From the Library of 
 Frank Simpson 
 
Digitized by 
 
 the Internet Archive 
 
 
 
 in 2014 
 
 
 
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- > — - — • r-*r 
 
 A 
 
 DESCRIPTIVE CATALOGUE, 
 
 AND 
 
 PROSPECTUS 
 
 OF AN 
 
 INTENDED WOFvK. 
 
 C. Stewart, Printer, Edinburgh. 
 
DESCRIPTIVE CATALOGUE 
 
 OF A 
 
 CHOICE ASSEMBLAGE 
 
 OF 
 
 ORIGINAL PICTURES 
 
 BY SOME OF THE MOST 
 
 ESTEEMED MASTERS 
 
 OF THE 
 
 ITALIAN, FRENCH, FLEMISH, DUTCH, 
 AND BRITISH SCHOOLS; 
 
 SELECTED 
 
 DURING A PERIOD OF THIRTY YEARS, 
 BY 
 
 GEORGE WALKER 9 
 LANDSCAPE PAINTER TO HIS MAJESTY, 
 
 AND F. S. A. E. 
 IN THREE PARTS. 
 
 PART FIRST. 
 
 EDINBURGH: 
 Jpunteti at tfje taittterieitt^ 
 
 MAY BE HAD AT MESSRS G. AND W. NICOL, BOOKSELLERS TO 
 HIS MAJESTY, PALL MALL; JOHN WHITE, FLEET-STREET \ 
 AND WILLIAM MILLER, ALBEMARLE STREET, 
 LONDON. 
 
 1807. 
 
The Pictures described in the following 
 Catalogue, formed part of some of the 
 Finest Collections imported into this 
 Country. 
 
 In treating a Subject of Art, where the 
 terms are specific, tautology is unavoidable. 
 
 Drawing and Painting Academy, 
 Hunter's Square, Edinburgh, 1807. 
 
DESCRIPTIVE CATALOGUE, &c. 
 
 ADAM ELSHIEMER : 
 
 BORN AT FRANKFORT, IN 1574, DIED 1620. 
 
 PAINTED LANDSCAPES 
 AND MOON-LIGHT, WITH SMALL FIGURES, 
 
 STUDIED AT ROME. 
 
 N° 1. 
 ST CHRISTOPHER, 
 
 FROM KING CHARLES'S COLLECTION, 
 
 This Saint, it is said, was the person who first 
 extended the knowledge of the Christian Religion 
 to Britain. 
 
 The subject is allegorically treated ; St 
 Christopher being represented with the In- 
 fant Saviour upon his shoulders, just setting out 
 on his journey by Moon-light. He is in the 
 water and towards the right ; his Staff is in his left 
 hand ;• the other is placed, upon his side, sup- 
 
2 
 
 DESCRIPTIVE CATALOGUE 
 
 porting the Child who is naked, and, with a glory 
 round his head, is sitting in the most pictur- 
 esque attitude imaginable, holding St Christo- 
 pher by a lock of his hair with one hand. 
 
 On the left is an oratory of the Virgin Mary$ 
 and a Hermit with a lighted torch; anachron^- 
 isms that may be easily pardoned, when the pe- 
 riod at which the piece was executed is consi- 
 dered. In the back-ground, which consists of a 
 beautiful Landscape, two fire-lights with figures 
 near them are just visible. The Moon is towards 
 the zenith, above a mass of dark clouds; the 
 light is finely diffused around it, and falls strong 
 upon the Child, as well as on the head and 
 shoulders of St Christopher, and part of his 
 drapery, which is of a deep rich blue (ultrama- 
 rine) and dark orange tint. We have never 
 seen Moon-light so happily represented ; the 
 whole is a faithful imitation of nature. 
 
 It is impossible to conceive any thing in the 
 line of Art more exquisite than this little Picture. 
 The elegance and grandeur of the design ; the 
 great stile of drawing ; the admirable manage- 
 ment of the light and shadow ; the excellence of 
 the colouring; the delicacy, truth and spirit 
 
OF ORIGINAL PICTURES. 
 
 3 
 
 of the execution, are altogether such as would 
 do credit to the talents of any master since the 
 revival of the Arts in Italy. 
 
 On examining this composition, which may 
 be considered as his Chef d'oeuvre ; it 
 will appear, that Elshiemer, during his resi- 
 dence at Rome, had devoted his attention to 
 the study of the Antique, and held a respectful 
 eye on the works of Michael Angelo, and 
 Parmeggiano, 
 
 On Copper. 
 Nine Inches high, by Six Inches wide, 
 With the initials C. R. and a Crown marked 
 behind it f 
 
 As above stated, this Piece belonged to the Munifu 
 cent Patron of the Arts, King Charles the First, and 
 was afterwards in the possession of the late Duke of 
 Portland. 
 
 The original MS. of Vanderdoort's Catalogue of the 
 Royal Collection, drawn up by order of Charles the 
 First, is in the Ashmolean Museum at Oxford. It 
 was transcribed and prepared for the Press by Mr Ver- 
 tue the Engraver, and published after his death by 
 Mr Bathoe. In this work is the following notice of 
 the Picture now before us. 
 
4 
 
 DESCRIPTIVE CATALOGUE 
 
 Done by A- Item. The Picture of St Christopher, 
 e ~ carrying Christ upon his shoulders, done 
 
 mer. 
 
 upon Copper, where by a dark Landskip; 
 given to the King. 
 
 To which Mr Vertue has subjoined the following 
 note : 
 
 N. B. Such a Picture, with the mark C. R. behind it, 
 is now in the possession of the Duke of Portland. In 
 the dark Sky, the Moon is seen. G. V. 
 
 Vide Catalogue and Description of King Charles 
 the First's Collection of Pictures, &c. Page 160, Lond. 
 1757. Quarto. 
 
 This very curious and scarce Book we hope to see re- 
 printed. 
 
OF ORIGINAL PICTURES. 
 
 5 
 
 PETER VAN LAER, called BAMBOCCIO: 
 
 BORN AT LAEREN, IN 1613, DIED 1673. 
 
 PAINTED CONVERSATIONS, LANDSCAPES, 
 CATTLE, &C. 
 
 STUDIED AT ROME. 
 
 N° 2. 
 A LANDSCAPE 
 WITH FIGURES AND CATTLE. 
 
 On the right of the foreground, a Shepherd and 
 Shepherdess are at sportful dalliance under an 
 old willow, whose stem and branches extend 
 along the sky. Towards the left, on lower 
 ground, are two Sheep, a Ram and a Dog, which 
 are under the shadow of a bank that rises con- 
 siderably above them ; near the centre, and 
 somewhat more removed from the eye, stands a 
 brownish coloured Cow, beautifully foreshorten- 
 ed. Upon the middle ground are a few Sheep, 
 
6 
 
 DESCRIPTIVE CATALOGUE 
 
 and a Countryman conversing with the Shepherd; 
 a hill rises beyond them on the right, and on the 
 other side is a delightful prospect across the 
 country towards the horizon. 
 
 The scene represents the afternoon of a 
 warm summer day. The light is from the left, 
 and most skilfully managed : from the sky, which 
 is admirably coloured, it glows upon the distance, 
 passes along the middle ground, and falls strong 
 on the shoulder of the Young Woman, who is 
 sitting on her lovers knee ; her face is seen in 
 front, but partly concealed by his profile ; the 
 drapery is finely cast. These figures, with the 
 exception of the partial light above mentioned, 
 are under a mass of clear broad shadow, as well 
 as the whole of the animals and foreground. 
 
 The most fastidious connoisseur, the most 
 skilful Artist who examine this Picture, will 
 not be surprised that the genuine works of 
 Bamboccio are held in the highest estimation 
 over Europe, far less that his distinguished repu- 
 tation induced the best Italian artists of his 
 time to imitate his style and manner. 
 
 Whatever is recorded of him in the account 
 gf his life, respecting the beautiful simplicity of 
 
OF original pictures. 
 
 7 
 
 his composition, the elegance of his drawing, 
 and delicacy of his pencilling, his knowledge of 
 the chiaroscuro, the truth of his reflected lights 
 and perspective delineations, the transparency, 
 the richness, and the harmony of his colouring, 
 may be found in this Chef d'oeuvre in the ut- 
 most perfection. 
 
 By a very safe, but tedious process, we have 
 succeeded in carefully removing the medium 
 that almost entirely concealed this exquisite pro- 
 duction, and happily restored to its original splen- 
 dour, a matchless specimen of Colouring, which 
 gives an opportunity of viewing, nearly as it must 
 have appeared in its pristine state about an Hun- 
 dred and Forty years ago, a composition illus- 
 trating all the arcana of the Art, which, if lost, 
 might be restored by studying this single pic- 
 ture. 
 
 It was presented, about fifty years since, to the 
 late Robert Alexander, Esq. banker in 
 Edinburgh, during his residence abroad, by 
 the Clifford family of Amsterdam, for whose 
 ancestors it was painted. 
 
8 
 
 DESCRIPTIVE CATALOGUE 
 
 On Pannel. 
 
