m ■
3/
THE
COLLECTION OF PICTURES
OF
THE MOST NOBLE THE
MARQUIS OF STAFFORD,
IN LONDON;
ARRANGED ACCORDING TO SCHOOLS,
AND IN
CHRONOLOGICAL ORDER.
ENGRAVINGS
OF THE
MOST NOBLE
€&e ^tarquts of ^>taffort)'0
COLLECTION OF PICTURES,
IN LONDON,
ARRANGED ACCORDING TO SCHOOLS,
A N D I N
CHRONOLOGICAL ORDER,
WITH
REMARKS ON EACH PICTURE.
By WILLIAM YOUNG OTTLEY, Esq. ES.J.
THE EXFXIT1VE PART UNDER THE MANAGEMENT OF
PELTRO WILLIAM TOMKINS, Esq.
H ! STORICA L ENGRAVER TO HER MAJESTY.
VOL. I.
PRINTED BY BENSI.F.Y AND SON, BOLT COURT, FLEET STREET;
LONGMAN, HURST, REES, ORME, AND BROWN, PATERNOSTER ROW ; CADELL AND DAVIES,
STRAND; AND P. W. TOMKINS, NEW BOND STREET.
1818.
®etitcatet>
TO THE
KINGS
MOST EXCELLENT MAJESTY,
PATRON;
HIS ROYAL HIGHNESS THE
PRINCE OF WALES,
VICE PATRON;
THE EARL OF DARTMOUTH,
PRESIDENT;
AND THE REST OF THE
NOBLEMEN AND GENTLEMEN,
GOVERNORS OF THE BRITISH INSTITUTION FOR PROMOTING THE FINE ARTS
IN
THE UNITED KINGDOM.
TO
THE KING.
SIRE,
The utility of cultivating the arts of elegance,
the delight they afford the human mind, the importance
they maintain in the empire of commerce, the splendour
they diffuse round a Throne dignified by the protection
of genius and the support of virtue, were considerations
which impelled us to solicit the privilege of laying at our
Sovereign's feet
3Srtttsf) #allerp of ^tctures;
A work commenced under the Royal patronage, and
with permission humbly dedicated to your Majesty, by
Your Majesty's
Most faithful subjects,
and dutiful servants,
, L? 1 " 101 !. » THE PROPRIETORS.
ADVERTISEMENT.
In addition to what lias already been said in the Prospectus, we have now
to state the mode of arrangement intended to be adopted in this division of
the Work, which is designed to comprise a series of descriptive catalogues
of the Picture Galleries in these kingdoms, illustrated by small engravings
of the principal pictures contained in them.
Each collection will be divided into schools, and 'the pictures of the
several schools will be described in chronological order, agreeably to the
periods in which the respective artists flourished. The pictures which
occupy one plate will, in every case, be selected from the same school, and
from the same collection ; and in order to prevent this plan of arrangement
from being disconcerted by the intervention of small collections, as well as
to avoid perplexing subdivisions, the Italian painters will be divided into two
great classes, which we shall denominate the Schools of Upper and of
Lower Italy.
1 o the schools of Lower Italy we are in a more especial manner indebted
for the revival of Painting: this class will therefore occupy \\\e Jirst place in
our Catalogue. It will include the works of the Painters of Florence,
Siena, and every other part of Tuscany; embracing those also of Rome and
Naples. This arrangement is the more appropriate, as these schools are
closely, nay, almost inseparably connected. The chief works of the great
Florentine, Michelangiolo Bionaroti, are at Rome, where the principal
part of his life was spent in the service of a succession of Pontiffs: moreover,
for a century after the death of Raffaele, the style of Michelangiolo was
X
considered as the standard of imitation as well by the artists of Rome and
Naples, as by those of his own country.
The Second Class, that of Upper Italy, will comprise the Schools of
Bologna, Parma, Milan, Genoa, and Venice, and all those states
which lie north of Tuscany. Although the decided character of the Venetian
school might perhaps seem to give it a claim to a separate classification, yet
it may not be amiss to observe, that in many respects a kindred feeling and
a congenial spirit may be traced in several of its neighbours : the school
of Ferrara in particular, has produced Painters whose works, not un-
frequently, rival the vigour of Giorgione, or the brilliancy of Paolo
Veronese.
The school of Bologna obtained a distinguishing character under the
scientific Caracci, but the distinction disappeared when the scholars, yielding
to the stronger impulse of genius or inclination, formed each of them a style of
his own, better calculated to display a darling acquirement, and exhibit the
peculiar features of his mind. The studious Dominichino was the last to
rebel; nor does the unrestrained boldness of Lanfranco entirely conceal
the source from which he derived his instruction. Albano, however, struck
out a new path ; and in the works of the admired artists Guido and Gder-
cino also, who soon founded distinct academies, and had numerous followers,
scarce a vestige appears of the system of the Caracci. Hence the School
of the Caracci soon became more remarkable for the talents it put forth,
than for any peculiar mode of academic education by which those talents
were matured.
The Schools of Germany, Switzerland, Flanders, and Holland,
will be comprised in the Third Class of our Catalogue. Reasons similar
to those already stated, justify this arrangement. Upon a slight view of the
subject, the prodigious number of Flemish and Dutch Pictures in this
country, would indeed seem to furnish ample materials for two distinct
Classes ; but it must be remembered that there have been periods in these
schools barren of interest, yet necessary to be recorded to complete the
xi
chain of history. Care, however, in arranging the Scholars and the Masters
with the least possible deviation from chronological precision, united to a
constant attention in placing together the works of contemporary artists
whose styles are most similar, will obviate every objection.
The works of the Spanish Painters will form the Fourth Class.
The Spanish style, equally balanced between the Italian and Flemish, but
in every respect distinct from the French, renders a separate classification
necessary. We cannot but regret the small number of materials furnished
by the collections of Great Britain towards a chronological series of this
school.
