and favourite 
 subjects, of beggar-boys, gipsies, strolling mu- 
 sicians, &c. which he represented, about the size 
 of life, with a ti;uth and vigour which has never 
 been surpassed. 
 
 His drawings are so extremely rare, that I do 
 not remember to have seen any other than the 
 one in my possession, which is a representation 
 of St. Anthony of Padua, correctly penned and 
 shaded with bistre ; and is unquestionably very 
 fine. A picture from it, is said to be in the 
 Capuchin Church, at Seville. 
 
 s 2 
 
132 
 
 SALVATOR ROSA. 
 
 N. 1615. 
 D. l(i7S. 
 
 Was an admirable painter of history, battle- 
 pieces, and sea-coasts ; but the subject on which 
 he luxuriated most, was wild, mountainous, and 
 rocky landscape, peopled with warriors and ban- 
 ditti, or memorable characters, from history 
 sacred or profane, best suited to such scenes of 
 austere and rugged desolation. In this latter 
 walk, he stands absolutely unrivalled in the art, 
 for grandeur of conception, vigour of execution, 
 and a deep solemnity of tone, in full accordance 
 with the gloomy magnificence of his represen- 
 tations. 
 
 The drawings of this incomparable artist are 
 scarcely in less esteem than his paintings. Those 
 that are most finished, which are very rare, are 
 generally penned and washed with bistre ; others, 
 more slight, are penned only, in a loose style ; 
 while some, such as caricatures, are executed 
 with red chalk, — There are few considerable 
 collections of drawings, without some of Salva- 
 tor's. — In that of the Duke of Devonshire, 
 among others, is a most capital one of an En- 
 chantress, in his best manner. — General Morrison 
 
133 
 
 has a representation of one male and six female 
 Figures worshiping a Priapus, in which the 
 variety of attitudes and expression is truly ad- 
 mirable. — Mr, Harvey has an Upright, of St. 
 John preaching in the Wilderness, incomparably 
 fine. — Lord Frederick Campbell has six drawings 
 of a small size ; one of which, representing a 
 Leader of Banditti leaning on his Axe, is of 
 superior excellence. — In the Grand Duke's Gal- 
 lery at Florence, are two large and capital 
 , drawings of Salvator's, upon board : the subject 
 of one, is some Figures under Trees ; of the 
 other, the inside of Mount Mtna, with Empedo- 
 cles throwing himself into the Crater : both are 
 executed with a broad reed pen, washed, and 
 heightened a little.* — I have a few sketches by 
 this master, wliich, though very shght, furnish 
 striking indications of his powers : particularly 
 a Study for the Death of Polycrates ; and a 
 more finished Design of Pan and Syrinx. — In 
 Pond s Work, are two admirable imitations of 
 Salvator's best manner, not easily to be distin- 
 guished from the originals themselves : and in 
 Mr. Rogers' second volume, are five specimens 
 of his slighter manner. 
 
 * Mr. Green of Ipswich has two upright sketches by this artist, of wild, 
 rocky sc«nery, with trees and figures, executed upon board, in precisely llie 
 same way. Ed. 
 
134 
 
 CARLO DOLCI. 
 
 N. 1616. 
 D. 1686. 
 
 A Florentine ; excelled both in history and 
 portrait painting : but his pictures in general 
 are so elaborately finished, that his carnations, 
 though seductive, exhibit rather the lubricity of 
 polished ivory, than the real softness and supple- • 
 ness of flesh. 
 
 His drawings are very scarce. The few we 
 meet with, are usually Heads of Madonnas ; 
 highly finished in red chalk. In Mr. Barnard's 
 collection, is a Head in this style, which is ex- 
 tremely fine. I 
 
135 
 
 GIOVANNI BENEDETTO CASTIGLIONE. 
 
 N. I6l6. 
 D. 1670. 
 
 A Genoese ; after having passed through many 
 schools of painting, perfected liimself in the art 
 of colouring under Vandyck. His subjects are 
 often taken from sacred and profane history : 
 but his natural inclination led him to pastoral 
 scenes, in which he more particularly distin- 
 guished himself. 
 
 His drawings, in general, are of this kind ; 
 and have great merit. They are usually executed 
 with thin oil of turpentine and brown ochre, 
 without any previous outline : but his slighter 
 ones are penned only. — At the Queen's Palace 
 are six volumes of his drawings ; many of which, 
 especially those of the pastoral kind, are fine. 
 — Mr. Dalton has two large ones of this descrip- 
 tion, liighly finished, which are capital : and I 
 have one, of Jacob's Journey, consisting of many 
 figures, with Cattle, &c. which is equally ex- 
 cellent. 
 
136 
 
 EUSTACE LE SUEUR. 
 
 N. 1617. 
 D. 1655. 
 
 Without the advantage of having ever seen 
 Italy, formed a style of his own, which acquired 
 him, and with some justice, the title of the 
 Raffaelle of France. 
 
 He drew in different manners : sometimes 
 with black or red chalk on coloured paper, and 
 lightly Avashed with Indian ink, hatched on and 
 heightened ; at others, with pen and Avash only. 
 In France, all the considerable collections, and 
 particularly the Royal one, are enriched with 
 his drawings ; but in England they are extremely 
 scarce. The Duke of Richmond, however, pos- 
 sesses the original designs for his grand work, 
 the Life of St. Bruno ; represented in twenty- 
 two pictures, placed in the Cloister of the Char- 
 treuse at Paris. — In Mr. Rogers' Work, is an 
 imitation of a Study for his captivating picture 
 of the Exposition of Moses ; once in the Hough- 
 ton collection, but now — (with grief and anguish 
 be it spoken) — in that of the Empress of Russia. 
 
137 
 
 CHARLES LE BRUN. 
 
 N. 161 9. 
 D. 1690. 
 
 After having been some time under the in- 
 structions of Vouet at Paris, completed his 
 studies by a six years' residence at Rome ; and 
 rose to distinguished eminence in the French 
 school of design. His pictures, in general, 
 except in the article of colouring, are unquestion- 
 ably very fine : he excelled in expression, and 
 his composition is magnificent ; but it has with 
 truth been remarked of his figures, that they are 
 frequently too short. 
 
 In his drawings, we always see the hand of a 
 great master; though many of them consist 
 merely of detached parts of figures and drapery, 
 executed in black or red chalk. Occasionally, 
 however, we meet with some which are finished 
 with black and red chalk mixed, on coloured 
 paper. — Le Brun's most capital drawings are 
 preserved in the collection of the Iving of 
 France : in England they are very scarce. 
 
 T 
 
138 
 
 FRANCIS VERDIER or VAN HAWKEN. 
 
 Was esteemed one of Le Brun's best scholars ; 
 but his works bear no competition with those of 
 his master. 
 
 His drawings are numerous in France ; and, 
 in general, have a considerable degree of merit. 
 They are mostly executed with black or red 
 chalk, and heightened with white. Many of 
 them are copied from designs of his master. — I 
 have two by this artist — the Sermon on the 
 JVIount, and the Elevation of the Brazen Serpent 
 — which are perhaps of this description, as in 
 grouping, expression, and the varied attitudes 
 exhibited by the different figures, they far ex- 
 ceed what we usually meet with in his original 
 performances. 
 
139 
 
 GIACINTO BRANDI. 
 
 N. 1623. 
 D. 1691. 
 
 A native of Poli near Rome ; had a lively 
 genius for the art, and a free pencil ; but his 
 colouring was bad, and his outline is often in- 
 correct. His drawings have considerably more 
 merit than his pictures ; and are usually executed 
 with a bold pen, and washed with bistre. — In 
 the Crozat collection, is an imitation of a fine one, 
 representing the Poor invoking a St. Bishop. 
 
 FILIPPO LAURI. 
 
 N. 1623. 
 D. 1694. 
 
 A Roman ; is an artist deservedly admired 
 
 for the elegant style of composition by which his 
 
 works are distinguished. His smaller historical 
 
 pictures, enriched as they usually are with the 
 
 most pleasing landscape scenery, are altogether 
 
 captivating : those of a large size, are rarely seen 
 
 T 2 
 
140 
 
 in England, as they were generally designed for 
 altar-pieces ; and, in that character, still maintain 
 their place in different parts of Italy. — Claude 
 de Lorraine, conscious of his own inferiority in 
 the designing of figures, often employed Lauri 
 to introduce them in his landscapes ; and the 
 pictures thus composed, are always considered 
 as greatly enhanced in their value by so happy 
 an addition. 
 
 Lauri's drawings, which are extremely scarce, 
 are admired for the correctness of their outline, 
 as well as beauty of composition. — Mr. Peachey 
 has an exquisite one, in red chalk, of Corisca 
 giving the Satyr a fall, from the Pastor Fido ; 
 an imitation of which is given in Mr. Rogers' 
 Work. — Mr. Barnard has a representation of 
 Boys flying in the Air, slightly penned. — Lord 
 Frederick Campbell has a pleasing Landscape 
 slightly executed with pen and wash. 
 
141 
 
 DOMENICO MARIA CANUTI. 
 
 N. 1620. 
 D. 1678. 
 
 A Bolognese ; possessed talents for the art, 
 which were the admiration even of Guido him- 
 self. He is, however, little known in England 
 as a painter, the most esteemed of his works 
 being almost exclusively confined to Rome and 
 Bologna. 
 
 His drawings are scarcely more known here 
 than his pictures. The few we meet with, are 
 rapidly penned and washed. A judgment may 
 be formed of his style, from an imitation in Mr. 
 Rogers' Work; the subject of which, is the 
 Discovery of Achilles. 
 
142 
 
 PIETRO SANTE BAKTOLI. 
 
 N. 1635. 
 
 Was an eminent engraver after the antique 
 and the works of the old masters. His drawings 
 are numerous on the continent ; and preserved 
 in the first collections there. About sixteen 
 years ago, a large number, copied from bas- 
 reliefs and other remains of antiquity in and 
 about Rome, were sold by auction here. They 
 possess great merit ; and are handled in a very 
 masterly style, with pen and Indian-ink wash. — 
 In the Library of Eton College, are some highly 
 finished copies, in water colours, from ancient 
 paintings in Italy, by this artist. 
 
 BALTHASAR VAN LEMENS. 
 
 N. 1637- 
 D. 1704.. 
 
 Was born at Antwerp ; and after the Restora- 
 tion, went to London with a view to pursuing 
 his profession ; but not finding sufficient encou- 
 ragement there as a painter, was induced, for 
 the sake of gaining a livelihood, to furnish 
 
143 
 
 sketches for other painters to work from. In 
 this way he succeeded better ; having a ready 
 invention, rapid hand, and a considerable degree 
 of elegance in his designs. These sketches are 
 generally figures, outlined with a pen, and 
 washed with Indian ink. — I have one, of Arion 
 playing on his Harp upon a Dolphin : the figure 
 is correctly drawn ; and the execution masterly. 
 
 SEBASTIAN LE CLERC. 
 
 N. 1637. 
 D. 1714. 
 
 Was born at Metz, in Lorraine ; but the 
 greatest part of his works, which chiefly consist 
 of etchings, were executed at Paris. His draw- 
 ings, which in general are small, have great 
 merit. He designed the human figure correctly ; 
 and evinces both taste and judgment in most of 
 his compositions. They are usually handled with 
 pen and Indian ink. — Lord Hampden has a very 
 fine one, in this style, of the Miraculous Feeding 
 the Five Thousand. 
 
144 
 
 ELISABETTA SIllANI. 
 
 N. 1638. 
 D. Kifji. 
 
 A native of Bologna, received her instructions 
 in the art from her father, who was a scholar of 
 Guido. Her readiness in sketching upon paper 
 any proposed subject, which she usually did 
 with a few strokes of red chalk, washed with 
 bistre or Indian ink, is described as truly won- 
 derful. — In the Royal collection, is a Sleeping 
 Boy, in this style, of a most captivating charac- 
 ter. — In the Duke of Devonshire's collection, 
 are two Boys, representing History and Painting, 
 of great beauty ; and the Infant Hercules strang- 
 ling the Serpent, penned and washed in a very 
 spirited manner. — Mr. Rogers has a Holy Fa- 
 mily, penned and washed with bistre, of which 
 he has given an imitation in his Work : — and I 
 have a Charity, washed only with bistre, of 
 which the grouping is good, and the execution 
 spirited. — There are imitations of Sirani's draw- 
 ings, by Mulinari and other engravers. 
 
145 
 
 JOHN DE BISCHOP. 
 
 N. 1646. 
 D. 1686. 
 
 Born at the Hague ; was eminent chiefly as 
 an exact copyist of the designs of other masters. 
 We meet with specimens of his talent in this 
 way, in many collections. — One of the finest, of 
 this description, is in the possession of Lord 
 Frederick Campbell, and represents the Satyr 
 uncovering a Sleeping Nymph, after Titian. — 
 Lord Hampden has two ; one, from Giulio Ro- 
 mano ; the other, the Ascension of the Virgin, 
 from Annibale Caracci, in bistre ; both of which 
 are fine. — There is also in my collection a forcible 
 and highly finished drawing by this artist, after 
 a picture by Holbein, formerly in the palace of 
 the Delfino family at Venice, but since in the 
 collection of the King of Poland. The picture 
 itself, was evidently designed for the Altar Piece 
 to a Chapel : and the Hon. Horace Walpole, who 
 in his Anecdotes of Painters (art. Holbein) refers 
 expressly to this drawing, which was brought 
 to England in 1723, considers it as being most 
 probably the representation of the Consul Mej- 
 er's Family. — His landscapes, which are always 
 from nature, are in bistre, but spotty. I have 
 
 one, of Scheveling, which has this defect. 
 
 u 
 
146 
 
 JAN LUIKEN. 
 
 N. 1649. 
 D. 1712. 
 
 Discontinued painting, for the more profitable 
 occupation of making sketched designs, from 
 sacred history, for the engravers. These were 
 executed in a free style, with pen and wash ; 
 and contain multitudes of figures, well grouped, 
 but totally devoid of dignity or grace. I have 
 one, of Pilate shewing Christ to the People, 
 which has some share of merit. 
 
 RAYMOND DE LA FACE. 
 
 N. 1648. 
 D. 1690. 
 
 A native of Toulouse, in Languedoc ; very 
 early in life gave indications of a strong propen- 
 sity for drawing, which his father not choosing 
 to encourage, placed him under the instructions 
 of a surgeon ; where, unable to resist his natural 
 
147 
 
 impulse, he was constantly employed in design- 
 ing from preparations of the human body, and 
 thus rendered himself a perfect master of that 
 wonderful machine, so necessary to be known 
 by all historical artists. He afterwards abandon- 
 ed his profession as a surgeon, and went to Italy 
 for the prosecution of his favourite study. Here, 
 during a residence of six years, he acquired a 
 degree of skill in composition and design, which 
 has rendered his drawings an object of eager 
 request with the collector, through every part 
 of Europe. Unquestionably they have infinite 
 merit : every part of his figures is finely under- 
 stood, and every muscle in its proper place and 
 correctly represented : his style of handling, too, 
 which was usually with a pen, is inimitable; 
 and nothing seems wanting to constitute perfec- 
 tion in the art, as far as he went, but a better 
 knowledge of the chiaro-oscuro. — In the Royal 
 collection is a volume full of La Fage's drawings ; 
 many of which are very fine, — Mr, Barnard has 
 a capital one, of an unknown subject, penned 
 and washed — a mode of execution rather unusual 
 with this artist. — Mr, Cipriani has a magnificent 
 Upright, not less than three feet high, repre- 
 senting the Last Judgment, replete with figures, 
 and surmounted with a Caricature of the Artist 
 
 himself. La Fage has been deservedly censured 
 
 u 2 
 
148 
 
 for the indecency which prevails in too many of 
 his works ; and even in the treatment of so 
 awful a subject as that we have just mentioned, 
 there are parts — where the Avicked are depictured 
 as punished according to the nature of the crimes 
 they have committed — so ludicrously indelicate, 
 as to defy all explanation ; whilst by exhibiting 
 God the Father as presiding in Judgment, instead 
 of his Son, and attended by the angel Gabriel, 
 we may form a pretty fair conjecture at his reli- 
 gious sentiments. — In the collections in France, 
 his drawings are numerous. — I have a fine one, 
 penned, of Joshua commanding the Sun and 
 Moon to stand still, which has been imitated by 
 J. Coelmans ; and another, his own Caricature, 
 from Mr. Hillier's collection, which has been 
 engraved by Pond. — In Mr. Rogers' Work, is a 
 specimen of his manner, in Vulcan's Forge ; and 
 another, by Prestel. 
 
