m»KW® "-if |!?J ,.v - f' ;-^ 5;V^A"^f;H^frSVEsZ^'^’^*''"''V51iH*/4f'>. -'?/%% -^J^A'i-''''’tJ ,'V'* m^v^mmm ^ris4i:>.. »k*'w:r i,^-v Ji}’; ^ ^ - '^.f ]! ■'v' bffifW'iy'iJ'H! ri fiit/uvM/ >> #!i:;i!'’j iifi '?{‘ X. : A >' :“^t' ’-'?^' ‘iM^'' y*': -PA .■■;>'i?*J‘‘’^ .' .: ff.'i;3.j/,y ';. >■?*:. '.i: j':- Zs"’ ' " '' '^' Vr ‘-^ rv, -' vf ;%^;^'S,!«»r.' From the library of Frank Simpson I A Descriptive Catalogue (w;th remarks and anecdotes never before PUBLISHED IN ENGLISH) OF SOME PICTURES, OF THE DIFFERENT SCHOOLS^ purchased Fo r Flis Majesty THE LATE KING OF POLAND ; Which will be exhib ited early in 1802 , At the Great Room, No. 3, IN BERNERS-STREET, *The third Door on the right, from Oxford-Street, By NOEL DESENFANS^ Esq. LATE CONSUL GENERAL OF POLAND, IN GREAT-BTRITAIN. VOL. I. V , . . " . ^ Containing the Italian^ Venetian^ Spanish, and French Schools, THIRD EDITION, REVISED AND CORRECTED. LONDON: '• May be had, at Five Shillings the Two Volumes, of Cadell and Davies, Strand ; Hookham, Old Bond-street; Hookliam, New Bond-street; Lackington, Allen, and Co. Finsbury- square; Jones, Pater-noster-row; Black and Barry, Leadenfiall-street. EXTON, TYP. great PORTLAND-STREET, 1802 . From the library or Frank S^pson PCnv or«rms It being expected that the en- trance-money to the Exhibition, will defra}^ the Expences attending it, and no lucre whatever being aimed at by * the sale of the collection, each picture shall be marked at the very price it hafi cost, as will be seen by the receipt'j of sucli as were bought by private contract ; and the references that will be given for those which were pur- chased at public sales. ^he PlSlures are offered to the Public, for Sale by Private Contrast, to he carried on during the Time of the Exhibition, by a Committee appointed for that Purpose, on the following Conditions of Sale. //rj/.— The Purchafers will leave the Pidures in the Room, till the end of the Exhibition, which will begin in the courfe of February next, and will conti- nue a whole Month, or Six Weeks. 4 SVfo«^/y.— The Purchafers are to pay 20 per Cent, on the Purchale Money, which they will forfeit, if CONDITIONS OF SALE. they negle^l paying the Remainder and fending for their pictures within Three Days after the Exhibition is over. - Thirdly , — It is prefumed that almoft every Picture is pure, and painted by the Rafter under whofe Name it is marked in the Catalogue, and that has been done to the bell of our judgment, which how- ever is far from being infallible ; therefore as the Committee cannot warrant their being fo, the Buyer muft abide by his own judgment, or by that -of whom- 'foever he may confult. Fourthly . — Every Purchafer will receive a free Ad- miffionTicket to the Exhibition. ^ . Fifthly . — The Pidlures are to be removed at the Expence of the Purchafers. Sixthly . — In order to facilitate Payments, the Com- " mittee are authorized to take Bills, drawn or accepted by creditable Perfons, at Six or T welve Months, on the Purchafer paying the Intereft of 5 per Cent, on the fame. Q — _ N. B. That the Lovers of the Art, .Colle^lors and Artilis, may clofely and minutely infpedf every Piclure, Steps of different Sizes will every Day be brought to the Room, from Ten till Twelve o’Clock. Index to the Pictures. -o— ' 'A No.' Albano, Francesco « • 6, 7, 8 Amiconij Jacopo « 8 . 29 B Borretini, Petro da Cortona ; 17, ‘18 Bassan, Giacomo, , 3S Bordone, Paris 9 , • 42 Bourdon, Sebastian 9 • ‘ 69 Both, John ; • ' . 121 Berchem, Nicholas 122, 123, 124, 125, 126 Backhuysen, Ludolf * • - 156? 157 Brouwer, Adrian ' ,, 9 167 Bonnaert, John 9 * . 171 Bourgeois j Francis 176, -177, 178, 179, 180, 1819 i - fj 182, 183, 184 c 1 Caracci, Annibal ' 9 » • 1, 2 Castiglione, Beneditto 9 fe 21 Cignani, Carlo . 9 « 27, 28 Casanova, 9 . ■ ' 52 Coques, Gonzales m i 104 Champagne, Philip de 9 • ; 107 Cuyp, Albert 142, 14^, 1 44, «45> ‘46, 147, 148 Caton, Charles , • i *85 VOL. 1 . S . o S!^oiC'* 3 ‘Cavl'O - iS 13 © a Gerard * • , a 27,1.22s, J129 Emanuel « -0 £5 ucj -Le o <, (ibt FeiTJ^ Cero - < « 19 Berg, Francis Paxil' • 4 0 79 Fu'kli, Henry ^ 9 ' « So Fou^uieres, James i * « • 110 •c Guerclno, Giovano Francesco - . 14, t5,.iS Giordano, EliCa « « 22 GiorgiGne, del Cadcl Franco - « 37 Guidpj Rjtni , D ' « • 3 ? 4 ? S H Holbein, Hans « * 73 Hobbima, Mindediont ■ « ' 11 a Hnys^Jim, John Van - • • i 37 Hey den, John Vender • , 140, 141 Hngtsnberg, John Van o • i ^5 > Jordaen'S, James * » J « , 102, 103 Jardiii, Kareidu « 430? 13^1323 133 ■Lutte, Benedetto X 4 : 24 Laura, Filippo « , ' 1 25 LoiTaine, Claude * • 60, 61, 62, 63, 64 L idgleb ach^oh la « i ' 74 Lmjdierbotirg^ Hulip J; ames de , ' 81, 82 Mc?3j Frances Moft-atti, Carlo o. ». Murillo,. Bartholemew' StepheziK Mignarci, Peter • Mief, Jan Gio\ranm Della ViSe 4^1, 48, ig, 5°'^ 5^ o. 3 ,' 12 ^^ 123 Hortbcote,. James n-^r na Q Ostade, Adrian « Ostade, Isaac - » Z Opie, John o 7S 7&y 1,7r 5® Foussin, Nicola 'Foussin, Caspar - « Fynaker, Adam ' Fcelemberg, Cemelius Fotter, Paul <,► .53> S4. S5> sS <■ . 61^ S 52 '> I'S'S’r » 5 . 4 j 155- 168; » 7a. % 84, 8s, 86-, 87, 88- i35> '3® i86, 18.7 s Sarto, Andrea del Sac chi, Andrea Spagnoletto, Giuseppe Riberat Stella, James » Index. Serres, Dominick Swanefeld, Herman Stuart 70 108, 109 175 T Tiepolo, * . • ; 33,34 Titian, ^ , 35 Xintoretto, Giacomo , • 36 Teniers, David 95, 96, 97, 98, 99, loo, lot Terburgh, Gerard . • * 139 V Veronese, Paolo 7 * Veronese, Alexander • Velasquez, Don Diego ^ « Vernet, Joseph * Vandyck, Anthony 89, Vandermeulen, Anthony Frwis Vanharp, . • Vanderveldt, William « Vandervelde, Adrian « . Vlieger, De «. « V anderwerf, Adrian i 39j 40 » 41 43j44j45 71 90j91j925 93>94 105, 106 . » 134 ■ 149j'i50 , 162,163,164 « 166 » 169 w • Watteau, Anthony ♦ ^ 68, 69 Wouvermans, Philip 114, 115, 116,117, 118,119,120 Weeninx, J. B. • , 138 Wynants, John . , ' 158 and Vandervelde, Adrian i 159 and Lingleback, * 160 I z * I 3 ^' 32 vZuccarelli PICTURES. JT 1 C as in 1790 , immediately after the French Revolution^ at that epoch when the Emigrant Nobility brought into Eng-- landy their most precious effects to be dis- posed of, that Stanislaus Augustus sent here a commission for purchasing a Collection of Pictures j in order to add some to those his Majesty was already possessed of and to present the dijff event Artists in Poland^ with the other part, as models and specimens ^qf Painting ; for his Majesty having a most ref lied taste of the fine arts, was fond of them, and had at heart, their rise and pro- gress in his country* In consequence it was recomm'ended to its, to act icith such caution as to purchase none but Originals and fine Pictures of the o different Schools ^ when zee should meet zeitJs them, at a liberal hut not extramgmi jndce ; and it is on that principle that tliep howe all hem gradually purshmed.^ both at public Sales and by private Contracts But noU withstanding a Collection may consist of good Pictures^ they cannot all be of equal merit and equal vcdue. As his Polish Majesty zoas partiadarly desirous We feel affected by her dignity, and are still captivated by those fatal charms which she could not bereave herself of in the'desart, thougli merc-y adorned by lier flaxen hair Avhich flows over her shoulders and her bosom — hut she no longer belongs to the world, and her lips, formerly the .seat of illicit love, are now opened to in treat God's pardon, v/hile hose eyes, in which vice used to riot. ITALIAN SCHOOL. 16 arc balked in tears, and fixed on he; ven in sorrow and remorse. ON CANVAS. GUIDO RENI, born at Bolo§aa, Ko. 3. / rr Saint Sebastidiu Tiie family of Saint Sebastian was wiginaily of Narbonne, but afterwards established itself at IMilan, where lie was born, and educated in the Christian faith. At the age of sixteen, and during llie reign of the Emperor Dioclesian, he weiit to Home, aiKl entered into the IVetoriail Guards, in whieli lie, in a sliort time, obtained the rank of cap- tain. Sebastian served with credit ’till the age of tw enty-two, when the Emperor, wlio was an idolater, discovering that he was a Christian, condemned him to death, by the arrows of the Pretorian soldiers, and his body to remain at- ITALIAN SCHOOL, tached to the tree of his punishiiienL exposed as food for the fowls of the air .: This dreadful sentence was accordingly executed in the environs of Rome, in a place called the field of blood. But what can injustice and cruelty do against a man's life, when God is pleased to defend it ? That power which gives life, may also protect it from the de- structive rage of tyranny, A charitable woman named Irene; who resided in the Emperor's palace.^ on account of a situation which ^she held there, and who had secretly em^ braced the siime faith as Sebastian., determined on frustrating, in some measure, the cruel orders of her mastei; and to bury the mangled corpse ; she accordingly, towards night, repaired to the field of blood, and to her surprise, found that life had not quitted the body ; immediately Sebastian ^vas un- tied and conveyed to her own apart- ments, where his wounds were dressed, and through the care of Irene, he wa§ in a short time, perfect!}^ restorech VOL. I. ' E IS ITALIAN SCHOOL. The young hero of Christianism, did not however long enjoy the fruits of his friend’s folicitude and courage. He was soon after discovered, retaken, and again condemned to a different suffer- ■ ing, that of being stoned to death, and the Almighty, in order to reward Se- bastian with a life of bliss, for his trials in this, permitted then, that the sen- tence should effectually be carried into execution. The picture presents a composition of five figures ; on the fore-ground, St. Sebastian, a figure as large as life, bound to a tree, and pierced with an arrow ; while the four Pretorian. soldiers, who have obeyed the Emperor’s command, are seen in the back-ground. As the celebrated encourager of the fine arts. Cardinal Barbarini, was ivcil acquainted with Guido’s extraor- dinary powers for the pathetic, he made him paint this for his own palace, out of which it was removed a few years ago, on the French approaching Rome. ON CANVAS. ITALIAN SCHOOL. 19 BY THE SAME, No. 4. ■ .. i ^ The Virgin Mary. A full size head, surrounded by ce- ^ 1 . • , Guido iestial rays, possessing great beauty, as well as a sweet simplicity, and executed with great delicacy of pencil. ON CANVAS, . ' BY THE SAME, No. 5. Eiiropa. ' Europa, daughter of king A was of such beauty, that Jupiter fell in love with her, and fransforined himself into a bull, to have the opportunity of seeing her in the meads, arid in that form, was admitted amongst Agenor’s cows. 20 ITALIAN SCHOOL. , uido^ At first, the princess was pleased with the bull’s gentle deamcanour, wdiich made her caress him, and find- ing he was very tame, she soon ven- tured to mount his back, upon which Jupiter gradually approached the shore, rushed at once, into the sea, and car- ried Europa to Crete, where he re- sumed his own pei'son. , It is well known that Guido has re- peated two or three times, this fa- vourite subject, and it is equally well known that some copies have been made of it ; which rendered us ex- treme!}/ cautious in the purchase of this picture ; but after the strictest inspec- tion, and having consulted two able friends, we v ere induced not to miss it, from the certainty of it’s being an original whicii could never be doubted, since it has all those requisites essen- tial to characterise and distinguish the original from the copy. All able artist may make a copy \rhich will approach to originality, but it will never have that freedom and ITALIAN SCJHOOL. 21 spirit which are in this, and which con- stitute a good picture^ because in ' copying, he is restrained, aod cannot proceed and colour with as much fire, as if he were painting a picture of his own. What are besides the characteristics s of an original figure ? the outline no - doubt, the extremities, hands, and feet, which it is so difficult for an artist to paint, and which none but the great- est painters have been able to execute well; let any judge examine the hands of Europa, and say whether they are not painted by that of Guido ? If a copy can be mistaken for an original, it is that of the good Sliep^ herd,''' after Murillo, which is in the Duke of Bridgewater’s collection, in other respects so deservedly famed for . the different chef d'ceumes it contains ; the picture is well drawn, and well coloured, but wants spirit and anima- tion, which made us say it was not an original, though some artists thought it VOL. r. F Guido, 22 ITALIAN SCHOOL. was SO, on account of the different good parts it possesses. A good painter must be a good judge of pictures, a •for the foreign department, commis- sioned the French ambassador at Rome to purchase it ; but his endeavours proved abortive ; no price, no offer, could then procure the picture, and France was obliged to renounce the possession of it. We have frequently heard Sir Joshua Reynolds, and other artists of emi- ence, both in painting and engraving, as well as the amateurs and connois- seurs, who had seen this work at Rome, V speak of it, and they were unanimous in their praises. ON PANNEL. SALVATOR ROSA, born at Naples, 1615. No. 10. A Landscape xoilh Figures. Sonre will have it that this painter , (who in satire was also a great poet) ITALIAN SCHOOL. 33 having lost his father, while still in the cradle, was seduced into the society of robbers, in his early youth, and con- tinued to associate with them, "till he was about eighteen, when struck by the danger of his situation, he went to one of his relations at Naples, who gave him the rudiments of the art ; his first essays were to design and paint the companions of his first profession, ban- ditti, and he continued to insert them frequently in his landscapes. The right of this picture, presents in the fore-ground, a piece of water, on the side of which, are two cows, one standing, the other lying down, and a herdsman seated near : on the opposite side we discover a few houses and ma- nufactories, at the foot of a mountain. On the left, near a high road, which two monks have just crossed, are some lofty trees of a beautiful form, detach- ing themselves from a brilliant and hap-* pily clouded sky. On the second ground, we distinguish a temple and mountains in the distance, VOL. I. H 34 ITALIAN SCHOOL. S* Rosa, The whole of the picture, not only for composition, but for its execution, ,and chasteness of colouring, surpasses any eulogiumive could bestow on it. ON CANVAS. BY THE SAME. . , No. 11. St, Paul. Whoever is acquainted with the full size figures of this master, will not hesi- tate a moment, on the authenticity of the present work, not only on account of its execution; but from the impo- sing character which this great artist always gave to the heroes of his per- formances. ON CANVAS. ITALIAN SCHOOLS 35 BY THE SAME. No. 12. A Landscape with Dice Players, In £i retired spot^ on the fore-ground, a stone covered with a piece of dra- pery, serves two men, seated opposite to each other, as a dice board. Between them, towards the right, a soldier in a helmet and armour, is stoop- ing to observe the game, in which he appears to have some interest ; an officer, likewise covered with a helmet and breast- plate, is another spectator .of the play, but it is easily observable that he has no interest whatever in it ; he has stopt to pass a leisure moment, and through mere curiosity. One of the players, who, has already thrown his dice, is leaning forward over the stone, on which he fixes an ardent impatient look, while h:s adversary, half seated and half risen, is on the point of making his throw, which he is 36 ITALIAN SCHOOL. restrained from doing, by successive hopes and fears that are visibly traced in his countenance. The connoisseurs will allow that this is one of Salvator Rosa's best cabinet pictures. ON CANVAS. CARLO DOLCE, born at Florence, 1616* No. 13. Saint Veronica, / Little is known of this Saint's life ; we learn only that she held the rank of princess, having descended, as well as the Virgin Mary, 'from the family of Levi, and the house of David ; she was how- ever, among those Jews who persecuted bur Saviour, 'till curiosity induced her to see him bearing his cross to Mount Calvary ; and the sight wrought on her so as to convert her ; she prostrated herself publicly before him, and gave him the veil which he wore, to' wipe from his face, the: water and blood it ITALIAN SCHOOL. 37 was covered with, and it is said tliat his sacred features remained imprinted on it. There is now in Spain, a family of the name of Levi, who pretend to be descendants of that mentioned in the bible, and consequently related to the Virgin Mary and Veronica; a gene- alogy so far traced, could not fail pro- curing them in Spain, the titles of dukes and marquisses. One of them, ori^inallv of Flanders, when that country was under the domi- nion of Spain, determined to gratify himself with other honours, for want of a title, and to shew his coteinporaries and posterity, the source from which, he had the honour to spring; he com- missioned Alber Durer, or one of his close imitators, to paint two pictures, in one of which St. Veronica is repre- sented receiving JMrs. Levi and her two daughters, who are introduced by an^ngel, whilst two other smaller an- gels are bringing them chairs, and on a' labeLattached to the mouth of St. Dolcf» 38 ITALIAN SCHOOL, C, Dolce, ' ^'ejonica, is written, “pray be seated cousins r'—\n fact there should not be much etiquette amongst relations. The other picture represents the Holy Family at -table, and Mr. Levi entering wdth his four sons, respectfully approaching with his hat in his hand, whilst an angel is busied in fetchino- plates for the visitors ; St. Joseph turns his head towards them^ as he is on the point of taking a mouthful*, and the Virgin is sitting beside him, the infant Jesus on her knee, and a knife in her right hand, her eyes are fixed on Mr. Levi, and from her mouth is written, he covered cousin ! These pictures were but a few years ago, in a church in Flanders, as fold- ing doors to a crucifixion. ' In the one immediately' under our consideration, Carlo Dolce has repre- sented St. Veronica in a half length, full size, finely detached from a golden back ground ; her hair is drawn under a net, from Avhich it gracefully falls, and she is in a red robe, over which ftows a blue drapery. ITALIAN SCHOOL* 39 . Her right liand is extended across her breast, the other is elevated ; and her eyes are lowered, as if contemplate ing the face of our Saviour. — Candour, goodness, dignity, and modesty, pre- vail over every feature of her’s, and heighten her beauty. • This picture, for it's high finishing, colouring, and expression, will al- ways be deemed one of the finest of the master. It comes from the ca- binet of Prince Rupert. ON CANVAS. ' ^ GiovANO Francesco’ GUERciNo, ' Born at Cento, near Bologna, 1590. No. 14 Two Cupids in a Landscape. It is only under that nick-name the author of this work is known, for his real name was Barbieri, and he was called Guercino da Cerho, from an ac- cident which happened to him, some 40 ITALIAN SCHOOL. weeks after he was born ; his eyes were tlien perfectly good^ but he was put out to liurse, when, one da}^, being asleep in his cradle, a sudden noise, which by chance happened, awakened the child in so great a fright, that he became squint-eyed, and remained so all his life. The picture represents a landscape, with two Cupids who are bending and trying their bows, to be certain of their execution. The , eldest is standing, and bends his bow with his hands ; but the youngest has one knee on the ground, and bends his bow on the other. It is a work which, for force of co- louring, is equal to Carravagio, and from the expression, drawing, and con- tour, will always pass for one of the fine productions of Guerciim. ON CANVAS. ITALIAN SCHOOL, 41 BY THE SAME. No,15, St, John in the TJesarf. The young fore-runner of our Sa- viour, is a half-length, large as life, and receives into the cup he holds,, .the water wliich gushes from the rock. The design is perfect, and the figure, the most descriptive. ON CANVAS. ^ • * I * BY the same. No. 16. ' 1 Narcissus. • ' Tiresias had foretold that Narcissus should live ’till he saw himself. The fatal moment is arrived, and the un- happy young man, overcome with thirst on returning from the chase, comes to drink at the fatal sprins;. your, I Gutrcino, 4 42 SCHOOL. It is a figure as large as life, drami %uih equal correctness and freedom, and loan attitude the most difficult in the art , <3N CANVAS^, PIETRO 'BERRETINI DA q:OP.TONA, Born 15960 No. 17. \ ' ' Heligioii sent to Men. 3 This artist \vas only twenty years old, and still a pupil of i^ ndrea Commodi, when he made that excellent copy of the celebiated picture of Julio Romano, ill commemoration of the co»iversion of Constantine, to the Christian fiiith, which has ev^er been considered as ccpial to the original. The idolatrous Eiupcror had vowed to embrace christianism, if he imined tiie victory over Maxentius. — Victory was his, but instead of fulnHin . Ills palace of Latvam to the Pope : and Tory sHortly after, his persecLition of tlxc Cliristians, x\"a.s not only as violent as. before, but lie even made sacrifices of ills wife Faiista, and his son Crispus, upon which Pope Sylvester fled from Home. Constantine was soon after vvards aft jSicted with a leprosy, (such as the Almighty liad frecpieiitly punished guilty Sovereigns with) and he applied for cure to the heathen priests, who di- rected . him to bathe himseif daily, in ' the warm blood of infants, so tliat the matrons of Rome, were in coiisequeix-c, ’ thrown into tlie same coiistermition as those of Bethleem, had been in, under the reign of Ileroch—It is pre- tended however, that St. Peter and St.