The Fifth Class will be appropriated to the French School, which,
though it has had to boast of artists of considerable merit, has never been in
very high reputation out of France. Gaspar Poussin and Claude,
the former born of French parents, the latter a native of France, spent all
their lives in Italy; and we are unwilling to separate Niccolo Poussin from
his near relative, or from the genial clime which matured his talents. On
the banks of the Tyber his pensive and tranquil mind found an asylum
replete with materials to enrich a genius that could ill encounter the envy
and the intrigues inseparable from Parisian patronage.
The Sixth Class will contain a Selection of the best Works of the
British School.
LIST OF PLATES
IN
VOLUME THE FIRST.
CLASS I.
SCHOOLS OF LOWER ITALY.
PLATE. SUBJECTS. PAINTERS.
(A Young Female 1. he. da Vinci.
IX The Holy Family 2. Rqffaello.
(.The Adoration of the Magi 8. Baldassare Peruzzi.
/'Madonna and Child 3. Raffaello.
2. < Madonna, Infant Christ, and St. John . . 4. Rujf'aello.
(.Madonna, Infant Christ, and St. John . . g. And. del Surto.
f The Holy Family 5. Raffaello.
3. <■ \Hwnt (hi* IHW * *3%»^tffttJ|l
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THE
COLLECTION OF PICTURES
OF
THE MOST NOBLE THE
MARQUIS OF STAFFORD,
IN LONDON;
ARRANGED ACCORDING TO SCHOOLS,
AND IN
CHRONOLOGICAL ORDER.
THE COLLECTION
OF THE
MOST NOBLE THE MARQUIS OF STAFFORD.
CLASS I.
SCHOOLS OF LOWER LTALY.
No. 1. LIONARDO DA VINCI. Nat. 1452. Ob. 1519.
A young Female Head, one of those beautiful, but peculiar cha-
racters which Lionardo and his scholars so frequently repeated. Her
face, illumined by a smile, is gracefully turned towards the left. A
braid of her hair binds the top of her head; whilst the remainder falls
in ringlets on her neck.
This picture is on canvass, measures 1 foot 1 inch high, by 91 inches;
and was purchased from the Orleans Collection.
No. 2. RAFFAELLO SANZIO DI URBINO. Nat. 1483. Ob. 1520.
The Holy Family, a picture in Rafi'aele's early manner, painted, in
all probability, soon after his returnfrom his first visit to Florence, in 1504.
The Virgin is seated on the right of the picture, the Child is on her
lap, and receiving some wild flowers from Joseph, who is kneeling down
to present tbem, supported by his staff. Behind the Virgin are some
4
palisadoes and a palm-tree, and the distance is terminated by a gay
landscape where meadows and water are interspersed.
This picture is not wholly exempt from that dryness of manner
which distinguishes the works of the earlier artists : the numerous little
ornaments of the dresses, particularly the gold borders on the crimson
vest and blue mantle of the Madonna, are vestiges of the ancient school
of painting. The composition of the group, however, is agreeable;
and the infant possesses that beauty and sweetness of expression which
at all times peculiarly characterize the productions of Raffaele.
This picture is of a circular form, measuring 3 feet 4 inches in
diameter. It was originally painted on board, but has been since trans-
ferred to canvass, and formed part of the Orleans Collection.
No. 3. RAFFAELE.
The Madonna and Child, a charming little picture; executed
perhaps about the same time with the celebrated deposition of the
Borghese palace at Rome, that is, about three years after the picture
last described.
It represents one of those groups in which Raffaele seems to have
confined himself principally to the expression of reciprocal endearment
between a mother and her child.
The Virgin is sitting nearly in front, and is seen to a little below
the knees. She is looking with tenderness in the face of the infant,
who is sporting quite naked on her lap, and in his turn looking up
with fondness at his mother, having hold of part of her mantle with his
right hand.
This picture was originally on board, but has been transferred to
canvass ; it measures 2 feet 7 J inches high, by 1 foot 10 inches, and was
purchased from the Orleans Collection.
No. 4. RAFFAELE.
The Madonna, Infant Christ, and St. John. In this exqui-
site little production of Raffaele's maturer years, we witness the happy
union of dignified conception, with increased powers of execution and
breadth of style.
The dark blue mantle of the Virgin forms a bed, upon which the
divine Infant is recumbent in a profound sleep. The Madonna is kneel-
ing by him on the ground, and with an expression in which maternal
affection is blended with devotion, lifts up the veil with which she had
been covered, while she seems wrapt in the contemplation of the mys-
teries of Redemption by the future sufferings, and glory of her Son.
Her action is full of grace and dignity; with her left arm she embraces
the little St. John, who, likewise on his knees, adores the Saviour. In
the back ground are ruins, with a town in the distance.
The picture is on board. Measures 2 feet 21 inches in height, by
1 foot 7i inches, and is from the Orleans Collection.
No. 5. RAFFAELE.
Tin: Holy Family. This incomparable little picture has long, by
way of pre-eminence, been styled In Belle Vierge; and whether we
consider it in the different points of excellence, beauty of thought and
composition, purity of design, or richness of colouring, it seems justly
entitled to the reputation it enjoys, of being one of the finest cabinet
productions of this great master.
In the midst of a pleasant landscape the Madonna is represented
standing : her left hand glides gracefully over the arm of Christ, who
appears a boy of about four years, while her right gently laid on the
head of St. John, seems in the act of encouraging his devotion. The
young harbinger of glad tidings, with his camel's coat and Agnus Dei,
(i
approaches the Saviour, full of reverence and affection, and is received
by him with kind regard.
To the left, Joseph, retiring, forms a part of the middle distance :
he looks back with anxiety on the principal group. The lower part
of his figure is concealed by the foliage of the landscape.
The face of the Madonna is one of the most beautiful Raffaele ever
painted ; the whole group is full of grace ; the draperies are well cast,
and have prodigious richness of tone; the figure of the Christ is finely
drawn, and the delicacy of its tint is admirably contrasted by the more
florid complexion of the Virgiu, and the sun-burnt hue of the St. John.