149 
 
 SEBASTIANO RICCI. 
 
 N. 1659. 
 D. 1734. 
 
 Was a native of Belluno ; and studied paint- 
 ing in different parts of Italy : lie then came to 
 England, where he continued ten years, and 
 produced some of his finest works. He had 
 a fruitful invention, and occasionally consider- 
 able grandeur of design ; but his figures are 
 by no means correct, and their attitudes often 
 constrained. Tbe few drawings I have ever 
 seen by this artist, are very slightly penned, and 
 washed with bistre ; but with a great air of 
 freedom. 
 
150 
 
 LUDOVICO GEMIGNIANI. 
 
 N. 1644. 
 D 1697. 
 
 A native of Pistoia ; composed and designed 
 well, and was a good colourist ; but we have too 
 frequently to lament, in his works, a carelessness 
 of outline. In England his drawings are very 
 little known. There is an imitation, however, 
 of an upright one, in the Crozat collection ; the 
 subject of which, is St. Francis Xavier dying. 
 It is penned, washed, and heightened. 
 
 DONATO CRETI. 
 
 N. 1671. 
 D. 1749. 
 
 A Milanese ; was a good painter ; and his 
 works are much esteemed in Italy, though little 
 known in England. 
 
 The few drawings we meet with, by him, are 
 penned, in a loose free style. I have a Magdalen 
 at Prayers before a Crucifix, in which the figure 
 is most elegantly designed, and devotion finely 
 expressed. This drawing was a present from 
 Signor Zuccarelli, who was a friend of Creti's. — 
 In Germany and Holland his drawings frequent- 
 ly pass under the name of Guido. 
 
151 
 
 LOUIS CHERON. 
 
 N. 1660. 
 D. 1713. 
 
 A native of Paris ; studied in Italy eighteen 
 years, and made the works of Raffaelle and Giu- 
 lio Romano his principal models. Some years 
 afterwards he came to England, where he re- 
 ceived considerable encouragement. The few 
 drawings we meet with by him, are highly 
 finished with pen and bistre- wash, heightened 
 by hatching. 
 
 * 
 
 BENEDETTO LUTI. 
 
 N. 1666 . 
 D. 1724. 
 
 A Florentine ; made great progress in the art 
 under the instructions of Gabbiani, from whom 
 he acquired elegance of composition and an exact 
 knowledge of the chiaro-oscuro ; — points, in the 
 pursuit of which, he was too prone to neglect 
 the subordinate, but essential requisite, correct- 
 ness of design. 
 
152 
 
 We do not meet with many of his drawings. 
 In General Morrison's collection are two fine 
 Academy Figures by this master, in red chalk ; 
 and a Saint at his devotions, done in brown, and 
 heightened. — Mr. Barnard has a beautiful one, 
 of Hippomenes and Atalanta, penned, washed, 
 and heightened, which has been engraved by 
 Bartolozzi. — We have imitations by Captain 
 BaiUie and other engravers. 
 
 Sir JAMES THORNHILL. 
 
 N. 1676. 
 i). 1734. 
 
 A native of Dorsetshire ; displayed talents for 
 the art, which, had they been cultivated by a 
 study of the great masters of Italy, would have 
 raised him, there is little question, to first-rate 
 eminence in his profession : as it is, and without 
 this advantage, his paintings, particularly those 
 in Greenwich Hospital, the Dome of St. Paul's, 
 and Hampton Court, abound with merit ; and 
 justly entitle him to high distinction in the 
 English school of design. 
 
153 
 
 He has left many drawings. Most of these 
 were studies for his pictures, and are slightly 
 penned. The more finished ones, which are 
 scarce, are penned, shaded with Indian-ink or 
 bistre, and heightened. In this style are some 
 in Greenwich Hospital, framed, which are ex- 
 tremely fine : and in various collections we meet 
 with others, on historical and allegorical subjects, 
 which furnish striking proofs of his talents as an 
 artist. — 1 have a slight sketch of the Twelve 
 Signs of the Zodiac, which encircle his Portraits 
 of King William and Queen Mary on the ceihng 
 of the Great Hall, at Greenwich Hospital : and 
 some Landscapes and Views from nature, hand- 
 led in a more finished manner, but very inferior 
 in excellence to his historical compositions. — A 
 few imitations have been engraved from his 
 finished drawings for the Dome of St. Paul's. 
 
 X 
 
154 
 
 SEBASTIANO CONCA. 
 
 N. 1676 . 
 D. 1764?. 
 
 A native of Gaeta ; was the disciple of Fran- 
 cesco Solimene, an esteemed painter ; and having 
 afterwards visited Rome, he spent eight years 
 there, assiduously studying the antique, and the 
 productions of the most celebrated masters in 
 that city. With such assistance, added to his own 
 natural genius and constant application, he pro- 
 duced many admirable works, well-coloured, and 
 remarkable for elegance of composition, and 
 grandeur of effect. 
 
 We seldom meet with his drawings in Eng- 
 land. In ]Mr. Barnard's collection, however, is 
 a very fine one, composed of fifteen figures, 
 representing the Baptism of our Saviour : it is 
 penned, washed, and heightened, on brownish 
 paper ; and has been engraved. 
 
155 
 
 CLAUDE MELLAN. 
 
 N. 1601. 
 D. 1688. 
 
 Is well known as an engraver who introduced 
 the extraordinary plan of shadowing his prints 
 enth'ely by parallel lines. The few drawings we 
 meet with by him, are executed precisely in the 
 same manner : and though so different in their 
 handhng from those of all other masters, produce 
 an effect beyond what could be expected from 
 so singular and difficult a process. — I have a 
 drawing by him, in this style, of Friars in a 
 Convent. 
 
 X 2 
 
156 
 
 MICHAEL RYSBUACK. 
 
 D. 1770. 
 
 Was born at Antwerp ; and studied sculpture 
 under Michael Vander Vorst. About the year 
 1720 he came to England, which he has enrich- 
 ed with many excellent statues, busts, and 
 sepulchral monuments : but the work which 
 acquired him the highest reputation in this 
 country, is a Statue of Hercules, seven feet in 
 height, erected in a Temple at the classic seat 
 of Mr. Hoare (now Sir Richard Hoare, Bart.) 
 at Stourhead. 
 
 We meet with Rysbrack's drawings in the 
 first collections. His figures are out^ned with 
 a pen, and shaded with bistre ; and some are 
 heightened. In general they exhibit much more 
 ease and freedom of handling, than it is custom- 
 ary to find in the drawings of a sculptor. — Mr. 
 Rogers has favoured us with an imitation of a 
 Figure of Time, the drawing of which was pre- 
 sented to him by Mr. Rysbrack, as a new year's, 
 gift. 
 
157 
 
 ANTOINE WATTEAU. 
 
 N. 1684. 
 D. 1721. 
 
 Can scarcely be ranked, with strict propriety, 
 amongst historical artists, as his subjects were 
 chiefly encampments and halts of armies, comic 
 scenes, and gay and gallant conversations. These 
 he treated with great delicacy, truth and spirit ; 
 and his figures, in general, are well drawn and 
 agreeably disposed : but it must be acknow- 
 ledged that there prevails, through all his com- 
 positions, too much of the falsetto of French 
 style and manners ; the most remote imaginable 
 from the engaging simplicity of nature, and, in 
 representation at least, utterly offensive to good 
 taste. 
 
 His drawings are numerous in France, though 
 in England we seldom see any. Those we meet 
 with, are slight and spirited : the figures usually 
 outlined with a pen, and washed with red. — I 
 have a Pero and Columbine, in this style, very 
 pleasingly executed. 
 
158 
 
 FEANCIS BOUCHER. 
 
 N. 1704. 
 
 d: TO. 
 
 A native of Paris ; received his first instruc- 
 tions in painting from his father, an artist of 
 little celebrity, and was then placed under Le 
 Moine, the favourite painter of that day in 
 France, where he gave indications of consider- 
 able abilities. At the age of seventeen he painted 
 a picture of the Judgment of Solomon, which 
 gained him great applause ; and at nineteen was 
 honoured with the first prize which the A cademy 
 at Paris adjudged to its pupils. In 1727 Bou- 
 cher went to Rome ; where he improved ex- 
 ceedingly, and painted some excellent pictures. 
 After remaining in Italy about four years, he 
 returned to Paris ; was admitted a member of 
 the Academy there ; and in 1 765 appointed Pre 
 mier Painter, an office then vacant by the death 
 of Vanloo. It was now that his works gave 
 decisive evidence of the advantages which he 
 had derived from his Italian studies ; though in 
 compliance with the gaudy and fantastical style 
 which then prevailed in France, he was occasion- 
 ally obliged to forego his better judgment, and 
 
159 
 
 accommodate himself to a taste which he must 
 have cordially despised. 
 
 Boucher's drawings, particularly such as he 
 did in the spirit of his Italian studies, have 
 great merit. Some are in black chalk, others in 
 crayons, and some are finished with the pen. — 
 Mr. Paul Sandby has a fine Study in crayons : — 
 and I have three beautiful pieces of Bolognese 
 Shepherd-Boys, executed with a pen, which I 
 purchased of the artist himself, at Paris. — Nu- 
 merous imitations of his style have been engrav- 
 ed in France : and in Mr. Rogers' Work are 
 two, a Bathsheba, and a representation of the 
 Trinity. 
 
 WILLIAM HOGARTH. 
 
 N. J 698. 
 D. 1764. 
 
 Gained immortal credit to himself, and re- 
 flected lustre on the English school of design, 
 by the dexterous application of a happy and ori- 
 ginal idea — that of converting the pencil into a 
 vehicle of moral censure and instruction, by the 
 representation of incidents, humourous or affect- 
 
160 
 
 ing, bearing an immediate relation to real life 
 and manners ; and conducted, in several instances, 
 like a regular fable, through different progressive 
 stages, in the very spirit, and with all the effect, 
 of a drama. 
 
 The few drawings we meet with by this 
 master, are usually very slight, and executed in 
 a great variety of manners. The detached figures, 
 of which they in many instances consist, were 
 evidently sketched from life, and designed as 
 hints for some future exertion of his pencil. — 
 At Mr. Millington's exhibition of drawings in 
 the Haymarket, in 1784, were three historical 
 pieces by this artist ; a Satirical Sketch on the 
 Arts, another on the Theatre, and the London 
 Apprentice : the first, consisted of many figures, 
 with much humourous expression ; and, though 
 slight, was most spiritedly handled with a brush 
 and Indian ink : the second, was executed with 
 black chalk upon blue paper ; but what characters 
 the figures were designed to represent, was by 
 no means easy to be determined : the third, was 
 handled with black lead, and exhibited the 
 Apprentice fastened to a Cross. 
 
161 
 
 JOHN HAMILTON IMORTIMER. 
 
 N. 1739. 
 D. 1779. 
 
 Was a native of Eastbourne, in Sussex ; and 
 very early in life shewed a particular genius for 
 the art of design, in which he made a most rapid 
 and successful progress. At the age of eighteen, 
 he painted a large picture of St. Paul converting 
 the Druids to Christianity, which has certainly, 
 great merit both with respect to composition 
 and colouring, and forms the Altar Piece in the 
 Church of High Wycombe. ^Near this memorial 
 of his talents, the remains of the artist himself, 
 after having been previously interred in the 
 Church of Little Missenden, were finally depo- 
 sited. 
 
 Mortimer's historical drawings and groups of 
 banditti, in the style of Salvator Rosa, are usu- 
 ally penned and washed with bistre, in a very 
 spirited style. Mr. Knight has many of the 
 best of these ; which have been engraved, as imi- 
 tations, by Robert Blyth, and Haynes. 
 
 y 
 
362 
 
 GIOVANNI BATISTA CIPRIANI. 
 
 N, 1728. 
 D. 17857 
 
 Of tliis refined and fascinating artist, the 
 Annual Register has given the following just 
 . descriptive character. " The classical elegance 
 of his pencil will be a lasting memorial of his 
 scientific skill, and do honour to his name, as- 
 Ibng as the polite arts are in estimation. From 
 hiis correct outline and tender colouring, the 
 taste of this nation has derived its best improve- 
 ment ; and the Royal Academy considered him 
 as the truest model of grace. Of his private 
 virtues, aU who knew him will subscribe a ready 
 testimony ; and to those who knew him not, it 
 is impossible to convey an idea of his friendly 
 heart and affable manners." 
 
 In the sale of one thousand one hundred 
 drawings by this artist, in March 1786, were 
 many, highly finished, in different styles. An 
 oval one of the Death of Dido, consisting of six 
 figures, in coloured chalks and crayons, was 
 
163 
 
 capital, and abounded with expression : — it sold 
 for fifty-four guineas. In April 1787, Mr. 
 Lock's collection of this master's drawings, was 
 sold by auction: — many of them were very 
 exquisite. — I have some of a most captivating 
 character : particularly, an upright one of Chi- 
 ron instructing Achilles to throw a Javehn, 
 penned, washed, and tinted ; and two circular 
 ones of the Seasons, represented by Boys in 
 different employments, highly finished, and 
 tinted with beautiful effect. 
 
 Y 2 
 
164 
 
 MASTERS IN PORTRAIT, 
 0ot ^vtUoml^ mtictti as M^toximl Artists, 
 
 HANS HOLBEIN. 
 
 N. 1498. 
 D. 1554. 
 
 Of Basle ; possessed an uncommon genius both 
 for history and portrait painting, but particularly 
 excelled in the latter. 
 
 The pictures of this artist are sufficiently well 
 known : his drawings are equally admirable in 
 their way. Even his sHghtest sketches in black 
 chalk, are fine : but his most finished ones, 
 consisting chiefly of heads executed in coloured 
 chalks upon stained paper, have a boldness and 
 relief, which, considering the little use he made 
 of the effect of light and shade, is truly M-^onder- 
 ful ; and an air and character of truth and nature,, 
 an expression of individuality, if I may be allow- 
 
165 
 
 ed the phrase, peculiarly his own. — In this latter 
 style of handling, are two large Volumes in the 
 Royal collection at the Queen's Palace, filled 
 with original portraitures of the principal per- 
 sonages of the court of Henry the Vlllth. This 
 inestimable treasure, which once belonged to 
 Charles the 1st, after having long disappeared, 
 was accidentally discovered by Queen Caroline in 
 a bureau at Kensington Palace. — In the King's 
 Library in the Green Park, is a small upright 
 drawing, framed, of the Queen of Sheba before 
 Solomon, highly finished in Indian ink, and co- 
 loured : it has been etched by Hollar. — At the 
 Duke of Devonshire's at Chatsworth, are Por- 
 traits of Henry the Vllth and Vlllth, the size 
 of hfe, handled in black chalk, and heightened, 
 with very fine effect, — Mr. Hervey has a Volume 
 of twenty-three capital Portraits of the court of 
 Henry the Ilnd of France : the faces are very 
 highly finished in coloured chalks; and over 
 many of them are inscribed the names of the 
 persons they represent — The Earl of Carlisle has 
 a room at Castle Howard completely hung with 
 a set of his Portraits of distinguished personages 
 in the court of France. — In the British Museum 
 is a Book for Jewellers to work from ; and a 
 collection of designs for Weapons, and Orna- 
 ments of different kinds, some of which have 
 
166 
 
 been engraved by Hollar. — Sandrart had a folio 
 Volume of his drawings, representing the Passion 
 of our Saviour, which he so highly prized, that, 
 there being a deficiency of tw^o to complete the 
 set, he publicly offered a reward of two hvmdred 
 florins for their recovery. — At Basle are many 
 historical designs by this master, intended as 
 Patterns for painters on glass. — But by far the 
 largest collection of Holbein's drawings ever got 
 together, was that made by the Great Earl of 
 Arundel ; some of which have found their way 
 into the present Royal collection, and form the 
 most valuable specimens it possesses of the style 
 of this admiraljle artist. 
 
167 
 
 ISAAC OLIVER. 
 
 N. 1556. 
 D. 1617. 
 
 An Englishman ; first studied under Milliard, 
 but received further instructions from Federigo- 
 Zucchero when he visited this country, and 
 rose to distinguished eminence in his profession. 
 He designed with taste and correctness; and 
 particularly excelled in painting miniatures. 
 