^ Paul, touched with pity, descended from heaven, and visiting; the limperor in the night, promised to cure him,, on con- dition of his becoming a Christian. ' The fallowing day. Pope Sylvester w:as recalled, and Constantine,, dressed in wdiite robes, entered the baptisimd 44 ITALIAN SCHOOL. fount, which is said to have been en- lightened from heaven, with divine rays, and that in the midst of them, the'^Em- peror saw our Saviour extending his arms towards him, and at the instant of his receiving baptism from the Pope, he was cured of his leprosy. Julio Romano has treated this su- perb subject, in a manner worthy of his superior genius, and the copy which Cortona made of it, laid the foundation of his great fame. In the picture before us, the sky is open, and presents a choir of angels and cherubs, in the midst of whom. Religion, in the form of a virgin, is just descended on the earth, at the very moment when two young women Avere going to be sacrificed to idols. On the right of the picture the in- cense is already burning at the entrance of their temple, when all at once, thun- der from heaven, falls on the idols and the sacrificator himself. On the left, another priest, Avhose forehead is bound Avith Igaves, is seen adA^ancing Avith the ITALIAN SCHOOL. 45 victims led by soldiers : but at tlie re- port of thunder, and the sight of the' idols overturned, some fall post'rate, others frightened and surprized dis- perse^ whilst Religion, with her eyes fixed on heaven, is offering up thanks. This performance is of a clear and brilliant tone of colouring, and of the best time of the master. ON CANVAS. BY THE SAME. No. 18. / , A Battle. . The artist has taken his design in the midst of an action, and painted it with that fire and spirit which are so- neces- sary to the subject. We seem to see the rapid motion of the men and horses, their ferocity and evolutions, with that truth of expression, which is not to be found but in the works^ of great mas- ters. The Avhole is executed with bold-- ness, and most vigorously coloured. , ON , CANVAS, Cortona. \ 46 ITALIAN SCHOOL, ' GIRO FERRIj bom at Rome, / No. 19* The Finding of Moses^ This Artist distinguished himself in historical as well as portrait paintings and executed with the greatest success, that of Raffaello, the most celebrated singer of his age, who himself directed the composition of the picture, in which he is singing, with a music-book in his 'hands. A choir of angels are iriaking a con- cert above his head, where St. Cecilia appears in the midst of them, as if angry, and with contracted brows ; a label is eoming out of lier mouth, and on it are w ritten two lines, w hich we cannot give a better translation of, than the folio w- I. Silence you noisy ^ young Castrafo^ And let me hear great Raffaello / This superb performance wns sold i\% as being the w^ork of Cortona, who^^ ITALIAN SCHOOL. 4F pupil this master was ; but the propri- etor was not probably, so well qiiainted as we are, with the excelieii- cies^'of Giro Ferri, whose pictures have always liekl the highest rank. He has given us, in this, a composition of eighteen figures, most correctly drawn, firmly executed, and with the truest expression. Pharaoh's daughter, accompanied an old goveriiante, and the principal officers of her household, and attended by her women, guards, wnd slaves, ap- pears on the border of the Nile, from whence has just been 'drawn Moses, whose motlier is suckling him, on her knees before the princess, whilst hei sister, who is likewise kneeling, is holding tlie basket from wliich/ they have taken him ; a girl is pressing forward from behind her, to see tJie infant. The princess is dressed in white, with a blue drapery, her hair turned up under a net- work, fastened by a clasp of gold, enriched with strings of pearls, 48 ITALAN SCHOOL. which falls over her forehead ; a light violet coloured gauze, running under her chin, attaches 911 the crown whicli she wears. . • ^ Around her are her women, one sup- . porting her train, and another carrying a favourite spaniel ; on her right is her principal officer, attended by a slave, <^iro Fm wJio is holding a brace of greyhounds, , and by two boys who are carrying long fans made with white feathers, in the Egyptian manner. The guards, are on the left, at a short distance from the princess^ one of whom is holding a. beautiful white horse, by the bridle, and on the opposite side of the Nile, are several other figures, co- lumns, monuments, and different build- ings scattered over the landscape. ON CANVAS. ' ' ITALIAN SCHOOL. 49 r.IOVANI FRANCESCO ROMANELLI, Born at Viterbo, 1617. No. 20. Theseus d^ending the Women against the Centaurs, Plutarch asserts that Periander of Corinth saw a Centaur ; and St. Je- rome, in his life of Paul the hermit, assures us that a Centaur was also seen by St. Anthony; Pliny however goes farther, for he says that he himself saw one which had been brought into Rome from Egypt. Plutarch and St. Jerome, from their well-meaning credulity, have only reported what they had heard, but as to Pliny ! — he has now taught us how to appreciate his authority. It is well known that in countries, where riding was not in practice, those who first appeared on horseback, were .supposed by the simple inhabitants, to be of a different species, and thought to VOL. I. ' K . ' 50 ITALIAN SCHOOL. be half men and half beasts. Hence the origin of Centaurs. A Hottentot in the midst of a review of cavalry, in Hyde Park, would think himself sur- rounded by Centaurs; and so the Indi- ans tliought, not more than three cen- turies ago, when the Spaniards, after the disco veiy of America, sent troops to invade them ; for the Incas and their people believed that the horse and man were but one creature. No doubt is now entertained respect- ing the existence of the Centaurs, and they are universally acknowledged as fabulous monsters — the subject of this picture, is their Battle icith the Lapitha^ ill consequence of the brutalities which the Centaurs, when intoxicated, ' had offered to the women, at tlic nuptials of Pirithous with Ilippodamia, to which they had been invited. In the fore-ground, aCentaur lies ex- tended at the feet of Theseus, who is on the point of piercing with his lance, another attempting to carry off one of the women. A third Centaur is be- ITALIAN SCHOOL* 51 hind Kim bearing in his arms, a Lapi- tine woman who has fainted, while two .others arc in a supplicating posture, in the fore part of the picture. The sccondaiy objects form a conti- nuation of the sanguinary conflict be- tween the Lapith 3 e and the Centaurs ; the old King Ixipn, the father of Piri- thous, is seen protecting the newly betrotheel Hippodamia, whilst Pirithous himself is seen performing feats of va- lour, and dealing destruction on the monsters with whom he is surrounded. Such is, in every respect, the merit of this work, that it may rank with the best productions of Cortona. ON CANVAS, X BENEDITTO CASTIGLIONE, horn at Geno«, 2616. No. 21. A Lanckcape, Cattle, and Figures. This artist did not only distinguish himself as an excellent painter, hut also 52 ITALIAN SCHOOL. as an excellent writer, and was still very young, when he published a most vio- lent pamplet against Perrier, in defence of Doininichino. Perrier was a French artist, who used both to paint and engrave, and had set his heart on visiting Italy, but was so poor that he could not defray the ex- pences of the journey, -^till at last he met at Lyons, with a blind man who was going to Rome, and oiBfered to be his guide, by which industry he sup-^ ported himself all the way, on the alms that were given to his master. Soon after his arrival in Italy, Per- rier became acquainted with Lanfranc, who gave him some instructions, for which the French artist paid very dear, since it was at the expence of his own reputation. Dominichino at that time, had just finished his famous picture called Tlw Communion of St ^ Jerome f and it is well known that Agostino Carracci had painted before, the same subject at Bologna. — At the request of Lanfranc, who wished to run doAva ITALIAN SCHOOL. 53 Dominicliino’s merit, Perrier made an etching in which he introduced the best part of his picture, and had tlie base- ness to publish it as being taken from that of Agostino, and it was on that occasion Castiglione wrote against the French artist. The fore-ground of this' landscape is occupied by a small group of goats, and a white horse loaded with garments and kitchen utensils; following him are a young woman and the driver, dressed in the loose manner of the Italians, clad only in a slight blue drapery, whilst his sun-burnt appearance displays the ex- cessive heat of the climate. The cabinet pictures of this master, are extremely scarce : this is clear, spi- rited, wellc oloured, and masterly exe- cuted. ON CANVAS, 54 ITALIAN SCH061., LUCA GIORDANO, born at Naples, ' No. 22, The King of Spain on Horseback. , - ^ This' prince was so lugMy pleased by seeing Luca Giordano paint, that every hour of relaxation from the care of the throne, was past in the painting room of this artist, and notwithstanding the po- pular prejudice that a King can never hope to find a true friend, he found one in a rank so infinitely inferior to his own, for Luca sincerely and disin-. tcrestedly attached to the monarch, made no vain parade of the confidence wfith Avhich the Sovereign honoured him, and was equally cautious in never ask- ing favours, either for himself or others, and it was with difficulty the King could prevail on him to aepept the honour of knighthood, which his merit so highly entitled him to. During his residence at the court of ; Spain, he lived in the greatest intimacy ITALIAN StHOOL, 55 with the Kuig, without ever forgetting the respect due to him, or eter in- terfering v/ith state affairs, but merely studying to make the fine arts, the chief amusement of a prince whose good graces he preserved, because he was careful never to abufe them. This portrait is that of the Sovereign, Luca’s protector and friend, in armour, a sash round his bod}’, and his batoon ^ in his hand, and mounted on a war horse, while a young page, on the right, is advancing towards him with his helmet. Faith, under the form of a woman, with a chalice in her hand, hovers over him, and an angel bearing a cross, de- scends from heaven, to follow him in I his wars, Avith those infidels, the Moor,s- who are represented trodden under his horse’s feet. It Avas at that unfortunate period^ AA^hen enthusiastic bigotry Avas eager to introduce it’s belief among peaceful and happy nations, Avith fire and sAVord, committing murder to enforce their . dor dam 56 ' ITALIAN SCHOOL. creed. — The times are altered, but men are not so, since they continue the same eagerness for human butchery, under some other pretence. ON CANVAS. FRANCESCO MOL A, born at Lugano, 1600* No. 23. A Landscape with Figures,. Gainsborough was never in Italy, and to atone in some measure, for the injury Avhicli that negligence might prove, to him, he was in the habit of borrowing, and sometimes purchasing works ^ of that school, as objects of study ; one day finding Jiim attentively examining the fine picture of Mola that represents Jupiter and Leda, from which it was with difficulty, lie could be parted, we in- quired V hat it was that so particularly caui^ht Ills attention, It is this 7nanner cf painting'' replied the modest artist, which I shall never attain, for Mola ap^ pears to have made it his oxen hy patent.'* ' ITALIAN SCHOOL. 57 The more we shall advanee in taste and knowledge, the more will the works of Mold be esteemed; he has sometimes equalled the greatest mas- ters, in history, but none of them has surpassed him in landscape. It was to that branch of painting his natural in- clination led him, and his studies to to attain it, were attended with the utmost success. In the picture now before its, we have one of those grand and solemn scenes of nature, such as we find in the works of Titian, Rubens, Poussin, and Salvator Rosa. — The trees are de- signed in the best style, and the dis- tance agreeably deludes and delights the eye. Oil the fore-ground which is rich and well broken, two men, who from their dress, appear to be banditti, are lying down, whilst a young woman on an elevated bank, which is just by, is con- versing with them. ON CANVAS. vor , I. L 58 ITALIAN SCHOOL BLNEDETTO LUTTI, bom at Florence, i66&. No. 24. Adonis dressing a icound in the foot of Venus. ' In the last illness of this artist, a friend wishing to keep up his hopes and spirits, told him his age was in his fa- vour being then in the vigour of life, about forty or forty-five, you must dou- ble iff replied ,Lutti, and reckon the nights, for I have lived both 7iight and day:f . ' . The performance presents three figures, as large as life. One day being at the chase, the god- dess ran a thorn into her foot, and tlie blood which flowed from it, changed into flowers which Cupid took cai’c to gat he]-. She is sitting under a tree, with her legs crossed, and holding her lance ; a light blue drapeiy is thrown negiigentiv ITALIAN SCHOOL, 59 over her shoulders, and fastened by a cJiain of gold, enriclied witli precious stones, resembling tJie bracelets whicJi she wears. She inclines hei'self towards Adonis, who upon one knee before lier, has just taken off one of her sandals, to pick out the thorn, and dress the wound. Cupid, pensive and inquiet, is flying behind Venus, seeming to wait with impatience, the result of the cares of Adonis; two dogs returned from the chase, are seen on the fore-ground; the landscape is of the finest taste, and the whole together form a work truly worthy of the eminent master who has painted it. ON CANVAS. FILIPPO LAURA, bom at Rome, 1623, No. 25. - A Sea Piece with Rocks and Fisures. . The right of this picture is occupied by a mass of rocks, 031 v hose summit. 60 ITALIAN SCHOOL. some straggling picturesque trees are beautifully detached from a silvery sky ; — amongst those rocks the Magdalen lias secluded herself in penitence, and is pra^ying before a cross, Avhich is placed with a book, on a fragment of rock, before which she is kneeling, her hair loose and flowing, and her arms and feet bare; Filippo Laura, whose excellence in small figures, is so well established, has given us in this chef d'ocuvre of art, a true pattern of piety and repentance. ‘Over the Magdalen, two angels are hovering on a cloud, shaded in tints of grey and silver ; the sea, and another mass of rocks, are on the left of the picture, and in the distance some small barks under sail. ON CANVAS, ITALIAN SCHOOL. 61 ANDREA SACCHI, born at Rome, 1594. No. 26. Tzoo Pictures with Monks at Devotion, Whatever may the branch of paint- ing an artist adopts, there are always in that very branch, some particular parts in which he excels, and by which there- fore, he obtains an acknowledged supe- riority over his cotemporaries. Raphael and Guido excelled in their Madonas, Salvator Rosa in witches and fabu- lous monsters, Bourguimiioneand Wou- vermans in horses, ^ and Andrea Sacchi eminently so in painting friars, not those fat and opulent monks whom we see wallowing in unrestrained luxury, but those primitive monks who through inclination, devoted themselves to God, and passed their lives in mortification apd penance. So high was the reputation of An- drea, for those subjects, that the Bene- £>2 ITALIAN SCHOOL^ dictines of a ridi friary applied to him to paint the life of their founder St. Benedict, in twelve pictures, for their church, requiring their own portraits to be painted in those figures, which would necessaril}^ be introduced into the work. Sacchi composed *the pictures, and when they w’^ere far advanced, the monks began to sit for their portraits, and it w^as then, that after having be- sto\ved so much time and labour on so great a work, the artist w^as almost driven to despair, when he saw that most of their fimires, bein^ destitute of character and dignity, would be the ruin of the whole. The monks were as little satisfied with the painter as he was with them, for they had all pretended to the ho- noirr of representing St. Benedict. j. O One found himself too corpulent, another too old, none liked the place assigned to him in the pic- tures,, and neither of them thought his likeness true. At length harassed and fatigued, Andrea desired them to w ithdraw, ef- ITALIAN* SCHOOL. 