This picture is on board. Measures 2 feet 104 in height, by 2 feet
i inch, and formed one of the principal ornaments of the Orleans Col-
lection.
No. 6. POLIDORO DA CARAVAGGIO. Nat. Ob. 1543.
A small picture, the subject unknown, but possibly intended to repre-
sent Noah preaching to the inhabitants of the earth before the deluge.
On board. Measuring 1 foot 1 inch in height, by 1 foot 9 inches.
No. 7. GUILIO ROMANO. Nat. 1492. Ob. 1546.
The Nursing of Hercules. Juno is here represented, according
to the fable, giving suck to Hercules in consequence of the interference
of Pallas, who, holding his left arm, seems endeavouring to persuade
her to suffer his continuance, notwithstanding the pain occasioned by
the greediness of the infant hero. Behind, on the left, is a boy with
a faun bringing fruits ; and on the right are two children, or genii, one
climbing up a tree, the other already in the tree gathering the fruit.
The picture is on board. Measures 3 feet 11 inches in height, by
3 feet, and is from the Orleans Collection.'
7
No. 8. BALDASSARE PERUZZI. Nat. 1481. Ob. 1.536.
The Adoration of the Magi. An unfinished, or ruined, Portico
of the Corinthian order, rises in the centre of the picture, under which
the Madonna is majestically seated, with the infant on her knees, re-
ceiving a cup offered by one of the kings, who is kneeling on the left.
Joseph, leaning on his staff, stands behind, whilst the other two kings
with their attendants, making altogether a composition of twenty
figures, are preparing to present their offerings. In the distance on
the right, are the camels and attendants of the Magi ; on the left the
shepherds are seen, afar off, bringing their offerings.
The style of this little picture is simple, the characters of the heads
are varied, and the whole is highly finished and well coloured, render-
ing the performance a valuable specimen of the abilities of this master,
whose cabinet pictures are very rare.
It is painted on board. Measures 1 foot 4i inches in height, by
1 foot 8i inches, and formed part of the Orleans Collection.
No. 9. ANDREA DEL SARTO. Nat. 1488. Ob. 1530.
Madonna, Infant Christ, and St. John. The Virgin is seated,
and seen almost in front : the child is standing, his left foot raised, on her
lap : she embraces him with both her arms, whilst the little St. John,
in an erect posture behind the Madonna, points with exultation to the
Saviour. The back ground is a landscape.
This picture is on board. Measures 5 feet 24 inches in height, by
4 feet 1 inch, and was recently in the collection of the Honourable
Thomas Brand, who purchased it in Italy, at a moment when the
Grand Duke of Tuscany secpiestrated the property of many Convents.
8
No. 10. F. SEBASTIANO DEL PIOMBO. Nat. 1485. Ob. 1547-
The Entombing of Christ. The body of our Lord, reclined on
the lid of the sepulchre, is supported on the right by a boldly fore-
shortened figure of an old man, and on the left by Mary Magdalene;
behind is the Virgin, fainting in the arms of one of her companions,
full of expression; and an old woman, who raises both her arms with
the strongest demonstrations of anguish. In the background are two
other heads in shadow, probably intended for Joseph of Arimathea and
Nicodenuis ; and in the distance appear the cross and ladder.
The grand style of composition and drawing which this picture
exhibits, gives reason to suppose that Sebastian was assisted in it, as in
many of his other works, by the advice or superintendance of his friend
and patron Michelagnolo Buonaroli. The colouring is solemn, and in
strict unison with the character of the design and composition.
This picture is on canvass. Measures 2 feet 5 inches in height, by
1 foot 104 inches, and formed part of the Orleans Collection.
No. 11. DANIELLE DI VOLTERRA. Nat. 1509. Ob. 1566.
The Burial of Christ. Joseph of Arimathea and Nicodenuis
are placing the body in the tomb ; the Madonna is fainting in the arms
of an attendant; three other women are behind, to the right; and on
the left Mary Magdalene. The three crosses are seen at a distance
through the aperture of a cavern where the sepulchre is situated.
The landscape of this little picture is painted much in the manner of
Paul Brill, and the whole possesses considerable merit, though, from
the freedom of pencil, we are inclined to think it of a later period than
that in which Danielle di Volterra lived, and more probably of the
Lombard than of the Florentine school.
This picture is on copper, 1 foot 5| inches high, by 1 foot 2 inches.
9
NICCOLO POUSSIN. Nat. 1.594. Ob. 1665.
THE SEVEN SACRAMENTS.
Of this celebrated series there exist two sets, both at present gracing
collections in this country. The first series was painted by Niccolo for
the Commend ato re Pozzo, an early patron of the artist, and descended to
the Marquis Boccapaduli at Rome, from whose Gallery the seven
pictures were removed to the possession of the Duke of Rutland.
The pictures which are here given, in point of composition and size,
differ considerably from the former series, and was painted at the ex-
press desire of Poussin's particular friend M.de Chantelon : the Extreme
Unction, although the last in order, was the first painted; on being
sent from Rome to Paris it excited great admiration. The picture of
Baptism was criticised by the malevolent as a feeble composition;
Poussin ably defended the style he had adopted in treating the subject,
and in writing to his friends, assured them that persecution, so far from
discouraging, had a contrary tendency, and rather served as a stimulus
to new exertion. The entire series became part of the Orleans Collec-
tion, from whence it was purchased by his Grace the Duke of Bridge-
water. N.B. All the pictures are on canvass.
No. 12. BAPTISM.
This sacrament is represented by St. John baptizing Christ in the
river Jordan. Upon the brink of the river stands the Baptist, in a
dignified, yet respectful, posture, pouring water on the head of our
Lord, who is devoutly kneeling; his entire action fully expresses that
meek doctrine, "Thus it becometh us to fulfil all righteousness." A
group of young men, situated at the right corner of the picture, with
D
10
mingled emotions of awe and astonishment, point to the miracle of
"the Spirit of God descending like a dove." On each side of the
principal figures are the multitude in attitudes judiciously varied ; some
putting on their attire, whilst others are preparing for the ceremony.