 His drawings are highly finished. Those of 
 an historical description, are generally copied 
 from the works of the greatest masters, such as 
 Parmigiano and Coreggio ; and are executed in 
 water colours, with infinite delicacy and exact- 
 ness. There are few collections in England 
 without some specimens of his pencil. At 
 Kensington Palace is a capital drawing of the 
 Entombing of Christ; and another, of the Slaugh- 
 ter of the Innocents, after Raffaelle. In several 
 of OUver's miniatures, the carnations are flown, 
 which takes off much from their beauty. 
 
1^8 
 
 PETER OLIVER. 
 
 N. 1601. 
 D. Ib'b'O. 
 
 The son and scholar of Isaac Oliver, nearly 
 equalled his father, and far excelled all his 
 contemporaries, in the delicate art of miniature 
 portrait-painting. His drawings, in general, are 
 most exquisitely finished in black lead. Mr. 
 (now Sir William) Burrell has a Head of Charles 
 the 1st, in this style, of incomparable merit. 
 
 MICHAEL MIREVELDT. 
 
 N. 156 8. 
 D. 1641. 
 
 A native of Delft ; was an admired, and most 
 prolific artist; the pictures he left, according 
 to Houbraken, amounting to the stupendous 
 number of five thousand. The few drawings we 
 meet with by this ingenious artist in England, 
 are generally Heads, washed with brown and 
 heightened, upon blue paper, in a masterly 
 style. 
 
1G9 
 
 FRANCIS HALS. 
 
 N. 1584 . 
 D. 1666. 
 
 This spirited and delightful artist was a na- 
 tive of Mechlin, in the Austrian Netherlands, 
 and the disciple of Karel Van Mander. As 
 a painter of heads, he has been equalled but 
 by few. The force and expression which he 
 gave to his figures, those especially which he 
 painted when animated (as was too often the 
 case) with the bottle, and indulging his taste for 
 drollery, are truly admirable. 
 
 We seldom meet with this artist's drawings 
 in England. The few that occur, are usually 
 Heads of humour, executed in bistre with a 
 brush ; very slight, but full of spirit. 
 
 z 
 
170 
 
 CORNELIUS VISSCHER. 
 
 N. 1610. 
 
 The celebrated engraver ; attained some emi- 
 nence as a painter, but his drawings are greatly- 
 preferred. In general they are highly finished 
 with black chalk, and in a very masterly style. 
 — In the Royal collection are four Heads by 
 him, which are extremely fine — and Signor 
 Torre had a Portrait of Philip Wowermans, 
 equally excellent, which has been engraved. — 
 Mr. Ploos of Amsterdam has given us a close 
 imitation of his style of execution, in a Head. 
 
 JOHN LIEVENS. 
 
 N. 1607 . 
 
 Of Leyden ; excelled in portrait-painting, and 
 was an admirable colourist. He was invited to 
 England by Charles the 1st ; and met with great 
 encouragement from the Court, and the principal 
 nobility. His drawings are executed in black 
 chalk ; and have great merit. — Mr. Philippe 
 had a Head of Charles the 1st, by this artist, 
 which was admirable. 
 
I 
 
 171 
 
 AVTLLIAJNI FAITHORNE. 
 
 N. 1616. 
 D. 1691. 
 
 A native of London ; was a scholar of Mr. 
 Peak, portrait-painter to Prince Rupert : but 
 being compelled, during the civil wars, to retire 
 to France, he availed himself of the opportunity 
 to pursue his studies under Philip de Cham- 
 pagne, an artist there of considerable merit in 
 that line. 
 
 Faithorne's drawings have generally the re- 
 commendation of being very correct in their 
 outhne. They are usually executed in black 
 and white chalk : but there are some which are 
 done in crayons. — His son was a mezzotinto- 
 scraper ; and died at the early age of thirty. 
 
 z 2 
 
172 
 
 GERARD DOUW. 
 
 N. 1613 . 
 D. 1674.. 
 
 A native of Leyden ; became, at the age of 
 fifteen, a scholar of Rembrandt. Having im- 
 bibed from this great master a consummate 
 knowledge of the true principles of colouring 
 and management of the chiaro-oscuro, he formed 
 a manner of his own, by adopting subjects of a 
 small size, and with indefatigable labour working 
 them up, even in their minutest accessories, to 
 the most precious and exquisite finish that had 
 ever been witnessed in oil-painting. From his 
 astonishing success in a style so generally capti- 
 vating, he acquired the highest celebrity whilst 
 living ; and his works are still sedulously sought 
 for by the curious collector, and occupy a distin- 
 guished situation in the choicest cabinets. 
 
 So much of the time of this extraordinary 
 artist was devoted to his elaborations on the 
 easel, that his drawings are every where ex- 
 tremely scarce ; and in England are hardly to be 
 met with. Captain Baillie, however, has given 
 us an imitation of an Old Woman's Head, which 
 is admirable ; and Mr. Ploos of Amsterdam has 
 engraved a few other specimens, which convey 
 a just idea of his manner. 
 
ANTHONY PALAMEDES STAEVARTS. 
 
 N. 1604. 
 D. 1680. 
 
 Mr. Philippe had a very fine drawing of a 
 conversation by this artist, consisting of several 
 Figures at Table, by Candle-light. It was exe- 
 cuted in Indian-ink, heightened with gold ; and 
 in all its parts was most highly finished. 
 
 FRANCIS MIERIS the Eldee. 
 
 N. 1635. 
 D. 1681. 
 
 A native of Leyden ; was disciple to Gerard 
 Douw, whom he rivalled in delicacy of pencil, 
 while he is generally allowed to have surpassed 
 him in correctness of outline, brilliancy of colour, 
 animation of touch, and vigour of effect. 
 
 His drawings are usually heads, very highly 
 finished with pencil and Indian-ink. In this 
 style are two beautiful specimens in the collection 
 of Lord Hampden. 
 
174 
 
 GABRIEL METZU. 
 
 N. 1615. 
 D. 1658. 
 
 Of Leyden ; emulated the style and colouring 
 both of Gerard Douw and Mieris : and though 
 his pencil is less precious, perhaps, than that of 
 either of these artists, there is a breadth and 
 spirit in his best works, which renders the ela- 
 borate polish and roundness of the former, com- 
 paratively heavy and insipid. 
 
 In' Germany his drawings are frequently met 
 with. They generally consist of heads, handled 
 with black chalk, in a very masterly style ; and 
 with that particular air and character, which 
 indicate them to have been immediately and 
 closely designed from nature. Mr. Ploos has 
 imitated the Head of an Old Woman in an 
 admirable manner. 
 
175 
 
 Sir peter LELY. 
 
 N. 1617. 
 D. 1680. 
 
 A native of Soest, in Westphalia ; was State 
 Painter to Charles the Ilnd ; and, from a happy 
 knack of embellishing the charms of his ladies, 
 acquired a degree of practice as a portrait-painter, 
 which no artist in this country had ever before 
 enjoyed. 
 
 His drawings generally consist of heads, hand- 
 led with black and white chalk upon coloured 
 paper. He left a capital collection of drawings 
 by the best old masters, in twenty-one port- 
 folios ; which, in 1681, sold for upwards of 
 eighteen hundred pounds. Each of these draw- 
 ings was stamped with his initials p. l. 
 
176 
 
 Sir GODFREY KNELLER. 
 
 N. 1648. 
 D. 1723. 
 
 On the death of Sir Peter Lely, being left 
 without a competitor, engrossed all the principal 
 business of the day, and unquestionably sur- 
 passed his predecessor in the profusion of his 
 portraits ; which have now, however, little to 
 recommend them, but the likenesses they are 
 supposed to transmit. 
 
 His drawings are usually heads, handled in 
 Indian-ink : but extremely mannered ; and with 
 that general resemblance in the airs and casts of 
 countenance, which affords the most conclusive 
 proof that he must have very imperfectly seized 
 the characteristic lineaments of the originals. 
 
177 
 
 GODFREY SCHALCKEN. 
 
 N. 1643. 
 D. 1706. 
 
 Of Dort ; was a scholar of Gerard Douw, and 
 particularly excelled in representing tlie brilliant 
 effects of illumination and shadow, from candle, 
 lamp, and fire-light. His practice was, to place 
 the object and light in a darkened chamber; 
 and, looking through a small aperture, to paint 
 by day-light what he saw thus illumined. As 
 this is a position in which such accidents of light 
 are never viewed, it sufficiently accounts for his 
 pictures, though delicately finished, appearing 
 in general greatly overcharged ; what we justly 
 expect, in such representations, being the effect 
 produced when we ourselves are in the light by 
 which the object is irradiated. 
 
 The few drawings we meet with by this 
 master in England, are executed in black chalk, 
 and finished with high effect. In this style I 
 have a fine one, of a Man smoaking a Pipe by 
 Lamp-light ; in which the attitude, and drawing 
 of the figure, are extremely good. 
 
 AA 
 
178 
 
 CAVALIERE PIETRO LEONE GHEZZL 
 
 . N. 1674. 
 D. 1735. 
 
 The only drawings we meet with by this 
 artist, though an historical painter of consider- 
 able eminence, are caricatures, executed with a 
 reed pen, and shadowed with parallel lines. In 
 this style I have the Portrait of Monsignor Pre- 
 curti. Cross-bearer to Pope Innocent Xlllth, 
 writing at a Table, with a Bottle and Glass before 
 him, which was purchased at Mr. Hillier's sale. 
 — Many of his best drawings are at the Palazzo 
 Albani at Rome. — Ghezzi was also a good en- 
 graver; as may be seen by his plates to the 
 elegant edition of Homilies of Clement Xlth. — 
 Many imitations of his drawings have been exe- 
 cuted by Pond, Piranesi, and Osterriech : and 
 in Mr. Rogers' Work, is a Portrait of the Artist 
 taken from his own drawing. 
 
179 
 
 JONATHAN RICHARDSON. 
 
 N. 1665. 
 D. 174.5. 
 
 The author of several ingenious works on the 
 polite arts, is considered by Mr. Walpole as one 
 of the best English painters of a head, that had 
 appeared in this country. His drawings are 
 usually executed in black lead or chalks, or with 
 the pen. They are heads from the life ; and 
 possess considerable merit. — His Son, who made 
 the Tour of Italy, was an inferior artist. His 
 drawings are generally executed in black lead ; 
 and, like his father's, consist of heads from the 
 life. — Both Father and Son left a large collection 
 of drawings, aU of which were impressed with 
 their initials. 
 
 AA 2 
 
180 
 
 GEORGE VERTUE. 
 
 N. 1684. 
 D, 1756. 
 
 An ingenious and most diligent draughtsman 
 and engi'aver, was a native of London ; and one 
 of the first members of the Academy of Painting. 
 He chiefly drew and engraved, from the most 
 esteemed portraits ; and in his various excur- 
 sions through the country, never failed to make 
 sketches of every object which might claim the 
 attention of the antiquary. His drawings are 
 handled in different styles : many are executed 
 in water colours ; and several, which he copied 
 from the works of Holbein, in chalks and cray- 
 ons. There is a copious catalogue of his prints, 
 in Walpole's Lives of Engravers. 
 
181 
 
 JOHN VANDERBANK. 
 
 N. 1694 . 
 D. 1739. 
 
 A native of England, though of foreign ex- 
 traction, was an excellent portrait-painter ; and 
 but for a careless and extravagant disposition, 
 would probably have become as eminent in that 
 line as any artist that this country ever produced. 
 His design was correct ; his likenesses striking ; 
 and his colouring remarkably bold and mas- 
 terly. 
 
 His drawings are, in general, historical. The 
 sHghtest, are merely penned: some, have the 
 addition of a wash : and the most finished, are 
 carefully shaded. But his best works are his 
 heads ; which have often wonderful expression. 
 
182 
 
 DUMOUTIER. 
 
 A French artist, excelled in drawing portraits 
 in chalks and crayons. His works are scarce in 
 England : but in the Queen's Library in the 
 Green Park, are two fine Heads by him, exe- 
 cuted in black chalk ; one of which, is the 
 Portrait of INIichael Angelo. — Mr. Bull, too, has 
 a very highly finished drawing in Indian-ink, of 
 the Head of Henry the Vlllth, fi'om Holbein, 
 by this master. 
 
 OTTAVIO LEONI, called IL PADUANINO. 
 
 Was the son of Francesco, an historical and 
 portrait painter. Having studied some time 
 under his father, he went to Rome, where he 
 became eminent as a painter of portraits. 
 
 His drawings, which are rarely seen in Eng- 
 land, are usually heads from nature, executed in 
 black chalk, and heightened ; having the face 
 and hair slightly tinged with red. I have a 
 very spirited Head of a Priest, in this style, 
 which has a great character of truth and nature. 
 
183 
 
 THOMAS FRYE. 
 
 N. 1702. 
 D. 17(32. 
 
 A native of Dublin ; was a respectable painter 
 and draughtsman. His drawings, in general, 
 are heads, the size of life, executed in black and 
 white chalk upon coloured paper : others are 
 miniatures, highly finished in black lead ; and 
 some, exquisitely wrought up in water colours, 
 of a size so diminutive, as to be capable of being 
 set in rings. His portraits have the most merit : 
 his fancied heads generally falling, in every 
 respect, far short of the intention. 
 
 THOMAS WORLIDGE. 
 
 N. 1701. 
 D. 1766. 
 
 Was instructed as a painter ; but not succeed- 
 ing in that department, applied himself chiefly 
 to engraving and drawing ; in both of Avhich 
 branches he greatly excelled. His heads are 
 usually executed in black lead and Indian-ink : 
 but those in the first manner only, are by far 
 the best of his works ; and have often abundance 
 of spirit. IVlany are copies from Rembrandt ; or, 
 at least, ideas caught from that master. 
 
184 
 
 MASTERS IN ANIMAL LIFE. 
 
 ANTONIO TEMPESTA. 
 
 K 1555. 
 D. 1630. 
 
 A native of Florence, was a disciple of John 
 Stradanus. The admirable prints of battles and 
 huntings by this artist, are sufficiently known 
 to the connoisseur. His drawings, which are 
 usually executed with a pen, and washed with 
 bistre or Indian-ink, have the same masterly 
 handling, spirit, and expression. In the Royal 
 collection at the Queen's Palace, are some highly 
 finished specimens, which possess great merit. 
 
185 
 
 FRANCIS SNYDERS. 
 
 N. 1579 . 
 D. 1657. 
 
 W as born at Antwerp ; and became a disciple 
 of Henry Van Balen. His first works were 
 objects of still life, such as fruit and vegetable 
 markets : but following ,the bent of his genius, 
 which led him to paint animals from life, he 
 soon surpassed all his contemporaries in that 
 line ; and in the correct and animated represen- 
 tation of the hunting of wild beasts, particularly, 
 reached that transcendant eminence which he is 
 still universally allowed to maintain. 
 
 The drawings we usually meet with by this 
 artist, are sketches of the latter subjects ; penned 
 and washed, with great spirit. His finished 
 ones, are tinted and heightened with fine effect. 
 Lord Frederick Campbell has a capital one, in 
 this style, of the hunting a Wild Boar : — and in 
 Mr. Barnard's collection, is a tinted representation 
 of Dogs seizing a Boar's Head, prodigiously 
 spirited. — I have a Boar Hunt, executed with 
 pen and bistre, which is extremely fine. 
 
 BB 
 
186 
 
 CORNELIUS DE WAEL. 
 
 N. 15.94. 
 D. l66'2. 
 
 Born at Antwerp ; was an eminent painter of 
 battles and sea-fights : lie expressed the various 
 passions excited in such contests, with great 
 truth and readiness ; grouped his objects with 
 much judgment ; and gave to the whole a very 
 pleasing tone of colour. 
 
 The drawings of this master are rare in 
 England : at iSIr. Hillier's sale, however, I 
 purchased an oval one by him, of Figures and 
 Cattle at a Fountain, penned with great spirit ; 
 and in which the disposition of the different ob- 
 jects introduced, is remarkably well understood. 
 
 IMICHAEL ANGELO DI BATTAGLIA. 
 
 N. 1600. 
 D. 1660. 
 
 A Roman artist; was famed for painting 
 battles in an excellent style : it is remarkable, 
 however, that we seldom meet with any of his 
 drawings on such subjects ; or indeed any other, 
 than single figures of humour, in the style of 
 Bamboccio, executed in black chalk, and tinted 
 with effect. In INlr. Hilher's sale were several 
 of this description, which had great merit. 
 
187 
 
 PETER, VAN LAER. 
 