 One Foot Four Inches and a Half high, by 
 One Foot Six Inches and a Half wide. 
 
 The only Piece by the same master that can 
 come in competition with this picture, is one of 
 a subject somewhat similar in the Gallery of 
 the Louvre, No. 171 of the Flemish School 
 in this celebrated Museum. 
 
OF ORIGINAL PICTURES. 
 
 9 
 
 PHILIP WOUWERMANS : 
 
 BORN AT IIAERLEMj IN 1620, DIED 1668. 
 PAINTED LANDSCAPE AND CATTLE. 
 
 N° 3. 
 
 A HALT OF CAVALRY. 
 
 This beautiful composition contains thirteen 
 figures, exclusive of those in the distance. The 
 scene is in the immediate neighbourhood of an 
 encampment, with suttlers tents, &c. on either 
 hand. 
 
 The group on the foreground consists of six 
 figures and three horses. 
 
 The strongest light falls on a white horse to- 
 wards the middle of the Picture; his Master, 
 who appears to have dismounted to light a 
 tobacco-pipe, is conversing with a Woman who is 
 at some distance from him, emptying a pail of 
 water. Between these figures, and on baggage 
 lying on the ground, sits one of the Cavalry, who 
 
 B 
 
10 
 
 DESCRIPTIVE CATALOGUE 
 
 is going to salute a young woman. On the 
 right of the foreground is an Officer with his 
 back towards us, mounted on a chesnut-coloured 
 Horse, beautifully foreshortened ; he holds a tan- 
 kard in his right hand ; upon the ground, near his 
 horse's feet is a white Spaniel Dog. On the fur- 
 ther side of the group is a Trumpeter, who is seen 
 in front, and is also on horseback. 
 
 Upon the left, and on ground more remote, is 
 a group of seven figures ; one of them with a 
 Young Woman, is dancing to the sound of a fife 
 and drum, while his three comrades are resting 
 on a bank near them. Sundry tents, buildings 
 and a distant mountain terminate the prospect. 
 The whole piece is exquisitely touched with the 
 greatest truth and delicacy, in the sweetest tone 
 of colouring and most harmonious effect ; pos- 
 sessing all that £ liquid softness which charac- 
 terises his best works.' 
 
 Sir Joshua Reynolds, in speaking of this 
 Artist's productions, observes, that * Besides his 
 great skill in Colouring, his Horses are correctly 
 drawn, very spirited, of a beautiful form, and 
 always in unison with their ground. He is one 
 
OF ORIGINAL PICTURES, 
 
 II 
 
 of the few Painters, whose excellence in his way 
 is such as leaves us nothing to be wished for.' 
 
 £ Journey to Flanders and Holland, ' 
 quarto edit. London, 1797, Vol. % p. 68. 
 
 The Picture is in the finest state of preserva- 
 tion. 
 
 On Pannel. 
 One Foot Two Inches and a Quarter high, 
 by One Foot Four Inches and a Half wide. 
 
12 
 
 DESCRIFTIVE CATALOGUE 
 
 ADRIAN VAN OSTADE. 
 
 BORN AT LUBECKy IN 1610, DIED 1685. 
 
 PAINTED CONVERSATIONS, DANCINGS, 
 SPORTS AND DROLLS. 
 
 N° 4. 
 AN INTERIOR, 
 
 WITH THE FAMILY OF ADRIAN VAN OSTADE, 
 
 This Piece offers a composition of seven 
 figures, five of whom are around a table in the 
 middle of the apartment, with two Children on 
 one side. 
 
 The whole forms a very beautiful group, 
 which, in attempting to describe, may be divided 
 into two — One of them, that on the right of the 
 table, consists of three figures — The Artists 
 Wife, who is the nearest figure of this group, is 
 sitting with her back obliquely to the right, with 
 her left hand down by her side ; in conversation 
 
OF ORIGINAL PICTURES. 13 
 
 with her Husband's Brother and his Father, who 
 is about to fill a glass from an earthen jug 
 which he holds in his hand. 
 
 The other group, consisting of the remaining 
 four figures, are towards the left ; two of 
 them at table. — Ostade, in order to give a 
 more picturesque form to the general group, is 
 represented standing, having just risen from his 
 seat ; he is seen nearly in front, with a glass of 
 liquor in one hand, the other is raised towards 
 his breast — he appears to be addressing himself 
 to his Father-in-law, who is sitting on this side 
 of the table, with his back towards the left, in 
 a triangular Dutch Chair — he is bald-headed ; 
 has one hand on the table, in the other a 
 tobacco-pipe, with his cap and feather on his 
 knee and pouch by his side. 
 
 Beyond the old man who is nearest the fore- 
 ground, is the Childrens table, at which a little 
 Boy is helping his younger Sister to the contents 
 of a jug, out of which she is drinking. To- 
 wards the door, on the other side of the apart- 
 ment, which is three steps under ground, is a 
 white Shock Dog. The fire place is in the 
 most remote corner beyond the Children, and on 
 
14 DESCRIPTIVE CATALOGUE 
 
 the same side of the house is a small window, 
 which gives light to a winding staircase lead- 
 ing to the higher apartments. 
 
 The background is diversified with various 
 culinary utensils, and all the paraphernalia of a 
 Dutch Cottage. 
 
 The light, which enters obliquely from the right 
 and somewhat in front, is beautifully diffused over 
 the group at table, agreeably to their position in 
 the Piece, and falls partially on the Children. 
 The secondary degree of light is upon the floor, 
 between the foreground and table. The whole of 
 the background is kept under shadow, so as to 
 harmonize with, and give the figures their full 
 effect. 
 
 The Artist was so fond of this subject, that 
 he made an Etching of it, which is known by the 
 name of the Cottage Dinner, and bears a 
 quotation from Tibullus ; 
 
 c On festive hours let none intrude 
 6 For one a thousand scarce include. ' 
 
 The lines are certainly not unappropriate, as 
 the whole family appear perfectly happy ; full 
 of gaiety, mirth and chearfulness. 
 
OF ORIGINAL PICTURES. 
 
 15 
 
 In the beautiful effect of the Chiaroscuro, 
 the delicacy of pencilling, the transparency and 
 harmony of the colouring, he has shown that 
 consummate skill which entirely conceals the ap- 
 pearance of art. — All is simple nature, with 
 truth in every part. It may, therefore, be justly 
 considered one of his most Valuable Composi- 
 tions, and was probably a study for the larger 
 Picture of this subject in the Gallery of the 
 Louvre, No. 428 of the Flemish School. 
 On Canvas. 
 
 One Foot high, by One Foot One Inch and 
 Three Quarters wide. 
 
 It was purchased in Holland, by the late 
 Captain Stuart of Dun earn, whose Collec- 
 tion is mentioned by Mr Pennant. Tour in 
 Scotland, 1772, Part II, page 207, quarto 
 edit. 
 
16 
 
 DESCRIPTIVE CATALOGUE 
 
 NICOLO POUSSIN : 
 
 BORN IN NORMANDY, IN 1594, DIED 1665, 
 
 PAINTED HISTORY AND LANDSCAPE. 
 
 STUDIED IN ITALY. 
 
 N° 5. 
 
 A MADONA AND CHILD 
 
 IN A LANDSCAPE. 
 
 The Figures are small whole lengths — The 
 Madona is sitting on a bank near the middle of 
 the Picture. — The Child is standing on the left ; 
 his back towards us — Her head is inclined down- 
 wards : one hand rests upon her lap, in the other, 
 which is raised higher than her head, she is 
 holding up a Pear, to which the Child is reach- 
 ing. — Her attitude is extremely graceful : that 
 of the Child is full of elegance and beauty. — 
 He is naked, and appears to have been bathing, 
 which in consequence of the friction occasioned 
 by drying the body, together with the increased 
 
OF ORIGINAL PICTURES. 17 
 
 circulation, accounts for the sanguine colour of 
 it ; this is somewhat heightened too, by the re- 
 flection from the crimson-coloured drapery of 
 the Madona : over her shoulder is a mantle of a 
 rich blue tint ; (ultramarine) which, contrasted 
 with the warmth of the local colours near it, 
 would appear out of harmony, w ere not the same 
 colour revived in the Sky. — The background is 
 lofty and romantic, it appears to be in the vici- 
 nity of a City, and which, as well as the sky, is 
 of a very low tone of colouring ; these give a 
 fine effect to the figures. — The light is from 
 the left, and strongest on the Madona — At her 
 foot, on the right, is an open wicker basket, 
 with a piece of white drapery, which extends the 
 mass of light, and serves as a counterbalance 
 to the Child, who is represented under a half 
 tint of shadow.— The foreground is of a rich 
 mellow brownish tint, which harmonizes with 
 the colouring of the figures. 
 
 This beautiful composition is treated through- 
 out with a high degree of poetical feeling; it 
 evinces a mind conversant with the charms of 
 unaffected simplicity, elegance of form and 
 purity of outline. 
 
 c 
 
18 DESCRIPTIVE CATALOGUE 
 
 The Cabinet Pictures by this truly great 
 Master are extremely scarce. Seldom as they 
 appear, they are rarely met with in such per- 
 fection as this. 
 