Those already baptized seem to exult in renovated energy, while the
penitents of different ages, press forward to the completion of their
hopes. The river Jordan stretching direct across the picture, and the
distant landscape, form a background of the most grand and happy
effect.
Measures 3 feet 9 inches in height, by 5 feet 7* inches.
No. 13. CONFIRMATION.
The scene of this picture is the interior of a temple, in which are
three sarcophagi, each faintly illumined by a single lamp. The Bishop,
distinguished by his sacred vestments, is seated, and bends forwards in
the act of anointing an adult, who appears by his Toga and Latus
Clavus to be a senator : the holy oil is contained in a vase standing m a
gold dish, held by a deacon on his knees, whose cast of drapery is
admirable ; towards the centre of the picture is another priest complete-
ing the ceremony by tying a fillet on the forehead of a youth : on the
right, a young man with a laurel branch, according to the practice of
the Greek Church, sprinkles the assembly with holy water; the re-
mainder of the composition is enriched by females, elegantly draped,
bringing their children to be confirmed : the diffidence and apprehen-
sion of the children, with the encouraging solicitude of the parents,
form interesting episodes, replete with beauty, and are introduced with
infinite taste.
Measures 3 feet 9 inches in height, by 5 feet 8 inches.
11
No. 14. PENANCE.
The contrition of Mary Magdalene at the feet of Jesus, in the house
of the Pharisee, furnishes the subject of this picture: it "is one of the
best preserved of the set, and possesses a breadth of effect which does
not at all times constitute a part of Poussin's excellence. The table,
furnished with viands, appears in the centre ; the guests are recumbent
on couches, which occupy the further end and the two sides. On the
left is the figure of our Lord, reclining on his arm, and stretching forth
his right hand in token of forgiveness to the penitent Magdalene, who,
having bathed his feet with her tears, is wiping them with her golden
hair, previous to anointing them with precious ointment. In the fore-
ground, below Jesus, a domestic is seen pouring wine into a jar. This
figure, with the addition of the vessels which stand by it, is introduced
with great advantage to the composition, as it prevents the too great
vacancy which, in consequence of the lower end of the table being un-
occupied by guests, would otherwise have occurred in the middle of
the picture. The Pharisee is on the right, and seems at first sight to
be the principal figure : he is sitting on the edge of his couch, whilst
his feet, after being washed, are wiped by an attendant. The other
guests, with the domestics, retire in admirable perspective, and some
columns, with a recess behind, form a dignified and appropriate back-
ground.
Size 3 feet 10 inches high, by 5 feet 87 inches.
No. 15. THE EUCHARIST.
This subject is illustrated by a representation of the last supper of
Christ with his apostles : the figures, according to oriental custom, are
reclined on couches, and entirely surround the table. To this circum-
stance, and to the low point of sight, which occasions but little of the
E
1-2
table to be seen, we must attribute that want of perspicuity in the com-
position, which strikes the eye upon a first view. The figure of Christ
is not remarkable for elevation of character, but the St. John and St. Peter
are full of expression : there is, however, an evident impropriety in four
of the other apostles being represented in the act of eating at the moment
when their Master is uttering the impressive words, " This is my blood."
Judas is going out at the door. The group is faintly illumined by a
lamp suspended from the ceiling.
Size of the picture 3 feet 91 inches high, by 5 feet 8| inches.
No. 16. THE EXTREME UNCTION.
This picture has been ever considered one of the master-pieces of
Niccolo Poussin, and has drawn forth the eulogiums of the best judges
who have written on painting : the tribute of applause bestowed upon
it by Bellori, one of the ablest critics of Italy, would alone render its
merit unquestionable.
An apartment, into which a small window on the left, almost shut,
admits but a faint gleam of light, is the scene of this affecting repre-
sentation : the dying man is in profile, stretched on his bed ; his flesh of
a livid hue, his abdomen fallen, his eyes nearly closed, and his mouth
a little open, as if, though insensible, he still continued to breathe: the
figure is admirable, and all in shadow, excepting only a small part of
the right arm, and the hand to which the priest is applying the holy
oil. The priest receives the principal light, which is connected with
another light reflected from the torch held by the young man who
attends on his knees. At once full of grace and expression is the
young woman, daughter of the dying man, who, in all the abandon-
ment of grief, has thrown herself on the foot of the bed, whilst her
brother at the head of the bed, is holding up a taper to assist the
venerable priest in his function. The rest of the attendants and rela-
13
tives are disposed in actions and groups highly interesting, and expres-
sive of the melancholy subject. If any thing in this very striking pic-
ture be open to animadversion, it is, perhaps, the introduclion of a young
and playful infant, which the disconsolate wife is holding U p to its
expiring father, at that awful moment. — The arms hanging up in the
back-ground, and the shield, mark the profession of the dying man;
the monogram with which, according to the custom of the early Chris-
tians, the shield is inscribed, shews his religious faith.
This picture measures 3 feet 8 inches in height, by 5 feet 8 inches.
No. 17. ORDINATION.
Christ giving the keys to St. Peter, is the subject here represented
as being the origin of the ceremony. The attitude of our Lord is full
of majesty: his left arm is raised towards heaven, whilst with the other
he points towards hell ; thereby denoting, according to the opinion of the
Roman church, the extent of the power he delegates. St. Peter, with
an expression full of devotion, is on his knees before him: the other
apostles are ranged on either side of these principal figures, which
form the centre group. The composition has great dignity, and the
city of Cassarea, in the distance, forms the grandest and most classical
back-ground possible.
This picture measures 3 feet 8* inches in height, by 5 feet 8* inches.
No. 18. MARRIAGE.
This picture, which is perhaps the least striking of the Series, repre
sents the nuptials of Joseph and Mary. A spacious building
orna-
14
mented with pilasters and columns, with apertures, through which in
some places the landscape appears, is the scene of the composition. The
Virgin, a most heautifully draped figure, and Joseph, are both on their
knees before the priest, who, in a sitting posture, is performing the
ceremony in the presence of a multitude of attendants and spectators.