 N. 1613. 
 D. 1673. 
 
 Called Bamboccio, from the distortion of his 
 person, was born at Laeren, and endowed by 
 nature, unquestionably, with an uncommon apti- 
 tude for excelling in the art ; yet notwithstand- 
 ing a sixteen years' residence at Rome, and an 
 assiduous application, during the whole of this 
 period, to the most admired productions in that 
 city, he never could divest himself of the deprav- 
 ed taste for low subjects of conversation, farriers' 
 shops, the humours of alehouses, &c. which seems 
 so congenial to the country whence he came. As 
 from his quickness of imagination and dexterity 
 of hand, he usually committed his thoughts at 
 once upon canvas, his designs are scarce : the 
 few we meet with, are usually executed in red 
 chalk. 
 
 BB 2 
 
188 
 
 PHILIP WOWERMANS. 
 
 N. 1620. 
 D. 1668. 
 
 Was an admired painter of horses and figures. 
 His favourite subjects were huntings and hawk- 
 ings ; which he enriched with delightful land- 
 scapes, and finished with a delicate transparency 
 of colour, and brilliancy of effect, that has ever 
 rendered them in the highest esteem amongst 
 the true lovers of the art. 
 
 His drawings are extremely scarce, owing, no 
 doubt, in some measure, to his dying request, 
 that whatever he left of this description should 
 be committed to the flames. Mr. Barnard had 
 one of the finest I have seen, consisting of a 
 Gentleman on Horseback with several Figures ; 
 of a small size, and highly finished in red chalk. 
 His more customary manner, however, and that 
 which proves most pfeasing in its effect, was to 
 execute with a pen, and brown Avash. In the 
 Royal collection are four Drawings in this style, 
 highly finished, and of exquisite beauty. — Imi- 
 tations of his manner, are given in Pond's and 
 Rogers' Works ; as well as by Prestel, and Ploo^ 
 of Amsterdam. 
 
189 
 
 GIACOMO CORTESE, called IL BOR- 
 GOGNONE. 
 
 N. 1621. 
 D. 1670. 
 
 Left his native province, Burgundy, to perfect 
 himself in the study of painting in Italy : here 
 he was induced to enter the army uiider the 
 patronage of the Baron of Vattaville ; and by 
 the knowledge of military tactics which he thus 
 acquired from actual service, combined with the 
 instructioixj which he derived from his generous 
 rival, jMichael Angelo di Battaglia, rose to the 
 most distinguished eminence as a painter of 
 battles. 
 
 His drawings, like his paintings, are executed 
 with transcendant fire and spirit. His sketches 
 are mere hasty scribbles with a pen : his more 
 finished ones, have the addition of a wash ; and 
 some, are heightened upon coloured paper. In 
 Mr. Crozat's collection was a small Book, con- 
 taining seventy-two drawings by this artist, 
 which was purchased by Bellori, of the Jesuits of 
 the Roman College, for sevent}^ Roman crowns. 
 Mr. Barnard has some specimens, which are ex- 
 tremely fine. — There are imitations of his style 
 in Pond's and Rogers' Works. 
 
190 
 
 NICHOLAS BERGHEM. 
 
 N. 1624. 
 D. 1683. 
 
 Was a most exquisite painter of cattle and 
 landscapes. He was born at Haerlem, and re- 
 ceived his first instructions from his father, who 
 was an inferior painter of still life ; but after- 
 wards studied under Van Goyen and others, 
 and acquired that captivating facility and mas- 
 terly power in the expression of his ideas, which 
 justly gained him the higliest reputation, and 
 must ever secure the delight and admiration of 
 the intelligent observer. His cattle were usually 
 studies immediately from nature ; but the en- 
 chanting landscapes in which they are introdviced, 
 though they haA^e all the appearance of being 
 drawn from the same source, v\ere in most in- 
 stances the fruits of his own happy invention, 
 assisted by a collection of prints and designs, 
 which he had formed, of the best Italian masters. 
 
 His drawings, in respect both to composition 
 and execution, are equal to his paintings. They 
 are usually highly finished in black chalk and 
 Indian-ink ; though some are done in red chalk. 
 
191 
 
 In the Royal collection, are several beautiful 
 specimens ; and General Morrison has a capital 
 one, of a Shepherd and his Flock, in pen and 
 bistre : but the finest I ever saw, are two Land- 
 scapes in Mr. Barnard's collection, in the first 
 mode, which came from the collection of Mr. 
 Muilnian, of Amsterdam, and have been etched 
 by D. Danckers.* — I have a slight but spirited 
 sketch in black chalk, of Cattle and Figures, 
 very characteristic of his fascinating style. — 
 There are imitations of Berghem's manner, by 
 Captain Bailiie, and Ploos of Amsterdam. 
 
 • These were since sold at Mr. Barnard's auction, at Greenwood's, for 
 £b9 173. 
 
192 
 
 WENCEZLAUS HOLLAR. 
 
 N. 1607- 
 D. 1677. 
 
 The drawings of this celebrated artist, so well 
 known and highly esteemed as an engraver, 
 usually consist of animals ; heads after Holbein ; 
 and landscapes or views from nature, highly 
 finished with a fine pen, as if designed to be 
 engraved, and occasionally tinted. The latter 
 subjects are, in most instances, marked with the 
 peculiarity of having the names of the towns and 
 rivers represented, inscribed over the objects. I 
 have a View of Aenbergh upon the Danube, in 
 this style, from the Duchess of Portland's collec- 
 tion : it bears evident marks of the handling of an 
 engraver, rather than a painter ; and has little 
 other merit, than that of a faithful portrait of 
 the scene, neatly executed. 
 
193 
 
 PAUL POTTEK. 
 
 N. 1625. 
 D. 1654. 
 
 Was an admired painter of cattle in landscapes, 
 which he represented with a genuine truth of 
 character, simplicity, and vigour, that has never 
 been surpassed. 
 
 The few drawings we meet with by this cap- 
 tivating artist, though slight, have the same 
 distinguishing excellence as his paintings ; every 
 object being marked with the utmost veracity 
 and correctness. They are usually executed in 
 black chalk upon blue paper, and heightened. 
 Mr. Barnard has one, of Cows, in this style, which 
 is very fine : and I have a highly finished group 
 of four Sheep and a Lamb, on plain paper, ex- 
 hibiting his usual character of truth and nature. 
 
 cc 
 
194 
 
 ANTHONY FRANCIS VANDER MEULEN. 
 
 N. 1634. 
 D. 1690. 
 
 A native of Brussels ; was invited by M. 
 Colbert, the minister, to settle at Paris, and 
 from thence attended Louis the XlVth in most 
 of his expeditions in the field, where he sketched, 
 upon the spot, the several sieges, encampments, 
 and marches of the army, with the utmost fide- 
 lity and exactness. Many of these sketches, 
 together with finished drawings from them, are 
 preserved in the Royal, and other principal, 
 collections in France. They are usually execu- 
 ted in red chalk : though several are penned ; 
 and those which are most finished, have the 
 addition of a wash. I have a fine one, in this 
 style, of the King, Vander Meulen himself, and 
 four Attendants on Horseback; with two Figures 
 on foot, to whom the King is speaking : as like- 
 wise several slight sketches, of a small size, 
 from Vander Meulen's Pocket-Book, which are 
 evidently Studies from nature, and have great 
 merit. — His pictures are well coloured, and very 
 highly finished; and the figures, which are 
 generally portraits, are often extremely well 
 grouped. 
 
195 
 
 MELCHIOR HONDECOOTER. 
 
 N. 1636. 
 D. 1695. 
 
 The drawings of this artist, who far excelled 
 all his contemporaries in the representation of 
 birds and fowls of all descriptions, in their most 
 animated actions and pursuits, are usually exe- 
 cuted in Indian-ink, and display the happiest 
 combination of spirit and correctness. General 
 Morrison possesses a very fine specimen of this 
 kind : but, owing probably to the uninteresting 
 nature of the subjects, rather than any other 
 cause, they are rarely met with in this country. 
 
 ABRAHAM HONDIUS. 
 
 N. 1638. 
 D. 1695. 
 
 A native of Rotterdam, but who spent the 
 greater part of his life in this country, excelled 
 in the representation of animals and huntings, 
 which he executed in a great style, and with 
 matchless fire and spirit ; but his outline is occa- 
 sionally incorrect, and his colouring often ex- 
 ec 2 
 
196 
 
 travagant. On this last account, his drawings 
 have the advantage of his pictures : they are, 
 however, rarely met with in this country. I have 
 a penned sketch of two Dogs, which abounds 
 with humour and spirit : one, a little snarling 
 Cur, is guarding a bone under the strongest 
 impressions of terror ; whilst the other, a noble 
 Mastiff, is lifting up his leg, and coolly treating 
 him with the last token of contempt. 
 
 KAREL DU JARDIN. 
 y. 1640. 
 
 D. 1678. 
 
 Of Amsterdam ; was the best disciple of 
 Berghem ; and went very young to Italy, where 
 his taste was so much admired, that his works 
 were eagerly purchased at great prices. 
 
 The few drawings we meet with by this 
 artist, are for the most part highly finished with 
 Indian-ink. In Mr. Barnard's collection is a 
 small one, in this style, of exquisite beauty ; 
 and which has been etched, of the same size, by 
 the artist himself. — General Morrison has ano- 
 ther, equally captivating. 
 
197 
 
 JOSEPH PARROCEL. 
 
 N. 1648. 
 D. 1704. 
 
 A native of Provence ; became a disciple of 
 Borgognone ; and combining, with the instruc- 
 tions of this great master, a close attention to 
 nature in every thing he designed, attained to 
 distinguished eminence in the representation of 
 battles, cavalcades, and huntings of wild beasts, 
 all of which he treated with uncommon facility, 
 fire, and animation. 
 
 His drawings of these subjects, are usually 
 executed with a large reed pen and washed with 
 Indian-ink, in a very free and masterly manner. 
 I have a large upright one, in this style, repre- 
 senting the Hunting of Ostriches, which has 
 great merit : the figures, horses, dogs, and birds, 
 abound with animation ; and their different atti- 
 tudes are varied and contrasted with admirable 
 judgment. The works of Charles and Ignatius 
 Parrocel, the Son and Nephew, are frequently 
 mistaken for Joseph's. 
 
198 
 
 PHILIP ROOS, CALLED ROSA DI TIVOLI. 
 
 N. 1655. 
 D. 1705. 
 
 Born at Frankfort ; from his earliest infancy 
 shewed an extraordinary passion for the art of 
 design ; and to perfect himself in the pursuit of 
 it, went to Rome under the patronage of the 
 Landgrave of Hesse. Here he devoted himself 
 entirely to the prosecution of his studies ; and 
 by a close and assiduous attention to nature in 
 every thing he did — his house becoming an ac- 
 tual menagerie for the purpose — acquired so 
 exact a knowledge of his subjects, with such a 
 freedom in the handling of them, as soon enabled 
 him to outstrip all his contemporaries in the just 
 and vigorous representation of animals of all 
 kinds. 
 
 His drawings, which are scarce, have the same 
 free and spirited touch as his paintings ; and the 
 effects of light and shade are as well understood, 
 without that blackness which too often predomi- 
 nates in his pictures. He chiefly outlined his 
 figures with a bold pen, and washed with brown. 
 Mr. Barnard has a fine specimen, of this descrip- 
 tion : but the best drawings of this master are 
 in collections abroad, where they are held in 
 the highest estimation. 
 
199 
 
 FRANCIS BARLOW. 
 
 N. 1626. 
 D. 1702. 
 
 A native of Lincolnshire ; first studied under 
 Shepherd, a portrait painter; but his genius 
 inclining him strongly to the representation of 
 birds and animals, he soon attained considerable 
 proficiency in that branch of the art. His co- 
 louring, however, always remained chalky and 
 indifferent ; and on this account his drawings 
 may be considered as preferable to his pictures. 
 They are usually outlined with a bold pen, 
 firmly and correctly ; and shaded with Indian- 
 ink. His designs for ^sop's Fables are executed 
 in this style ; and display his skill, as a draughts- 
 man, to great advantage. 
 
200 
 
 JOHN WYCK. 
 
 N. 1640 . 
 D. 1702. 
 
 Was born at Haerlem ; but came over with 
 his Father, Thomas Wyck, to England ; and 
 meeting with much encouragement, remained 
 here till his death. His usual subjects were 
 battles and huntings, which he painted with 
 great spirit and warmth of colouring. 
 
 His drawings are frequently met with, and 
 have considerable merit. Many are slightly 
 handled, in different styles : but his best ' and 
 most finished, are usually executed in Indian- 
 ink. I have a fine one, in this style, of a Stag 
 Hunt, in which the general effect of the scene, 
 lighted up, as it is, with much bustle and ani- 
 mation, is extremely captivating; though it 
 might be wished that the figures and horses, had 
 been more correctly designed. 
 
201 
 
 JOHN BAPTIST OUDRY. 
 
 N. 1686. 
 D. 1755. 
 
 A native of Paris ; though a general painter, 
 particularly excelled in the representation of 
 cavalcades and huntings of wild beasts. 
 
 His drawings on these subjects, are in general 
 and high esteem, as replete with spirit, truth, and 
 effect- They are commonly executed either with 
 black chalk, or a broad reed-pen, and tinted. 
 I have a Wolf's Head, and an Eagle attacking 
 its prey, which possess extraordinary merit. 
 
 JOHN ELIAS RIDINGER. 
 
 N. 1695. 
 
 A native of Germany; is best known in 
 England as an engraver, his drawings being 
 rarely met with here, though abroad they are 
 frequent in the first collections. In general they 
 are executed in black chalk upon brown paper, 
 
 DD 
 
202 
 
 and heightened, with much spirit; and some 
 are highly finished : but, hke his prints, they 
 are too often deficient in effect. I have a large 
 drawing, however, of a Group of Deer, executed 
 with a brush and pen, in a very bold style, and 
 sufficiently effective. 
 
 FRANCESCO SIMONINI. 
 
 N. 1689. 
 D. 1753. 
 
 Of Parma ; had a peculiar talent for the 
 representation of battles and encampments of 
 armies, in which he displayed much fire of in- 
 vention ; and his drawings have often consider- 
 able merit. He chiefly handled them with a 
 pen, and shaded with bistre or Indian-ink. In 
 this style I have the exhibition of a Battle 
 between the Turks and Christians, in which 
 every object is remarkably well designed. 
 
£03 
 
 JAMES SEYMOUR. 
 
 N. 1702. 
 D. 1752. 
 
 The only son of a banker of the same name, 
 was an indifferent colourist ; but his drawings 
 have some degree of merit. His particular ex- 
 cellence consisted in hitting off, with wonderful 
 spirit, the actions and characters of race horses, 
 in slight sketches with a pen. These have usu- 
 ally the names and heights of the horses, and 
 colours of the riders, scribbled on the face of 
 them. His more finished pieces are generally 
 tinted ; but the spirit which animates his lighter 
 productions, is frequently lost. With all his 
 skill, too, he attended so little to exactness, 
 that when the object was not before him, 
 whatever might be the action of the horse, he 
 invariably drew the shoulders the same. General 
 Morrison, among many designs of this artist, 
 has a capital one, of seven Horses racing, penned 
 and washed. 
 
 DD 2 
 
204 
 
 GEORGE EDWAKDS. 
 
 N. 1694. 
 D. 1773. 
 
 A native of Stratford, a hamlet in Essex ; 
 having finished his studies at Layton-stone and 
 Brentwood, was bound apprentice to a tradesman 
 in London ; but feeling a repugnance to that 
 line of life, he resolved to improve his natural 
 taste for the fine arts by going abroad. In 1716, 
 accordingly, he made a short visit to Holland ; 
 and, two years after, embarked for Norway, 
 where he instantly gave a loose to his genius, by 
 pursuing with eagerness the haunts of the vari- 
 ous birds which frequent the rocks and precipices 
 of that rugged region. The next year, he went 
 to Paris ; and from thence to Chalons and Or- 
 leans on foot. On his return to England, he 
 closely applied himself to his favourite study of 
 natural history, and the drawing and colouring 
 birds and other animals from nature. In 1731 
 he made a second excursion into Holland and 
 Brabant, for the sake of perfecting his studies : 
 and in 173^, by the recommendation of Sir Hans 
 Sloane, was chosen Librarian to the College of 
 
205 
 
 Physicians. Assisted by the valuable collection 
 of works on natural history thus submitted to 
 his charge, he became one of the most eminent 
 ornithologists in Europe ; and his drawings on 
 this subject were universally held in the highest 
 estimation, both for fidelity and beauty. In 
 1764 he finished his History of Birds and Ani- 
 mals ; with coloured prints, which were executed, 
 under his inspection, to the greatest exact- 
 ness. In his 70th year, his sight failing him, 
 he retired to a small house at Plaistow, where 
 however he still continued to amuse himself 
 with his favourite pursuit of drawing, till death 
 closed his well-spent career at the advanced age 
 of 80. I have a coloured drawing, by this in- 
 genious artist, of two Ducks ; most exquisitely 
 finished, and with a nearer approach to the 
 truth of nature in the representation of the 
 plumage, than one would have previously sup- 
 posed it practicable to attain, in water colours. 
 