63 faced their, portraits, substituted histo- rical heads, and finished the work to his own satisfaction, but the Benedic- tines declined having it, so that Andrea was obliged to adopt legal measures to compel them to fulfil their .contract, and as his pictures were proved to be the better, and highly more valuable without the portraits, he was fortunate, or rather unfortunate enough to gain his cause, for, immediately after paying for the pictures, the monks tore them into pieces ; the sketches however have remained, and are dispersed in different cabinets. • ' Tlie two performances of his pencil which are in tliis collection, represent friars of the Bernadine and Benedictine orders, praying and meditating in a rugged retreat ; among the rocks. , ' The Bernadines are dressed in white, their heads and feet bare ; — a crucifix, is erected on a rock which serves as an altar 'in the solitude ; and a monk is kneeling before it, one of his hands stretched over the altar, and the other 64 ITALIAN SCHOOL. Sacchi, on his breast ; — behind him, to the right of the picture, another monk is kneeling with his arms extended, and his eyes fixed with fervent devotion, on the crucifix; — a third is on the left of the picture, half reclining over a stone, his arms crossed, his cowl thrown over his head, and praying at a corner of the altar.’ A group of Benedictines, are in the centre of the other picture, one of whom seated on the fragment of a rock, is reading a book to those who sur- round him ; — an old friar with a cross in his arms, is leaning on the same vstone ; whilst towards the left of the picture, a young monk is sitting on the ground, his hands joined, his scourge tied round his body, and Avhile his whole attention is taken up with the read- ing, his eyes are rivetted on a crucifix which is fixed to the trunk of a tree, on the opposite side. ON C A N A S , ITALIAN SCHOOL. 65 CARLO CIGNANI, born at Bolonga, 1628, No. 27* Bathsheba at the Bath, This painter, from his early infancy, was subject to a singular misfortune; he ^v^s frequently seized with a kind of tumult m his ears, during which he heard a dreadful noise of cries, and the sound of drums ; his eyes swelled, his sight darkened, and his speech failed him, but he underwent no bodily pain, and always recovered and instantly re- sumed his usual state, on having his feet put into warm water. With this infirmity, which could never be accounted for. Carlo lived to the advanced age of ninety-one, often however, obhged to paint with his feet in water. We have seen in a Flemish picture, this subject treated by a painter, who having interpreted the word Bath in a VQL.I, M ITALIAN SCHOOL. 66 literal sense, liatli plunged Batlislieba in water, up to tlie neck, in the large . ]iou(l of a garden, wliere she is mak- ing: her utmost efforts to regain the edge, whilst her affrighted women ex- press their fears and agitations, by their gesticulations and cries we know the l)ath of a woman consits of only a sufficieiit (quantity of water for washing the person; the ancients were accustomed to mix perfumes with it. This, in a composition of nine figures, represents a ricli pavillion, at tlie bot- tom of a garden, where Bathsheba is seated on an antique bench covered with a scarlet drapery ; at her feet is a large gold bason fiik-d witii water, and by it a silver vase in wliich were the perfumes. Some of her woineii, are occupied in undressing her, others are playing on different iustruiuents, and amusing her with dancing : — on the riglit of the picture, two women are near a balus- trade, and on tiie other side, are some fine antique vases; King David is also I*rALIAN SCHOOL* Gj seen on a platform of his palace, con- tiguous to the garden . Not only the picture is of the most judicious composition, in the distribu- tion of the figures, but they are also most correctly designed, and the whole is painted with as much force as de- licacy. ON CANVAsi BY THE SAME. No. ^8. Venus bringing the Armour to Vincas, The task of collecting pictures, is a much more difficult one than many imagine; not only we must have stu- died much, and learnt by a long ex- perience, the different stiles, touches, and the different manners of masters, that we may not be deceived by copies, but we must also know how to distin- guish between the works of their youth and old age, and those of their best 68 ITALIAN SCHOOL. time; and after all, that study and knowledge proves of no service, if we are not able to discern between a vir- gin and pure picture, and one that has been damaged and re-painted, for they cease to be of the masters, whose names they bear, in proportion to the more or less they have been damaged and re-painted. We pretend not that it is possible to find many pictures, to which has not happened some slight accident ; the lapse of time and the natural decay of all things, are sufficient to have caused some damage, and there are very few undoubtedly exempt from such. But we speak of those accidents which may have Iiappenevl to pictures by cleaning, or other causes, and that have been re-painted on the parts damaged, in order^to render them supportable, for as the’ new paint will not unite with the old, they cannot tlierefore remain abo^’C ' a day or two in harmony with tlic rest, since the new colours will change in proportion as their oil Avill dry, and will ITALIAN SCHOOL. 69 sooti become as many spots upon tlie picture : it is then, of the greatest con- sequence not only to be assured of tire originality of a performance, but also to examine it’s condition. Notwithstanding the most scrupulous care upon this article, we have been sometimes deceived, and in looking mi- nutely at this picture, to make the de- scription of it, we find that it is again the case with this, which was newly var- nished when we bought it, and unfor- tunately it has been re-painted to conceal some damage, so that the new paint must not be removed. This was purchased at an auction, liung very high and covered with new varnish ; — indeed our architects have committed a great fault in building the picture rooms so high, instead of hicli they should be rather low, that the spectators may see the pictures close ; and wide, that they may recede from them at pleasure, to enjoy their effect. When we reflect that a prudent col- lector and a connoisseur, not only exa- 70 ITALIAN SCHOOL. C\ Cignani, mine a performance very close, but even make use of a glass, to ascertain it^s condition, we cannot help thinking it laughable to see an auctioneer's por- ter, mounted on a ladder, from which, with a long pole, he points to a picture selling off as to a sign-post, half a mile distant from the e3^e. This' represents Venus descended from the sky on a cloud, in her car drawn by two doves and some little Cupids ; near her is her son Eneas, upon whose shoulder she lays one of her hands, whilst with the other, she points to a young love who carries the armour, at the sight of which the hero appears in cxtacy. It is a picture of good ordonnance, and whose figures have great expression. ON CANVAS. ITALIAN SCHOOL, n JACOPO AMICONt. No. 29. Venus and Cupid. It represents two figures, half lengths, large as life, Venus playing zoith Cupid \ she holds in her right hand, an orange which she playfully keeps from his reach ; whilst, with the other she has just taken his arrow; the child who seems to un- dei’stand his mothei's meaning, smiles and reaches out his hand. These figures are correctly drawn, and liave much expression. ON CANVAS. CARLO MARATTI, born at Camerins, 1625. No. 30. The Virgin teaching the Infant Jesus to read. The Vi rgiii, dressed in a red robe, lined wi(h blue, is seated near a-pillar, ITALIAN SCHOOL. ill a retired part of a landscape. — Mo- desty, wisdom, goodness, as well as all other excellencies are united in her> and command our respect. The divine infant is on her right hand, leaning on her, while he is reading from a book on her lap ; lie appears to have left off for a moment, and raises his eyes towards his mother, to whom he is speaking. This cabinet picture is evidently of Carlo Maratti’s best time. ' ON CANVAS. , ZUCCARELLI, born 1710.' No. 31. Two Landscapes^ with Figures. It is seldom that an artist acquires in , his youth, such a reputation as Zucca- relli had a just title to in his, as land- scape painter. Unhappily he trusted too much to his great reputation, and would from a ITALIAN SCHOOL. 73 landscape painter, become an historical one, for he did not succeed in that line, and after liaving lost several years in the painting of history, he returned to that of landscape, with also as little success, because he had lost the prac- tice of it* These two he painted in his youth, for his friend Mr. Dalton, keeper of his Britannic IVIajesty’s pictures, and if the connoisseurs will examine them close, to" see the beauty of the figures, the chasteness of the colouring, the firm execution, and above all, the fire with which they are painted, they must con-r fess that such works will carry the name of Zuccarelli to posterity. One represents a view in Italy, in the very height of summer. Near the cen- tre is seen a Cascade shedding it's water to the right and left ; on one side, are some old trees, and two young women, one of whom is standing with a baket in her hand, whilst the other is seated with a child in her arms ; on the right VOL, r. ' N ZuccardU. 74 ITALIAN SCHOOL. a man crosses the water witli a herd of cows ; and in the second ground, to^vards tlie centre, there is a house, near which some women, who liave been washing, are lianging linen on lines to dry ; build- ings, and soiiie other small figures, are - also seen in the second ground. The other picture offers the view of another landscape, but in the depth of winter; the principal part is occupied by a river frozen over, upon wliich are seen several people, some skaiting, others walking’, and a sledge drawn bv mules. Upon a piece of ground, on the right, a tefit is raised in form of an inn, v ith a sign and standard displayed ; witliin, arc people round a table, eating and drinking, and a fire, near which two wo- men are standing, is on one side of the tent, and on tlie other, some old tiXT's* covered with siimv^ and.liear wliich a man is leading two oxen yoked. Again we distinguisli on the second ground, to the left, some buildings and trees, and on the right, a village at a remote distance. ON' C A N V A S . 75 ITALIAN SCHOOL. BY THE SAME. No. 32. • Large Landscape with Cattle and Figures. This work unites the most interest- ing scene with one of the finest compo- sitions. In front of the picture, and toAvards the right, a young shepherd has seated himself, and plays on the pipe, his dog lying behind him, Avhilst three girls, Avho are opposite, seem to listen vrith equal •pleasure and attention; one of them is^ seated, and leaning on the ground, and the others are standing ; the youngest rests liimself on the shoulder of her companion, Avith her eyes fixed on tlte shepherd, in a kind of extacy ; three goats lying down, occupy the centre of the picture. In the second ground is a hill crown- ed Avith trees, and ornamented with buildings beautifully scattered, and producing the most enchanting effect. 76 ITALIAN SCHOOL* At the foot of the hill is a cascade, and a sheet of water, in which a coun- try man is angling ; a woman is stand- ing near him on one side, and on the other a milk woman passes with her cow, A smiling country, luxuriant trees, and a serene captivating sky, add to the charms of this picture, which pre-^ sents us with all that nature has most lovely and simple. ON CANVAS* Venetian School. TIEPOLO, born at Venice, 1694* No. 33. Sketch of an Altar’-Piece. ^ ^ ^ In the centre of a fine piece of archi- tecture, the virgin descends on a cloud, carrying the infant Jesus ; on her right, ' is the defender of the celestial throne, the angel Michael who fought and van- quished Satan ; and on her left, Gabriel the angel of peace ; we see also, at her feet, St, Catharine, whose sword and palm of martyrdom, are placed by her side, on the cloud. his celestial group appears to the Pope St. Gregoiy,, who is on his knees, dressed in his richest pontifical habits ; St. Lawrence, whose liands are joined in prayer, and is in the habit of a dea- con ; and to St. Francis, whom we know by his extreme leanness, his humility, ^nd by the simple and coarse vestment . 78 VENETIAN SCHOOL. of his order ; he is standing, and has just laid down his crucifix, to do ho- mage to the infant Jesus. Let the judges of the art stop but two minutes before this picture, and they will agree that Tiepolo holds a rank amongst the first masters. ON CANVAS. BY THE SAME. No. 34. Corialanus in the Camp of the Volsciam. Tiepolo, It would be ridiculous in us, to give the detail of an history so universally known, we shall therefore confine our- selves to the description of the picture. It is composed of sixteen figuresV on the left is the tent of Coriolanus, in which the young hero appears sur- rounded by ‘ his new friends the Vol- scians. He is reclining with his left arm, on the shoulder of his lately acquired ally, Tullus, and a negro boy is near, holding his helmet. I o VENETIAN SCHOOL. 79 His mother, wife, and son, followed by the Roman matrons, approach him from the right of the picture, and are supplicating on their knees, and at- tended by a standard-bearer, mounted on a beautiful white charger ; — the firm ally of the Volscians appears however inflexible. The figures are correct and spirited, and the most perfect harmony reigns throughout tlie whole work. ON CANVAS, TITIAN, born at Fruili, 1480. ' No. 35. Zb 3 The departure of Adonis for the Chase. IS\ Through what a fatality must the first chef d' oeuvres of art, those works which have cost so many difficulties, so. much study and labour, fall into the liands of men, who like the cock that found a jewel, know^ little or nothing oT their worth ! how many superb piecCvS 80 VENETIAN SCHOOL.' of arcliiteclure, pulled down bj the hand of avarice and folly ! and how many capital pictures, which should have carried their authors to immor- tality, are daily ruined by ignorant dealers, and loggerheaded collectors 1 Such must have been the fate of this, which had -been daubed in dilferent parts, if a French emigrant, who is ex- tremely fond of painting, had not out of mere love to the art, removed the new paint it was covered wdth, with a skill and patience wdiich cannot be too • much commended. The wdiole sky w^as painted upon, wdiich makes us imag ine, since it is now evident that it had not received the least injury, that wdmevcr had done it, thought Titian had not sufficiently ■ finished the sky, w hen in fact Titian, and other great artists, have ahv ays painted the skies ' of their landscapes, remai'kably thin, to render them light and transparent. W e have ordered this picture to be placed very low in the exhibition room. VENETIAN SCHOOL. 81 that every one may inspect it minutely , and witness it’s perfect restoration. At the same time, the public will see, by the extraordinary merit of the perform- ance, how justly entitled Titian is to his truly great fame. r elibien, in his Eiifretiens sur le's Owr- rages des Peintres, informs us that Titian has repeated this subject with some al- terations; which repetition, after having been long in a palace in Rome, was im- ported last year, into this country, and is now in a first-rate collection. t On the fore-ground of a large land- scape, Adonis > in his huntsman’s cap and dress, is seen holding three dogs and his lance, and comes at the moment of his departure for the chase, to take leave of Venus who endeavours to re- tain him, but in vain, as Diana, who appears in the sky, is pouring her influ- ence over Adonis. Near them, under some trees, the in- fant Cupid lies asleep. ON CANVAS, VOL. h O Titian 82 VENETIAN SCHOOL. \ GIACOMO TINTORETTO, born at Veniceji5i2, No. 36. The Angel appearing at the Judgment Dap. “ In a moment! in the twinkling of an eye! at the last- trump ! for the trumpet shall sound.’* St., Paul to the Corinthians^ ch, xiv. v. 62. The angel at tlie last day, a figure of natural size, is seen sounding the trum- pet, which he holds in his left hand, and raisin O' the rio ht, to command the gene- ral resurrection ; the lower part of his body, is bound with a light drapery, of a red colour, and w hich falls on his knees ; his wings arc extended, and in the immense space of the air, he Hies round the w^orld, to announce the orders of the All-pow^erful. ‘ This figure, Avhich is drawm in tliat fore-shortening, artists know so w^ell the difficulty of, is correctly drawm, and painted w;ith so much fire and freedom, , that it must rank among the duf d'cvnvres of that truly great master* ON CANVAS. VENETIAN SCHOOL. 83 . GIORGIONE, born at Caflel-Franco, 1478., I No. 37. ; 2 (P Strolling Musicians, This is again one of those pictures where art knows so well how to imitate nature, that we believe we see the realitv, and never has Gioraionc rival- led Titian with more success than in this work. We see strolling figures, of half length, laro'e as life ; and on the riolit of the picture, a woman in a red robe, tied with a girdle, one of her arms ex- tended, playing on the tambourine ; on the left is a youth of fourteen or fifteen years of age,' who attracts also bur at- tention, in playing upon the bagpipes, and we see between them, an officer wlio lias stopt to hear them, ^ resting his liand upon the hilt of his sword, •and who seems to take pleasure in hear- ing their music. It is impossible for an artist to give more expression to his figures, or to 84 VENETIAN SCHOOL. cover a canvas Avith more natural and seducing colours. ON CANVAS, GIACOMO B Ass AN, bom at Bafano, 1510, No. 38. Joseph of Arimatliea laying our Saviour in the Sepulchre. ^ li This is a composition of seven figures. Joseph having obtained from Pilate, permission to inter Christ, hastened to profit by it, and came the same evening, wjth Nicodemus, for the next day was the' sabbath, to render him the last duty. We see Joseph raising our Lord, Avith the sheet, whilst Nicodemus hastens to descend tlie ladder to assist in laying him in the Sepulchre. St.' John and the three Marys, who are come to embalm him, assist at the mournful ceremony, and as* it Avas late, a flambeau enlightens this scene of Avoe, Avhich the painter has treated Avith great force of colouring. ON CANVAS. VENETIAN SCHOOL. 85 PAOLO VERONESE, born at Verona, 1530. No. 39. ' Saint Catherine* St. Catherine is ranked amongst the virgins and martyrs, and was the daugh- ther of a King ; but the legend does not mention liis name ; however it is known that he was a Pagan, and lier mother, one of those faithful Christians of the primitive church, Avho, to avoid persecution, were under the necessity of professing their faith in secret. She took care to bring up Catherine • in tlie true religion, from her earliest infancy, and the young princess became as famed for her learning as for her mo- rals ; but less prudent, or more zealous than her mother, she was not satisfied Vv ith a secret practice of her principles, which for fear of her father, had been recommended to her, but both openly avovred it, and sought to dispute ^ritii the Pagans in defence of her religion. 