This picture measures 3 feet 8* inches in height, by 5 feet
8 J inches.
No. 19. NICCOLO POUSSIN.
Moses striking the Rock. This is a finely executed and highly
finished picture, containing a composition of above twenty figures, in-
dependent of a multitude in the distance, and may justly be termed one
of the capital productions of the master. In the management of the
chiaro-scuro, Poussin has, upon this occasion, displayed more than his
usual ability : by placing the figures of Moses and Aaron in shadow,
and connecting them with the dark rock and the trees so as to form one
great mass, he has thrown forward with augmented effect, the busy
scene which occupies the principal part of the picture. It cannot,
however, be denied that the artist has in some measure sacrificed the
just expression of his subject to the desire of forming agreeably con-
trasted groups. The woman, with her two chubby infants, in the right
corner, is a striking instance of this impropriety ; her figure conveys
no idea of that extreme eagerness and joy which would necessarily ani-
mate the features and regulate the action of a mother, who the moment
before, exhausted by thirst and fatigue, had lost all hope, and with her
tender offspring tremblingly awaited a miserable fate.
This picture is on canvass, measures 3 feet 2* inches in height, by
4 feet 4* inches, and was in the Orleans Collection.
15
No. 20. GIUSEPPE RIBERA, called SPAGNOLETTO.
Nat. 1593. ob*
Christ disputing with the Doctors, half length figures, some-
what larger than life. Spagnoletto, in most cases, confined himself to
pictures of one or two figures only. The prodigious boldness of his
pencil, his strength of chiaro-scuro, and the truth with which he repre-
sented the object before him, render these productions highly valuable.
In more extensive compositions he was not equally successful. The
picture before us, though finely painted, is by no means striking or
agreeable as a whole.
It measures 3 feet 1 1 inches in height, by 5 feet 7 inches, and is on
canvass. A print of this picture in the work intitled the Teniers Gal-
lery, instructs us that it formerly had a place in the magnificent collec-
tion formed at Brussels by the Archdukes Leopold and John of Austria :
it afterwards came into the Orleans collection, from whence it was pur-
chased by the late Duke of Bridgewater.
No. 21. GASPARE DUGHET, called GASPARE POUSSIN.
Nat. 1613. ob. 1675.
Landscape. On the foreground, a man is represented asleep under
the shade of a large tree ; beyond is a piece of dark water, and behind
it, the remains of an ancient village. The distance is bounded by high
mountains.
This picture is on canvass, and measures 1 foot 5 inches in length,
and 1 foot 2i inches in height.
* According to the best authorities, Spagnoletto died after 1649. The precise period is not
known.
F
16
No. 22. GASPARE POUSSIN.
Landscape ; the companion to the last described picture. The mid-
dle-ground, by gentle gradations, terminates in a valley, at the bottom
of which a small piece of water is introduced with the most happy
effect. An extensive range of picturesque country forms the distance.
The foreground is enriched by two figures ; one reposing on a bank ; the
other walking down a winding path, at the right corner of the picture.
These charming little landscapes are in Caspar's most finished man-
ner, and unite to the classic purity of composition which peculiarly cha-
racterizes the productions of his pencil, a truth of colouring and breadth
of effect scarcely inferior to Claude.
This picture is on canvass, and measures 1 foot 7} inches in length by
1 foot %i inches in height. This and the former picture were brought
from Paris by Mr. Bryant, from whom they were purchased by the
Duke of Bridgewater.
No. 23. GASPARE POUSSIN.
A Landscape in Caspar's grandest style. A rocky steep to the left,
surmounted by a group of trees, forms the foreground of the picture,
and terminates in a deep glen in the opposite corner, from which rises
a romantic mount, enriched with the broken tints of wood and rock. A
winding road leads the eye into the landscape by a bold ascent. On the
near ground a traveller is introduced inquiring his way from a man, who
is reposing on the side of the road ; beyond, a shepherd is seen driving
his flock before him down the rugged pathway. The picturesque town
ofTivoli furnishes the middle-ground, and the extensive Campagna of
Rome, bounded by the Appenines, forms the distance, which is carried
oft' in light with admirable truth of effect.
This picture is on canvass, and measures 4 feet 5 inches in height, by
3 feet 2i inches.
17
No. 23* GASPARE POUSSIN.
Landscape and Figures. A Land Storm, painted with consider-
able effect and spirit, and grandly composed.
This picture is on canvass, and measures 2 feet 9J inches in height,
by 3 feet 8 inches in length.
No. 24. CLAUDIO GELLEE DE LORRAINE.
N. 1600. m. 1682.
A charming little landscape in his good time. On the foreground a
herdsman, reclined in the shade, watches his goats and oxen, whilst they
browse near the banks of a rivulet, whose murmuring waters seek a
course amidst the large stones which would impede their progress.
On a rocky hill behind, a farm house and a picturesque tower are
perceived. A fine tree in the middle-ground forms a bold contrast to
the extreme distance, where a lake is introduced bounded by lofty
mountains.
This picture, which is No. 101, in the Liber Veritatis, or collection of
engravings, from the drawings of Claude belonging to the Duke of
Devonshire, is on canvass, and measures 1 foot 6b inches in length by
1 foot li inch in height.
No. 25. CLAUDE.
Landscape, with figures, representing the story of Appulus trans-
formed into a wild olive tree, in punishment of his indiscreet intrusion
at the festivities of the Wood-nymphs. Ovid. Met. book xiv.
The picture before us exhibits, perhaps, one of the most agreeable
and best digested compositions of its celebrated author; though we can-
not help regretting that the many gay but indifferent figures to which
18
Claude has given so conspicuous a situation, not a little interrupt the
tranquillity of the landscape.