 From the Collection of the Noble Family of 
 Grassi at Venice. Was imported into this 
 country along with a few others of the same 
 Cabinet, about Forty Years since. 
 
 On Canvas. 
 
 One Foot an Inch and Three Eighths high, 
 by Ten Inches and Three Quarters wide. 
 
OF ORIGINAL PICTURES. 19 
 
 FRANCESCO ALBANO. 
 
 BORN AT BOLOGNA) IN 1578, DIED 1660. 
 
 PAINTED HISTORY AND LANDSCAPE. 
 
 N° 6. 
 
 A MADONA AND CHILD. 
 
 The Child is naked in the lap of the Virgin, 
 who has a book in her hand. There is a high 
 degree of beauty in the head of the Virgin, 
 with a fine expression of maternal tenderness 
 and great devotion. The delicacy and truth 
 of colouring, give the whole of this beautiful 
 little Piece the appearance of perfect Nature. 
 Its tone is rich, mellow and harmonious. 
 On Black Marble or Touchstone. 
 
 Was imported from Venice, by the ingenious 
 Mr Bartolozzi, and is worthy of a place in 
 any Collection, however select. 
 
 Nine Inches and a Quarter high, by Eight 
 Inches and Three Quarters wide. 
 
%Q DESCRIPTIVE CATALOGUE 
 
 ANTONIO DE ALLEGRIS, 
 called CORREGGIO : 
 
 BORN AT CORREGGIO, IN 1494, DIED 1534, 
 PAINTED HISTORY. 
 
 N° 7. 
 A BOY'S HEAD. 
 
 To every intelligent Connoisseur, the very name 
 of Correggio suggests a recollection of all that 
 is amiable, lovely and graceful in the line of 
 Art ; of the irresistible power of harmony, and 
 the charms of light and shadow. 
 
 It is recorded of him, that he had the art of 
 touching the passions, by the truth and elegant 
 simplicity of his expressions ; and that, as to his 
 colouring, it could not so justly be called a 
 beautiful imitation of Nature as Nature itself. 
 The Piece now before us fully proves how well 
 he deserved those high commendations. The 
 head, which is the size of life, and turned to- 
 wards the left shoulder, is a perfect model of 
 
OF ORIGINAL PICTURES. 
 
 £1 
 
 youthful innocence and beauty. In sweetness 
 of colouring and animated expression, it is equal 
 to any praise. 
 
 Belonged to the Cornaro family of Ve- 
 nice, was brought to Rome by the Abbe 
 Grant, and from thence to this country, by the 
 late David Martin, Esq. 
 
 Painted on Canvas laid down on Board. 
 
 An Oval, Ten Inches and a Half high, by 
 Nine and a Half wide. 
 
22 DESCRIPTIVE CATALOGUE 
 
 GUIDO RENI. 
 
 BORN AT BOLOGNA, IN 1574, DIED 1642. 
 PAINTED HISTORY AND PORTRAITS. 
 
 N° 8. 
 
 THE VIRGIN MARY. 
 
 This is a three quarter Picture. A ray of 
 glory surrounds the head, which is gently in- 
 clined forward, looking down towards the right, 
 with the hands across the bosom, as in the act 
 of contemplating the Infant Saviour, with an ex- 
 pression of great tenderness and devotion, ac- 
 companied with that modest and graceful air, so 
 peculiar to the pathetic female character. 
 
 The head and hands are finely drawn ; the 
 drapery well cast, and the whole beautifully co- 
 loured. 
 
 On Canvas. 
 Two Feet Four Inches high, by One Foot 
 Eleven and a Half Inches wide. 
 
OF ORIGINAL PICTURES. 
 
 23 
 
 ANNIBAL CARACCI. 
 
 BORN AT BOLOGNA, IN 1560, DIED 1609. 
 
 PAINTED HISTORY, PORTRAIT AND 
 LANDSCAPE. 
 
 N° 9. 
 
 HAGAR AND ISHMAFX. 
 
 The genius and professional talents of this ex- '' 
 traordinary Artist give a high degree of interest 
 to all his compositions. 
 
 This Picture is designed and executed with 
 all the elegance and dignity of the Roman style 
 and manner which he adopted, in preference to 
 the more fascinating, but less chaste mode he 
 first practised in at Bologna. The subject too, 
 as was usual with him, is somewhat poetically 
 treated. 
 
 Hagar is sitting on the right of the fore- 
 ground — One hand is a little raised, while the 
 other is placed upon her bosom, as expressive 
 of her sufferings — She is lifting up an eye of af- 
 fliction towards the Angel, who is pointing to the 
 
24 DESCRIPTIVE CATALOGUE 
 
 spring of water, in the distance. Behind her, 
 young Ishmael is lying upon the ground, near 
 the stem of an old tree. 
 
 A range of light-coloured clouds extend irre- 
 gularly along the sky. The light is from the 
 left ; the principal mass is upon the Angel ; his 
 wings, which rise to the top of the picture, are 
 chiefly under shadow. The secondary mass is 
 upon the figure of H agar ; her drapery is of a 
 deep blue, and dark orange tint ; the whole 
 of the background, as well as the Child, is under 
 a broad general shadow. 
 
 The figures being painted in the manner of 
 the old Roman School, he has carried the 
 shadows to the extremity of their outlines, to- 
 tally disregarding the reflected lights. Support- 
 ed throughout by its mellow tone of colouring, 
 and great style of drawing, the piece has an im- 
 pressive and noble effect. 
 
 The tone of the sky and distance, reminds us 
 of the background of an invaluable Picture by the 
 same master, of Jupiter and Danae, in one 
 of the most celebrated collections in England. 
 
 Belonged to John Duke of Argyle. 
 On Canvas. 
 
 Two Feet high, by Two Feet Six Inches wide. 
 
OF ORIGINAL PICTURES. 
 
 c 25 
 
 ALEXANDER RUNCIMAN : 
 
 BORN AT EDINBURGH, IN 1736, DIED THERE 1785. 
 
 PAINTED HISTORY, HEROIC LANDSCAPE 
 AND PORTRAIT. 
 
 STUDIED AT ROME. 
 
 N° 10. 
 ROMAN CHARITY. 
 
 The principal figure in this well known subject 
 is towards the left, his hands are bound at his 
 back ; behind is a stone pillar, to which he is 
 chained; he is represented kneeling, to re- 
 ceive more conveniently the nourishment which 
 his Daughter is gracefully tendering with her right 
 hand — She is resting on a bench in the middle 
 of the prison, and inclines a little forward so as 
 to assist her aged parent. Her Child is in her 
 lap, supported by her left arm, from which hangs 
 a piece of white drapery, introduced in order to 
 extend the mass of light, break its too great re- 
 
 D 
 
%6 DESCRIPTIVE CATALOGUE 
 
 gularity, and improve the general form of the 
 group. 
 
 A sun beam enters through the iron bars of 
 a window on the right. The principal light is 
 on the head, neck and left shoulder of the 
 Daughter ; those on her Father and Child, being 
 less brilliant, form the secondary mass, while 
 the other parts of the group, are thrown into 
 shade. Under an arch, in the left corner of 
 the Picture, the feeble light of a lamp is just 
 discernible. An empty earthen jug is upon the 
 foreground, which is thinly covered with straw. 
 
 Besides the striking proof of filial regard and 
 affection, which happily terminated in the 
 complete relief of suffering humanity, we have 
 here exhibited three of the stages of life admi- 
 rably contrasted, as well with regard to colouring, 
 as to character and expression. 
 
 The graceful air of the head of the Daughter, 
 gives a high degree of elegance to her whole 
 figure. Her countenance is expressive of great 
 sensibility and poignant grief. ' As the expression, 
 however, carries with it no grimace or contortion 
 of the features, the beauty is not destroyed. 1 
 There is a dignity and greatness of character in 
 
OF ORIGINAL PICTURES. 27 
 
 the head of her Father, and a fine expression 
 of lovely innocence in the countenance of the 
 Child. 
 
 The colouring is brilliant, mellow and harmo- 
 nious, the Chiaroscuro finely understood, and the 
 effect altogether excellent. 
 
 On Canvas. 
 
 Two Feet Five Inches and a Half high, by 
 Two Feet One Inch wide, 
 
DESCRIPTIVE CATALOGUE 
 
 ALEXANDER RUNCIMAN. 
 
 N° 11. 
 
 POSTHUMUS AND IACHIMO. 
 
 The figures are half lengths. The scene is in 
 the house of Philario at Rome. Posthumus 
 is on the left uncovered. Iachimo is towards 
 the right ; he is in his beaver, with a plume of 
 feathers, having just returned from Britain. 
 
 Iach. Then, if you can, (pulling out the bracelet) 
 be pale. I beg but leave to air this jewel— See ! 
 
 Post. Jove! 
 
 Once more let me behold it; 
 
 Is it that which I left with her ? 
 
 Vide Cymbeline, Act II. Scene 5th. 
 