86 VENETIAN SCHOOL. Surprised and affronted by her con- duct; the King Jiad Catherine brought before him, and commanded her to adore the false gods, and many a Pagan, which she declined on account of her faith, and because she liad made a vow of c]iastity; which liels caused many artists since, to paint her marriage with the infant Jesus, Having resisted the anger and threat- enings of her father, the princess set out for Alexandria, tlie metropolis of Egypt, where she publicly instructed people in the true religion, and had many public disputes in defence of it, with the ablest philosophers of that city, 'till at last she was delivered up to the executioner, and sufi'ered in the twenty-fourth year of her age. vSt. Catherine is represented sitting, dressed in purple, with a crown of gold on her head, and the palm of martyr- dom in her hand. A fgure full of ex- pression, 'most correctly drawn, and painted with uncommon spirit. ON CVNVAS. VENETIAN SCHOOL. 87 BY THE SAME. No. 40. U cronesjc^ The Marriage of St, Caiherine* The Virgin Mary dressed in redand ,^/^, ^ a blue drapery, is iinniediately in front of the picture, whilst the infant Jesus .stands on her knees, supporting himself by his left hand, and liolding her veil with liis right ; lie stoops towards St, Catherine wlio is prostmting herself before him, in the act of adoration. As a King’s dauglitcr she wears a crown of g‘ Id, ornamented with pre- cious stones ; her drapery is alternately shaded w ith green and purple, and she wTars tlie nuptial robe, wdiich descends to her feet, and wdiich is of the purest Avhite, the emblem of her vnrginity, and over it Hoacs her flaxen hair, with a fas- cination tliat justifies tlie expression of connoisseurs, as it really forms a pre-^ cious compound of gold and silver. P. Veronese 88 VENETIAN scnoor. t Tlic vouD^’ viri2:in holds the martyr's' palm in licr right liand, her left being extended towards the infant, to whose worship she has dedicated herself, while her eager wishful eyes evince the hap- piness she enjoys. - A landscape enriched with a brilliant sky, adds to the beauties of this picture, in the centre of which a nuptial crown of tliornless roses, is suspended over the head of tlie self-dedicated virgin. ON CANVAS, ALEXANDER VERONESE, bom at Verona, 1600. !N o. 4 1 . Judith icith the Head oj" Holof ernes. The figures are as large as life ; Judith is clothed in those most luxurious gar- ments Avdth which she had adorned her- self, the better to seduce the enemy of the Almis;htv; her hair braided with rubies and pearls, is buckled with art, and h('r bosom uncovered. VENETIAN SCHOOL. 89 At this moment, the holy and strong V'oman is victorious-, and gives to her servant the head of Holofernes, which she has just struck off during his sleep ; but in the midst of lier triumph, she remembers the dangers she has to fear ; she still is in the tent of Holofernes, and surrounded by his soldiers; therefore she departs with that precaution and prudence whicli the greatest heroes know how to connect with courage. In the mean, time the servant of Judith, receives into the sack, the head of the tyrant, and casts upon her mistress, a look of fear and admiration. The connoisseurs will find that the. execution of this work, corresponds with the beauty of the composition. ON CANVAS, VOL, r. ^ p I 90 VENETIAN SCHOOL, ' PARIS EORDONE, born at Trcvigi. 1513. No. 42. Venus and Adonis, r" have but few works of this mas- ' ' ter, i]i England, for they were mostly kept in Italy 'till the invasion of it by / ^ the French ; he is the author of the ce- lebrated. picture known by the title of IJaventure de Venice,''' the following singular historical trait gave rise to the ^ jubject. In the night of the twenty-fifth of Februaiy, 1^39? the sea rose in such a maimer, as to threaten Venice with • destruction. An old fisherman,' quite dislieartened by the danger, was quit- ting his boat, when three strangers came and bade him take tliem to Si. l^icholas del Lido, which tlie old man, on account of the tempestuous weather, ' and ‘dreading to be overset, refused ; hey however pushed otf, and compel- L VENETIAN SCHOOL. 91 led him to take the oars ; his exertions overaime the violence of the storm, and they reached the port in safet}". Arrived at the mouth of the liar- iDOur, they shewed him a large vessel, which they informed him, was rilled with devils who had agitated the sea during the night ; soon after having passed it, the vessel was no longer visible, and they assured him it was sunk by virtue of some mystic words they had pro- nounced. The turbulence of the sea abated, and one of the strangers landed near the church of St. Nicholas, another near St. George\s church, and the third at St. Mark's place, where the poor fisherman, notwithstanding the fright he had been in, demanded his fare. Assemble the Doge and senators, said ihe stranger to him, inform them that through thy means, the city of Venice has been delivered from the ruin which threatened it this night, and demand thy reward from them; but, replied 92 VENETIAN SCHOOL. the old main, they will look upon me as' an imposter ! upon which the other tak- ing a ring from his finger, gave it him, adding, shew them this ring as a pledge of thy veracity, and know that my companion who first quitter! thee, is St. Nicholas, Avho is honoured by you mariners ; the other St. George, and I am J\Iark,‘ the Evangelist, tlie pro- tector of this republic, and so saying he disappeared. p, Bordone, 111 the moiTiing the fisherman, who was universally known in Venice, and much esteemed for his probity, de- manded audience of the council, was admitted, and related what had hap- pened, confirming what he was advanc- ing, by the production of the ring which . he had received, and after mature con- ■ sideration, a considerable pension was , assigned to him ; then the council went in procession, and deposited the ring among the relics, in the church of St. Mark, where it is seen to this day. Some may imagine, that the after- supper frolic of three midnight rakes. . VENETIAN SCHOOL. V'ho, careless of the danger, amused themselves during the storm, may have ' mven birth to the “ Avenfure de Venice O and we will not pretend to decide be- tween those incredulous and- the faith of the Doge of Venice, of 1339? who besides, was aided b}^ all the senators ; and it is well Iviiown, that in every coun- try, a senator is always, if not a first-rate genius, at least a very, very sensible iiian. i The fine Picture of Paris Bordone, in this collection, represents' the death of Adonis, aad Venus weeping over him. lie lies extended on some fragments of ruins,, covered with a blue drapeiy, while Venus, who is in yellow, beside him, raises her eyes to heaven, lament- ing his loss. / Bordont, ON CANVAS. / Spanish School. DON DIEGO VELASQUEZ, Born at Seville, 1594* " ! No. 43, A Mastiff chained. How is it that the faculties of the mind, attain superior excellence, with- out the heart improving in like propor- tion ? We, 'on the contrary, see this frequently corrupt and degenerate, whilst the other soars to perfection ; and the annals of the fine arts, too often’ - present us with impressive examples of this fatal truth'. In the army, nary, and many other professions, emulation is excited by a laudable ambition, and it may be now and then, the case in the career of arts ; for some painters have been, and some are, at this day, actuated by the same principle ; yet one must in justice say, that by a singular fatality; instead of SPANISH SCHOOL. 95 tliat noble emulation, the painter is often susceptible of a go veiling envy and a degrading jealousy, which (strange at it may appear) not only augment as he acquires perfection in the art, but also arm his cruel tongue against the meri- torious works of his brother artists, as they did the cruel 'hand of Cain, against his brother Abel. Woe be to the youth, who with eveiy generous sentiment and aspiring abili- P'alasquez^ ties, enters on this thorny path ! for the rising merit of a painter, is as insnffer- able to the eyes of another, as the sun- beams are to the eyes of the owl ; and instead of offering him help and encou- ragement, the very veterans of the pro- ~ fession will,on his first appearance, pursue and brow-beat him as a hornet approach- ing a hive, to rob the bees of their honey; so that the inexperienced candidate has not only to sunnount the accumulated difficulties of the art, but also a host of artists, and unprovoked enemies ; and with them, injustiee and jealousy, whose serpents and vipers arc already pouring their poisons on his early works. lasqucz % SPANISH SCPIOOL. ^Vill it be credited, that even so great a master as Velasquez, could be jealous of his own slave, a young mu- latto who had the char«:e of grindinc^ his colours, and preparing his palette ? Pareja, (Av hich >Av as his name) having frequent opportunities of seeing him paint, had initiated himself (unknown to his master) into that art to which his natural inclination led him,- and he passed the best part of the night, in learning to draw, and in day time, his leisiwe hours in painting portraits. But Pareja, aware of the haughty pride of Velasquez, and sensible that lie would take offence at a man in so inferior a station of life, having em- braced his profession, was continually in dread of a discovery which however, he was not able to avert. The more merit Velasquez found in his slave’s works, the more his jealousy ' and anger were inflamed ; but fearing, should he discharge him, that the new artist, by having more opportunities for application,' would make a more ' rapid .SPANISH SCHOOL. 97 progress in the art, he deteiTOincd on keeping him, and assigned him .so mnch work, as to leave him no leisure for painting ; but the slave always fulfilled his task, and continued to paint por- traits, which Velasquez, apprized of the place wliere they were concealed, liad frequently the curiosity to examine ; and their merit raised his envy to such a degree, that at last liis .slave was be- come his torment. The King of Spain, who was an un- common admirer of painting, frequently resorted to the apartments of Velas(iuez, to see his works ; and as he went there one day, in his absence, Paireja, w'earied with working in secrecy and dread, seized the opportunity of placing one of hi.s pictures before him, and prostrating himself at the monarch’s feet, he in- treated liim to obtain his master’s par- don, and his leave to paint. Philip the Fourth, w^ho Avas possessed of a greatness of soul, found himself in- terested by the merit as well as the fate VOL. I. Q Veldisque Velasquez. 98 SPANISH SCHOOL. of his unfortunate supplicant, and made Velasquez give him his freedom ; but Pareja, who saw how dearly the forced sacrifice cost his master, whose resent- ment was at it’s height, determined on never leaving him, and at length, by his constant attentions and attachment, overcame the jealous disposition of Velasquez. There is. in this work of his pencil, such truth, and it is executed with such freedom and spirit, that like Alcibiades’ dog, which has justly passed to posterity ch^ d' ceuvre oi sculpture, this will stand the test, and pass also as a master- piece of painting. In a court-yax'd, a dog is chained, Avith some meat brought in a dish be- fore him : unfortunately his chain is - too short, and he makes vain efforts to reach it. ON CANVAS* SPANISH SCHOOL. 99 THE SAME. No. 44. ^he Resurrection^ a Sketch for an Altar-^ Piece at Madrid. When Sir Joshua Reynolds saw this picture, he was thrown into an enthu- siasm which cannot be described, as it was in his opinion, one of the most spi- rited and meritorious sketches he had beheld ; and on being represented, that some of the figures, hands and feet AverC far from being correctly draAvn, he answered that such a thing was not to be expected in a sketch, as their being marked, was sufficient to shcAV what an effect the large picture would have^, and he added, that if all the parts were equally terminated and correct, it would be no longer a sketch, but a finished picture — let us describe it ! Heaven is just opened, and in the midst of night, it’s light is for a few Velas qi{ez 100 SPANISH SCHOOL. moments, dissipating darkness ; and our Saviour, with the standard of faith in his hand, ascends triumphantly, amidst the cherubs and angels. Tlie tomi) is in the centre of the pic- ture, and though most painters, who have treated this subject, have repre- sented it open, Velasquez has left it Velasquez, closed, Conformable to the scripture, that it remained so "till the next morn- ing, when an angel came, and rolled away the stone : — “ And beliold there was a great earthquake, and the angel of the Lord descended from heaven, and came,' “ and rolled away the_^stone from the door of the se- pulchre.'* St, Matthew, chap, xxviii. .ON CANVAS, BY THE SAME. No. 45. St. Francis Xaverius presented to the - Iluljj Trinifp. However eminent the talents of an artist may be, we hud ourselves levoltecl SPANISH SCHOOL. 101 at their attempting to represent the Deity, under' the form of an einaciatexi old man, with a long beard, and white locks, and wrapped up in cumbrous ilrapcry, as expressive of old age. We are surprized that our ancestors did not decry such liberties, and mark them with pointed censure. We may be asked under what form t^liould God be represented ? and we un- equivocally answer, under none ; for al- though we keep those pictures in which sucli licence has been taken, merely for tlieir merit, as line specimens of art, we trust, that neither our cotemporaries or posterity wifi fall into a similar error. St. Francis Xaverius, surnamed tlie Apostle of tlie Indies, was born in Na- varre, a country tributary to Spain, and was eduaited in one of the most cele- brated universities; where he became extremely learned. He was still a youth when he made the acquaintance of St, Ignatius, the founder of the so- ciety of Jesuits ; but as their maxims differed, and St. Fi*ancis Xaverius was 102 SPANISH SCHOOL. }^t;lasqiic. remarkably proud, St. Ignatius, wiio Avished to convert him to his principles;^ adopted tlie means of flattering him into a compliance with his views, by excessive praises of his intense know-- ledge and learning, That flattery was successful ; the two Saints became intimate, and set out to*- gether for Italy, where thc}^ made a vow of cliastit)^ They were however shortly after obliged to separate, for John the Third, King of Portugal, wishing to send some Christian nlissionaries into India, applied to Pope Paul the Third, Avho among a number of otlicr Jesuits, named by him for that expedition, in- cluded St. Francis Xaverius. Soon after the nomination, they quit- ted Rome with the Portuguese ambas- sador, and although his Excellency had furnished Xaverius with a horse for tlie journey to Lisbon, he declined making use of it, prefehng the fatigue of walk- ing ; and in every inn ait which they ne- cessarily stopped, during the route, he assisted the ambassador's sej:vants in 103 SPANISH SCHOOL. the mo§t menial offices, as well as in cleaning the horses, and freqnentl}^ gave up to another the bed which was pre- pared for him, clinsing rather to be with the grooms, and pass the niglit in the stable. On the arrival of tlie missron at Lis- bon, and while waiting for the ship which w^as to take them to India, the King appointed one of his palaces for their residence ; Francis Xaverius however declined the offer, and prefer- red sleeping in the workhouse, and to subsist on alms till his departure. It is impossible for us to follow St. Francis Xaverius to the Indies, through China, and the different voyages he made to othei' places , noi' can we enu- merate the many miracles he has per- formed. We shall only observe that Pope Paul the Fifth placed- hint in the calendar of saints in 161.9, and that Gregory the Fifteenth, his successor, ' canonized him in 1622, to the infinite joy of Spain, who had to boast of a new Saint of their own nation. — It vras Vdasquc"" 104 SPANISH SCHOOI/. at that period that Velasquez flourish- ed, and lie has commemorated the event by several pictures. This represents the Holy Trinity in refulgent beams of glory, surrounded by a choir of cherubiiis and angels ; the Holy Ghost is there in the figure of a dove, glancing celestial rays on St. Francis Xaverius who, in the habit of his Ol der, is kneeling on the left of the picture, iiis. arms extended, and his head raised towards the Holy Trinity, to which the Virgin Mary, wdio is sit- ting at the right hand of our Saviour, appears to present him. At the bottom of the picture, are two angels, one oifering up to heaven, the religiously inflamed heart of St. Francis Xaverias, v hil^t the other pre- sents the Saint, with a branch of white lily, as a reward of his chastity. The fire and spirit of Velasquez, are strongly evinced by this work.— -The touch is firm, and the colouring glow- ing and hariiionious. ON CANVAS, SPANISH SCHOOL. 105 GIUSEPPE RIBERA, called SPAGNOLETTO, Born at Xativa, 1589. No. 46. Seneca dictating his Will. As Hogarth, the celebrated engra- ver, called one day on Sir Joshua Rey- nolds, he was obliaed to wait some little time, and was shewn into the parlour, where he found by the fire-side, a gen- tleman who looked at him, but neither got up nor opened his lips. Soon after, Hogarth withdrew into an antichamber, and taking his pocket- book and pencil, he was sketching him when Sir Joshua came. For these six months,'’ said the engraver, I have not been able to finish a work for want of an idiot’s figure ; I have at last found a perfect one in your par- lour, and taken a sketch of him.” — It was the famed writer Doctor Johnson. vox:. I. R lOo SPANISH SCHOOI,. Such was the figure of Spagnoletto, who looked so dull, so shy and insipid, that far from discovering in his person, the least appearance of the great n\an he >vas, most people took him for one >rlio had scarc*e common sense. — -From,' • ocu/i, vultus per swpc rnentiuntur. In this performance, one of the best of that eminent master, the composi- spagnoktto, Won presents thirteen figures, in atti- tudes equally moving and varied. We see in liis last moments, in the arms of, and surrounded by his disciples, the greatest and most virtuous of men, A\ hose veins have just been opened con- formably to the cruel orders of Nero. He is dictating his last will, which one of his disciples, who is at his feet, is writing. Two others of his disciples, are sup^ porting in their arms, the enfeebled body of the old man, Avho is only co- ' ' vered with a piece of drapery, Avhilst another supports his legs; the rest, are , some opposite, others around him, and all expressing by their countenario- s. SPANISH SCHOOL. 107 not that affected grief wliich we see on tlie hypocritical face of an avaricious heir, hut a regret mixed with tender- ness, at losing by so tragical an end, their friend and master. ON CANVAS.' BARTHOLOMEW STEPHEN MURILLO, Born at Pilas, 161^. No. 47.' Christ after Flagellation. The painter offers us, in this truly moving performance, the Saviour of the I world, reduced for our sins, to th eabject condition of a vile culprit, naked and trembling, and in the most excruciating ! torments ; yet that dignity and sweet- I ness, that patience and resignation, ynth i which, the Son of God went tlirougli I the whole of his passion, are so well ex- pressed in his countenance, that our feelings ' are the more worked upon, at the sight of shuch umility and goodness. Murillo, ^ ^ (j> 108 SPANISH SCHOOL. But the wise and religious artist, who no doubt was affected himself by his own work, has taken care to relieve us in some degree, for at the very moment that, fatigued and exhausted, the ty- rants have left our Saviour in the ut- most misery, he has, like another Par- megiano, and with no less power, intro- duced two celestial beings, two fervent angels who are, comforting Christ, and sympathising in pains. It was, as it is well known, in sub- jects of devotion, that the devout Mu- rillo excelled. ON CANVAS. ' BY THE SAME. No. 48. Our Saviour bearing his Cross. This picture offers a composition of ten figures. Now we see him in the last stage of his sufferings, in his way to Mount Calvary, insulted, loaded with SPANISH SCHOOL. 