Behind the figures, a little to the left of the picture, rises a large tree,
delightfully contrasted by the tint and form of two younger ones, whose
delicate stems intertwine amongst its branches, and seem to court their
protection. Beyond this group, a beautiful thicket of underwood leads,
by a gentle declivity, to the banks of a fine winding river, which empties
itself into an arm of the sea in the extreme distance. On the fore-
ground, to the right, a well-grown pine tree reaches the top of the
picture, and, with a wood behind it, forms a large mass of shadow highly
conducive to the repose of the whole. The boat in the river, and the
white sails of some small vessels in the distance, are most judiciously
introduced, and greatly contribute to enliven the scene.
This beautiful production of Claude's pencil was painted for M. de
la Garde, in 1657, and was purchased by Sir Paul Methuen for the late
Duke of Bridgewater. It is painted on canvass, measures 4 feet 4 inches
in length, by 3 feet 3 inches in height, and is in the finest state of pre-
servation. No. 142 in the Liber Veritatis.
No. 26. CLAUDE.
Landscape, with the story of God appearing to Moses in the burn-
ing bush.
This picture has ever been considered a capital production of Claude's
pencil, and is certainly painted in his best time ; we think it, however,
in point of composition, inferior to the last, and the beauty of its colour-
ing is at present somewhat obscured by an excess of patina and yellow
varnish, the removal of which its noble proprietor, from an apprehension
perhaps but too well founded, is unwilling to risk.
A rock tufted with trees, with a small stream falling amidst its
fissures, forms the foreground to the left, and reaches almost to the
19
summit of the picture : it is entirely in shadow, insomuch that the in-
troduction of the figure of the Almighty at the edge of the picture, as
permi tted by the Roman church, might escape observation, were not the
eye directed by that of Moses, which is turned towards it, and boldly
relieved on the light back-ground. A little to the left a flock of sheep
is seen feeding at the bottom of a large tree, whose luxuriant foliage,
rising majestically, forms a fine contrast to the lines and delicate tint of
the back-ground. The distance displays a rich flat country traversed by
a river, over which is thrown a bridge of four arches connected on the
right by a small town, behind which a mountain rises high up that side
of the picture.
This fine picture belonged to M. de Bourlemont, in 1664 ; it after-
wards became successively the property of Mr. Clarke, and the Hon.
Edward Bouverie, from whom it was purchased by the late Duke of
Bridgewater. It is painted on canvass, and measures 3 feet 8i inches in
height, by 5 feet li inch in length. It is engraved No. 161, in the
Liber Veritatis.
No. 27. CLAUDE.
Sunset, with a View of the Sea : the companion of the picture
last described.
A ruined portico, behind which some large vessels are seen prepar-
ing for their voyage, occupies the left side of the picture. The figure
of an old man taking his evening's walk of meditation is introduced in
the foreground. To the right cattle are feeding; and, behind, a rocky
promontory, crowned with fine trees, is seen jutting boldly into the sea.
All is solemn and tranquil in this admirable picture ; the colouring is
surprisingly rich, and the effect of the setting sun in the water is repre-
sented with a truth never surpassed by the exquisite pencil of its author.
This picture is engraved No. 171, in the Liber Veritatis, and was,
20
with its companion, purchased by the Duke of Bridgewater from the
Hon. Edward Bouverie. It is painted on canvass, and measures 3 feet
8i inches in height, by 5 feet li inch in length.
No. 28. SALVATOR ROSA. Nat. 1615. ob. 1673.
Jacob watering his Flock. So this picture is termed, though
sufficient argument to identify the subject might seem wanting, were it
not for the striped rods mentioned in the 30th chapter of Genesis. A
certain dignity of character, however, in the figure seems to declare him
no ordinary shepherd. He is seated on a rock at the brink of the stream,
whilst his sheep are pressing forward in crowds to drink. The back-
ground consists chiefly of some fine old trees romantically disposed, and
executed with Salvator's accustomed spirit and boldness of pencil.
This picture is on canvass, and measures 6 feet 5i inches in height,
by 4 feet 4 inches in length.
No. 29. SALVATOR ROSA.
Landscape with Figures, known in France by the name of Les
Augures, or the Soothsayers: an oval picture, extremely brilliant. A
small arm of the sea, winding amidst rocky ground, forms a picturesque
composition, which is enlivened by the introduction of a small fishing-
town in the middle distance, where a group of men are seen busily em-
ployed in tarring a boat; another group of spirited figures enriches the
foreground.
This picture is on canvass, and measures 2 feet in height, by 8 feet
6 inches in length, and was purchased by the Duke of Bridgewater
from the collection of the Due de Praslin.
21
No. 30. GIOVANNI-BATISTA MOLA.
The Baptism or Christ. St. John, dressed in his camel's coat
and crimson mantle, is kneeling with his right knee on the bank of the
river, whilst, supported by his long staff, he pours the water on the head
of Jesus, who is standing halfway up his legs in the stream. Mean-
while an attendant angel supports the blue vestment of our Saviour, lest
its ample folds should be wetted by the river's tide. Above, the figure
of the Almighty is introduced with the globe, accompanied by three
little angels, possessing all the grace of Albano, the master of Mola,
to whose productions, indeed, in many respects, this picture bears a
great resemblance. On the other side of the river, at a distance, is a
group of figures, and two persons are seen passing it in a boat. The
whole is bounded by a landscape.
This picture is painted on canvass, and measures 2 feet 2 inches in
height, by 2 feet 8i inches in length.
No. 31. PIERFRANCESCO MOLA. Nat. 1612. ob. 1668.
The Preaching of John the Baptist. The works of Mola,
though remarkable neither for elevation of thought nor dignity of cha-
racter, possess a simplicity and truth of expression, which, added to their
breadth of effect, mellowness of colour, and boldness of penciling, will
at all times occasion their deserved appreciation.
The Baptist is represented seated on a bank at, the left side of the
picture : he addresses the surrounding multitude, his hands pointed to-
wards heaven. The admiring auditors are finely distributed into groups,
where the modesty of female beauty is finely contrasted with the unpo-
lished vigour of tlie male character. All, however, listen to the words
of John with appropriate and varied expressions of attention and con-
templation. The small figures in the distance, and the romantic land-
scape which furnishes the back-ground, are admirable ; and, indeed, this
picture may in every respect be considered an excellent specimen of
the talents of its author.