206 
 
 MASTERS IN LANDSCAPE, 
 
 JOHN BOL. 
 
 N. 1534. 
 D. 1593. 
 
 A native of Mechlin ; was esteemed a good 
 painter in his day. His drawings in general are 
 of a small si2;e, highly finished with a pen, artd 
 shaded with Indian-ink. They usually repre- 
 sent the finest scenes from nature in the I^ow 
 Countries, embellished with figures from sacred 
 history. The name of the artist, and date of 
 execution, are usually affixed. 
 
207 
 
 PAUL BRIL. 
 
 N. 1554 . 
 
 D. me. 
 
 Of Antwerp ; after visiting Rome, became 
 an admired landscape painter ; and Annibale 
 Caracci himself, did not disdain to enrich some 
 of his compositions with figures. 
 
 The drawings we commonly meet with by 
 this artist, were executed before he went to 
 Italy; and consequently exhibit neither the 
 same degree of merit, nor beauty of scenery, 
 which we find in his Italian works ; but yet are 
 very highly esteemed. They are usually penned, 
 and washed with Indian-ink, or bistre; and 
 sometimes tinted with blue. In Mr. Barnard's 
 collection, was a most beautiful one in bistre, 
 embellished with Figures and Horses ; an imi- 
 tation of which has been engraved by Watts 
 and I have a specimen, penned and washed, 
 from Mr. Hillier's collection, which originally 
 belonged to Mr. Richardson, and was esteemed 
 by him one of Bril's finest productions. 
 
208 
 
 JOHN OR VELVET BREUGHEL. 
 
 N. 1565. 
 D. 1642. 
 
 The Son of old Peter Breughel, and a native 
 of Brussels ; was a most laborious and indefatiga- 
 ble artist. His pictures are numerous ; and in 
 general very highly finished, with a multiplicity 
 of small figures, and a minute attention to detail 
 in all the complicated variety of parts of which 
 the scene is composed. 
 
 The few drawings by this artist which are 
 met with in England, are studies of figures ; 
 generally penned and washed with brown or 
 Indian-ink. I have one, in this style, which I 
 purchased from the Sagredo collection ; composed 
 of a Figiu'e at Plough with two Horses, accom- 
 panied by five other Boorish Figures, a Horse, 
 and a Cart. There is an imitation of his manner 
 in Mr, Rogers' Work, engraved by Ryland. 
 
209 
 
 ADAM ELSHEIMER. 
 
 N. 1574. 
 D. lt»20. 
 
 Of Frankfort ; in order to improve himself as 
 a painter, went to Rome, wliere he acquired a 
 fine taste of design ; and particularly excelled 
 in the management of the chiaro-oscuro in moon- 
 lights, sun-sets, and other peculiar accidents of 
 illumination. His drawings, which are scarce, 
 are frequently employed in exhibiting the same 
 fine and striking effects of light. General Mor- 
 rison, amongst others, has a very capital one, 
 handled much in the manner which Rembrandt 
 afterwards adopted. 
 
 WILLIAM VAN NIEULANDT. 
 
 N. 1584 . 
 D. 1635. 
 
 Of Antwerp ; was a disciple of Roland Savery ; 
 but wishing to extend his knowledge of the art, 
 went to Rome, and attached himself there to 
 his countryman Paul Bril, whose stile he then 
 copied, though he changed it afterwards on his 
 return home. 
 
 EE 
 
210 
 
 The few drawings we meet with by this artist 
 in England, are generally executed in black 
 chalk, and washed with bistre, A fine View 
 upon the Rhine, in this style, appeared at Mr. 
 HiUier's sale, February, 1784. 
 
 CORNELIUS POELEMBURG. 
 
 N. 1586. 
 D. 1660. 
 
 A native of Utrecht ; soon quitted his master, 
 Abraham Bloemart, and prosecuted his studies 
 at Rome ; where, by contemplating the works 
 of the best Italian masters, he improved his 
 style exceedingly, and became a very pleasing- 
 artist ; his smaller pictures, particularly, being 
 much admired for their taste and delicacy. 
 
 His drawings are scarce. The few we meet 
 with, are handled with a pen, and washed in 
 brown. General Morrison has two fine Land- 
 scapes, in this style : one, a View upon the 
 Rhone ; the other. Ruins ; but both of them 
 destitute of those pleasing figures with whicli 
 his pictures are so judiciously and gracefully 
 adorned. 
 
211 
 
 JOHN VAN GOYEN. 
 
 N. 1596. 
 D. 1656. 
 
 Of Leyden ; was indefatigable in making 
 sketches from nature in black lead. His fa- 
 vourite haunts, and the subjects he most fre- 
 quently represented, were the borders of rivers 
 and canals in the Low Countries, interspersed 
 with villages and towns, and embellished with 
 ferry-boats, cattle, and figures. His more finish- 
 ed drawings, have the addition of a wash ; and 
 are free and masterly. I have a considerable 
 collection of his works in this way, which attest 
 at once his diligence and merit. Captain Baillie 
 has given several imitations of his manner : and 
 Van Ploos of Amsterdam has executed two, 
 with such admirable skill, as to deceive the 
 best judges. 
 
 EE 2 
 
212 
 
 ROLAND ROGHMAN. 
 
 N. 1597. 
 D. 1686. 
 
 A native of Amsterdam ; confined himself 
 entirely to an attentive observation of nature, 
 without regarding the style of any particular 
 master whatever. The studies which he made, 
 are very slightly penned, and washed over with 
 great spu'it and effect. In a Sketch by this 
 artist, in my possession, the distance is thrown 
 back, with fine effect, by a large Tree in the fore- 
 ground, very spiritedly handled. His pictures, 
 firom being ill coloured, are by no means equal 
 to his drawings. 
 
 CLAUDE GELEE, called LORRAINE. 
 
 N. 1600 . 
 D. 1682. 
 
 It is impossible to contemplate the richness, 
 the variety, the expansion, the happy elegance 
 of choice, and delightful amenity of character, 
 which distinguish the conceptions of this cap- 
 
213 
 
 tivating artist, combined with that harmony, 
 freshness, and inimitable veracity of colour, 
 through which these conceptions are exhibited, 
 in such a matchless union of truth and beauty, 
 to the eye, without cordially concurring in the 
 general sentiment which proclaims him, as be- 
 yond all competition, the most accomplished 
 landscape-painter that ever lived. His drawings, 
 though justly precious on their own account, as 
 well as being the productions of so great a master, 
 are by no means rare. Of six volumes which he 
 is said to have left of his designs, One, intituled 
 " Liber Veritatis " from being meant as an au- 
 thentic register of his works, is in the possession 
 of the Duke of Devonshire ; and of this Volume, 
 the greater part of the contents have been en- 
 graved, as imitations, by R. Earlom : though it 
 must be remarked of these well-known copies, 
 that they are in general much more highly finish- 
 ed and made out, than the originals. — In the 
 Royal collection at the Queen's palace, are about 
 twenty-four drawings by Claude, which are ex- 
 tremely fine : — and in Mr. Barnard's collection, 
 about fifty more, of equal excellence ; several of 
 which have been engraved, as imitations, in Mr. 
 Pond's Work. — General JNIorrison is likewise in 
 possession of two, of very superior merit : — and 
 I have a few specimens, of a small size ; one of 
 
214 
 
 which is highly finished, in his best manner ; 
 and another, a slight sketch in pencil and brown 
 wash, of the Temple of Vesta at Tivoli, though 
 in many respects very carelessly executed, ex- 
 tremely characteristic of his mode of working 
 out results, by a process the very reverse, appa- 
 rently, of prompt and decisive handling. Indeed, 
 to speak impartially of Claude's drawings, it 
 must be acknowledged, that though teeming 
 with the same beautiful ideas which enchant us 
 in his pictures, they are very inferior indeed, in 
 power of execution, to those admired produc- 
 tions : fine effects, no doubt, we occasionally 
 meet with ; but in general they betray a timidity, 
 constraint, and embarrassment in the expression 
 of his thoughts, which we should little expect 
 in so consummate a master of the art, ^^early 
 all the drawings which we meet with by Claude, 
 are penned and washed : but a few are height- 
 ened upon blue paper. 
 
215 
 
 HERMAN SWANEFELDT. 
 
 N. 1620. 
 D. 1690. 
 
 Was an exquisite landscape-painter ; and the 
 most congenial in spirit, of any, to the illustri- 
 ous chief in that department, whom we have 
 last noticed. Though a Fleming by birth, it is 
 remarkable that we discover no traces whatever 
 of his country in his works. He went young to 
 Italy, where he spent the remainder of his life ;* 
 and, with the atmosphere, appears to have im- 
 bibed the taste and refinement, of that favoured 
 region of the arts. The solitary and romantic 
 recesses in the vicinity of Rome, were the chosen 
 haunts where he incessantly courted nature, en- 
 riched, as she is, by the most interesting remains 
 of ancient art, with indefatigable ardour : and 
 having at length succeeded in placing himself 
 under the guidance of Claude de Lorraine, whose 
 astonishing productions had long impressed him 
 with admiration and delight, he soon became 
 
 * M. D'Argeiiville, in his " Vies des Peintres," mentions a rumour that 
 Swanefcldt was at Paris in 1645, and painted four landscapes there for the 
 President Lambert ; but doubts its truth : Mr. Green of Ipswich, however, 
 has a Flight into iEgypt by him, dated, Paris, in that year. Ed. 
 
216 
 
 his favourite disciple ; not, it is said, without 
 subsequently exciting something like an emo- 
 tion of jealousy, from the warmth with which 
 his pictures were received, and the avidity with 
 which they were bought up. 
 
 Swanefeldt's drawings are in general highly 
 finished with a pen and Indian-ink ; and repre- 
 sent the most choice and captivating scenes f rom 
 nature, luxuriating in picturesque embellish- 
 ment, and tastefully adorned with groups of 
 figures and cattle, designed with correctness and 
 elegance, and disposed, in their respective places, 
 with admirable judgment. In this style there 
 are seven very fine specimens in the Hoyal 
 collection. — Mr. Barnard has one of the same 
 description, and two smaller ones : — General 
 Morrison, three large, and four small : — and I 
 am in possession of the Companion to the larger 
 specimen in Mr. Barnard's collection,* and its 
 exact counterpart in beauty and merit. 
 
 • Tliis sold on the 8tli night of Mr. Barnard's auction, Lot 42, for £7 16s. 
 
217 
 
 JOHN WYNANTS. 
 
 N. 1600. 
 D. 1670. 
 
 Gave himself up too much to play and dissi- 
 pation, to become very eminent as a painter ; 
 yet many of his pictures are held in estimation, 
 from the freedom of his pencil, and transparency 
 of his colouring. The figures were usually 
 added by Wowermans or other masters. 
 
 His drawings are extremely scarce ; and have 
 little to recommend them. They are generaDy 
 executed with a pen, and shaded with Indian- 
 ink; and consist chiefly of studies of trees, 
 broken ground, &c. 
 
 CASPAR DUGHET, called POUSSIN. 
 
 N. 1613. 
 D. 1675. 
 
 Principally acquired his knowledge of paint- 
 ing under his Brother-in-law, Nicholas ; who 
 frequently enriched his landscapes with figures, 
 in which Caspar himself was by no means suc- 
 cessful. The pictures of Caspar Poussin are 
 justly held in the highest admiration from the 
 
 FF 
 
218 
 
 grandeur of their sites, the beauty of their touch, 
 and the chaste and solemn tone of their colour- 
 ing ; but his drawings, for the most part, are 
 little more than slight sketches from nature, 
 executed with a pen, and washed with Indian- 
 ink. 
 
 JOHN BOTH. 
 
 N. 1610. 
 D. 1650. 
 
 Who, though born at Utretch, and a disciple- 
 of Abraham Bloemart, was usually called Both 
 of Italy, from the great theatre of his studies 
 and achievments, attained distinguished repu- 
 tation as a landscape-painter, by the uncommon 
 lightness, delicacy, and freedom of his pencil; 
 with such a happy union of tenderness and 
 warmth in his colouring, as has rarely been 
 equalled by any other artist. 
 
 The few drawings we meet with by this 
 master, though slight, are usually penned and 
 washed with great freedom and spirit ; and the 
 subjects represented, remarkably well chosen. 1 
 have a Landscape, with a Bridge and Ruins, 
 which fully answers this description, and forms 
 a veiy pleasing specimen of his manner. 
 
219 
 
 FRANCESCO GRIMALDI, called IL 
 BOLOGNESE. 
 
 N. 1606. 
 D. lb'80. 
 
 Was a disciple of Annibale Caracci : his na- 
 tural genius, however, inclined him to the study 
 of landscape ; which he accordingly pursued, 
 and treated with that peculiar grandeur and ele- 
 vation of mind, by which the Roman school of 
 design is so eminently distinguished. 
 
 His drawings are numerous ; and have great 
 merit. They are, in general, slightly executed 
 with a pen ; but with a very masterly hand, and 
 bold effect. I have the representation of a lux- 
 uriant and spreading Pine-tree, executed in pen 
 and bistre with surprising facility and force. In 
 Pond's Work, are some very close imitations of 
 his manner. 
 
 FF 2 
 
220 
 
 ALBERT CUYP or KUYP. 
 
 N. 1606. 
 
 Of Dort; was a most admired artist, from 
 tlie pleasing variety of his subjects ; and the 
 uncommon vigour, transparency of colour, and 
 truth of effect, with which they are universally 
 represented. 
 
 His drawings, in England, are scarce. Two 
 very fine ones are in Mr. Barnard's collection, 
 handled in black chalk, and washed with Indian- 
 ink. 
 
 HERMAN ZACHTLEVEN. 
 
 N. 1609. 
 D. 1685. 
 
 Of Rotterdam ; received instructions from 
 Van Goyen, and carefully examined the styles 
 of many different masters ; but his principal 
 studies were immediately from nature, and are 
 generally executed with black chalk and wash. 
 His views on the banks of the Rhine, though 
 usually very slight, have great effect : the water 
 is peculiarly transparent, and every object well 
 expressed. 
 
221 
 
 DAVID TENIERS, the Younger. 
 
 N. 1610. 
 D. 1694. 
 
 Received his first instructions from his Father; 
 but afterwards became the scholar of Adrian 
 Brower ; and was fortunate enough to gain, in 
 addition, some valuable hints from Rubens him- 
 self: with such assistance, aided by his own 
 extraordinary genius, and attentive observation 
 of nature, he became a most dehghtful painter 
 of landscapes with figures ; and a pure, silvery 
 tone of colouring prevails in his best pictures, 
 which is seldom seen in the works of any other 
 artist. 
 
 His drawings, which are scarce, consist prin- 
 cipally of studies of figures from low life, exe- 
 cuted in black or red chalk, in a very masterly 
 manner, and with great truth of nature. I have 
 one of this description ; and a curious represen- 
 tation of a School of Monkeys, handled in bistre 
 with a pen and brush, with much humourous 
 effect. 
 
222 
 
 JOHN ASSELYN, called CRABBETJIE. 
 
 K 1610. 
 D. 1660. 
 
 A native of Antwerp, and scholar of Esaias 
 Van de Velde, went early to Rome, and remained 
 some years there ; devoting his attention equally 
 to the works of the best landscape-painters in 
 that capital, and to studies after nature in its 
 picturesque vicinity. 
 
 The few drawings we meet with by this 
 master, are executed in chalk, shaded with In- 
 dian-ink ; and have great merit. In the Royal 
 collection are several fine specimens : — and JNIr. 
 Barnard has a capital one, ornamented with 
 many figures, and distinguished by a very strik- 
 ing effect of sunshine. 
 
223 
 
 JklNDERHOUT HOBBEMA. 
 