 The Artist has paid a compliment to the 
 virtue of Imogen, by representing Iachimo 
 extremely handsome ; he is holding the brace- 
 let in his left hand, and pointing to it with the 
 other. Posthumus has his left hand upon his 
 
OF ORIGINAL PICTURES. 29 
 
 breast, while his right is raised somewhat above 
 his shoulder. The expression in his counte- 
 nance shews the anguish of his mind. Both 
 characters are finely marked. 
 
 The compositions of this very ingenious Artist, 
 were formerly better known in Rome than 
 in Great Britain. 
 
 On Canvas. 
 
 Two Feet Six Inches high, by Two Feet Two 
 Inches wide. 
 
30 
 
 DESCRIPTIVE CATALOGUE 
 
 JACOB MORE : 
 
 BOR -V A T EDINBURGH^ IN 1740, DIED IN ROME, 1793. 
 
 PAINTED LANDSCAPE. 
 
 N° 12. 
 
 THE GREAT FALL OF CLYDE, 
 CALLED CORA-LINN. 
 
 The romantic beauties of the Clyde, have had 
 ample justice done them by the sister Arts of 
 Poetry and Painting. It was here that our in- 
 genious Artist studied those magnificent scenes, 
 the skilful imitation of which, entitle him to be 
 ranked with the most eminent masters. Here, 
 too, the immortal Thomson, during his resi- 
 dence at Lanark, contemplated with a poet's 
 eye, those striking appearances of nature, so ele- 
 gantly described in the following lines : 
 
 6 Smooth to the shelving brink a copious flood 
 Rolls fair, and placid ; where collected all, 
 In one impetuous torrent, down the steep 
 ] i thundering shoots, and shakes the country round. 
 
OF ORIGINAL PICTURES. 
 
 31 
 
 At first, an azure sheet, it rushes broad ; 
 Then whitening by degrees, as prone it falls, 
 And from the loud-resounding rocks below 
 Dash'd in a cloud of foam, it sends aloft 
 A hoary mist, and forms a ceaseless shower. 
 
 Nor can the tortur'd wave here find repose ; 
 But, raging still amid the shaggy rocks 
 Now flashes o'er the scatter'd fragments, now 
 Aslant the hollow channel, rapid darts ; 
 And falling fast from gradual slope to slope, 
 With wild infracted course, and lessen'd roar, 
 It gains a safer bed, and steals, at last, 
 Along the mazes of the quiet vale. 
 
 So much for the Poet ! Nor has the Painter on 
 his part been less successful. 
 
 In the choice and execution of the subject, he 
 has shewn his good taste and consummate 
 knowledge of the principles of his Art. 
 
 On either hand of the Piece, but chiefly 
 on the right, immense rocks with trees and 
 brushwood rise to a great height. There is just 
 sufficient water in the River, to render the fall 
 interesting in the highest degree, by shewing in 
 its descent the stratification of the rocks in its 
 various stages. 
 
32 DESCRIPTIVE CATALOGUE 
 
 c The stupenduous masses of natural masonry' 
 seen in front, and extending along the River 
 with all their hanging woods, give the scene 
 an air of grandeur that cannot be surpassed. 
 On the left of the foreground, which is varie- 
 gated with rock and underwood, is a beautiful 
 group of figures. From the right, a shattered 
 tree shoots obliquely across the River, and gives 
 a fine relief to the spray of the Fall. 
 
 The sky is well conceived, the light which is 
 from the right, and beautifully managed in its 
 distribution, is strongest on the Fall, and masses 
 of rocks and brushwood over it ; from thence 
 passing obliquely to the foreground and figures, 
 it is received by a mass of picturesque rocks on 
 the other side of the River. The whole is 
 touched with great spirit and elegance, in a 
 sweet mellow tone of colouring, with all the rich 
 luxuriance of an autumnal scene. 
 
 This able Artist, who, as above mentioned, 
 was a native of Edinburgh, and had 
 improved his taste in Landscape, by studying 
 under the eider of the two Runcimans, 
 (Alexander), resided at Rome for upwards of 
 
OF ORIGINAL PICTURES. 
 
 33 
 
 twenty years, where he was employed by most 
 of the Sovereign Princes in Europe. 
 
 Several years ago, when the magnificent 
 saloon in the Borghese Palace was fitted up, 
 he was engaged to execute the Landscapes; 
 Gavin Hamilton having previously painted 
 the historical subjects. Some time before his 
 death, he had orders for as many Pictures as 
 would have required several years to complete. 
 
 It is a matter of infinite regret, that Jacob, 
 in the possession of the most eminent talents, 
 should have suffered his genius to evaporate, 
 by imitating, while in Italy, the aerial per- 
 spective and pearly tints of other Masters ; chang- 
 ing his Style ' from the grand and sublime, to 
 the less elevated line of the gay and pleasing;' 
 fortunately, however, for the Arts and his own 
 reputation, this and the following picture were 
 executed previous to the circumstances above 
 stated. 
 
 On leaving Edinburgh, he carried those 
 pieces along with him to London. Sir Josiiua 
 Reynolds, to whom he was introduced, was so 
 much pleased with them, that he warmly recom- 
 
 E 
 
34 
 
 DESCRIPTIVE CATALOGUE 
 
 mended the Artist to the notice of some of the 
 Nobility by whom he was afterwards employed. 
 
 As a faithful and characteristic representation 
 of one of the most beautiful scenes in Scotland, 
 this Piece may be considered as a national work, 
 having been executed on the spot by the most 
 celebrated Landscape Painter which this country 
 has produced. 
 
 On Canvas. 
 Two Feet Eight Inches high, by Three Feet 
 Four Inches wide. 
 
 For a further description of the Falls of Clyde, see 
 Dr. Cririe's Scottish Scenery, with twenty yiews, 
 engrayed by Byrne, quarto edition, London, published 
 by Messrs. Cadell and JDavies. 
 
OF ORIGINAL PICTURES. 
 
 35 
 
 JACOB MORE. 
 
 N° 13. 
 A LAND STORM. 
 
 A richly broken bank and rugged tree, occupy 
 the left corner of the foreground. Towards the 
 right, stands the shattered trunk of an aged oak ; 
 near the centre, a group of oak and ash trees 
 rise to a great height ; beyond these, and on 
 ground more remote, appear the skirts of a forest. 
 On the left is seen part of a lake, with an old 
 castle on its margin ; a range of hills occupies the 
 distance, all which are under shadow of a large 
 cloud that enters from the left, and extends 
 obliquely across the Landscape. Beyond the 
 bank just mentioned, a Horseman, who seems 
 to keep his seat with difficulty, is riding up 
 towards the foreground, on which there is an 
 elegant figure, whose attitude and the flowing 
 lines of her drapery, denote the violence of the 
 wind. 
 
36 DESCRIPTIVE CATALOGUE 
 
 The light is from the left, it is finely managed 
 in the sky, falls strong on the foreground, as 
 well' as on the stems and foliage of the great oak 
 and ash trees, whose forms and colours are pic- 
 turesquely contrasted with each other. 
 
 It is a generally received opinion, that in or- 
 der to convey an idea of magnitude and gran- 
 deur in the representation of natural scenery, the 
 composition ought to be executed on an exten- 
 sive scale : this to a certain degree is undoubtedly 
 true; but the piece now before us fully proves, that 
 the most magnificent scene may be done justice 
 to in this line of Art, even on a small scale. We 
 have scarcely ever seen an idea of motion 
 or extent more happily expressed, than those 
 suggested by the management of the sky and 
 cloud introduced in this Picture : their threatening 
 aspect, the troubled state of the water, the 
 apparent agitation of the trees, and the solemn 
 gloom that overspreads the distance, portend the 
 approach of an awful storm. 
 
 It is not sufficient to say, that the whole of 
 this composition is in perfect unison, and that in 
 colouring, execution and effect, the Artist has 
 surpassed himself : it exhibits one of the hap- 
 
OF ORIGINAL PICTURES. 37 
 
 piest efforts of superior talents, of a mind stored 
 (like those of the immortal Wilson and Nicolo 
 Poussin,) with ideas of the most sublime effects 
 of nature, in short, it is equal to any praise ; 
 and, in Scotland, we look around us in vain for 
 any thing in the line of modern Art with which 
 it may be compared. 
 
 On Canvas. 
 
 One Foot Seven Inches high, by One Foot 
 Three Inches wide. 
 
 This, and the preceding Picture, were some 
 time in the possession of Sir Joshua Reynolds, 
 who took pleasure in showing them to his friends. 
 
38 DESCRIPTIVE CATALOGUE 
 
 JACOB MORE. 
 
 N° 14. 
 A SUN SETTING, 
 
 WITH FIGURES AND CATTLE. 
 
 This is a view on the Banks of the Forth, near 
 Stirling Castle. 
 
 On the left, an old oak tree rises over a rock, 
 near which a small fall of water empties itself 
 into a pool below, at which there are some 
 cattle drinking. 
 