It measures 2 feet 5 inches in height, by 3 feet 2J inches in length,
is painted on canvass, and formerly belonged to M. de Breteuil, from
whose collection it came into the Orleans Gallery, whence it was pur-
chased by the present proprietor.
No. 32. PIETRO BERRETTINI, called PIETRO DA CORTONA.
Nat. 1596. ob. 1669.
The Shepherds' Offering. A small oval picture, composed and
executed with great delicacy and spirit. It is painted on slate, and
measures 8 inches diameter in height, by 10£ inches in breadth.
No. 33. MICHELANGIOLO CERQUOZZI, called DELLE
BATTAGLIE. Nat. 1602. ob. 1660.
Italian Peasantry . A very small picture : a Jew, with a basket
under his arm, is barerainine with a man and woman for some linen.
On copper, 6i inches in height, by 8i inches in length. Purchased
by the Marquis of Stafford from the collection of Sir George Yonge.
No. 34. GIACOMO CORTESE, called BORGOGNONE.
Nat. 1621. ob. 1676.
Landscape. A church, boldly situated on a rock, to the right of
the picture, furnishes the principal object; beneath is a cavern, formed
23
by the rapid torrent which winds its course around the rugged promon-
tory. Behind are rocks and distant mountains. This picture is full of
that spirit and wildness of character which mark the genuine produc-
tions of Borgognone, whose landscapes are very rare.
It is painted on canvass, and measures 3 feet in height, by 4 feel
2 inches in length.
No. 36. BORGOGNONE.
A Battle Piece. A skirmish of cavalry forms a pyramidal group
in the fore-ground : another body of horse in the middle-ground is
seen hastening to the main attack in the distance.
This picture is painted on canvass, and measures 1 foot 3 inches in
height, by 2 feet 10 inches in length.
No. 37. BORGOGNONE.
Battle. The companion of the preceding, similar in subject, and
painted with equal spirit.
On canvass; measures 1 foot 3 inches in height, by 2 feet 10 inches
in length.
No. 38. FILIPPO LAURI. Nat. 1623. ob. 1694.
The Repose in Egypt. The Madonna is seated under a palm-
tree on the right of the picture, with the child, whom she is preparing
to dress, on her lap. Joseph, leaning on his staff, is looking over her
shoulder. To the left, two little angels are represented drying a linen
garment for the child by a small fire, which they have kindled on the
H
ground, whilst their companions present the Virgin with other requisites
of attire for the Divine Infant. The back-ground is a landscape.
This beautiful specimen of the artist's abdities is painted on copper.
It measures 1 foot 8i inches in height, by 1 foot 3* inches in width.
No. 39. FILIPPO LAURI.
A Bacchanalian Scene. A spirited picture of the master.
On board ; measures Hi inches in height, by 8? inches in width.
No. 40. FILIPPI LAURI and MARIA DE FIORI.
Cupids surrounded by a wreath of flowers.
On copper; measures Hi inches in height, by 10J inches in width.
No. 41. C1RO FERRI. Nat. 1634. ob. 1689-
The Madonna, with a child asleep in her arms. A pleasing group.
On canvass; measures 1 foot 61 inches in height, by 1 foot 31 inches
in width. This picture was purchased by the Marquis of Stafford, from
the collection of the Hon. T. H. Brand.
No. 42. CARLO MARATTA. Nat. 1625. ob. 1713.
St. Anna teaching the Virgin, when a girl, to read.
Behind, in shadow, an old man is represented holding up a curtain,
and discovering a young person, who, with an expression denoting re-
spect, is about to enter the apartment. The whole forms a pleasing
group.
25
This picture is on canvass, measures 1 foot 61 inches in height, by
1 foot 31 inches in length, and was purchased from the collection of the
Hon. T. H. Brand.
No. 43. ONORIO MARINARI. Nat. 1627- Ob. 1715.
Christ holding the globe. Octagon.
On copper, measures 9i inches in height, by 7i inches in width.
No. 44. ONORIO MARINARI.
The Madonna. The companion of the preceding.
On copper, measures 9i inches in height, by 7* inches in width.
No. 45. FRANCESCO ZUCCHERELLI. Nat. 1702. Ob. 1788.
A charming little landscape, enlivened by an elegant group of
women, who, with their children in their arms, are seen returning after
having watered their sheep at the fountain : behind, to the right, is a
palm tree, and an agreeable distance terminates the scene.
This picture is on canvass, measures 1 foot 5 inches in height, by 1 foot
8i inches in length.
Tlie following Pictures having been added to the Collection of Cleveland
House since the first part of this Catalogue was printed, they do not
appear in their proper place.
No. 46. TADDEO ZUCCHERO. Nat. 1529. Ob. 1566.
The Tk ansfiguration.
This seems a sketch for a larger picture, and evinces the hand of a
master : in point of composition, however, it is not striking.
24
ground, whilst their companions present the Virgin with other requisites
of attire for the Divine Infant. The hack-ground is a landscape.
This beautiful specimen of the artist's abdities is painted on copper.
It measures 1 foot 8i inches in height, by 1 foot 31 inches in width.
No. 39. FILIPPO LAURI.
A Bacchanalian Scene. A spirited picture of the master.
On board; measures 111 inches in height, by 8i inches in width.
No. 40. FILIPPI LAURI and MARIA DE FIORI.
Cupids surrounded by a wreath of flowers.
On copper; measures 11J inches in height, by 101 inches in width.
No. 41. C1RO FEEtRI. Nat. 1634. ob. 1689.
The Madonna, with a child asleep in her arms. A pleasing group.
On canvass; measures 1 foot 6| inches in height, by 1 foot 31 inches
in width. This picture was purchased by the Marquis of Stafford, from
the collection of the Hon. T. H. Brand.
No. 42. CARLO MARATTA. Nat. 1625. ob. 1713.