 N. 1611. 
 
 Of Antwerp ; disdained all other masters but 
 Nature ; and even in selecting from her^ was by- 
 no means curious in his choice : the quietest 
 home-scene, a cottage and an orchard, sufficed 
 him for a subject ; and to so trivial a theme, by 
 a peculiar vigour of handling, and a brilliant 
 cast of light, he could impart an interest and 
 charm which are often wanting in the most 
 shewy compositions. In figures, however, he was 
 totally unskilled ; and those on his foregrounds 
 were usually supplied by Teniers or Ostade. 
 
 His drawings, which in England are extreme- 
 ly scarce, are generally executed in black chalk, 
 and washed with Indian-ink. In the Queen's 
 palace are a few small ones, which are beautiful. 
 
224, 
 
 JACOB RUYSDAEL. 
 
 N. 1636. 
 D. 1681. 
 
 Of Haerlem ; the younger brother of Solomon, 
 was contemporary with Berghem, and a great 
 admirer of his works : but Nature was the 
 mistress whom he most sedulously wooed ; with 
 what felicitous success, we have abundant evi- 
 dence in his admirable landscapes, and those, 
 more especially, where he represents the rush 
 of torrents, foaming along their rocky channels, 
 and bursting in cascades, in which he unques- 
 tionably stands without a rival in the art. 
 
 In the Queen's palace are a few small, but 
 exquisite drawings, by this artist, handled in 
 black chalk, with infinite spirit. The leafage of 
 the trees, in particular, is touched in the same 
 inimitable style as in his paintings. I have a 
 slight sketch, in Indian-ink, of the interior of a 
 Forest, in which this excellence is peculiarly 
 observable. 
 
225 
 
 ANTHONY WATERLOO. 
 
 -N. 161 8. 
 D. 1660. 
 
 The pictures of this celebrated master, are 
 extremely rare ; and his high reputation princi- 
 pally rests on his incomparable etchings, which, 
 as genuine representations of simple nature, and 
 more particularly of her choicest ornament — the 
 ramification and foliage of trees, are justly con- 
 sidered as superior in execution to those of any 
 other artist whatever. 
 
 Waterloo's drawings are usually studies of 
 trees from nature, executed in black and white 
 chalk on coloured paper ; and some few have 
 the addition of a wash with Indian-ink. In 
 general they are slight and loose, but very 
 masterly. General Morrison has, among others, 
 a very fine one in this style, which is tinted. 
 
226 
 
 BARTHOLOMEW BUEEMBERG, 
 CALLED BARTOLOMEp. 
 
 N. 1 620. 
 ^71660. 
 
 Of Utrecht ; Avent early to Rome, and studied 
 after nature in the environs of that city. His 
 drawings principally consist of sketches and 
 views of the most interesting scenes and ruins 
 ill the vicinity of Rome ; and are usually exe- 
 cuted in red or black chalk, and shaded with 
 bistre. The figures he introduces, are well de- 
 signed and disposed. 
 
 ALBERT VAN EVERDINGEN. 
 
 N. 1621 . 
 D. 1675. 
 
 The nephew of Cassar ; excelled in sketching 
 forest-scenes and groves from nature : and the 
 drawings we usually meet with by him, are of 
 this kind , executed with black-lead or a pen, 
 and slightly washed with bistre. 
 
227 
 
 JACQUES KOUSSEAU. 
 
 N. 1626. 
 D. 1694. 
 
 A native of Paris, and scholar of Swanefeldt; 
 closely studied after nature, as well as the works 
 of the best painters in Italy. These studies 
 were mostly in red chalk ; very slight, but 
 masterly ; and consist principally of Roman 
 buildings and ruins, introduced in pleasing land- 
 scapes, but rarely enlivened with figures. 
 
 MESSIO DI MARDIO. 
 
 A Neapolitan ; chiefly studied at Rome and 
 its vicinity, from whence most of his views are 
 taken. I have four small drawings by him, 
 which, though slight, possess considerable merit. 
 The objects are outhned with red chalk, and 
 shaded with bistre, in a spirited style ; and 
 figures are introduced with a very pleasing 
 effect. 
 
 GG 2 
 
228 
 
 ISRAEL SILVESTRE. 
 
 N. 1621 . 
 D. 1691. 
 
 Of Nanci, in Lorraine ; rendered himself emi- 
 nent, by his innumerable etchings from nature 
 in various parts of Europe. His drawings, in 
 England however, are by no means common. 
 Those we meet with abroad, though slight, are 
 very spiritedly executed with a small pen, and 
 shaded with Indian-ink. 
 
 BERNARD PATEL. 
 
 D. 1703. 
 
 Was a native of France ; and has not been 
 unaptly termed, the French Claude. His pic- 
 tures usually represent the most imposing sites, 
 crowded with magnificent buildings ; and in his 
 own country are greatly admired for the splen- 
 dour of their colouring and shewy effect. 
 
 The drawings by this artist, are commonly ex- 
 ecuted with black and wliite chalk. There are 
 several, in this style, in Lord Frederick Camp- 
 bell's and General Morrison's collections, which 
 are specious, and clever in their way. 
 
229 
 
 / 
 
 JOHN VAN HAGEN. 
 
 N. 1635. 
 
 The drawings by this artist, like his paintings, 
 are usually taken from scenes of nature in the 
 vicinity of Cleves and Nimeguen. In England 
 they are scarce ; and greatly admired. Mr. 
 Peachey possesses a fine specimen. 
 
 ADRIAN VANDER CABEL. 
 
 K 1631. 
 D. 1695. 
 
 Of Ryswick ; was a scholar of Van Goyen : 
 but he made the style of Salvator Rosa his 
 model; and his best works are much in the 
 taste of the Italian school, and approach the ex- 
 cellency of that great master. 
 
 His drawings are usually very slight ; and, in 
 England, scarce. The few we meet with, are 
 sketches from nature; executed with a free, 
 light pen. 
 
S30 
 
 WILLIAM SCHELLINCKS. 
 
 N. 1632. 
 D. 1678. 
 
 A native of Amsterdam ; for the purpose of 
 improving himself in his favourite pursuit, tra- 
 velled to Italy, and visited England ; and 
 was particularly diligent, wherever he went, 
 in sketching the most remarkable objects he 
 met with These sketches, which bear evidence 
 of being executed with the utmost rapidity and 
 despatch, are usually handled in black chalk ; 
 and some have the addition of a wash with 
 bistre. 
 
 NICHOLAS DOLOBEL. 
 
 We sometimes meet with drawings by this 
 master, which are taken from nature in and 
 about Rome, and executed with a pen and 
 bistre. In General Morrison's collection, are 
 some fine specimens in this style. 
 
231 
 
 HENRY AVERCAJMP. 
 
 A Dutch painter ; had the misfortune to be 
 <iujiib ; and on this account received the appella- 
 tioPj abroad, of " Le Muet de Campen." His 
 works are little known in England; but are 
 much esteemed in Holland, and usually repre- 
 sent scenes from nature in that country, en- 
 riched with a multitude of figures. I have 
 exquisite drawing by this master, of Figures 
 Skaiting ; with a View of Alkmaer, a village in 
 North Holland. It is penned and tinted. In 
 1774 some of his works were sold at Vander 
 Dussen's sale at Amsterdam. 
 
232 
 
 JOHN HACKAERT. 
 
 N. 1635. 
 
 Of Amsterdam ; was greatly admired, as a 
 landscape-painter, for the delicacy and beauty 
 of his handling. His subjects are usually the 
 most romantic scenes in Germany and Swizzer- 
 land, originally sketched by himself upon the 
 spot : but the figures with which they are en- 
 riched, were generally inserted by Adrian Van 
 de Velde. 
 
 His drawings, which are scarce in England, 
 are mostly small, and very slight ; but possess 
 great merit. They are handled with a bold, 
 free pen, and shaded with bistre. 
 
233 
 
 PETER MOLYN, called TEMPESTA. 
 
 N. 1637- 
 D. 1701. 
 
 Was a native of Haerlem ; and at first painted 
 animals and huntings as large as life : he then 
 changed his subjects to storms and shipwrecks ; 
 which were executed with such vigour of effect, 
 as acquired him the title of Tempesta : but 
 afterwards, in visiting Rome for his improve- 
 ment, he devoted his attention entirely to land- 
 scape-painting, in which he distinguished himself 
 with equal ability. 
 
 His drawings are generally studies from nature, 
 executed in black chalk, and shaded with brown 
 wash or ^ Indian-ink ; much after the manner of 
 Van Goyen. His name, and the date, are fre- 
 quently inserted in a corner. Captain Baillie 
 has imitated his style with great exactness. 
 
 HH 
 
234 
 
 ADRIAN VAN DE VELDE. 
 
 N. 1639- 
 D. 1672. 
 
 Of Amsterdam ; from his infancy displayed 
 a decided genius for design, and was early 
 placed under the instructions of Wynants. But 
 he was ever attentive to nature, as his supreme 
 model ; and the studies and sketches which he 
 made on this principle, are executed with black 
 chalk, in a very free and masterly style. His 
 more finished drawings have the addition of a 
 wash ; and a few are etched in with a pen, and 
 shaded with Indian-ink. General Morrison has 
 some Cattle, in the latter style, which are very 
 captivating : — and Mr. Barnard has about six, 
 in different manners, all of which are fine. Imi- 
 tations have been given by Ploos of Amsterdam. 
 
235 
 
 ABRAHAM GENOELS. 
 
 N. Ifi40. 
 D. 17 . 
 
 A native of Antwerp ; studied under differ- 
 ent masters, at home, and in France : but still 
 impatient for farther improA ement, he visited 
 Rome ; where he assiduously devoted himself to 
 an attentive examination of the most celebrated 
 works in that capital, and to copying with fide- 
 lity the most interesting scenes around it. 
 
 Genoel's sketches (for we never meet with 
 finished drawings of his hand) are executed with 
 a pen, in a loose, free manner ; and a few have 
 the addition of a wash with Indian-ink. Gene- 
 ral Morrison has some, in this style, which are 
 very spirited. 
 
 BERNARD APPELMAN. 
 
 N. 1640. 
 D. 1686. 
 
 Was born at the Hague, where are some of 
 
 his best pictures. His scenes are generally taken 
 
 from nature about Rome and its vicinity, and 
 
 of course are interesting ; but his figures are 
 
 very indifferently executed. His drawings are 
 
 usually handled with a brown wash, and tinted ; 
 
 with a very pleasing effect. 
 
 HH 2 
 
236 
 
 ADRIAN VAN DIEST. 
 
 N. 1655. 
 D. 1704. 
 
 Of the Hague ; resided many years in Eng- 
 land, and acquired considerable reputation by 
 his landscapes ; a large portion of which, were 
 views from nature upon our western coasts. 
 His drawings, in general, are penned and washed, 
 in a slight manner. 
 
 ORIZONTI. 
 
 N. 1656. 
 D. 1740. 
 
 Whose real name was Van Bloemen, was a 
 native of Antwerp ; but having resided many 
 years in Italy, is often considered as belonging 
 to that country. He acquired the name of Ori- 
 zonti, from his peculiar excellence in extending 
 the distances of his landscapes. 
 
 His drawings, which are executed with a pen 
 and wash, are deservedly admired for their free- 
 dom and spirit. General Morrison has some 
 which are extremely pleasing. 
 
237 
 
 JACOB DE HEUSCH. 
 
 N. 1657. 
 D. 1701. 
 
 Of Utrecht; was a disciple of his Uncle 
 William de Heusch, whose works he at first so 
 closely imitated, that the diflFerence between 
 them is scarcely discernible : but going to Rome 
 for his improvement, he soon imbibed a higher 
 taste of design ; and studied the style of Salvator 
 Rosa, in particular, with such success, that he 
 rose into distinguished reputation, and his pic- 
 tures were every where very eagerly collected. 
 
 His drawings, which are mostly studies from 
 nature, are executed in general with a pen and 
 wash, in a free, bold style. There are a few, in 
 Mr. Barnard's collection, which are remarkably 
 fine. 
 
238 
 
 VANDER MEER, the Younger. 
 
 N. 1665. 
 D. 1688. 
 
 Of Haerlem ; was generally esteemed the 
 best scholar of Berghem — the one who had most 
 completely imbibed the genius and spirit of his 
 master. His landscapes, in which he ever con- 
 sulted nature as his supreme model, are of the 
 most pleasing character ; and the goats and 
 sheep with which he usually ornamented these 
 scenes, but particularly the latter, are painted 
 with such an admirable character of truth, as 
 has never been surpassed even by Berghem 
 himself. There is a very capital drawing by 
 this master, of a large size, in Mr. Barnard's 
 collection : it is washed in bistre, and highly 
 finished. 
 
239 
 
 MICHAEL CARU^:. 
 
 N. 1666. 
 D. 1728. 
 
 The drawings of this master, who studied for 
 some time under Berghem, and became a very 
 pleasing painter, are usually executed with In- 
 dian-ink or bistre, and tinted. His favourite 
 subjects were storms, with affrighted figures and 
 cattle. 
 
 FREDERICK MOUCHERON. 
 
 N. 1633. 
 D. 1686. 
 
 A native of Embden ; was a disciple of John 
 Asselyn, His works are generally admired from 
 their close imitation of nature, which he always 
 studied with the greatest attention. The few 
 drawings we meet with by this master (for in 
 England they are extremely scarce) are usually 
 penned and washed, with an air of considerable 
 freedom. 
 
240 
 
 ISAAC MOUCHERON. 
 
 N. 1670. 
 D. 1744. 
 
 Of Amsterdam ; the son and scholar of the 
 preceding artist, at the age of twenty-four made 
 a visit to Italy, where he studied after the most 
 beautiful scenes of that picturesque country, 
 and made many fine drawings, which he brought 
 back with him to Holland, and painted in large 
 there. In the Royal collection are a few small 
 drawings by him, of peculiar beauty : they are 
 carefully finished with Indian-ink ; and one is 
 tinted, with fine effect. — In Mr. Barnard's col- 
 lection is a capital specimen, penned, and shaded 
 with Indian-ink. 
 
241 
 
 ABRAHAM RADEMACIvER. 
 
 N. 1675. 
 D. 1735. 
 
 "Of Amsterdam ; was an artist who rose to 
 considerable eminence by the aid of his own 
 industry and genius alone, without the assist- 
 ance of any master. The greater part of his 
 time was employed in studying after nature ; 
 and the best of his works are the water-coloured 
 drawings which he made in this way. These, 
 in England, are scarce. What we most com- 
 monly meet with, are small studies, penned and 
 shaded with bistre, in a neat and finished style ; 
 and consist of views of villages and castles in 
 Holland, enriched with figures. One of the 
 most pleasing of this kind, is in the possession 
 of Lord Frederick Campbell ; and represents a 
 grand prospect upon the Rhine : it is penned, 
 and shaded with Indian-ink, in a slight but spi- 
 rited manner. 
 
 II 
 
242 
 
 MARCO RICCI. 
 
 N. 1680. 
 D. 1730. 
 
 The nephew and disciple of Sebastian Ricci ; 
 not only distinguished himself as an architect, 
 but excelled in landscape-painting, the scenery 
 for which he studied in and about Rome ; and 
 his drawings are in yet more esteem than his 
 pictures. Those in body water-colours, which 
 are generally upon parchment, are fine ; though 
 the skies are frequently too blue. Others, exe- 
 cuted in bistre, have likewise merit in the exe- 
 cution, and the subjects, in most instances, are 
 pleasing ; but there is too often a want of effect 
 in the general result. At the Queen's palace 
 are several drawings of the latter description, 
 framed and glazed, which are amongst the best 
 of his works in that style. 
 
243 
 
 NICHOLAS VANDER STRAETEN. 
 
 N. 1684. 
 
 Called Drue ; was a Dutch painter of some 
 merit : but he principally excelled in drawing 
 after nature with black and red chalk, which 
 he accomplished with an uncommon freedom of 
 hand. Some of his more finished works are 
 executed in black chalk, and tinted, with con- 
 siderable effect. In Mr. Barnard's collection 
 are some pleasing specimens, of a small size, 
 done in black chalk, and washed. 
 
 PAUL FRANCIS FERG. 
 
 N. 1689. 
 D. 1740. 
 
 Of Vienna ; having studied after the best 
 masters in Germany, visited England, where 
 his works were greatly admired, for the pleasing 
 character of the subjects, and the neatness, deli- 
 cacy, and spirit, with which they are wrought 
 up. His drawings, too, which are generally of 
 a small size, and highly finished in bistre, have 
 considerable merit. 
 