 Part of the great rock, called the Castle 
 Craig, occupies the centre of the Picture, 
 together with the windings of the River, which 
 run off towards the right. In the distance is a 
 range of hills. On the foreground are two 
 picturesque figures. Though this is rather a 
 slight and sketchy piece, it is executed in a very 
 masterly style, and pleasing tone of colouring. 
 An Oval On Canvas. 
 
OF ORIGINAL PICTURES. 
 
 39 
 
 GIACOMO CORTESI, 
 
 CALLED 
 
 BOURGOGNONE'. 
 
 BORN AT ST HIPPOLITO, IN FRANCHE COMTE, IN 
 1621, DIED 1676. 
 
 N° 15. 
 
 A BATTLE PIECE. 
 
 Upon the foreground, and toward the centre of 
 the Picture, is a group of General Officers on 
 horseback ; one of whom with his back towards 
 us, is mounted on a piebald Horse, of a dark 
 chesnut colour, firmly painted, with a strong 
 effect of light and shadow. Beyond these 
 figures, is a Standard Bearer belonging to the 
 Cavalry, several of whom are riding down the 
 bank towards the right, while others ascend it 
 from the opposite side. 
 
 Though the brunt of the battle appears to be 
 over, and the fate of the day decided, yet the 
 
40 DESCRIPTIVE CATALOGUE 
 
 skirmish appears to be continued or renewed in 
 the distance. 
 
 This admirable composition is rendered still 
 more interesting, by an episode which formed 
 the subject of a Piece by the same , Master, 
 formerly in the Houghton Collection, pur- 
 chased by the Empress of Russia, namely, a 
 dying Officer at confession ; he is lifting up his 
 eyes towards Heaven, full of hope afid satisfac- 
 tion in having done his duty. Near him are 
 other figures, who have also fallen in the action. 
 The animation, fire and spirit which distinguish 
 the works of Bourgognone', are at once a 
 proof of his extraordinary talent, and his having 
 witnessed in the field the scenes and actions he 
 has so nobly represented. 
 
 The drawing, colouring, expression and 
 execution in this Piece, are equal to what 
 might be expected from the Artist whom 
 Guido, Albano, and Bamboccio delighted 
 to instruct; the latter was his chief companion 
 in studying and designing the remains of 
 antiquity, and beautiful scenery in and about 
 Rome. 
 
OF ORIGINAL PICTURES. 41 
 
 From the Barberini Palace, it was im- 
 ported by the late Mr Gardner of Montrose, 
 along with a valuable collection of Pictures and 
 antique marbles, about forty years since. 
 On Canvas. 
 
 Two Feet High, by Two Feet Seven Inches 
 wide. 
 
42 DESCRIPTIVE CATALOGUE 
 
 PETER WOUWERMANS: 
 
 BORN AT HAERLEM. 
 
 PAINTED LANDSCAPES AND HUNTINGS. 
 
 N° 16. 
 
 A LANDSCAPE WITH FIGURES AND CATTLE, 
 
 A young Woman and Boy are upon the fore- 
 ground boiling a kettle. — Immediately behind 
 them, in a park overshadowed by a high hill, 
 whose trees and foliage extend upon the sky, is 
 a group of nine Horses, finely drawn. 
 
 The scene appears to be in the neighbourhood 
 of an encampment, with a range of tents seen 
 obliquely towards the right ; beyond these, is a 
 picturesque old Castle, with hills in the distance. 
 
 The light is from the left, and falls strongest 
 on a white Horse, which, with others of the above 
 mentioned group, is tied to the pales of the 
 inclosure. — The next degree of light is upon the 
 figures and foreground, on the latter of which is 
 an old saddle* — The light is beautifully managed 
 
OF ORIGINAL PICTURES. 43 
 
 in the middle ground as well as in the sky, which 
 is touched with uncommon spirit. The colouring 
 of the whole is of a rich mellow tone, with great 
 breadth of light and shadow, and a vigorous 
 effect. 
 
 This masterly composition may serve to show 
 with what success Peter has imitated the style 
 and manner of his brother Philip. It is exe- 
 cuted with so much taste and skill, that we are 
 inclined to consider it as fine specimen of their 
 united efforts. 
 
 On Canvas. 
 
 Two Feet Half an Inch high, by Two Feet 
 Five Inches and a Half wide. 
 
 This Piece formed part of a choice assem- 
 blage of Pictures, collected by the late Mr 
 Seton of Touch. 
 
44 
 
 DESCRIPTIVE CATALOGUE 
 
 FRANCIS PAUL FERG: 
 
 BORN AT VIENNA, IN 1689,. DIED 1740. 
 
 PAINTED LANDSCAPES, WITH RUINS AND 
 CONVERSATIONS. 
 
 N° 17. 
 
 A LANDSCAPE WITH FIGURES. 
 
 On the left of the foreground is an old tree, 
 with the ruins of a fountain, near which are three 
 figures. 
 
 Upon the right is a Man on horseback, taking 
 leave of a young Woman. Beyond them, on 
 lower ground, is an old Castle, screened by a 
 range of mountains, which run off obliquely 
 towards the left, from whence the light enters. 
 It is neatly touched and well coloured. 
 On Copper. 
 
 Six Inches and a Half high, by Eight Inches 
 and a Half wide. 
 
OF ORIGINAL PICTURES. 
 
 %5 
 
 FRANCIS PAUL FERG. 
 
 N° 18. 
 
 A LANDSCAPE WITH FIGURES. 
 
 This composition is similar to the preceding.— 
 A fountain on the left, at which are two young 
 Women and a Boy, in conversation with a Man 
 who is holding by the halter a very beautiful and 
 spirited grey Horse. — High ground towards the 
 right, on which are the ruins of a romantic Castle, 
 and a range of lofty mountains in the distance. 
 Though this Piece is not quite completed, it 
 may be considered as an extraordinary produc- 
 tion of the Master. In the execution and co- 
 louring of the sky and mountains, he appears to 
 
 have had Nicolo Poussin in his eye. 
 On Copper. 
 Seven Iuches and a Half high, by Nine 
 
 Inches and a Quarter wide. 
 
 Belonged to the ingenious Mr Skirving, 
 
 well known for his excellent Portraits in Crayon; 
 
 and who, on going many years since to Italy to 
 
 prosecute his studies, parted with it to a friend. 
 
46 DESCRIPTIVE CATALOGUE 
 
 WILLIAM VANDERVELDE, 
 
 CALLED THE OLD : 
 BORN AT LEYDEN, IN 1610, DIED 1673. 
 PAINTED SEA PIECES AND SEA FIGHTS. 
 
 N° 19. 
 
 SHIPS OF WAR AT ANCHOR. 
 
 The scene being represented at Sun-setting, one 
 of the vessels is firing the evening gun. — The 
 Ships are tastefully executed, and well contrasted 
 in their forms by the variety of their position. — 
 The water is remarkably clear and transparent ; 
 the sky is in a great style, both as to colouring 
 and execution. 
 
 The Artist has introduced a Draughtsman on 
 the foreground. 
 
 On Canvas. 
 Two Feet Seven Inches high, by Two Feet 
 Two Inches wide. 
 
OF ORIGINAL PICTURES. 
 
 47 
 
 PAUL VAN HARP, 
 
 A FAVOURITE DISCIPLE OF RUBENS. 
 PAINTED HISTORY. 
 
 N° 20. 
 THE PRODIGAL SON. 
 
 This capital Picture offers a composition of 
 fifteen figures. The point of time is at the 
 moment when the Young Mans debaucheries 
 are at their greatest height ; that is, during the 
 entertainment given to the Courtezans, which is 
 represented in a sort of vestibule opening on the 
 left, with a view into the country. 
 
 The principal group, consisting of eleven 
 figures, are around the table, at which are intro- 
 duced two Performers, one on the Flute the other 
 on the Mandoline. 
 
 Upon the right, as we look towards the 
 Picture, sits the Prodigal; he holds a glass 
 of liquor in his right hand, which rests upon the 
 
48 DESCRIPTIVE CATALOGUE 
 
 table, and has taken one of the Women upon 
 his knee. She appears to be amusing him with 
 some ridiculous story, as the expression of 
 his countenance fully indicates, while a Boy 
 behind him has stolen his purse, which he is 
 handing to an old Woman, who, with one hand 
 resting upon a crutch, makes a sign with a 
 finger of the other, to inform her accomplices 
 that their scheme has succeeded. Behind 
 the group at table, and between pillars of the 
 Corinthian order, are two niches, containing 
 statues of the Apollo and Venus. The 
 Prodigal is placed under that of the latter. 
 
 Against the right wall of the apartment 
 stands a side-board with sundry articles of plate, 
 &c. at the farther end of which, a Waiter, who is 
 about to fill a large glass from a flask bottle, 
 seems to have an eye upon what is going on. 
 Behind him is an arched door of considerable 
 height, with an ornamental pediment and fluted 
 pilasters. At this end of the side-board, stands 
 a wine chest and chair, against which rests a 
 Violoncello. Upon the foreground on the left 
 is a short flight of stairs leading to an open 
 portico, under which, on the landing place, are 
 
OF ORIGINAL PICTURES. 49 
 
 two figures ; one of whom appears to be a Stage 
 Dancer; a Black Servant Boy is upon the 
 steps with a dish of pastry. Behind the portico 
 is a crimson-coloured curtain, intended to di- 
 vide the apartement occasionally, but at present 
 drawn up. The pavement of the floor is of 
 black and white marble. 
 