109 imprecations, dragged and beaten by his savage and barbarous executioners, while his mother in pangs and agoniz- ing;, together with his distressed and faithful disciple John, are following him in the tumult' and horror he is sur- rounded with. Such trials, such bitter adversities are more than human nature can bear ; and already weakened by a fast of forty days, by a long imprisonment, by his flagellation, and an exciniciating wreath of thorns, our Redeemer can no longer support himself, and falls under the weight of his cross — but making a last effort, he raises his head, and turn- ing liis eyes towards heaven, he im^ plores the assistance of his celestial Father, while by a secret impulse of her duty, and in an effusion of pity, Veronica falls on her knees, and offers him her veil, to wipe his sacred face. It is thus that Murillo has treated this most difficult subject, which many have attempted, Vhich few have well ' done, and in which he has been sur- Murillo^ 110 SPANISH SCHOOL. passed by none, either for colouring drawing, spirit, or expression j and we must add that it is composed, both with that grandeur and simplicity, which so solemn and so awful a spec- tacle requires. ON CANVAS* 1 BY THE SAME* No. 49- ' St. 'Joseph returning from his work^ zeith the Infant Jesus and the Virgin Mary. The Infant Jesus clothed in a grey drapery, is walking between St. Joseph and the Holy Virgin, who is covered with a scarlet garment and blue dra- pery^ with sandals on her feet, and a veil on her head, holding one of the .hands of the infant, whilst St. Joseph holds him by the other, and carries an axe on his shoulder, as returning from his work. It is after a prejudice of which wt. no where find the origin, that paint ers^ have SPANISH SCHOOL, ill Hot ceased to represent St. Joseph as a carpenter, for it is not proved that he ever leai'nt or exercised that trade ; on the contrary, Julius Africanus, that writer m lio lived in the beginning of the third century, and whose veracity we have no reason to suspect, not only tells us that he hatli known himself some relations of St. Joseph, but he assures that he worked in iron, ^ term made use of then, to signify a smith. It is certain therefore that we have no kind of authority to make a carpenter of him. All that we know possibly of St. Joseph, is that he was a just man, who descended from the royal family of David, and that he lived in Naza- reth, where he exercised a trade, for in those times, the descendants of Kings - Jived by the labour of their hands.' Mur'dle, ON CANVAS. 112 SPANISH SCHOOL. Murillo » BY THE SAME. No. 50. A Landscape zvith Cattle and Figures, This is deemed a great curiosity, not only as an uncommon good picture, which part we leave to the connoisseurs to judge of, but on account of the scar- city of Murillo’s landscapes. It represents a country in Spain, en^ riched with trees and a stone building, detached from a very silvery slv}^ On the right, in the fore-ground, is a large well, with a ti’ough at a small dis- taiice, to water the cattle, and on one side of the well, are two women, one of w hom holds a bucket, and shew^s the handle of it to a. country man w'ho is at the opposite side, with a long pole and a hook, as if desiring him to let down the bucket, and bring w'ater for her. • On the left, in the second ground, a shepherdess and her dog are following a SPANISH SCHOOI-. 113 Hock of slicep advancing towards the well, and on the. third, near the buikl- ' ing half in ruins, are seen a man and • woman conversing together. . ON CANVAS. • BY THE SAME. No. 51; “i St. 'Martin relieving the Poor. Tlie legend informs us that St. ]VIa> -^ tin became Bishop of Tours, and per- fiirmed a great many miracles ; was born in Lower Hungary and educated at Pavia in Italy, where his family had fettled. His father who was in the army, distinguished himself, and being made a brigadier, did all he could to instill in ,his son, an early taste for the profession of arms ; but the youth, who only breathed piety, had it in abhor- rence, and wished for nothing but the church, Avhich made him shelter him- self in a monastery. VOL. f. ‘s . , ' 114 SPAKISlI SCHOOL. Ilowcvcr^when he had attaiiicd the ‘ age of fifteen, the brigadiers, with his I father at their head, came and forced ! him from his religions retreat, made him take military oatKs, and he was entered in the cavalry. Notwithstanding St. Martin l^ad felt, at first, so much reluctance for the pro- fession of arms, he submitted to his fate, I and determined not only to remain ^ i stransrer to those vices and extravasfan- t ces that usually attend it, but also to set { his fellow soldiers, till' example of hu- ; mility, piety, patience, chastity and -I charit}^ which last virtue he possessed : in so eminent a degree, that the neces- . :^itous M ere secure of assistance, whil^ he had any tiling to bestow. %/ O ( One daj% as our young warvior vas •. taking a ride in the neighbourhood of , O . o ^ Amiens, he met a poor man naked and ^ begging relief. It Avas then winter, and the season very rigorous, notwithstand- : ing Mdiich, several had passed the misemble object, without taking notice of it ; but though Martin had already ’ SPANISH SCHOOL. ‘ 115 given all the money he had, and was reduced to his arms and clothes, such was the tenderness of his heart, that he divided his cloalv between the beggar and himself, which made those who passed by, divert themselves at the figure of a soldier half clothed. This picture was imported into this country about forty years ago, by Mr. i Blackwood, of Soho-square, together ' with a Holy Family^ a St, Francis^ and h the Infant Jesus asleep ^ all by Murillo. They were purchased by Sir Lawrence Dundas, who placed two of them in his town-house, and sent the two others to j\Ioor Park; ^ After his decease, the Earl of Asli- burnham bought tlie St, Francis, iVIr. Agar the Infant Jesus, Mr. Thelluson the Holy Family, and the St, Martin came into this collection. ON CANVAS. 116 SPANISH SCHOOL. CASANOVA. No. 52. A Halt of Cavalry, The composition presents fifteen figures and fourteen horses. In the centre of the picture, is seen an officer mounted on a white charger, and by his side, another who has aliglited to ' open his portmanteau. On the fore- ground, two cavaliers are extended on the grass, whilst to the right, another upon his horse, holds their’s by the bridles. On the second ground, the horses are ' already in motion, and announcing the filing off of the corps ; and we see on the third, that the march is already commenced. The pictures of this artist, as a pain- ter of battles and horses, will pass to posterity in celebrated cabinete,amongst the works of Wouvermans,Hugtenburg, and Bourguianon. French School. NICOLO POUSSIN, born at Andily, 1594. No. 53. (J The TIoIyFdmily- at the passage of the River Jordan. This picture is mentioned bvFelibicn^ in his eighth discourse on the works o{ painters, in the following words : — Poussin painted a Flight into Egypt for Madame de Montmor, who some time after, became Madame de Chant elou by a second tnarriage, S^c, for whom he Ukeicise painted a Samaritan Woman. The first object in* the centre, is a waterman who is advancing his boat to receive the Holy Family. The ass has already entered, and St.Joseph is kneel- ing on the edge of the boat, lifting the blessed infant into it, while his head is turned, as if seeking for the most suit- able place for him ; the Virgin stand on the right, waiting to enter. IIS FRENCH SCHOOL. / Oil the opposite side of the river we easily distinguish Egypt, by it^s burnt and bariTii soil, nnd by it^s l uins and pyramids ; a group of angels carrying a cross, arfe hovering on tlie clouds at the moment tJiat St. Joseph lifts from the ground, the infant, whose pi’ofile only is seen; his head is elevated to- wards heave'll, and his looks are fixed Pousmu angels and the cross wliich ap^ pears to have rivettcd his attention. It is said of the scientific Poussin, that he never introduced into his works, any superfluous objects— —should we then ask why this celestial group and ' cross! is it merely .as an ornament' to the work, and to occupy a space? The cross points out to us, that this is the Holy Family, and as that cross is seen only by the child, it serves as the Jiarbinger of his sufferings, of his pas- sing from cross to cross ' till that on which he finally expired. The present is the first he experienced, driven so very young into a necessary and preci- pitate flight, to avoid the persecution FRENCH SCHOOL. 119 of his enemy, the murdering, merdless Herod. Could this subject have been treated vdth more ml and wisdom, and is it possible tlrat any other painter should have carried colouring to a higher pitch, ill a Vvork so solemn and so awful? 'When Mr. Gavin Hamilton, who liad passed tlie best part of his life, in collectinij .for the most celebi'ated ca- binets in Europe, saw and examined this picture, he was so pleased with the colouring, that lie exclaimed, it was pure gold and silver.’" Notwithstanding the superior merit of Raphael and Pojussin, some young collectors do not seek for their works, or when tliey do, it' is more for their names, tlian from a relish of their pic- tures, because they ai'e unacquainted with the beauties . of the outline and the correctness of drawing. They find a dryness in Raphael, and too mucJi seveifity in Poussin, instead of gay^glittering colours, and a soft exe- cution ; so that being more pleased / Fjoussijis. 120 french SCHOOEi PouTsin, witli the glare of cliiiia or the gviucty ' colours of a fan, tlian with the great works of art and genius, tliey search for such pictures as have a nearer resemblance to fans and china, and we ought not to be surprized at it, for notwithstanding the acknowledged* superiority of wine over milk, a child prefers milk to wine. Those young judges will have it tliat more merit is attributed to Raphael and Poussin, than they really possess ; let us tlierefore recur back to the age in which Poussin flourished, and see, on tracing tliis great man in his careeiv whether tlie artfcts and connoisseurs of his time, wTreof their opinion. lie lived at a period, w hen painting was most pursued, and consequently most understood: it was in tlie time of Rubens, Vand\ ke, Guido, Doinini- chino, Guercino; Albaiio, Claude, Ve- lasquez; iMurillo, and many other cele- brated 'masters wlio, notwithstanding the jealousy common to artists, did ^owx'ver admire and praise the w oik of FRENCH school. 121 I Poussin, wlio,se commissions were more numerous* than he could execute ; and without mentioning all the palaces and' principal collections he contributed so highly to enrich, we will enumerate only those of his admirers who were the most eager for his works. Caixlinal Richelieu, prime minister of France — the celebrated Cardinal Barbarini, wliose taste and knowledge have stamped tlie collection of his name with renown — the famous Chevalier del Pozzo, — Mr. Gillier, the first connois* scur of that age — and the Marquis de Veghera, that- scientific antiquarian, whose coilection of medals and paint- ings, was so extolled-— M. de Cambray, the well known writer on the fine arts —the celebrated Marquis de Seignelay —-the president de Thou, another first- rate amateur— Mr. Lumague, M.Scar- roll, Mr. Poyntel, Mr, Raynon, whose names hold the most illustrious rank in the annals of painting— M. de la Vfillierc,' Secretary of State— M. de VOL. \ PonJJiiA, FRENCH SCHOOL. Poussin. Mauray, superintenclant of tlic finances — M. de Noyers, the Frencli Meccnas — nearly all the Sovereigns of Europe, and the superiors of the different mo- nasteries-r-in short, all those men of taste and genius, cotemporaries of Pous- sin, were those who most sought to pos- sess his Avorks. AlloAving however, improbable as it is, that those great characters may have been influenced by his friends, or par- ticular patrons, rvhat could have induced tlie great men of - the following age, to the same partiality, since the bigotted patrons of Poussin, Avere no more ? and Avhy at the present day more than ever, is there that avidity for those of his Avorks Avhich remain, for time, the de-. stroyer of all things, lias deprived us of many of them ? It is because judgment and reason are the same in every age, and that the rules of art and true taste, are immuta- ble. As invariably as the rule ^ that makes two and two amount to four, a good composition, correctness of design,' FRENCH SCHOOL. 123 spirit, transparency, natural colouring, just expression and true contour are required to form a good picture ; they are assembled in those of Poussin, and conspire to make his works sought for by all the true connoisseurs. ON CANVAS BY THE SAME, No. 54 A Landscape, idth Orion, and several other Figures , Some will have it that the giant I Orion, who was a renowned huntsman, liaving endeavoured to seduce Aerope, I wife of King Oenopion, was by him de- prived of his eye-sight; but Diodes ^ ^ reports that this was done by Diana, ' ^ ^ who once entertained such a fondness I" for Orion, as to resolve to make hijrn her husband, but soon after was of- fended at his attempting her chastity, and boasting of his superior skill in the chase. Poujuu 124 FRENCH SCHOOL. Vulcan however pitied Orion, and after receiving liim kindly at Lemnos, gave him for a guide, one of his faithful servants, named Pedalioii, who con- ducted him to the palace of the sun, where Apollo restored Orion to his sisflit. Felibicn mentions also this perform- ance in the following words II peignit pour Monsieur P assart^ maitre des conipteSy tin grand pay sage ou est Orion avengU par Diane” He painted for Mr. Passart, a large landscape in which is Orion deprived of his sight by Diana. He is seen ;n the left of the pic- ture, advancing with precaution and timidity, holding his bow with one hand, and his quiver hanging at his left side, over a skin with which the lower part of his body is covered. Pedalion is mounted upon his shoulders, and indi- ' cates him the w^ay ; in the mean time, Diana desends on a gilded cloud, to sec the unfortunate Orion pass, and whilst the cruel goddess enjoys tranquilly the FREXCII SCHOOL. 125 fruit of her vengeance, passengers stop to look, and appear as dwarfs by the enornious l)ulk of Orion, and they seein struck with the noveity.of the sight: ’ 'I'he landscape affords a vast quantity of trees, with liigh mountains, and the v'hole forms one of the best and most grand works of Poussin. ON CANVAS. Poussin, BY THE SAME. No. 55. A Landscape icith Cattle and Figures. ' Manv' are of opinion that the land- scapes of Nicolo Poussin, in this style, are of his first manner ; we apprehend however the contrary. F elibien speak- ing of this picture, informs us that it was painted in 1648, consequentiy v hen , Poussin' was in his 54th year, and that it was in the collection of Chevalier de Lorraine. . lO^lo Poussin. 126 " FRENCH SCHOOL, V It is of little consequence however, whether it was painted in his first or second manner ; it is offered as a chef, cF oeuvre of the art, and we feel confident our assertions will be supported by the connoisseurs and admirers of landscape beauty. 0N CANVAS. BY THE SAME. No. 56. A Landscape with Figures. / From a conviction that this masterly work, is not only, the production of 'Poussin’s pencil, but that it was painted in his best time, we have vainly sought for it in Felibien, for he no where mentions it; but he Savs, that besides those pictures of Poussin, Avhich he enumerates, there were some others, of which he has no knowledge. This represents a gradual rising ground, intersected by avenues, w hose I FIIEXCH SCHOOL. 127 windings lead at length, to some beau- tiful temples, and a monument, which are in a masterly manner, detached from an enchanting sky. The right and left are. occupied by trees of a beautiful verdure, and distant moun- tains form the back-ground. - ' ' A superb tomb, ornamented with two marble figures, is in the lower part of the picture; near which a man ap- Pousm. 'pears liastily advancing; while another, at a little distance, is reposing on the road-side. » ' - ON CANVAS. BY THE SAME. No. 57. This is a composition of eighteen small figures. Part of the picture is occupied by a fine piece of architecture, through which we look into the coun- try; Alexander, with his attendants. Alexander and Diogenes, 128 FRESCH SCHOOL. Poussin, accosts Diogenes, wlio is seated near his tab; In the front .is a young man holding a ^vliite horse, Avhilst two slaves carrying presents destined for Diogenes, are advancing. The whole is of a firm and vigorous touch, aiid a clear silvery tone of co- louring. ON CANVAS, BY THE SAME. / i'f No. 48; S A small Sf. John in the Wilderness. Chance sometimes presents us in the sky, the fire, upon marble, and upon stones, figures and objects that w^c should almost believe to be the w orks of art. Poussin saw upon a piece of marble, a desart and St. John, half formed by nature, and, finished wntli Ills pencil what she had sivctehed; co- hering with coiour, but one part bf tlie work, so that art and' nature liavc an equal share in this. ' . FRENCH SCHOOL. 129 One might suppose, after this, that with much labour to satisfy a caprice, the artist has arrived but imperfectly at his end; whilst, on the contrary, the whole together forms a little precious cabinet picture. The child is seated at the foot of a rock, crowding wdth flowers, his lamb which is lying dowm near him. On the right, is his cross, and round it this label, Ecce Agnus Dei: on the' left, another roclv and a view" of the sky, against which are the branches of the , w"ild arbustus. i SEBASTIAN BOURDON, Born at Montpelier, i6i6« No. 59. " * One of the Seven Acts of Mercy. The Burying of the Dead. W e feel confident that connoisseurs, as well as artists, will agree with us, in pronouncing this one of the best pro- VOL. I. U ' FRENCH SCHOOL. 130 (luctioiis of a master, whose abilities Jiave justly placed him in the rank of hiscoiintrymen, Poussin and LcScur, and wliose inisfortuncs in life, arose not from vicious habits, but from a peculiarity of cliaractcr, and rugged thougli lioiiest disposition. ' , Pourdon had gone to Rome, while Bourdon, yciy youiig, aiid continued his studies tliere wlien liis reputation had flown througli Europe. At his retiiiU to Eranc(g he Avould have /been loaded with commissions, liad he possessed the art too frequently necessary to pain- ters, of courting patronage ; lie w'as be- sides" suspected of being a protestant. Soon after his return to. France, lie retired to. i\Iontpelier, liis natal place, ^rere liis poverty was so excessive, that lie was unable to- sliew himself for ♦ want of necessarv clothing, till a taylor, wlio had long known and esteemed Bourdon,- sent him a complete suit, witli a cloak and cap. . ' Bourdon, who was natnrallv fond of employment, having at that time, FRENCH SCHOOL. 