 II 2 
 
244. 
 
 PAOLO PANNINI. 
 
 N. 1691. 
 D. 1758. 
 
 A hative of Piacenza; studied chiefly at 
 Rome, where he assiduously applied himself to 
 copying the most striking remains of antient 
 architecture ; which he afterwards, disposed, in 
 his paintings, into magnificent groups, and de- 
 corated with a profusion of figures, producing a 
 richness of composition and splendour of effect 
 that procured him many admirers. 
 
 His best drawings are highly finished and 
 tinted ; and embellished with a multitude of 
 figures, which, though often too large in their 
 proportions, and incorrectly drawn, have yet an 
 imposing character. His slighter sketches are 
 commonly penned, and shaded with bistre or In- 
 dian-ink. General Morrison possesses one of the 
 most pleasing specimens in this style ; in which 
 the, figures, too, are good. 
 
245 
 
 NICHOLAS BODEWYNS. 
 
 We frequently meet with the pictures of this 
 master, which are generally of a very pleasing 
 character ; especially the smaller ones, in which 
 the figures are usually inserted by Francis Bout. 
 
 Bodewyn's drawings, are chiefly studies from 
 nature ; and are executed with considerable free- 
 dom. He most coiVimonly outlined with a pen, 
 and washed with a blue or green tint, which too 
 often predominates, so as to offend the eye, and 
 injure the effect. 
 
 FRANCIS BOUT. 
 
 Was a very agreeable painter. His pictures 
 in general are small, and neatly finished, with 
 groups of figures and cattle correctly designed. 
 
 His drawings are chiefly handled with a small 
 pen and wash ; and consist of studies of figures 
 
246 
 
 and cattle designed to be introduced, either 
 into his own landscapes, or those which he fre- 
 quently painted in conjunction with N. Bode- 
 wyns. I have several of this description : and 
 a large mountainous Landscape enriched with 
 figures, executed in pen and wash, which im- 
 parts a very high idea of his powers both of 
 composition and execution. 
 
 J. ISMAN. 
 
 A German artist, resided some time in Italy ; 
 and his works, particularly his di'awings, display 
 unquestionable merit. The latter, are usually 
 studies from nature, executed with a remarkable 
 breadth of effect, in Indian-ink. General Mor- 
 rison has one, representing some Architectural 
 Remains in the vicinity of Rome, which is fine. 
 
24-7 
 
 MARTIN DE COCQUE. 
 
 Is a name we meet with, in Flanders, upon 
 drawings of very superior merit, and which bear 
 a considerable resemblance to the style of Paul 
 Bril, both with respect to handUng and scenery. 
 The only specimen in my possession, is of 
 great beauty : the subject is grand, consisting 
 of Rocks, a Waterfall, and Wood ; and it is 
 embeUished by two Figures on Horseback, cor- 
 rectly designed. 
 
 JOHN TALMAN. 
 
 The son of William Talman, Comptroller of 
 the Works in the reign of King William, was 
 for some time in Italy, where he made numerous 
 drawings of the churches and other principal 
 
248 
 
 buildings. Many of these are executed in co- 
 lours ; and others, which are slighter, are freely 
 sketched with a pen, and usually washed with 
 bistre. In the Library of the Antiquarian So- 
 ciety, are several which have considerable merit 
 
 WORREHUREN. 
 
 Though we bave no where any account of 
 this artist, his drawings are not uncommon in 
 Germany, nor destitute of merit. They are 
 chiefly small views in Savoy ; executed in a neat 
 but masterly style, in Indian-ink. I have one 
 of this description, after nature, that is extreme- 
 ly clever. 
 
249 
 
 JO. ANTONIO CANALETO, called 
 CANALETTI. 
 
 N. 1697. 
 D. 1768. 
 
 After having distinguished himself by his 
 admirable architectural and canal scenes in Ve- 
 nice, came to England in 1746, and remained 
 here about two years, during which time he 
 painted many fine views from nature with great 
 truth and beauty. 
 
 His drawings are executed in a free and mas- 
 terly style with a pen, and washed with Indian- 
 ink or bistre. They are, in general, representa- 
 tions of the most striking scenes in Venice or 
 London ; in which the perspective of the build- 
 ings, as well as grouping of the figures, is most 
 superiorly managed ; and every object, through- 
 out, touched with the utmost spirit and precision. 
 Mr. Peachey has a large drawing of Westminster 
 Bridge, when building, with many figures, which 
 is capital : — and I have a View of Northumber- 
 land House and Charing Cross, in pen and 
 Indian-ink ; as also another of St. Mark's Place, 
 Venice, which exhibits a most brilliant specimen 
 of his powers of execution. 
 
 KK 
 
250 
 
 WILLIAM TAVERNER. 
 
 N. 1703. 
 D. 1772. 
 
 Was a Proctor in Doctor's Commons, who 
 dedicated only his leisure hours to the art of 
 design; in which, however, he eminently ex- 
 celled. His pictures, in general, have a high 
 degree of merit ; being well coloured, and touch- 
 ed much in the fine style of Caspar Poussin. 
 His drawings are chiefly woody scenes from 
 nature, which he studied principally in Hanging- 
 Wood near Woolwich. They are executed in 
 many different manners ; but all, masterly. His 
 tinted drawings, are said to have been the first 
 of that description that appeared in England 
 by an English artist. 
 
251 
 
 TULL. 
 
 D. 1762. 
 
 Was a schoolmaster, who painted merely for 
 his amusement. His pictures usually represent 
 close rural scenes, of lanes with cottages ; and 
 are by no means destitute of merit. 
 
 His drawings are generally executed in black 
 and white chalk upon coloured paper. The 
 trees are touched much in the beautiful style 
 ofRuysdael. 
 
 WILLIAM MARLOW. 
 
 Was a pupil of Scott, the artist ; and after 
 visiting various parts of England, France, and 
 Italy, for the purpose of collecting subjects for 
 his pencil, established himself as a landscape- 
 painter in London, where he met with consider- 
 able success. He was little acquainted, appa- 
 rently, with the higlier excellencies of the art, 
 and rarely aimed at much of picturesque effect : 
 but there is a quiet truth in his landscapes, 
 which is extremely pleasing ; and his buildings, 
 
 in particular, are remarkably well toned. 
 
 KK 2 
 
25^ 
 
 Marlow'i? drawings, are mostly views from 
 nature ; wrought up to a certain extent, in the 
 design of being afterwards transferred upon 
 canvas. They have a neat appearance ; but 
 betray much stiffness and labour in the execu- 
 tion, and are entirely destitute of that force 
 which is derived from a happy management of 
 light and shade. I have several of his Italian 
 Views, of this description ; meagrely tinted, 
 feeble in their handling, and possessing slender 
 recommendations of any order, beyond that of 
 fidelity to the scenes they represent. 
 
 J. B. CHATELAIN. 
 
 N. 1710. 
 
 The drawings by this artist, chiefly consist of 
 studies from nature ; and are very numerous. 
 Many are executed with black chalk : but others 
 are penned, and shaded with a wash, in a loose 
 style. In general, his works are inclined to be 
 spotty ; and he is considered as a mannerist. 
 
253 
 
 GIACOMO FRANCESCO ZUCCARELLI. 
 
 N. 1703. 
 D. 1789. 
 
 Was a native of Pitigliano in Tuscany ; and 
 scholar of J. M. Morandi, a Florentine. He 
 was a very captivating painter : and during his 
 stay in England, w^hich was many years, enrich- 
 ed most of our principal collections with his 
 landscapes, which were universally admired for 
 the beauty of their scenery, the gay harmony 
 of their colouring, and the elegant groups of 
 figures and cattle with which they were taste- 
 fully embellished. 
 
 The drawings of tliis artist are numerous, and 
 executed in every different style ; but his most 
 finished ones are in body-colours, and have 
 superior merit. Although Zuccarelli studied 
 nature assiduously, most of his works were the 
 products of his own rich and happy invention; 
 and are justly admired for their composition, in 
 every part of Europe. In the generality of his 
 pieces he inserted, near the figures, a small gourd, 
 as an emblem of his name ; and sometimes he 
 added his initials. Having been in some degree 
 of intimacy with this accomplished artist, I had 
 
354, 
 
 an opportunity of collecting a considerable 
 number of his best body-coloured drawings y 
 and more particularly, a I^andscape enlivened 
 with a group of Dancers, of exquisite grace and 
 beauty. 
 
 GEORGE LAMBERT. 
 
 N. 1710. 
 D. 1765. 
 
 Was principally employed in scene-painting 
 for the theatres. His easel pictures are generally 
 taken from nature, where an opportunity was 
 afforded of introducing a profusion of trees, 
 which he grouped and painted with considerable 
 siiccess. As to his drawings, which were sold, 
 soon after his death, at Mr. Langford's, they 
 have httle merit. The execution is by no means 
 masterly ; nor are the scenes or effects at all in- 
 teresting ; whilst, in almost every instance, they 
 are entirely destitute of the embellishment of 
 figures. 
 
£55 
 
 CHRISTIAN WILLIAM ERNEST DIE- 
 TRICY. 
 
 N. 1712. 
 D. 1774. 
 
 A native of Wiemar in Saxony; resided 
 principally at Dresden. He was painter to the 
 Elector of Saxony : and his pictures, both of 
 history and landscape, were greatly admired ; 
 but particularly the latter, in which he has often 
 imitated the style of Salvator, with considerable 
 success ; and on other occasions (when pursuing 
 his own taste, probably) displayed a shewy rich- 
 ness of effect, that is extremely imposing. 
 
 His drawings, which are scarce in P]ngland, 
 are much esteemed abroad. In JNIr. Barnard's 
 collection, is a most beautiful Landscape, highly 
 finished in bistre. 
 
256 
 
 A. E. NEYTS. 
 
 The pictures of this admired Flemish artist 
 are usually small, and most highly finished. At 
 the Queen's palace are a few of his drawings, of 
 a diminutive size, but very striking in their sce- 
 nery. They are freely penned, and washed with 
 Indian-ink ; and the trees are touched very 
 much in the style of Swanefeldt. 
 
 SAENREDAM. 
 
 Excelled in representing the interiors of 
 churches; in which he displayed a thorough 
 knowledge of perspective. His drawings of 
 these subjects, have great merit: they are penned, 
 shaded with Indian-ink, and tinted, with fine 
 effect. A specimen of one, has been imitated 
 by Ploos of Amsterdam. 
 
257 
 
 J. C. DIETZCH. 
 
 N. 1710. 
 
 All admired German artist ; is mentioned, in 
 Strutt's Dictionary, as an engraver in the style 
 of Waterloo. His drawings, like his etchings, 
 are visually small : they are finished with Indian- 
 ink ; and are generally ornamented with rustic 
 figures. 
 
 GEORGE SMITH. 
 
 N. 1714. 
 D. 1776. 
 
 Of Chichester ; was the best painter, of the 
 three brothers. His pictures are generally finish- 
 ed with great care, and the subjects, in most 
 instances, well selected from nature ; but the 
 greens are too often disagreeably predominant. 
 
 The few drawings we meet with by this 
 artist, are masterly The best, are in the taste 
 of Rembrandt ; freely executed with bistre. I 
 have a small one of this description, which I had 
 of the artist himself, of considerable merit. 
 
 LL 
 
258 
 
 FRANCIS EDMUND WEIROTTEJR. 
 
 N. 1730. 
 D. 1771. 
 
 A native of Germany ; after visiting France 
 and Italy, settled finally at Vienna, where he 
 was appointed Professor of the Academy of 
 Painting. His principal works consist of etch- 
 ings from nature, executed in a free and mas- 
 terly style. His drawings, which are scarce, 
 are generally handled with a pen, and shaded 
 with bistre ; and have great merit. 
 
 JOSEPH VERNET. 
 
 N. 1712. 
 D. 1789. 
 
 The few drawings we meet with by this ad- 
 mired painter of landscapes and sea-ports, are 
 chiefly sketches from nature, in black and white 
 chalk upon blue paper, which he made whilst 
 he was in Italy. An imitation has been engrav- 
 ed of a Moonlight scene which is in the cabinet 
 of M. Ettling at Frankfort. 
 
259 
 
 ALEXANDER COZENS. 
 
 D. 1786. 
 
 Was an ingenious artist : and his drawings, 
 which are usually executed in bistre, have con- 
 siderable merit. Many are from nature: but 
 the largest portion are worked out, according to 
 the suggestions of his own fancy, from casual 
 blots ; — a style, of which he may be regarded as 
 the inventor. The drawings which he left be- 
 hind him, were sold by auction at Mr. Christie's 
 in Pall Mall, March 31st, 1787. 
 
 THOMAS GAINSBOROUGH. 
 
 N. 1727. 
 D. 1788. 
 
 A native of Sudbury, in Suffolk ; justly merits 
 particular consideration, as the most distinguish- 
 ed artist we can claim, of a character truly and 
 exclusively Enghsh. His Father was a clothier, 
 for which business the son was designed ; but a 
 decided and invincible passion for the art, over- 
 
 LL 2 
 
260 
 
 came all obstacles ; and he was at length per- 
 mitted to follow the bent of his genius, and take 
 up the pencil as a profession. For this purpose, 
 at the early age of fifteen, he removed to London, 
 where he was fortunate enough to gain an in- 
 troduction to some of the principal artists of the 
 day, and contrived, by the exercise of his talents, 
 to obtain a livelihood entirely independent of 
 his friends ; till, on his forming a matrimonial 
 connection, at nineteen, he was induced, from 
 family considerations, to revisit his native county, 
 and take up his abode at Ipswich. Here he re- 
 sided several years, painting portraits and land- 
 scapes ; portraits, for subsistence ; and landscapes, 
 for amusement. The pleasing scenery round 
 that town, its hollow and tortuous lanes with 
 broken sand-banks, its copse-grown dells, above 
 all the richly wooded and picturesque acclivities 
 of its winding river, were, for improvement in 
 the latter pursuit, his perpetual haunts : these 
 were his academy : and the many early speci- 
 mens yet left of his treatment of such subjects, 
 sufficiently attest with what diligence he studied 
 in this school of nature. From Ipswich, at the 
 warm instance of several of his friends and ad- 
 mirers, he removed to Bath ; where he continued, 
 for some time, to exercise his talents in the 
 s?ime way, though upon a larger scale : but the 
 
261 
 
 Institution of the Royal Academy having ex- 
 cited a considerable feeling in favour of British 
 artists, and opened a most encouraging field for 
 the display of their abilities, he resolved on 
 trying his fortune once more in the metropolis. 
 Here his admirable talents soon brought him 
 into notice ; and he rapidly rose to reputation 
 and affluence. For some years his pictures 
 formed a distinguished ornament of the Exhibi- 
 tion at Somerset House ; but an unfortunate 
 misunderstanding having arisen respecting the 
 places assigned them, he entirely Avithdrew from 
 the Societ}', and confined the display of his 
 works to his residence in Pall Mall : where he 
 remained, in the full possession of public favour, 
 beloved as a friend, and admired as an artist, till 
 a cancerous tumour in the neck, exasperated by 
 a cold which he caught in attending the trial of 
 Mr. Hastings at Westminster Hall, to the deep 
 regret of every lover of the art, put an untimely 
 end to his career. 
 