 The light is from the left, and the principal 
 mass falls vigorously on several of the figures 
 at table; the secondary mass is upon the waiter, 
 and part of the articles upon the sideboard. 
 The next degree of light is upon the statues, by 
 which judicious distribution, the triangular form 
 of the principal group is finely preserved. The 
 staircase and adjoining building on the left, are 
 under a general mass of shadow, which being 
 extended obliquely across the pavement towards 
 the right, removes the principal group to a 
 proper distance from the eye, gives relief to the 
 piece, and contributes to the surprising effect 
 and splendour of this extraordinary composition. 
 
 The architecture, dresses, musical instruments; 
 furniture and decorations are most tastefullv 
 designed. The elegance, spirit and variety of 
 character exhibited in the different figures 
 
 Q 
 
50 
 
 DESCRIPTIVE CATALOGUE 
 
 cannot be surpassed. They at once evince the 
 Artists great professional talents and deep 
 knowledge of the human mind. — Nor has the 
 moral been lost sight of ; every figure in the 
 Piece being evidently concerned in the Plot, to 
 dupe and fleece the Prodigal. The story, too, 
 is finely told, and by no means indelicately 
 treated. 
 
 It is rich in the invention and composition, 
 and touched with a mellow and charming pencil. 
 
 From the cabinet of the Comte de Proli; 
 it was imported into this country by Robert 
 Alexander, Esq. the banker, and went after- 
 wards into the Earl of Harrington's Collec- 
 tion. It is in the finest state of preservation. 
 On Canvas. 
 
 Three Feet Nine Inches High, by Four Feet 
 Ten Inches wide. 
 
OF ORIGINAL PICTURES. 
 
 61 
 
 ALEXANDER RUNCIMAN. 
 
 N° 21. 
 
 AGRIPPINA LANDING AT BRUNDUSIUM 
 
 WITH THE ASHES OF GERMANICUS. 
 
 This Picture offers a composition of twenty- 
 three figures, exclusive of the Seamen and 
 Roman Soldiers on board the vessels. 
 
 Agrippina, is represented as having just 
 landed, carrying in her arms the Urn containing 
 the ashes of her husband, accompanied by her 
 son Nero, who was afterwards put to death by 
 order of Tiberius ; and her daughter, called the 
 younger Agrippina, the mother of the Emperor 
 Nero. 
 
 She appears advancing with her Children 
 and Attendants at a slow and solemn pace, 
 while the Priest is offering sacrifice, either for 
 her safe arrival, or as the highest mark of respect 
 that could be paid to her, as the Grand Daughter 
 of the Deified Augustus. The altar, which 
 bears the inscription of Tiberius C^-sar, is 
 o 2 
 
52 DESCRIPTIVE CATALOGUE 
 
 upon the right, close by a statue of Neptune. 
 Between the Priest and his assistants are two 
 Youths, one of them with a little chest (the 
 Acerra) holding the perfumes, the other carrying 
 a vase (the prasferriculum) containing the liquor 
 to be used in libation. Near the altar stands a 
 figure with a patera in his hand ; on this side of 
 it two others are employed in preparing the 
 victim which is a black Heifer. 
 
 Near Agrippina are two Roman Ladies, 
 one of whom stoops to explain to her son the 
 meaning of the sacrifice which attracts his 
 attention. On the other side of Agrippina a 
 young Woman appears in conversation with a 
 Centurion, as if enquiring after some of her friends 
 in the army or on board the fleet. 
 
 On the left of the foreground are some beautiful 
 young Women to whom an aged Matron is 
 pointing out the Widow and Children of the 
 lamented Germanicus. Behind this group are 
 several Women with Children in their arms. 
 
 In the centre of the Picture, beyond the 
 principal group and close to the quay, is the 
 Roman galley from which Agrippina had landed. 
 The prow of the vessel is adorned with the 
 
OF ORIGINAL PICTURES. 53 
 
 shields of the Roman Soldiers, and its sides 
 ornamented with representations of River 
 Deities and the Nymphs of their tributary 
 streams. The sail, which is loose and just going 
 to be furled, hangs obliquely to the right, and 
 occupies about two thirds of the width of the 
 Picture, chiefly above the horizon ; its depth of 
 shade not only gives an excellent effect to the 
 mellow lights of the principal figures, but also 
 serves as a key-note of a low and solemn tone 
 to the whole Piece. At a short distance the 
 prows and masts of other vessels in the harbour 
 are seen on the left; the space between the pier 
 and horizon is occupied by the sea, on which 
 several boats and vessels appear in the distance. 
 
 The light is from the left, and by a judicious 
 management of the Chiaroscuro a fine effect is 
 produced. 
 
 The Agrippina is elegantly graceful. The 
 expression of her countenance shews a struggle 
 to conceal the anguish of her mind ; to bear 
 with fortitude and in a manner worthy of her 
 dignity her deep affliction on this melancholy 
 occasion. 
 
54 DESCRIPTIVE CATALOGUE 
 
 Among the most striking passages in the 
 Roman History, none can be more interesting 
 in a moral point of view, than the subject of 
 which this Picture is illustrative. Between 
 several of the greatest heroes of antiquity, a 
 parallel may be easily drawn ; but where, in the 
 annals of Rome, shall we find such a character 
 as Agrippina? A woman, as remarkable for her 
 virtue and intrepidity, as exemplary for her con- 
 jugal affection. Her accompanying her husband 
 into a distant land, where he went to fight the 
 battles of his country ; sharing in all his dan- 
 gers and hardships. — Her firmness during the 
 revolt of the Roman army — Her heroic spirit 
 in preventing the legions under CLecina from 
 disgracing themselves, by destroying the bridge 
 over the Rhine, as they intended, in the panic 
 that seized them on the rumoured approach of 
 the barbarians, and in absence of German icus. 
 Her anxious attention to her husband in his 
 last illness; embarking afterwards for Italy, 
 during most tempestuous weather, with his 
 ashes, in order to accuse Pi so as his murderer — 
 Her subsequent sufferings from the malice 
 of Sejanus, and the gloomy suspicions of 
 
OF ORIGINAL PICTURES. 
 
 56 
 
 Tiberius, together with her exile and melan- 
 choly death, render this illustrious Princess, 
 one of the most distinguished characters of her 
 sex and nation. 
 
 On recurring to the composition of Runci- 
 man's Picture, we are to remark, that the ut- 
 most attention has been paid to the costum6, 
 except in what relates to the drapery of 
 Agrippina, which is a rich purple instead of 
 white, the mourning dress of the antients. As 
 the heroine, however, was of the Imperial 
 Family, the Artist might think himself justified 
 in taking this licence. Besides, she might not 
 be supposed to go into mourning till she made 
 her appearance before the Senate. At any rate, 
 had the drapery of Agrippina been white, the 
 tone of the whole Picture must unavoidably have 
 been changed. 
 
 Whether we consider the grandeur of the 
 design, or the taste and judgement displayed 
 in the execution of this great work, it must 
 be esteemed the most finished production of 
 the Master. It was a favourite subject, on 
 which he bestowed more than usual pains, and 
 with that success which will, with posterity, fully 
 
56 DESCRIPTIVE CATALOGUE 
 
 justify the high encomiums bestowed by the in- 
 genious and highly accomplished John Brown *, 
 on the excellence of his composition and colour- 
 ing. 
 
 It may not be improper here to observe, that 
 we had opportunities of seeing this Picture be- 
 gun and completed, nearly about five years 
 before his death, which happened on the twenty- 
 first of October, in the year above stated. 
 
 That his studies had been employed, and his 
 taste formed upon the Antique, is evident from 
 that respectful eye he seems continually to 
 have held upon it. He has exhibited no servile 
 copies of any particular parts, but transfused the 
 style and manner into the whole. 
 
 Should the united exertions of the Artists of 
 of this country ever entitle them to be distin- 
 guished from their brethren on the other side of 
 the Tweed, Runciman will be considered as 
 the Father of the Scotish School of Painting. 
 
 Whatever, honour he may have done to 
 the Arts and his native country, the praise is due 
 to his early and steady friend, Robert Alex- 
 ander. Esq. Banker in Edinburgh, and to 
 
 * This Artist studied at Rome, along with Runciman 
 and his brother John. 
 
OF ORIGINAL PICTURES, 
 
 57 
 
 Sir James Clerk, Baronet, whose patronage 
 enabled him to proseeute his studies in Italy, 
 and for whom, on his return, he executed his 
 great national work in the Hall of Ossian, at 
 Pexnicuick. 
 
 CHARACTER OF MR ALEXANDER RUNCIMAN, 
 
 ABOVE REFERRED TO. 
 