131 nothing else to do, was just finisliing his own portrait, when the parcel was brought ; he requested the bearer to wait, and ornamenting the figure with 'witJi the cap and cloak, lie sent the ' picture to the taylor, who shortly after, furnished him with money to enable him to go to Sweden, where he lioped to meet with a better fortune. However, his employment there vras so trifling, that he was reduced to sleep and paint in a garret, "till Queen Chris- tina, who was ambitious of passing for a philosopher, and patroness of the fine arts, of which she understood very little, , heard of him, had him brought to court, and took him into her service ; Imt misfortune that had ever pursued the artist, did not permit him to continue long in it. The Queen used to pass lier leisure ] lours in drawing and painting, and it is needless to say that she was impressed with the liighest opinion of her own talents, by those who were about her, Christina shewed her works to Bourdon 132 FRENCH SCHOOL: who had the impmdent candour to speak his real sentiments of them ; and it was in vain, they informed him of the high encomiums which the nobility and court ladies had passed on them ; his opinion remained directly opposite ‘ to their’s. If Kings are impationt of contradic-r tion, it may easily be conceived that Christina, a Queen, was ^ not less so ; and the personal 'mortilieation she suf- fered on that occassion, was too great Bourdon. - , ^ - to' suffer lier to be attached any lotiger to Bourdon ; she however cxHitinued to employ him, and now and tlien sat to him for her portrait ; but exclusively of the humiliating remarks he used to make, whenever the Queen was shew- ing him any of her pictures, a circum- stance occurred which at last, made her dismiss him from her service. The pictures which her fatlier, Gus- tavus the Second, had seized in the city of Prague, after taking it, had never been unpacked, and Christina, who pretended to a perfect knowledge of the I FRENCH SCHOOL. 133 art, one clay ordered them to be so in Jier presence, -while attended by her ladies of honor ; and after examining them, pronounced the pictures to be good for nothing, and to confirm her opinion, she sent for Bourdon, with whose difficult and severe taste she was so vreii acquainted ; but much to lier disappointment, the painter found them beautiful, and told her so : If that is the case, said the Queen piqued, they are your s for I give them to you. Bourdon immediately represented to her JMajesty, the injury she was doing lierself in parting with them, and as- sured her they were sucli chef dueuvres of art, as could hardly be , mat died. Among them were those pictures by CoiTee:a’io which the Regent of France afterwards purchased,, and have been brought here about four years ago, in, ' the Orleans collection. Christina kept them, and although it was impossible, for lier, not- to admire the disinterest ediiess of the' artist, lier ^ vanity was so wounded at his liaving Bou Bourdon* 134 FRENCH SCHOOL. convicted lier of ignorance, before all the ladies of the court, tliat it got the better of every other consideration, and Bour- don soon after, under some other pre- teiiee,^ was dismissed the amrt, and returned to his garret. Ilis disgrace however was not of a very long ecHitinuanee, for although the Queen Avanted the knowledge of pic- tures, she did not Avant good sense, and perha})s admired in secret, tlie artist’s honest fiankness ; — he Avas recalled, and employed as before ; and as Chris- tiiia Avas more eager to obtain for lier Avorks, Boinxlon’s approbation, than all the j>ra!ses of her court, some days after his return, slie shcAved him Avhai slie liad been doing in bis absence, Avheii the artist collecting in some measure, his former libei tics, did not disapprove, but Oil being pressed for his opinion, lie turned to one of the pages, and said, take back my easel and palette to my garret !” It Avcrc much to be Avished for the sake of Princes and otlier great men, I FRENCk SCHOOL. 135 that the artists and connoisseurs whom llicy consult, followed the example of Bourdon. There are doubtless, some as honorable and sincere ; but many more of them false ; who, in expec- tation of insinuating’ themselves into o favor, b}" their flatteries, extoll the miserable works wliich a ]}roprietor sub- mits to their opinion, and descry those of tlie first merit, which he does not pos.sess. To V hat dangers do not such people expose a collector, who not able to rely on his own judgment, relies on their owii assurances ? he casts his eyes about his rooms and sees himself surrounded with MTaltli, in the finest productions of art, and calculates bis resoarces ac- cording! v ; but should he be under the necessit}^ of realizing, it is then, he finds liow cruelly he has been deceived . His pictures are sent to PailleTs, in Paris, or to Pail Mall, in London, and there, the true gold is extracted horn the dross. It is tliere that the admirers of his pretended Raphaels and Cor- •136 FRENCH SCHOOL. rcggios, turn their backs on them; and tliere, all Ins Italian copies laughed at by Ix! Biun, and browbeaten by Tas- •saert, notwithstanding the zeal of the auctioneer, will not produce the Imn- dredtli part of wliat they had been cal- culated at : * but let us retuni to our Bourdon. BoUldoil ! It represents a charitable, though very sorrowful subject, and it is the particular and exclusive province of great geniuses, to treat such difficult ones wliich they w ill not omit through false delicac}^ in order to recal man to his own reflections, and correct his follies through his own agency. The scene is a place dedicated to the burial of the dead, in whicli the vic- tims of a contagious malady, are brouiiht, and lie scattered amoni^ ruins, O’ o’ in the fore-part of the picture. On the right, is a tomb grated witli iron bars, and on it a sep ilcliral lamp is burning; at it*s base is a pyramid, * Messrs. Tassiert and Le Brun are equally weU known in France and England, as connoisseurs. FUENCH SCHOOL 137 and on this side of it, is a mutilated statue; near a pedestal on tlie same side, some men are carrying a dead bod}^ wrapped in a winding sheet, while two other men are advancing, to perform the same duty to other bodies which are extended near them. . In the centre, a multitude of people of both sexes, are lamenting the loss of their relatives and friends ; but we easily perceive that they approach witli dread,' being themselves menaced with the greatest danger; — in the fore- ground of the centre, a child lies on tlie body of it’s departed mother, en- deavouring to feed itself at her breast ; but it’s haggard looks shew it’s disap- pointment of drawing nourishment from that source which had till then, sus- tained it’s life. On the left of tlie picture, are several figures, tombs, columns, statues, and a lamp which burns with three lights ; the back-ground is composed of seve- ral trees, and a sky awfully obscure ; the work comprizes about fifty figures. VOL. h X 138 FUENCH SCHOOL. - The French who now possess the principal chef d'ceuvres of painting, and who are daily improving in the know- ledge of the art', have ■ placed in the National Museum, all the works of Bourdon, that they have been able to obtain. ON CANVAS. CLAUDE LORRAINE, born at Lorraine, 1600. V, '■ No. 60. A Sea^Porf iiith the Emharhation of Saint Paula, Vid. Lib. di Verita. Paula was a widow who lived at Rome, and whom her confessor, St. Jerome, advised to quit her infant fa- mily, and go to the Holy Land. Claude, in small, spirited and exqui- site figures, has happily introduced the subject in this fascinating aild truly aerial performance, in the centre of which the sun dissipates the morning FRENCH SCHOOL. 139 foi^, dides and reflects on the undulat- ing motion of the sea ; while the eye is equally delighted with its shipping, and the superb architecture the port is enriclied with. This picture was the property of Prince Rupert, nephew to Charles the First, and inventor of mezzotintoengrav- ing. That Prince, equally famed for military valour and elegant taste, be- queathed his cabinet to a respectable family, with whom it has remained till within a few years, when it was ClancU disposed of by private contract, and some of the pictures were then pur- chased for, and are in this collection. Such has ever been the estimation in which the pictures of Claude have been held, that they have frequently enriched the individuals into whose hands they have successively fallen, be- cause their value has constantly in- creased since the artisFs death, and more so, at this period when various accidents have much reduced their number. Claude. 140 FRENCH SCHOOL. Laurent Gelee, a native of Luneville, who was by trade a hatter, went to establish himself in Paris, about the year 1710, and among the furniture that he removed, there was a landscape, the merit and value of which he was ignorant of: it had descended to him from liis grandfather who was the uncle and godfather of Claude Lorraine, whom lie had educated, and to whom tlie grateful artist had sent this ,work with his portrait, at the time he flou- rished in Home. ’ - Shortly after tlie hatter had opened his shop in "Paris, the picture was seen by a connoisseur who likewise took others to inspect it, Avhich soon produced an offer so considerable, as to surprize Laurent, wliom however it did not tempt, for he determined on keep- ing it through respect to his parents; and his filial piety was rewarded by an immense fortune which it procured him, for as the picture had- made so much noise, the inhabitants of Paris, and even the strangers sought to be gratified with o o o FRENCH SCHOOL. 141 a sight of it, and crowded daily to his house, by whicdi means the sale in his shop was so great, that he becaniie die first hatter in the kingdom, and em- ployed long, four whole manufactories at Lyons, for his hats, which were at length so celebrated, that no other than those a la Gelee (the name given to them) were worn by any one. Laurent's brother was valet de chain- Ciaudt* bre to the famous Cardinal Dubois, prime minister to the Regent of France, and who was also, it is said, the zealous minister of his pleasures.* His Emi- nence wished to see that celebrated picture, and shewed it to the Regent who was veiy desirous of purchasing it, but the hatter begged to decline the sale, representing that he must shut up his shop, if he were deprived of his sign. At his death, it was sold for an incre- dible sum, and we believe it has fallen since into the possession of a person * It was on liim that the following epitaph was made : Rome rougit d' avoir rougij Le Mercure qui git icu 142 FRENCH SCHOOE. of the name of L’Empercur, a jeweller on the Pont Neuf in Paris. ON CANVAS. BY THE SAME. , No. 61. lundscape with Cattle and Figures. Vide Lib, di Verita. We arc here presented with one of the most enchanting landscapes of Italy which is so highly finished, and so * sweetly executed, . that in beholding it, we seem to breathe tlie pure and be- neficial air of that delightful country, in a kind of extacy at the sight of so favourite a spot, and of if's rural inhabitants, which' Claude, tliougli he too frequently negleeted his figures, has most correctly drawn, and most preciously elaborated in this pic- ture ; a proof that he looked upon it, as one of his best performances. After having made the purchase of it, we found it was covered with a varnish. and are really ¥KENCH SCHOOL. 143 ill which (unaccountable as it may ap- pear) had been melted some Spanish liquorice, which by darkening part of the picture, totally ruined it's effect, and concealed most of it's beauties: we had that varnish removed, and the picture was immediately restored to ips primitive and present splendor. The front of the picture, represents a piece of water, which a young man and a girl, who is carrying on her head, a basket of linen, are crossing barefooted, and preceded by a large herd of cows, sheep, and goats ; and on the same side, there is a hill, richly embellished with trees of the linest form, against a warm and lovely sky : edifices and some ruins are also seen upon the summit of the hilL , On the right of the picture, there is another group; a man sitting- on the water-side, is preparing to pass, and leans on his stick, while extending one of his legs towards' a j^oung girl who is on her knees, taking oif his stockings ; near her is a basket of linen ; and on other side, a woman waiting. FRENCH SCHOOL. 144 On the second ground, is seen a river towards the centre, and to the right, trees, some ruins and a terrace, the sum- mit of which is covered with an edifice, and high iriountains are perceived in the distance. Of all the masters, the works of 'Claude Ciaudc are those that have been tlie least copied ; in fact, when we consider the precious tints and enamel of this picture, we cannot be surprized at it, for he has rendered it perfectly inimi- table. ON CANVAS. ' BY THE SAME. No. 62. \ A Landscapi^ with Figures. Vide Lib. di Venta. ■ In the centre of the picture, . an old countryman plays on his bagpipes, as he walks, and behind him, two girls are carrying linen, which they appear to FRENCH SCHOOL, 145 liave been drying : to the right of the picture/another countryman, carrying his spade on his shoulder, is crossing a bridge ; and more retired, a flock of sheep are grazing on a hillock. The landscape is' enriched with trees, shrubs and flowers, and presents through- out, that calm serenity which captivates the soul ; whilst the declining rays of the yet vivifying sun, recal the lustre of it’s meridian. ON CANVAS, Claude^ BY THE SAME. No. 63. A Landscape with Figures. Vid, Lib. di Verita, The right and left are occupied with groups of trees, of the finest forms and most exquisite leafage ; and the fore- ground offers to our view, a river upon which are boats with figures. VOL. I. Y 146 FRENCH SCHOOL. On the high ' road, which is on this side, we see a young man leading an ^ss, on which are a pack saddle and f panniers ; ' a little further are two young girls, one of whom is leaning her hand on the shoulder of her companion, seated on the bank of a river, convers- ing together ; and on advancing more Claude, to the right, we find another group of figures, one of which is lying down, and appears asleep on a red cloak spread upon the grass, whilst a man and woman are drinking and caressing : near them two figures are seen, and a man who is looking through a spying glass. , On the second ground, we see a hill covered with trees ; at the foot of which is a water mill, with the house of the miller : ' on the third is a shepherd with a flock of sheep grazing ; and at a dis- tance, houses and mountains, which seem to unite themselves to a sky, whose transparency is perfectly in harmony with the rest of the picture, which, it will be allowed, is one of the best of Claude, ON CANVAS, FRENCH SCHOOL. 147 BY THE SAME. No. 64. A Landscape with Cattle and Figures, The severest criticism will not im- peach our assertion of this work being one of those chef d' oeuvres of the art, to which Claude owes the high reputation Ciaudt^ he enjoys, for the best judges, as w ell as the most minute scrutineers, have agreed that very few of his pictures have ' surpassed this. It is one of those happy compositions, which unite the most lovely scenes in nature with the successful efforts of ge- nius ; so that this great master, by the powTr of his magic pencil, has presented us nature itself in a work of art, by which the mind and the eye are equally gratified. In one of those beautiful days we sometimes see in England, and which are so frequent in Italy; the mind 148 FRENCH SCHOOL. > Claude, eagerly explores a ' landscape, whose serenity and calmness invite the fatigued peasant to rest; and whose exquisite beauties are bitterly regretted by the idle and opulent inhabitants of cities. ' In the front of the picture, the chiystal wave plays sportively on the bosom of a sheet of water, of an en- chanting effect ; a road is on this* side of it, in which a girl has just stopt an ass she is mounted upon, and is alight- ing with the assistance of a young pea- sant, while some goats finely scattered, are browsing near them, on the same road, and bankin^>: the water : on the other side, some noble oaks of the most luxuriant growth, whose venerable and extensive branches forming a vast and refreshing shade, are beautifully reflec- ted on the limpid surface. In the centre, a majestic hill crown- ed with buildings and verdure, is also reflected in the water; whilst tlie dis- tant mountains form a commanding back- round, and are through the em- bosoming vapour, skillfully detached FRENCH SCHOOL. 149 from a very harmoniEiiig sky, which, free from the burning rays of the sun, presents an atmosphere uniting warmth with comfort. ON CANVAS. JAMES STELLA, Wrn at Lyons, 1596. No. 65. St, Joseph in his last Moments, • ’ The world stands indebted to tlie celebrated Cai dinal Barbarini, for the preservation of this artist, who shortly after his arrival at Rome, where he was unknown, destitute of money and re- sources, and in want. of every thing, was thrown into prison^ in which he must inevitably have perished, Jiad not the Cardinal afforded him relief. ' Stella had with some charcoal, drawn the figures of the Virgin and Child on the wall of his prison, when a judge of, the art, who used to visit, out of cha- rity, one of tlie prisoners^ chanced to 150 french school. see the work, and after minutely ex- amining it, was so struck with it’s sin- gular mcrir, that he spoke of it, to Cardinal Barbarini, who went to see it, and immediately released the artist whom he patronized ever after. ' The other prisoners considered his deliverance as . a miracle operated through the intercession of that Virgin, to whom Stella in effect owed his en- largement ; they therefore paid her ho- Stella, mage, and the gaoler raised her an altar, at Mdiicli the prisoners to this day offer up their prayers. This picture represents St. Joseph in extreme old age, and at his last mo- ments; ,he is in bed, listening with the greatest attention, to our Saviour who is seated near consoling and pre- paring him for eternity. The virgin is also there, afflicted and weeping at the approaching dissolution of her hus- band. Angels inhabit with them, that holy ' abode, from which all appearance of luxury- is banisiied, and one of them is FRENCH SCHOOL* 151 kneeling at the foot of the bed, whilst two others, with joined hands, and impressed with awe and respect, are standing behind him. On the right, a white cloth covers a table, on which some fruits are spread ; and towards tlie top, a choir of angels are floating on a cloud, united in prayer. ON CANVAS. PETER MIGNARDj bom at Troyes, 1610, No. 66. Two young Princes^ in the Character of Huntsmen, It was at the demand of Lewis the 14th, that this painter quitted Rome, where he was much employed, to re- turn to France ; his father’s name was Moor^ but Henry the 4th seeing him one day, with six of his sons ; all offi- cers, well made, said, these . are not 152 FRENCH SCHOOL. Mignard, 4 Moors, they are Mignards,* and the name remained with the family. Mi gnard painted ten times and at different epoehs of his life, the portrait of Lewis the 14th ; the last time the King sat to him, he said, yon must find me grown old! Sire, answered Mig- nard, I only see a few more campaigns traced upon the face of your Majesty. The picture represents two young huntsmen, the natural sons {we are told) of Lewis the 14th, by Madame de Montcspan, who were afterwards legitimated. They are in a landscape, and the eldest, who carries a lance^ is resting himself near a tree, whilst tlie youngest, holding a bow in his right liand, is resting with the other on the shoulder of his brother. On the right of the picture, a white liorse is seen held by a negro ; and on the fore-ground are lying, a hare and a doe, which the young princes have just * A word which signifies a favourite, a very hand« some man FRENCH SCHOOL. 