 Gainsborough's portraits are distinguished for 
 clearness of colour, lightness of touch, a fair 
 character of nature, and most striking resem- 
 blance to the originals : but it is on the merit 
 of his landscapes, beyond all doubt, that his fame 
 as an artist will ultimately rest. These, in his 
 earlier manner at least, were faithful representa- 
 
262 
 
 tions of individual nature : on the foreground, 
 every object — weeds, dock-leaves, ferns, stumps 
 of trees, &:c. — were marked with firmness and 
 precision: some pleasing home scene, rich in 
 picturesque beauty, and gently removed by 
 aerial degradation, formed the middle distance : 
 this united with a soft misty offskip ; which, 
 aided by a few breaks or gleams of light on the 
 horison, melted sweetly into the sky ; where, 
 as the eye ascended, it was met by grand fine- 
 toned clouds, bold and massy in their effect, yet 
 exquisitely tender, light, and floating, as those 
 of nature itself. The cattle, and figures engaged 
 in rustic occupations, with which he embellished 
 these scenes, were always disposed with judg- 
 ment, and added life and animation to the 
 prospect. His trees, distinctly marked, as they 
 are, by the specific character of each species — 
 the oak, the ash, the elm, the willow — have 
 particular claims to excellence : the boles, with 
 all their richly varied hues, are touched with 
 characteristic beauty and spirit ; the ramification 
 is easy, natural, and flowing ; and, by a peculi- 
 arly dexterous and rapid stroke, is so happily 
 connected witli tlie leafage, as to produce a 
 waving appearance in the branches, a pliant 
 susceptibility of motion, uncommonly light and 
 airy in its effect. In seizing the picturesque 
 
263 
 
 features and accidents of nature, Gainsborough 
 was pre-eminently felicitous : the old grey cart- 
 horse ; the rough-coated ass ; the ivy-mantled 
 pollard ; the lowly cottage with its weather- 
 stained walls, moss-grown thatch, and quarry- 
 window, bright with reflected sun-beams — were 
 exhibited with an air of pure and exquisite 
 truth, which shewed how deeply he was imbued 
 with a genuine feeling for such beauties. The 
 powers of execution, too, by which all this was 
 accomplished, appear truly wonderful. With a 
 number of etching strokes in all directions, and 
 as great a variety of blended tints, the most 
 striking results emerge ; affording, as an ardent 
 admirer has observed, a twofold pleasure : at the 
 proper point of sight, all is nature, even to illu- 
 sion ; on a closer inspection, we are astonished 
 that such effects should spring from means appa- 
 rently so inadequate. As Gainsborough advanc- 
 ed in age and experience, he adopted a somewhat 
 broader manner, and more impressive style of 
 colouring : but these were his distinguishing 
 characteristics, to the last ; and may justly entitle 
 him to the praise of being truly original, and by 
 far the ablest artist we can boast, in his way. 
 On all occasions of this nature, however, it seems 
 desirable, not for our own credit merely, but for 
 the reputation of the artist himself, properly un- 
 
264 
 
 derstood, in some measure to qualify our praise. 
 The votaries of Gainsborough are too apt to set 
 no bounds to their admiration : but the truth is, 
 that in poetical elegance and grandeur of con- 
 ception, in variety and expansion of scenery, 
 and in richness, depth, and force of effect, he 
 will bear no competition with Claude, or Salva- 
 tor, or even his own countryman Wilson ; 
 whilst in transparency and finish, he falls im- 
 measurably short of a Berghem and a Ruysdael : 
 Hobbema, to draw still nearer, completely over- 
 powers him in vivacity of touch and brilliancy 
 of tone ; nor will it be questioned by any com- 
 petent judge, that in his own peculiar walk, he 
 is far outstripped by the exuberant fancy and 
 vigorous execution of Rubens. His pictures, 
 though luxuriating in all the beauties of ordinary 
 English landscape (and he very judiciously 
 seldom aspired higher) have rather the air and 
 character of tinted sketches, than regular oil 
 paintings ; and that adroitness of pencil, in which 
 he so pre-eminently excelled, and through which 
 he produces so many captivating effects, by too 
 profuse and indiscriminate an application, and 
 too exclusive a reliance on its efficacy, degene- 
 rates, as is sufficiently manifest when his works 
 are opposed to those of sterling power, into 
 flimsiness and mannerism. 
 
263 
 
 Gainsborough's drawings are very numerous, 
 and of great merit. The larger, and perhaps 
 better, portion of them, are executed with black 
 chalk or lead-pencil upon white paper : some 
 are washed with bistre in the foreground, rehev- 
 ed by a greyer tinge in the distance : a few are 
 slightly tinted, with very beautiful effect : now 
 and then we meet with a specimen of black 
 chalk upon blue paper, heightened with white : 
 indeed there is scarcely any contrivance for pic- 
 turesque deUneation, however eccentric, of which 
 this indefatigable lover of the art does not seem, 
 at one time or other, to have availed himself. 
 In all, we discern the same original and power- 
 ful talents, the same pure taste for truth and 
 nature, the same happy choice in selecting the 
 most captivating features and accidents of rural 
 scenery, and the same felicity in expressing 
 them, which distinguish his paintings ; with 
 this additional recommendation in their favour, 
 that the peculiar character of his handling — 
 those spirited hatchings, those dashing spurts of 
 the pencil, those zig-zag and anomalous scratches, 
 which appear too often misplaced in the latter, 
 are here quite appropriate ; and produce their 
 designed effect, not only without offence, but 
 to the delight of every critical eye, in admira- 
 tion of the genius which could thus successfully 
 
 MM 
 
266 
 
 employ them. — Amongst the most considerable 
 possessors of Gainsborough's drawings, may be 
 noticed, his surviving daughter, Mrs. M.Gainsbo- 
 rough of Acton, Middlesex; George Nassau, esq.; 
 Doctor Monroe ; and the Rev. Doctor Kilder- 
 bee of Great Glemham, Suffolk, Son of Samuel 
 Kilderbee, esq. of Ipswich, an old friend and 
 companion of the artist. INIr. George Frost, of 
 Ipswich, has also a pleasing collection of valuable 
 specimens, executed in different ways, but prin- 
 cipally with black chalk and lead pencil, in the 
 neat style of his earlier manner : — an inestimable 
 treasure to One, who, in his own admirable 
 sketches from nature, decisively evinces, with 
 what a congenial ardour, and how keen a relish, 
 lie has imbibed the genius and spirit of his 
 adopted master. — Numerous imitations of Gains- 
 borough's style of handling have been executed 
 by Laporte, Wells, and other artists.* 
 
 • Tliis article, which was left entirely vacant in the original MS., has 
 been obligingly supplied by the Gentleman who undertook the revision of 
 tlic Work. £d. 
 
267 
 
 GEORGE BARRETT. 
 
 N. 1728. 
 D. 1784. 
 
 A native of Ireland ; was an artist of very- 
 considerable merit. He looked up to nature as 
 his guide, in preference to the finest works of 
 the most celebrated masters; and marked her 
 more beautiful and striking effects, which he 
 was fond of introducing in his pictures, with an 
 accuracy which has never been exceeded. No 
 artist ever studied the different species of trees 
 with more attention, or characterised them with 
 more truth. His execution is masterly ; and 
 his colouring often good and harmonious : but 
 in the attempt to hit off particular accidents — 
 the tints of different seasons — the hues of differ- 
 ent periods of the day, &c. he is apt to appear 
 overcharged and crude ; especially in his blues 
 and his greens. His cattle and figures, have no 
 remarkable excellence to recommend them ; 
 though in general they are not ill-grouped or 
 iU-placed. 
 
 His more finished drawings are executed in 
 
 body-colour, with great care. Others are done 
 
 in Indian-ink : and his shghter ones, which are 
 MM 2 
 
268 
 
 sketched from nature, are usually pencilled with 
 black lead. All are admirable in their different 
 styles. Mr. Stainforth has some large ones, 
 finished in colours, which are capital. 
 
 HIERONYMUS GRIMM. 
 
 D. 1794. 
 
 A native of Swizzerland ; resided several years 
 in England, where, with indefatigable industry, 
 he made sketches and drawings of the most in- 
 teresting scenes in every part of the kingdom. 
 In an auction at Hutchins's in Covent Garden, 
 July 1795, upwards of five hundred of these 
 were sold ; the larger portion of them having 
 been classed according to the several Counties 
 in which they were taken. These were, in ge- 
 neral, executed with a pen and shaded with 
 bistre ; though some were more highly finished, 
 and tinted. In his colouring he is usually too 
 glaring, and his trees are formal and stiff ; but 
 his buildings have the merit of great correctness, 
 and display his skill in architecture and perspec- 
 tive, to considerable advantage. 
 
269 
 
 MASTERS OF SEA PIECES. 
 
 HENRY CORNELIUS DE VROOM. 
 
 N. 1566. 
 
 Was a native of Haerlem ; but visited various 
 parts of Europe for the purpose of improving 
 himself in his profession His works, though 
 not now held in extraordinary estimation, were 
 greatly admired at the time. He distinguished 
 himself in this country by representing, in ten 
 compartments, the most striking scenes in the 
 action between the English Fleet and the Span- 
 ish Armada in 1588, as Patterns for Tapestry 
 for the great Earl of Nottingham, who had 
 commanded our forces, as Lord High Admiral, 
 on that memorable occasion. 
 
 The drawings of this artist are very scarce in 
 England. Those we meet with abroad, are in 
 general small ; and usually represent sea-beaches, 
 with figures careening or launching boats. I 
 have one of this description, handled with a pen 
 and shaded with bistre, of a very pleasing clia- 
 racter. 
 
270 
 
 REINIER ZEEMAN. 
 
 N. 1612. 
 
 A Dutch painter ; principally excelled in 
 etchings of shipping and sea-coasts. His draw- 
 ings are usually finished with Indian-ink, and in 
 many instances tinted with blue : but his ships, 
 being truly Dutch-built, are uncouth and dis- 
 agreeable objects. 
 
 BONAVENTURA PETERS. 
 
 N. 1614. 
 D. 1652. 
 
 Of Antwerp ; excelled in the representation 
 of brisk gales and storms at sea ; as well as of 
 views on the coast, with forts and castles, from 
 nature. His drawings, which are for the most 
 part executed with a pen and washed with Indi- 
 an-ink, have generally great merit. The scenes, 
 are similar to those of his paintings ; and when 
 the view is from nature, the name of the place 
 is usually inscribed on the top with a small pen. 
 I am in possession of several of this description, 
 evincing considerable talent. 
 
271 
 
 W. VITRINGA. 
 
 From the smallness of his works, is considered 
 of the class of little masters. His drawings are 
 usually finished with much care, and tinted. Mr. 
 Philippe, a collector, has an excellent Sea Piece in 
 this style, with the artist's name and date, 1652. 
 
 WILLIAM VAN DE VELDE, Senior. 
 
 N. 1610. 
 D. 1693. 
 
 A native of Leyden ; was originally bred to 
 the sea, where he acquired a knowledge of naval 
 affairs which turned to excellent account when 
 he took up the profession of a painter. His 
 first studies were usually made at sea, from a 
 small vessel which attended the several naval 
 actions that took place between Admirals Monck 
 and de Ruyter, and the Duke of York and Ad- 
 miral Opdam. They are generally executed in 
 Indian-ink ; and are designed with great care 
 and correctness. 
 
272 
 
 WILLIAxM VAN DE VELDE, Junior. 
 
 N. 1633. 
 D. 1707. 
 
 The Son of the last-mentioned painter; re- 
 ceived his first instructions in the art from his 
 Father, who, on going to England, left him 
 under the tuition of Simon de Vlieger, The 
 scholar however soon surpassed the master, and 
 acquired so high a reputation, that about 1673 
 he was invited over to England by Charles the 
 Ilnd ; during whose reign, and that of his suc- 
 cessor, James the Ilnd, he painted the most me- 
 morable actions of the English Fleet, in a style 
 of excellence very superior to any thing that 
 had yet been witnessed in that department of 
 the art. 
 
 The drawings of this artist are very numerous, 
 his rapidity of execution being such, that he is 
 said frequently to have sketched a quire of paper 
 in an evening. Many are his first studies, made 
 from on board a galliot which he was allowed 
 by government for that purpose : these are 
 generally executed in broad black-lead only ; 
 but with a degree of veracity, spirit, and effect, 
 that is truly wonderful. His more finished 
 
273 
 
 drawings, are etched with a pen or pencil, and 
 shaded with Indian-ink. Many of his larger 
 pieces represent particular actions between the 
 English and Dutch Fleets ; and in these he often 
 wrote, over the ships, their names, and those 
 of their commanders ; and under his own vessel 
 in front, " V-Velde's Gallijodt," or " myn Galli- 
 jodt." Some idea will be formed of the prolific 
 powers of this artist, when it is known, that 
 about eight thousand of his drawings were sold 
 by auction during the years 1778 and 1780; in- 
 dependently of those which were previously 
 preserved in the first collections. My portfolios 
 are enriched with a considerable number of his 
 drawinos, executed in his best and most finished 
 manner ; and attesting, in various ways, his pre- 
 eminent ability as a marine artist. Specimens 
 of his style are given in Pond's and Rogers' 
 Works, as well as by Captain Baillie. 
 
 NN 
 
274 
 
 SIMON DE VLIEGER. 
 
 N. 1612. 
 
 The master of the younger Van de Velde, 
 though not equal in talent to his matchless 
 scholar, was yet an admirable artist ; and one 
 whose works are still deservedly held in the 
 highest estimation. His drawings, which are 
 usually studies from nature, have abundance of 
 merit : they are generally outlined with a broad 
 pen, and washed with Indian-ink ; and frequent- 
 ly represent, as apparently his favourite subject, 
 groups of fishermen with their vessels on the 
 beach. I have, amongst others, a Drawing of 
 this description on a large scale, which exhibits 
 his skill in the treatment of such scenes, to great 
 advantage. Many were sold, in 1778 and 1780, 
 along with the designs of the younger Van de 
 Velde ; who had frequently recourse to them in 
 putting in his figures. 
 
275 
 
 LUDOLPH BACKHUYSEN. 
 
 N. 1631. 
 D. i7oy. 
 
 Of Embden ; was a very eminent painter of 
 marines. He studied nature with the closest 
 attention ; and by an admirable management of 
 the chiaro-oscuro, produced the most interesting 
 and striking effects. In the representation, es- 
 pecially, of tremendous hurricanes at sea — the 
 rolling clouds — the driving rack — the uplifted 
 surges — with dismantled vessels, labouring u\ 
 the swell, or furiously impelled upon a raging 
 shore of rocks and breakers — he exhibits a dire- 
 ful character of truth and horror, which, as a 
 spectator once observed, actually takes away the 
 breath ; and unquestionably transcends, in appal-' 
 ling energy and grandeur, the sublimest efforts 
 even of Van de Velde himself. 
 
 Backhuysen's drawings are scarce ; and, when 
 finished, particularly fine : so much, indeed, were 
 they esteemed, in his life-time, that a hundred 
 florins was the usual price of a specimen. They 
 are almost universally executed in Indian-ink. 
 I possess, in my collection, a spirited sketch of 
 a Fresh Breeze, brushed with this wash upon a 
 penned outline. Imitations of his style have 
 been published by M. Ploos of Amsterdam. 
 
 NN 2 
 
276 
 
 ABRAHAM STORK. 
 
 N. 1650. 
 D. 1708. 
 
 Of Amsterdam; was a faithful copyist of 
 nature : and by the sweetness of his colouring, 
 the delicacy of his touch, and the taste of his 
 compositions, became one of the most admired 
 painters of marines in the Dutch school. 
 
 His drawings are in general slightly penned, 
 and washed with bistre; and bear, upon the 
 face of them, evident traces of being immediate 
 studies from nature. 
 
 PETER MONAMY. 
 
 N. 167 0. 
 D. 1749. 
 
 A native of Jersey ; received his first instruc- 
 tions under a house and sign painter on London 
 Bridge : but his natural genius buoyed him up 
 above his situation ; and he gradually rose to be 
 a very excellent painter of shipping ; ^particularly 
 when represented in the soft and serene repose 
 of noontide calms. 
 
277 
 
 His drawings, which are usually executed 
 with a pen and Indian-ink, have considerable 
 merit : they will not, indeed, endure comparison 
 with those by the younger Van de Velde ; yet 
 the forms of his vessels, which are very correctly 
 designed, being more in the modern style of 
 building, often please the eye much better. 
 
 BROOKING. 
 
 N. 1723 . 
 D. 1760. 
 
 From his excellence as a painter of sea-pieces, 
 acquired the title of the English Van de Velde ; 
 a denomination which he justly merited by the 
 peculiar truth and beauty of his works, and the 
 general resemblance they bear to those of that 
 great master. 
 
 The few drawings we meet with by this 
 artist, are finished with a pen and Indian-ink : 
 but want that spirit, freedom, and effect, which 
 are so fine and striking in those by the younger 
 Van de Velde. 
 
 I 
 
278 
 
 SAMUEL SCOTT. 
 
 D. 1772. 
 
 Was an excellent painter of sea-pieces, and 
 river scenes, in which he introduced buildings 
 and figures with much skill. 
 
 His drawings, which are usually from nature, 
 have likewise great merit. The slighter ones 
 are, for the most part, sketched with a pen and 
 washed with Indian-ink ; but those which are 
 more finished, are tinted, and particularly fine. 
 General Morrison has a View of London, in 
 this style, which is capital. 
 
 FINIS. 
 
 J. RAW, PRINTER, IPSWICH. 
 
/