 Mr Runciman was an Artist, who, had his 
 situation been uniformly favourable to the culti- 
 vation and exercise of his talents, was, by Nature, 
 eminently formed to excel in all those nobler 
 parts of the Art, the attainment of which depends 
 on the possession of the highest powers of the 
 mind. — Though unassisted by his situation, and 
 even, for a long period of years, labouring 
 under every possible disadvantage, he completed 
 works, which, upon the whole, are equal to the 
 best of those of his contemporaries; and, in 
 some respects, it may be boldy asserted, that 
 they are superior. — His fancy was fertile, his 
 discernment of character keen, his taste truly ele- 
 gant, and his conceptions always great. — Though 
 his genius seems to be best suited to the grand 
 it 
 
58 DESCRIPTIVE CATALOGUE 
 
 and serious, yet many of his works amply prove, 
 that he could move with equal success in the less 
 elevated line of the gay and pleasing. — His chief 
 excellence was composition, the noblest part of 
 the Art, in which it is doubted whether he had 
 any living superior. — With regard to the truth, 
 the harmony, the richness, and the gravity of 
 colouring, that stile, in short, which is the 
 peculiar characteristic of the antient Venetian, 
 and the direct contrast to the modern Schools, 
 he was unrivalled. — His works, it must 
 be granted, like all those of the present 
 times, were far from being perfect ; but it was 
 Mr Runciman's peculiar misfortune, that his 
 defects were of such a nature as to be obvious 
 to the most unskilful eye, whilst his beauties 
 were of a kind which few have sufficient taste 
 or knowledge in the Art to discern, far less to 
 appreciate. 
 
The Pictures, described in the 
 preceding Catalogue, are fitted 
 tip with the utmost attention to 
 Preservation and Elegance ; being 
 superbly framed, each in a 
 Case lined with Green Cloth, hav- 
 ing a Lock and Key. 
 
PREPARING FOR PUBLICATION, 
 
 A 
 
 DESCRIPTIVE CATALOGUE 
 
 OF THE 
 
 ROYAL COLLECTION 
 
 OF 
 
 PICTURES 
 
 AT 
 
 WINDSOR CASTILE % 
 
 DRAWN UP BY HIS MAJESTY^ AUTHORITY, 
 INCLUDING THOSE IN THE KING'S APARTMENTS, 
 NOT USUALLY SHEWN TO STRANGERS; 
 
 By GEORGE WALKER, F. S. A. E. 
 
 LANDSCAPE PAINTER TO HIS MAJESTY. 
 
 When the above mentioned MS. is sent to 
 press, Mr Walker intends preparing for the 
 same purpose, a Catalogue Raisonne' of the 
 finest Collections of Pictures in London, begin- 
 ning with those of the undermentioned Noblemen 
 and Gentlemen : 
 
 The Duke or Devonshire, Piccadilly. 
 The Duke of Marlborough, Pall Mall. 
 
The Duke of Buccleuch, Montagu House. 
 
 The Marquis of Stafford, Cleveland House. 
 
 The Marquis of Bute, South Audley Street. 
 
 The Earl of Grosvenor, Grosvenor House. 
 
 The Earl of Carlisle, Grosvenor Place. 
 
 The Earl of Egremont, ditto. 
 
 The Earl of Pembroke, Hanover Square. 
 
 The Earl of Dartmouth, St James's Square. 
 
 The Earl of Harcourt, Cavendish Square. 
 
 The Earl of Warwick, ,Hill Street. 
 
 The Earl of Caernarvon, Tenterdon Street. 
 
 Lord Radstock, Portland Place. 
 
 Lord Dundas, Arlington Street. 
 
 Sir George Beaumont, Grosvenor Street 
 
 Sir Abraham Hume, Hill Street. 
 
 Henry Hope, Esq. Cavendish Square. 
 
 Willam Morland, Esq. Pall Mall. 
 
 William Smith, Esq. ParkStreet, Westminster. 
 
 Walsh Porter, Esq. St James's Street. 
 
 Descriptions also of the other fine collec- 
 tions in town, will be proceeded on with all the 
 dispatch consistent with the importance of the 
 subject and Mr Walker's engagements in the 
 line of his profession. 
 
3 
 
 He will take an opportunity of submitting to 
 the public, a Prospectus more at large, and begs 
 leave to add, that no trouble or expence will be 
 spared to render the work worthy of the patron- 
 age with which it is honoured. 
 
4 
 
 AN ABRIDGED VIEW 
 
 OF THE 
 
 INTRODUCTION TO MR WALKER'S 
 
 INTENDED 
 
 DESCRIPTIVE CATALOGUE. 
 
 General Address — Advanced state of the 
 Arts proves the refined state of society — their 
 utility in a national point of view considered 
 — their progress from Greece to Rome — from 
 thence to Britain — the check they received 
 by the death-blow of their illustrious patron, 
 Charles the First — Dormant till the reign of 
 His Present Majesty — certain situations and 
 seasons favourable for calling forth latent genius, 
 and the exercise and exertion of those talents 
 essentially necessary to bring to perfection works 
 worthy of immortality — institution of the Royal 
 Academy, the epoch of Britain's glory and 
 splendour — policy of the French evinced, by at- 
 tention to their National Museum and Public 
 Galleries — perhaps a greater number of really 
 
5 
 
 tine Pictures in this Island than out of it — the 
 Royal Collections — those of the Noblemen 
 and Gentlemen in Great Britain of easier 
 access than formerly — the different Schools — the 
 Italian — the French — the Flemish — the 
 Dutch — the British School Rising into 
 High Celebrity — prospect of the rapid ad- 
 vancement of modern Art and consequent diffu- 
 sion of taste over the country, from the patronage 
 afforded by the higher orders, as well as by those 
 most eminently distinguished for their judgment 
 in works of Art — Their generously appropriating 
 a place in their Galleries for the productions 
 of British Artists, will be the means of their 
 Chef D'oeuvres going down to posterity with 
 an eclat proportionate to their merit — the satis- 
 faction Mr Henry Hope must enjoy in posses- 
 sing so many fine Pictures, executed for his 
 ancestors, by the most eminent Artists of their 
 time and country — the British Institution 
 (in Pall Mall) highly honourable to the na- 
 tional character — a source of rational amuse- 
 ment and intellectual refinement both to the 
 individual and public at large — original works 
 of merit by its natives, an incalculable source of 
 
6 
 
 wealth to a nation distinguished for its cultivation 
 of the Fine Arts. — State of the Arts in Scotland 
 — deceased Scottish Artists — Architects ; Sir 
 William Bruce — the Messrs. Adam — 
 Craig — Baxter — -Henderson — Painters ; 
 Jamieson — Norie — Gavin Hamilton — 
 Alexander and John Runciman — Jacob 
 More — John Brown — David Allan — Da- 
 vid Ma rtin — Seton — W a les — Miniature 
 Painters ; Taylor — Donaldson — Bogle — 
 Engravers; Sir Robert Strange — Robert 
 Blyth — Collections of Pictures in Scotland 
 — those of Duke Hamilton, Hamilton House 
 — the Rubens — Portrait of Earl Danby, by 
 Vandycke # — the Duke of Buccleuch, Dal- 
 keith House — the Marchioness of Stafford, 
 Dunrobin Castle — the Countess of Moira 
 
 * Under the patronage of His Grace and Family, 
 Mr Beugo of Edinburgh, is now Engraving a large 
 Print from this celebrated Picture, in such a style of ex- 
 cellence as promises to do justice to the noble original. 
 His Lordship is represented going out a shooting, attend- 
 ed by a Mulatto servant Boy, who is pointing out game 
 to his master. — The landscape in this beautiful Piece, is 
 remarkably fine. 
 
7 
 
 and Loudoun, Loudoun Castle — the Marquis 
 of Tweeddale, Yester House — the Marquis 
 of Lothian, New-Bottle House — Earl of Mor- 
 ton, Dalmahoy — Earl of Buchan, Dryburgh 
 Abbey — Earl of Cass i lis, Culzean Castle — ■ 
 Earl of Moray, Dunabristle — Earl of 
 Home, at the Hirsel — Earl of Haddington, 
 Tyningham House — Earl of Wemyss, at Cos- 
 ford and Amisfield — Earl of Dalhousie, 
 Dalhousie Castle — Earl of Breadalbane, 
 Taymouth — Earl of Hopetoun, Hopetoun 
 House — Earl of Fife, Duff House- — Lord 
 Napier — Lord Woodhouslee — Sir George 
 Clerk of Pennicuick — Sir William Forbes 
 of Pitsligo — Sir James Colquhoun of Luss — ■ 
 Colonel Campbell of Monzie — Mr Mur- 
 ray of Sim prim — Mr Gordon at Glasgow — 
 Mr Oliphant, Mr Weddel and Mr 
 Crawford, Leith — The Solicitor General 
 (Mr Clerk) — Mr Russel — Mr Innes — 
 Mr Wharton — Mr Fairholme — Mr Keith 
 — Mr Assiotti — Mr Hunter — Mr Sive- 
 wright and that of Mr Walker at Edin- 
 burgh — Annual Exhibition of the works 
 of Scottish Artists indispensibly requisite to 
 
s 
 
 promote the progress of their improvement, 
 and advancement of the Arts on this side of 
 the Tweed — From the caprice of fashion many 
 tine Pictures by able Masters of the old 
 Schools, totally overlooked and neglected — We 
 must be satisfied with the knowledge and ex- 
 cellence in the line of Art which are scattered 
 over the world — The propriety of Classing and 
 arranging the works of the great Masters, agree- 
 ably to their different Schools — Things unequal 
 in themselves cannot well be compared — Hudi- 
 bras has deservedly many admirers, but no one 
 would think of comparing it with the Iliad, 
 far less of drawing a parallel between the works of 
 Teniers and those of Michael Angelo. — The 
 Diletanti Society of London — objects not 
 unworthy of the notice of this respectable body, 
 and perhaps only practicable under their exten- 
 sive influence — namely, some account of the best 
 works of deceased British Artists — particular- 
 ly those of Sir Joshua Reynolds, Barry, Wil- 
 son, Mortimer, Gainsborough and Wright 
 of Derby, wherever they can be traced, either at 
 home or abroad — also a general description of 
 the most celebrated Pictures in Great Britain 
 