153 brought from the chase. The whole is well coloured and most exquisitely - finished. ON CANVAS. CASPAR POUSSIN, born in France, i6po. No. 67. \ A Landscape rcith Figures. View in the Environs (^Tivoli. As the King of Poland was particu- larly desirous that the works of this master, should serve as models to the landscape painters of Warsaw, we were recommended to purchase as many of them as we could find ; they are how- ever so scarce, that this is the only one we were able to procure. On the day we purchased this, to- gether with some other works of Ihe different schools, we wrote to inform his Majesty of it. He was then hold- ing a diet at Grodno, and on the eve of VOL. X. z / 154 FRENCH SCHOOL. losing part of* Poland, which made him answei', Je vous remercie de tout mon coeur^ car apresent inon honheur n'est plus qiden peinture** • As the French peinture is equi- vocal, and signifies both painting and fiction, his Majesty made use of that expression, to imply that his pleasures should in future, be confined to pic- tures, and at tlie same time, that his hap- piness was become but a mere fiction. The picture represents a small upright landscape, painted ‘with uncommon spi- rit/^and free from that defect which has been so frequently reproached to Gas- par, of being too green. ON CANVAS. ANTHONY WATTEAUX, born at Valenciennes, 1614, ). iS'k No. 68. 7 / ^ . Le Bal Ckampetre, In his last illness, Watteaux liad re- tired to Nogent, a village near Paris, FRENCH SCHOOL- 155 and as liis life was despaired of, the curate of the place, came frequently to visit him, and always brought a large crucifix carved in ivory, which he used to lay down on Watteaux's bed, while he was praying or making his exhorta- tions. At the very first visit, the curate had remarked that Watteaux was constantly turning his eyes from the crucifix, which he took for a bad omen of the patient’s faith, and being determined to clear up at last, his suspicions, he told him to kiss the crucifix. — That I never could, answered Watteaux, for Uis so ill made, that I am quite in a rage, with the sculptor,' — He expired a few minutes after. Voltaire used to say of this artist, Oest le plus mauvais peintre que Taie vu en grand, et le meilleur que J^aie^iii en /yet it. He is the worst painter I have seen in large, and the best in small. Watteaux had coniinenced as a por- trait painter, in which line he did not continue long, for want of success^ Watteaux, 156 FRENCH SCHOOL. though he made an excellent portrait of Pelisson with the spider. Pelisson was a writer, who having given offence to government, was thrown into a cell of the Bastille, where, as was usual during the reign of Lewis the 14th, the prisoners were debarred the visits of their friends, and lived on bread and water, without the comfort of any book whatever, pen, ink, &c. After a few months of confinement, Watteaux, life was bccomc insupportable to Pelis- son, till at last he got acquainted with a spider, which he had rendered fami- liar, by frequently giving crumbs of bread to the insect, which used to spin down as soon as he was at his meals. From that period, Pelissoii’s suffer- ings were in some degree softened, as the care of his spider, was to him both an employ and an amusement : he con- sidered that he was no longer alone, and found comfort in that thought. It however happened one day, that the gaoler brought the bread and water ^ later than usual, and he was still in the FRENCH SCHOOL. 157 cell, when the spider spun down ; im- mediately Pelisson threw it a few crumbs, but the sight highly offended the gaoler, who loaded the prisoner with reproaches for so vile an amusement, as he called it, and with one of those large keys he was holding in his hand, he unmei cifully killed the poor insect, which for the first time, made Pelisson shed tears. This picture is known by the name of Le Bal de Watteuux, after an engraving Watuaux. which is in the port folio of every print collector. ♦ On a beautiful spot embellished with trees and a water spout, a superb struc- ' ture supported by pillars, and orna- mented with marble statues is divided into arches, opening to an extensive view ; in the centre, between four co- lumns, a splendid buffet is covered with fmits and wines, and decorated with silver vases. About seventy figures are assemljled on the lawn, comprizing ladies, gentle- men, musicians and children. The dancers are in tlie first division on the right, and the musicians are Watteaux, ) 158 FRENCH SCHOOL, ranged on an ampitheatre, in the oppo- site ; more retired and snrronnding the refreshments, are the rest of the com- pan}^, some standing, and others seated and the whole offers a coup d'ail truly enchanting. Surprized some 3^earsago, to find but few pictures of this master, in English collections, we asked Sir Joshua Rey- nolds whether the collectors of this country rejected them! I wish, (re- plied he) it was so, and that they would let me have them, for Wat- teaux is a master I adore. He unites in his small figures, correct drawing, the spirited touch of Velasquez, with "" the colouring of the Venetian school; " but, (added Sir Joshua) Watteaux is lit- tie known to us ; his works being ex- tremely dear on the Continent, the •* brokers and dealers bring us over copies of his pictures, or those of his imitators Lancret and Paterre, which they impose upon us as originals.’^ ON CANVAS. FRENCH SCHOOL. 159 BY THE SAME. No. 69* The Marriage. In a fine landscape^ executed quite in the manner of the Venetian artists, Watteaux offers here a composition of fifty-six figures, in varied attitudes, and all painted with astonishing spirit. Towards the centre of the picture, a large piece of red drapery, upon which hangs a crown of flowers, is suspended between two trees, behind the young bride who is seated at a round table, with her lover by her side. The notary is also' occupied in drawing up the con- tract, and on the right, as well as on the left, their friends are diverting themselves, some sitting on the grass, and others dancing to the sound of a viol and bagpipe. Watteaux has painted himself in a corner of the picture, with his children and his friend Rysbrack. ®N CANVAS, Wa'ttegiKx. 160 FRENCH SCHOOL. DOMINICK SERRES, bom at Auges,* about the year 1720. No. 70. A Sea Piece. This is one of the most delicate works, that we have seen of this mas- ter, who has written himself the follow- ing inscription on the back of the pic- ture : — D. Serres, Bath^ 1788. Lord Rod- ney carrying the Ville de Paris into Port Royal ^ Jamaica.'* ON CANVAS, JOSEPH VERNET, born m France, 1710, Landscape with the View of a Setting Sun. If there is an artist at times unequal to himself, it is Vernet who sometimes FRENCH SCHOOL. 161 offers us productions near to Claude, and sometimes such as rank him among landscape painters of the greatest medi- ocrity. His misfortune was similar to that of Zuccarelli, for quitting Italy, where by painting small pictures, he had acquired a brilliant, reputation which he did not sustain when he rQ- turned to France, for there, he began to lose the true taste of colouring, and the perpetual adulations of his country- men, made him believe himself capable of whatever was most difficult in the art : — from that period, he would sel- dom paint any but large pictures, with- out considering that the touch must then be different from that of small ones, and that he who excels in the one, often fails in the otlier. However, as the reputation of Vernet was established, he was so fortunate as to enjoy it for a long time, and with the continual praises of a people who had then a vitiated taste of colouring, he received the same honours for his bad Vernet,^ VOL. I. X Vtrnd \ i6'2 FRENCH SCHOOL^ as ‘for his good works — those even of his latter days, have brought incredible sums. But now that he is no more, the veil is fallen off, and for some years that his woi'ks have undergone a more just scru- tiny, his large pictures are reduced to the value of oiled cloth, fit only to be walked upon ; whilst his easel pictures, and his fine productions of Italy, will rank his name amongst those of great masters. This offers us a composition of seven- teen figures, and upon the foreground a large river which loses itself in the dis- tance, where we distinguish a bridge over it,, and a town to the left. The river is covered with small ves- sels, boats of fishermen, and a ferry boat ; also to the left, upon a piece of ground which advances some way in the river, are trees of the finest forms, and of the brightest leafage ; whilst to the right, on the fore-ground, tlie picture is embellished with fishermen and wo- FiiENCH SCHOOL 163 men coming witli baskets, to carry away tlie fish. On the other side of the river, toi the right, is a eliain of mountains, on the summit of which we discover a piece of architecture, and from the centre , of those mountains, gushes a cascade, the noise of which we seem to hear as is fails foaming into the river. Towards the centre of the picture, the setting sun is seen reflecting' it"s last rays on the limpid flood, through that wann and light vapour which en- velopes it towards tlie end of a brilliant and peaceable career. ■ ON jCANVAS. End of the First Volume^ Exton, Printer, Gi-eat PortJaad-street. Vernet* A Descriptive Catalogue (with remarks and anecdotes never before PUBLISHED IN ENGLISH) OF SOME PICTURES, or: the different schools, PURCHASKD For His Majesty THE LATE KING OF POLAND ; Which will be exhibited early in 1802, At the Great Hoorn, No. 3, IN RERNEKS-STREET, I'ht third Door on the right, from Oxford-Street. By NOEL DESENFANS, Esq. LATE CONSUL GENERAL OF POEAND, IN GREAT-ERITAIN. VOL. II. Containing the German.^ Flemish, Dutch, and English Schools. SECOND EDITION, REVISED AND CORRECTED. LONDON: ■ [ay be had, at Five Shillings the Two Volumes, of Cadell and Davies, Strand; Hookham, Old Bond -street ; Hookhnm, New Bond-street; Lackington, Allen, and Co. Finsbury-square; Jones, Parer- noster-row ; Black and Barry, Leadenhall-street. XTON, TVP. GREAT PORTLAND-STREET, 1802. German School. REMBRANDT, bom at Leyden, »6o6. No. 72 . / '^ i U Jacobis Drcafn. We are surprized that the Rev. Mr. Pilkington, who mentioned Rembrandt in his account of painters, should have omitted the most interesting details of the life of this artist, whose conduct was a perfect image of his pictures — a com- plication of wi-dorn and folly — a strange mixture of oeconomy and prodigality. He was the son of a miller in easy circumstances, and quitted his father's mill early, for the advancement of his education. It has been asserted that he neither knew how to read or write, which is however, a false and unaccount- able prejudice, for after having leaint those first elements, he was placed at Leyden to study Latin. He was after- wards five years, with two different 2 GERMAN SCHOOL. painters, under whom his progress was rapid, and turning his thoughts to his fortune, he established himself at Am- sterdam, where he married, and soon amassed a considerable sum of money, by means of his pictures and the en- gravings he made, as well as by his pupils, who used to pay him large pre- Rembrandt, miuiiis for Iiis iiistructions ; besides which, he always took care to re-touch the copies they made of his works, and then sold them as if entirely his^own productions. He was sometimes so capricious, that being once employed in painting the portraits of a whole family, in a large picture, he took a fancy to introduce his monkey and cat into it ; and as those objects were unpleasant, his em- plo3"ers requested him to efface them, but rather than consent to do so, he kept the performance. His avarice was such, that he em-, ployed his own son. to sell his prints, as if he had stolen them, so that many would be glad to purchase, in the idea GERMAN SCHOOL* 3 that a thief always sells under value ; and his pupils Avere sca we^l acquainted with his greediness, that thev frequent- ly amused themselves in deceiving Rem- brandt, by placing in his way, cards painted and in the shape of money, which he ahvays caught at with avidity* At one time, having, on fiis hands, a considerable number of his OAvn pic- tures, and copies of his pupils, re-touched ed by him, as Avell as several port-folios of prints and designs, he determined on disposing of them by public sale, but being aware that the works of an ar- tist never sell Avell in his life time, he set out on a short journey, and procured a letter to be written to his Avife, that he had caught a fever Avhich had sud- dentiy carried him off ; and of his hav- ing given orders, shortly before his death, that every thing, except his household furniture, should be sold* His afflicted Aridow Avas immediately in mourning, and conformably to the last directions of her departed husband^ made a sale by auction, Avhich A\^as no VOL. II. ' B 4 GtiRMAN SCHOOL. sooner OWr, than Rembrandt returns, surprizes and causes laughter through the town of Amsterdam. At length by a singular revolution, this artist from the most rigid oecono- liiy, became as prodigal as he was be- fore the opposite, and being in the Rembrandt, habit of frequenting auctions, his bid- dings 'for the drawings of the old mas- ters, were so high, that no one dared oppose him. His eonduct was the same with respect to his, own .prints, which he always bought up that they might be scarce. He was at last however, reduced to such a state, as to become a bankrupt, and fled from Amsterdam to the service of tire King of Sweden, W'ho eontinucd loirg to employ him. Wheh we behold in tire work before Us, the angels descending the ladder, and Jacob asleep iir modern dress, we cannot help lamenting that Rembrandt had never studied the antique costume ; but as some men will unite the greatest imperfections with the greatest virtues, so has this astoirishing artist made up school.* 3 for his defects, by the most exquisite beauties which are hi this cabinet pi(;r- ture, for it is impossible not to be struck with the singular force of colour- ing which i:eigns tbirough the whole, and not to admire the magic hand which has traced that mysterious lad-- cler, and which by creating an immense volume of air, has created an immense distance from the earth to the sky, and a landscape of many miles in the com- pass of about two feet. ON CANVAS. HANS HOLBEIN, born at Leyden, 16061 , No. 73>, J Portrait qf a We are ignorant who is the person this picture represents, but it is one of the fine productions of the master. ON PANNEL* 6 GERMAN SCHOOL. JOHN LINGLEBACH, born at Frankfort, 1625, No. 74. The Fortune Teller, , This artist passed part of his days in Italy, where formerly, from the hard-^ ness of the German language, which contrasts so strongly with the softness of the Italian, they entertained a preju- dice that the Germans had little or no feeling. While Linglebach was at Rome, a chair- woman, who used to come to his lodgings every morning for his house- hold work, had once during his absence, and in arranging his painting-room, the misfortune of knocking down from his' easel, a picture he was about finishing ; however it fell flat on the floor, and re-- ccived no other injury than that of a little dust having stuck to the paint, which did not alarm the servant, as she had fre- quently seen her master wash off with a spunge, the dust from pictures he had formerly painted. GERMAN SCHOOL. . 7 She immediately fetched one, and after dipping it in Wciter, rubbed tins, whose colours went oif in the twinkling of an eye; and at that moment returns her German master who, to liis maid’s surprize, without making her the least reproach, sat calmly to work and re- paired the picture. That which is called the Forhinc Tel- ler, is most highly finished and of a firm execution.' It represents a view in Rome, on the right of which, are a fine edifice and three marble pillars, part of which is hidden by a terrace, and below, on a bench, is seated a youth of about fourteen, to whom a gypsey is telling his fortune, whilst an old. man who sits on the ground, is listening and looking at them. On the left of the figure are some fragments of broken columns, and on the second ground, two men, a woman and a child are reposing upon steps lead- ing to a palace, opposite to which is an equestrian statue. I ON CANVAS. 8 GERMAN. SCHOOL. ADRIAN OSTADE, born at Lubeck, i&io. No. T5.. The Interic^ of a Robin, with Figures^ This master began, his career, by painting in tlie style af Teniers, of which however, his friend Bronwer soan dis^ suaded him. We have seen at the Hague, one of his, early works in that manner, full of merit ; it represents ^ maid scorn'ing and washing pots at the door of a public-house, while the land^. lord is at the windoAV, holding a mug of beer. Under, the picture is written Signa mihi certce poculu Icetitiw, The attention in this, is first attracted by a corpulent Dutchman about sixty years of age, dressed in blue and yellow, w ith a slouched hat, and leaning with his elbow% on the frame of aii open window^ through which we see a beautiful land- scape. lie is seated with a pipe in his hand, conversing with a w oman who sits GERMAN SCHOOI^ 9 also nearly opposite to him, dressed in a red corset and a white old-fashioned bonnet. She holds a jug and a glass into which she has poured some beer, which she is goin ik' 14 GERMAN SCHOOL. he however recovered his health, but was never capable of painting after- wards, as his head frequently failed him. We owe the, above anecdote to Mr. Labre, who lived in the same house with Ferg, and King Theodore of Cor- sica, whose fate was hardly more happy than the artist’s. They are the smallest pictures of this master, we ever recollect to have seen, and are painted with surprizing spirit and delicacy. One represents a cluster of i rees on the right, and a man with his dog, on a rising ground, whilst another mounted on a white horse, rides in a highway, running through the cen- tre of the picture ; several ti*ees orna- ment the left side, and distant moun- tains from the back- ground. Tlie other is composed of several figures, in the fore-ground and centre, amongst which is a man on horseback who appears’ to have stopped out of curiosity. A finely executed tree rises on the right with a woman seated at GERMAN SCHOOL 15 it’s foot. A monument is raised on the left, and several trees backed by mountains^ form the retired parts of the picture. ON CANVAS. HENRY FUSELI, Esq. Born in one of the German Swiss Cantons, No.' 80. Prince ' A rthur’s V ision, \ Vide Spencer’s Fairy This fine work oifers a composition, of six figures. In it are seen Prince Arthur covered with his armour, and asleep, and the Fairies who present themselves to him in his dream. The whole. is painted with uncom- mon spirit, and most beautifully co- loured. ON CANVAS. 