St. Anna teaching the Virgin, when a girl, to read.
Behind, in shadow, an old man is represented holding up a curtain,
and discovering a young person, who, with an expression denoting re-
spect, is about to enter the apartment. The whole forms a pleasing
group.
25
This picture is on canvass, measures 1 foot 64 inches in height, by
1 foot 3i inches in length, and was purchased from the collection of the
Hon. T. H. Brand.
No. 43. ONORIO MARIN AM. Nat. 1627- Ob. 1715.
Chkist holding the globe. Octagon.
On copper, measures 9i inches in height, by J\ inches in width.
No. 44. ONORIO MARINARI.
The Madonna. The companion of the preceding.
On copper, measures 9i inches in height, by 7$ inches in width.
No. 45. FRANCESCO ZUCCHERELLI. Nat. 1702. Ob. 1788.
A charming little landscape, enliveued by an elegant group of
women, who, with their children in their arms, are seen returning after
having watered their sheep at the fountain : behind, to the right, is a
palm tree, and an agreeable distance terminates the scene.
This picture is on canvass, measures 1 foot 5 inches in height, by 1 foot
8i inches in length.
Tlie following Pictures having been added to the Collection of Cleveland
House since the first part of this Catalogue was printed, they do not
appear in th eir proper place.
No. 46. TADDEO ZUCCHERO. Nat. 1529. Ob. 1566.
The Transfiguration.
This seems a sketch for a larger picture, and evinces the hand of a
master : in point of composition, however, it is not striking.
26
On canvass, measures 2 feet 6 inches in heigh t, by 1 foot 1 1 J inches
in width.
No. 47. CAV R GIUSEPPE CESAPJ, called D'ARPINO.
Nat. . Ob. 1640.
The Fall of the Angels.
This picture, like the other works of D'Arpino, evinces the hand of
an experienced master. Arpino was, however, a mannerist, and though
not unfrequently successful in his treatment of subjects of a gayer cast,
which he executed with great delicacy of pencil, was ill fitted to de-
lineate the sublime features of a .Saint Michael.
It is painted on copper, and measures 1 foot 10i inches in height,
by 1 foot 4 inches in width.
No. 48. VALENTINO. Nat. 1600. Ob. 1632.
A Music Party.
This artist was a native of France, and studied for a short time
under Simon Vouet; but he repaired early to Rome, where he became
captivated with the works of Michel Angelo da Caravaggio, in
whose forcible manner of painting he produced many excellent
pictures. The picture before us is executed with great firmness of
pencil, and may be considered, on the whole, as a fair specimen of his
talents.
This picture is painted on canvass, and measures 3 feel 8 inches in
height, by 5 feet in width.
MARQUIS OF STAFFORD 3 {'OLLE'CTIOW.
MAIVRJAGE
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THE
COLLECTION OF PICTURES
OF
THE MOST NOBLE THE
MARQUIS OF STAFFORD,
IN LONDON;
ARRANGED ACCORDING TO SCHOOLS,
AND IN
CHRONOLOGICAL ORDER.
ENGRAVINGS
OF THE
MOST NOBLE
€j)e jftlarqutg of ^tafforti'0
COLLECTION OF PICTURES,
IN LONDON,
ARRANGED ACCORDING TO SCHOOLS,
AND IN
CHRONOLOGICAL ORDER,
WITH
REMARKS ON EACH PICTURE.
By WILLIAM YOUNG OTTLEY, Esq. F.S.A.
THE EXECUTIVE PART UNDER THE MANAGEMENT OF
PELTRO WILLIAM TOMKINS, Esq.
HISTORICAL ENGRAVER TO HER MAJESTY.
vol. n.
JLonDon:
PRINTED BY BENSLEY AND SON, BOLT COURT, FLEET STREET;
FOR
LONGMAN, HURST, REES, ORME, AND BROWN, PATERNOSTER ROW; C A DELL AND DAV1ES,
STRAND; AND P. W. TOMKINS, NEW BOND STREET.
181b.
LIST OF PLATES
IN
VOLUME THE SECOND.
CLASS II.
SCHOOLS OF UPPER ITALY.
PLATE. SUBJECTS. PAINTERS.
C St. Jerom 1. Coreggio, copy by L. Caracci.
1 < Madonna and Child, and Saints .... 6.*Pellegrino da Modena.
'John the Baptist's Head in a Charger . . 63. Dominico Feti.
(The Marriage of St. Catherine 2. Coreggio, copy by L. Caracci.
2. < The Madonna with the Infant Saviour, St. John,
' and Mary Magdalene 6. Parmigiano.
( Holy Family 3. Coreggio.
iThe Muleteers 4. Coreggio.
3X Cupid Making his Bow 5. Parmigiano.
/The Rape of Proserpine 32. Niccolo del Abate.
Wenus Lamenting the Death of Adonis . . 33. Luca Cangiagio.
4. The Madonna and Child, and Saints. . . 7- Lorenzo Lotto.
; An Allegory of Human Life 8. Titian.
\ An
1 Diana and Calislo 11. Titian.
Clement the 7th 9- Titian.
The Woman Taken in Adultery .... 16. Pordenoni.
t Diana and Acteon 10. Titian.
^ \ Venus a la Coquille 12. Titian.
8. The School-Master 14. Moroni.
C Holy Family 15. Paris Bordone.
9. < Presentation in the Temple 22. Tintoretto.
(Christ and his Disciples at Emmaus . . . 34. Scarsellino di Ferrara.
S Madonna, Infant Christ, and St. John . . 17- Palma Vccchio.
Portrait of a Doge 23. Tintoretto.
JHoly Family 18. Palma Vecchio.
11X Christ before Pilate 19- And. Schiavoni.
( Marriage of St. Catherine 20. And. Schiavoni.
rThe Burial of Christ 21. Tintoretto.
12.hV1M Crflip EnanireJ hs J. Scott.
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MAKQU'IR OF STAFFORD S COLLFvCTKOlT,
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MABQiTIS OF STAFFOBD'S COLLECTION.
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