9 
 
 and Ireland, by the old Masters — List of Au- 
 thors on the subject of the Arts — Bibliotheque de 
 Peinture, Sculpture et de Gravure par C. T. de 
 Murr, 2 torn. Francfort 1770 — Catalogue 
 Raisonne des Tableaux du Roi — Description des 
 Tableaux du Palais Royal — D'Argenville 
 — Scanelli — Rodolfi — the literary works of 
 Sir Joshua Reynolds — Lord Orford's Anec- 
 dotes of Painting in England — Descriptive 
 Catalogues of Pictures — Sir Peter Lely's — 
 Duke of Buckingham's, including Rubens's 
 collection, which cost his G race about ten thousand 
 pounds — King James the second — and Queen 
 Caroline's — King Charless by Vander- 
 doort, in all three volumes quarto — Several of 
 King Charles's Pictures still carefully preserved 
 in the Royal Collection as Windsor — of those 
 that had been carried abroad, in consequence of 
 the lamented catastrophe which occasioned their 
 dispersion, some have found their w ay back to 
 England, and are justly esteemed the brightest 
 ornaments of the Collections they adorn — 
 Immense sums paid by the Romans for Speci- 
 mens of antient Art — Pictures purchased b}' 
 Julius C a e s a r— Ho rt e n s i u s — A g r i p p a — 
 
3 0 
 
 L. Lucullus — Selections of Designs by and after 
 the old Masters, an inexhaustible source of 
 pleasure — their Drawings and Etchings — an idea 
 of a choice assemblage of Prints — Hints to those 
 who from genius and a love for the Art are 
 desirous of making a collection of Pictures, and 
 are not yet sufficiently intelligent in the requisites 
 for this purpose — Hints to be attended to in 
 cleaning valuable Pictures, and the best mode of 
 preserving them. 
 
 Exclusive of the line collections of Pictures 
 in London, which we have already mentioned, 
 it may be doing a pleasure to the Amateurs of 
 the Art, to specify some of the other capital 
 ones, both in the Metropolis and throughout 
 England. 
 
 HIS MAJESTY'S COLLECTION 
 
 AT ST JAMES'S PALACE. 
 THE QUEEN'S PALACE. 
 KENSINGTON PALACE. 
 HAMPTON COURT. 
 
 THE PRINCE OF WALES'S COLLECTION 
 AT CARLETON HOUSE. 
 
1 1 
 
 THOSE OF 
 
 The Marquis of Abercorn, Grosvenor Square. 
 
 Mr Anderton, Spring Garden. 
 
 Mr Angerstein, Pall Mall. 
 
 The Earl of Ashburnham, Dover Street. 
 
 Mr Atherton, Liverpool. 
 
 Sir Francis Baring, Lee, Kent. 
 
 Duke of Bedford, Woburn, Bedfordshire. 
 
 Mr Barret, near Canterbury. 
 
 Marquis of Bute, Luton, Bedfordshire. 
 
 Mr Beckford, Fonthill, Wilts. 
 
 Mr Ed. Bouverie, Burlington Street. 
 
 Mr Booth, Adelphi, 
 
 Mr Bowles, North Aston. 
 
 Duke of Beaufort, Badmington. 
 
 Earl of Bristol, St James's Square. 
 
 Earl of Carlisle, Castle Howard. 
 
 Sir Lionel Copley, Scarborough, Yorkshire. 
 
 Earl of Coventry, Picadilly. 
 
 Earl Cowper, George Street, Hanover Square. 
 
 Mr Cosway, Stratford Place. 
 
 Mr Coxe, Hampstead Heath. 
 
 Lord G. H. Cavendish, Saville Row. 
 
 Lord Carysfort. 
 
 Mr Champernowne, Upper Berkeley Street. 
 Earl of Chesterfield, Stanhope Street. 
 Sir Simon Clarke, Gloucester Place. 
 Earl of Derby, Grosvenor Square. 
 Duke of Devonshire, Cheswick House. 
 
13 
 
 Lord Dundas, Aske, Yorkshire. 
 
 Mr Duncombe, Duncombe Park, ditto. 
 
 Mr Desanfans, Charlotte Street, Portland Place. 
 
 Dr Duvald, Newman Street. 
 
 Duke of Dorset, Whitehall. 
 
 Mr Dent, Hertford Street. 
 
 Earl of Darnly, Berkeley Square. 
 
 Earl of Eardly, Belvedere, Kent 
 
 Marquis of Exeter, Burleigh House. 
 
 Mr Elvin, Sloane Street. 
 
 Earl of Fife, Whitehall. 
 
 Earl Fitzwilliam, Richmond, Surry. 
 
 General Goldsworthy, Wilton, Wilts. 
 
 Duke of Grafton, Piccadilly. 
 
 Mr Charles Greville, Paddington. 
 
 Earl Grosvenor, Grosvenor House. 
 
 General Guise, Christ Church, Oxford. 
 
 Earl Gwydir, Whitehall and Buckingham. 
 
 Mr M. Gosling, Portland Place. 
 
 Mr Hibbbert, ditto. 
 
 Mr Holcroft, ditto. 
 
 Mr Thomas Hope, Duchess Street. 
 
 Earl of Huntingfield, Heverengham, Suffolk. 
 
 Mr J. Herman, Old Broad Street. 
 
 Mr J. L. Jervoise, Hanover Square. 
 
 Mr Edward Knight, Portland Place. 
 
 Mr Richard P. Knight, Soho Square. 
 
 Mr Lambert, Paper Buildings, Temple. 
 
 Earl of Leicester, Grosvenor Square. 
 
IS 
 
 Mr Lowther, Charles Street, Berkeley Square. 
 
 Mr Lenthall, Burford Oxfordshire. 
 
 Lady Lucas, St James's Square 
 
 Lady Stewart, Privy Garden. 
 
 Mr Metcalf, Hill Street. 
 
 Duke of Marlborough, Blenheim. 
 
 Mr Metiiuen, Corsham, Wilts. 
 
 Duke of Norfolk, St James's Square. 
 
 Lord Northwick, Hans Square. 
 
 Mr Okeover, Okeover, Staffordshire. 
 
 Earl of Orford, Strawberry Hill. 
 
 Duke of Portland, Bulstrode. 
 
 Earl of Powis, Powis Castle, Montgomeryshire. 
 
 Earl of Pomfret, Easton, Northamptonshire. 
 
 Earl of Pembroke, Wilton. 
 
 Dr Pitcairn, Craig's Court. 
 
 Earl of Palmerston, Hanover square. 
 
 Mr Pybus, Great George Street, Westminster. 
 
 Earl Radnor, Longford, Wilts, and Grafton Street. 
 
 Sir M. H. Ridley, Portland Place. 
 
 Duke of Rutland, Belvoir Castle. 
 
 Mr Rogers, St James's Place. 
 
 Mr J. Smith, Hereford Street. 
 
 Earl Suffolk, Harley Street. 
 
 Earl Spencer, Althorpe, and St James's Place 
 
 Marquis of Thomond, Raynham, Norfolk. 
 
 Mr Troward, Pall Mall. 
 
 Earl Warwick, Warwick Castle. 
 
 Mrs Weddel, Upper Brook Street. 
 
14 
 
 Sir Watkin W. Wynne, St James's Square. 
 Mr West, Newman Street. 
 Mr Whiteford, Argyle Street. 
 Mr Willett, Grosvenor Square. 
 Sir George Young, Stratford Place. 
 
 To Mr Forster's great national work, the 
 British Gallery of Engravings, from Pic- 
 tures of the Italian, French, Flemish, 
 Dutch, and English School, as well as to the 
 exertions of the ingenious Mr Tresham, in his 
 intended Series of Etchings, accompanied 
 also with descriptions of the Pictures, we 
 heartily wish the success their patriotic efforts 
 and excellent talents deserve. 
 
 Drawing and Painting Academy, ^ 
 Hunter's Square, Edinburgh, 1807. ^ 
 
 PRINTED AT THE UNIVERSITY PRESS, EDINBURGH-