16 GERMAN SCWOQE. PHILIP JAMES DE LOUTHERBOURG, Ejsij. Born at Basle, No. 81. j 4 Battle between the Russians and Turks. \ This ch^ ct oeuvre of art, is too well known ,to need any description ; it was painted for Catherine the Second, Em- press of Russia, to whom it was not sent for reasons unknown to us. We made the purchase of it, about twenty years ago, and have p.vit the pieture into this collection, at tlie desire of tlie King of Poland. , ^ 'on CA_N\VA^. BY THE SAME, No. ,82. • A Landscape with Cattle and Figures. This picture, which is of an exquisite execution, represents the view of a GERMAN SCHOOL. n beautifal country, in one of those fine sununer clays, in which we ai'C sometimes unexpectedly surprized by a storm. The right of the picture, is occupied, by three cows, two of which are lying down, whilst the otlier is standing under a tree, to shelter herself from the rain whicli begins to fall : a fourth cow, spotted yellow and white, on this side, towards the middle of the picture, is also standing near her calf which is lying down. Louthirbourg The obscurity of the sky and agita- tion of the trees, upon which the wind blows with fury, announces the violence of the storm. Upon the right of the picture, a young girl is thrown down by the wind, with a basket of es^^'s she was carrying, and they are scattered on the grass, whilst a man, whose hat is carried away by the wind, assists to raise her. On the second ground, a lady mounted upon a white horse, accompanied by a gentleman, is riding with great speed, followed by a servant and a dog out of breath. , 18 GERMAN SCHOOL. On tlic third ground, we distinguish an edifice and some trees, but the rain and obscurity permit not the eye to penetrate into the distance. ON CANVAS, Flemish School; Sir PETER PAUL RUBENS, born at Cologne, ^ 511 ^ Ko; 83/ Althovigh Rubens was bom at Co- logne, where his father and mother^ inhabitants of Antwerp, had goiie for a short time, he has always been ranked in the Flemish school. He ended his days in that city, where he was buried in St. James's church, in a chapel be-' hind the choir. On his tomb are the following lines : — Ipsa suos Iris, dedit ipsa Aurora colores. Nox umbras. Titan, luminaclara tibi. Das tu, Rubenius, vitam mentemque figuris, El per te vivit, lurneii et umbra color. Quid te, Rubeni, nigro mors fiVnere volvit ? Vivit, victa tuo, picta colore rubet. We present in this, one of the most capital performances of that great mas- ter, which he executed for thb church voL.n, D Rubens, 20 FLEMISH SCHOOL, of the Jesuits at Antwerp, where it remained 'till the suppression of their order. St. Ignatius, according to the Legend, was born in the castle of Loyola, in the province of Biscay, about the year 1491, and sent by his parents, at a very early age, to the Spanish court, as page to Ferdinand the Fifth; but his high mind and independent spirit, soon in- duced him to quit that situation, and enter himself into the army. Gaming was not among his vices, but a warm votary to pleasures, he was following them with an eaaerness usual at his age, when an accident occurred which induced him to forsake them for ever. The French, at that time at war with Spain, attacked Pampeluna, where vSt. Ignatius was then in garrison. The siege was carried on with ardour, and St. Ignatius was not only wounded in his left leg, but his right was broken by a ball. In this state he was carried to Loyola, in the environs, and the vio-*- FLEMISH SCHOOL 21 leiice of the fever which followed in consequence, reduced him beyond hopes of recovery. V He lay at the last extremity, on the eve of the feast of St. Peter the prince of apostles, and as Ignatius had always held that Saint in the highest venera- tion^ on the veiy day of the feast, the fe- ver left him; but as St. Peter had only cured him of the fever, without re- storing to him the use of his legs, lie was obliged to remain in the castle. The unskilfulness of the surgeon un- der whose care he was, gave him reason to fear he should be lame for life, the fractured bone having been ill set, to avoid which he determined on break- ing it a second time, so as to have it properly set ; he always however conti- nued a cripple. Confined to his room for so long a period, , Ignatius had recourse to read- ing to amuse his time, but there being' neither novels or romances at Loyola, he was obliged to' read the lives of Saints, a work which afiected him to Rubens 22 FJ^EMISH SCHOOL. Rubens, such a decree, that he resolved to do penance, and to become a Saint him- self, by travelling to the Holy Land, barefooted and mourning in sackcloth ; he was then about thirty years of age. As soon as his health permitted, he set out on his journey, in spite of the opposition ' and in treaties of his elder brother and his friends, and he repaired to Mount Serrat, a place celebrated for the resort of Pilgrims, where he stripped himself of his clothes, which he gave to a poor mendicant, put on sackcloth and procured a bag suitable to the vocation he had adopted ; then fastening rotoid his body, an enormous chain, he paraded the town in his new, attire, mocked ^i^d insujted by the in- habitants and passengers. St. Ignatius perceiving that he had been looked upon as a madman, re- joiced at it, and affected to be so in the ' extreme, hoping that groups of childreii, \ro^ld gather and throw stones aneb mud at him, that^ his mortification, ‘ might be the greater. The earthy FLEMISH SCHOOL. 23 was the only b.ed be indulged himself with ; he knelt for seven hours daih^ drank nothing but water, and eat the bread which he procured by begging from door to door, and he was either by himself or others, flogged three times every day. He at length accomplished hte vow of reaching the Holy Land, and on his return, he travelled with St Francis Xaverius, to Rome, Avhere he entered into holy orders, and founded the So- ciety of Jesuits ; he preached much, underwent many persecutions, accom- plished surprizing miracles, and died at the age of sixty-nine. He was sainted by Pope Gregory the Fifteenth, at the pressing solicitations of the Em- * peror, the Kings of Spain and France, and many other Princes. Rubens, ON CANVAS. liubens. 24 FLJEMISH SCHOOL- BY THE SAME. No. 84. ‘ Saint Barbara, St. Barbara is in the centre of the, picture, ascending the leads of the fatal tower in which she is to be sacrificed. She is dressed in blue and purple, and her light drapery and beautiful flaxen hair float in the wind. Her right, arm is extended, and she holds in her left hand the palm of mar- , tyrdom, which in turning, she appears to shew in triumph to lier executioner who is immediately following her. He is dressed in red and green, a turban on his head, armed with a drawn sword ill one hand, and his other uplifted with violence and visible impatience to seize his victim. Many pictures said to be of Rubens, are as much the work of his, pupils as of liimself, particularly large historical pictures; tlie small cabinet ones are generally of his own pencil. ON PANNEL. FLEMISH SCHOOL. BY THE SAME. No. 85. The Angel Gabriel. The figure is. as large as life, in cli’apery of light green silk and white muslin. The angel descends from heaven as the messenger of peace, hold- a palm branch in his right hand, and. a wreath of olive in the other. It is well known that this picture is also solely by the pencil of Rubens. It was painted for the Jesuits’ church at Antwerp, where it continued for a con- siderable period of time. ON canvas. BY THE SAME. No. 86. The Tribute Money. ‘‘ Jesus said unto him, (Peter) go thou to the sea, ‘‘ and cast a hook, and take up the fish that first ‘‘ cometh up, and when thou hast opened his mouth, thou shalt find a piece of money.” St» Matthew^ chap.xvii. v. 26, 27. FLEMISH SCHOOL. Rubtns, 26 . The composition of this picture, is of seven figures as large as life. On the sea-shore which is scattered with shells, the disciples are standing, except Petei’, who is seen in profile, in the fore-part of the pictuie ; lie seems to have just drawn the net, arid continues on his knee, on the ground^ his head turned to look at the piece of rhoney which olre of the disciples has jiist taken out of the fish he holds in hiS left hand. The blue drapery in which this last is clad, has partly fallen from his shoulders, so that part of his body is uncovered ; be- hind him a voung woman dressed in red, carry ing a basket Df fish, on her head, stops through curiosity. In the mean time the other disciples are eagerly pressing foriVard, to examine the coin, and manifest equal admira- tion and surprize at the new miracle wrouglit by our Saviour. We plainly recognize the portrait of Rubens in the second figure, on the l*ight hand, but we cannot refrain from regreting that this great artist permitted FLEMISH' SCHOOL. n ■ his pupils to share so largely in his works of this size ; therefore notwith- standing the rich colouring and impos- ing composition of this, we frankly confess that we do not consider it as entirely the production of Rubens’s pencil. ON CANVAS. , BY THE SAME, No. 87. A large Landscape, with two Rainboxos^ ^ Cattle and Figures. It is universally acknowledged that this master was equal to Titian in land- scape painting, but it is impossible to behold the extraordinary performance before us, without acknowledging also that in this line, Rubens has made Titian his model, for the major, part of it, recals to our mind, the Prince of the Venetian school, and proves to us that without becoming a servile iniitator, an VOL. II. E 28 FLEMISH SCHOOL, artist may improve by the works of an- other, whose taste he imbibes by accu- rate observations, and whose beauties he conveys by study to a style and manner of his own, owing to which we now enjoy, as it were, in this perform- ance, the combined powers of two very eminent masters. Rukns. To the right of the picture is seen a hill covered here and there with trees, principally gn the summit ; most of those trees are in fine verdure, and others are despoiled of their knaves and branches, by the wind and the hatchet. On the same side is seen, towards the bottom of the picture, a rivulet over which is a bridge, and on this side is advancing, playing on the flute, a shep- herd followed by two cows and a large flock of sheep. The centre presents a rich pasture of , the finest verdure, and mountains be- yond, whilst on the left, and on this side, we see some young trees and an old willow lopped, shooting out fresh branches, and the root of which is dis- FLEMISH SCHOOL. 29 covered in parts, from apertures ; the light of the sun strikes on one side of the sky, whilst the other announces rain, and presents two rainbows. There is a fine print taken from this picture, called the Tioo Rainhoivs af'Ru^ hens. It comes from the cabinet of Prince Rupert. ON CANVAS, BY THE SAME. No. 88. A Portrait. We know not from what cause, but almost every female portrait of this master’s hand, is misnamed and called the wife of Rubens who was never married but twice. If it happens that the picture is not like Helena his first, ’tis then called his second wife, and if it resembles neither, .they will have it that it is Rubens’s third, fourth, or fifth wife. It was under that denomination Ruhcns, 30 , FLEMISH SCHOOL. this was sold us, although it is the por- trait of Mary de Medicis, Queen to Henry the Fourth of France, and mo- ther to Lewis the Thirteenth. That princess being endowed with a refined and exquisite taste, was friendly to the fine arts, and became the patro- ness of Rubens, who by her order, exe- cuted all those grand works which are in the Luxembourg palace at Paris. She is seen half-length, as large as life, and full face ; her head is adorned with a diadem of precious stones, with large pearls in her ears ; — she is dressed in the fashion of the sixteenth century, when they w'ore those large puckered sleeves which gave an air of gx’andeur to women, and added still to their charms, by that raised ruff w'hich left part of the bosom uncovered. She has on her neck, a row of pearls, and tw'O others fastened below her shoulders, falling with elegance on her breast — in her bosom is seen a rose of the most precious stones, and her gir- dle is of the like jewels intermixed with FLEMISH SCHOOL. 81 pearls. She holds a fan in her hand, and there is on her countenance, a smile of benignity. A crimson curtain is in the back- ground of this superb work, painted with the chastest colours that ever came from the palette of this great master. ON PANNEL. Sir ANTHONY VAN DY CK, borri' at' Antwerp, 1599 * Authors differ in opinion, concerning this event, for some pretend that the Virgin Mary has never paid the last tribute to nature, but was carried alive by angels, to heaven. Others will have it, that after her decease, slie was brought by the surviving disciples of our Saviour, to a tomb where the three Marys repaired with flowers and per- fumes, when on a spdden the Madona 52 FLEMISH SCHOOL. Vandyck. revived and wa^ carried away on a cloud which descended to the foot of the tomb, and it is in conformity to the last opinion, that the subject before us, is treated. We are told that this picture was in the celebrated collection of Chevalier Verelst, commonly called le malade ima^ ginaire de Bruxelles, who attributed it to Rubens ; and there is so much of that great master’s colouring, in the perform- ance, that we are not surprized at the mistaJce. But the fact is, that the whole is by the hand of Vandyck, when he was in the school of Rubens, for in as much as we are sure that it was not painted by Rubens, we say witli equal certainty, that it is not the work of any other of his disciples, with whose taste and pen- ciling we are well acquainted. The picture is composed of fourteen figures. Upon the fore-ground is a tomb, around which are the three Marys and the disciples of our Lord, amongst whom it is easy to distinguish FLEMISH SCHOOL. 33 St. John, as being much youngx^r tliaii the others. They are arranging the flowers upon tlie winding sheet, with which they intend to wrap the. body of the blessed Virgin, when all at once, it was carried away- The Marvs, and those of the dis- ciples who are nearest the tomb, being occupied, do not at first perceive it : those who are behind, first witness this great event, and in the moment of their surprize, we see them extending their ^^nefyek, arms towards the Madona, who already surrounded with angels and cherubins, goes distinguished from other mortals, to enjoy in body and soul, celestial hap- piness. «N CANVAS BY THE SAME. No. 90, xunuiy. It is universally known that Vandyck possessed even in liis youth, those ta- 34 FLEMISH SCHOOL. Jciits which are requisite for historical painting, and in which he so highly dis- tinguished himself, that Rubens appre- hensive of finding a formidable rival in him, persuaded his pupil to devote him- seif to portrait painting, as a sure road Vandyck. aud reputation. Notwithstanding Vandyck was still very young, he was frequently solicited to paint for difierent convents and churches, and an adventure that hap- pened to him, furnished Rubens with the opportunity of disgusting him with historical painting. Vandyck had been engaged in an ab- bey near Brussels, to paint a Descent from the Cross, for the great altar-piece of the church, which, owing to his love of the art, and thirst after reputation, he executed in a most masterly manner. The monks however, did not approve of the picture; nothing is so difficult as to please the idle and ignorant. The abbot and the greatest number of the moiiks, criticized the finest parts of the performance, and concluded by offering the artist half of the stipulated price. I FLEMISH SCHOOL. 35 Vandyck piqued carried off the pic- ture, and retired to his friends at Ant-; werp, but in a short time it was known at the abbey, that some artists and the best judges of the art, considered the Descent from the Cross as a chef d" oeuvre^ and wortli more than ten times the sum they were to have paid for itj upon which the monks sent to the painter for the picture, which he refused, and it was soon after purchased by the King of Spain. However, he did not immediately quit historical subjects, as he painted after, ‘for the parish church of a village near Ghent, a Holy Family which has also drawn the admiration of every one. Vandyck during his residence in En- gland^ married the daughter of Lord Ruthen, Earl Gorre ; but he was at that time, in love with another woman/ whose portrait he inserted in that per- formance, and it is the sketch of it, that is here offered to the public. Near a pillar, on an elevation, in the ^ centre of the picture, the Virgin dressed VOL. II. F Vandy'ckh 36 FLEMISH SCHOOL. Vandyck ^ 10 ^-- in red with a blue drapery, is sitting and holding the Infant Jesus on her knee^ on which he is standing, with one of his arms thrown round her neck; two an- gels are descending from heaven, bear- ing liiui a crown, and St. Joseph dressed in yellow, is standing on the right, lean- ing on his stick, whilst on the left of the picture, St. Francis and another young brother of his order, are rendering ho- mao;e to the Infant Jesus. , ON PANNEL. BY THE SAME. No. 91. Portrait of himself . When this artist, at the instance of Charles the First* canie to London, he was accommodated with apartments at Biackfriam, and a house was given him near Gravesend, for his relaxatioir and the reception of his friends. It was from thence that this picture came, after FLEMISH SCHOOL, 37 having reriiained incorporated there in the partition, over the chimney of the saloon, till the house, after repeated repairs, was some years since, demo- lished, the foundation having given Avay. Mr. Woolmer, to whom we are indebted for this anecdote, then became the possessor of it, and we purchased the same from him, to enrich this col- lection. After the many likenesses and the different engravings of Vahdyck, w^e have no hesitation in asserting this to be also his portrait, nor does the fire and the spirit with which it is executed, permit a doubt of it"s being of his own hand ; it is besides in the attitude of an artist studying from the looking glass, ON CANVAS, BY THE SAME. No. 92. j f-' . \ Venus arriving to the relief of Adonis. It is at the moment when i\Iars jea- lous of his successful rival Adonis, 38 FLEMISH school. wounds him at the ehase, under the form of a wild boar. Venus alarmed by his cries, darts from heaven, on a cloud, but arrives too late; inflexible fate! the cruel Atropos has cut his thread of life. Vandjck had quitted the school of Vandyck. Rubcus, and no longer painted in his manner, when this cabinet picture was executed. In the fore-ground, the young hunter lies naked, and extended on a blue drapery, one end of which conceals the W'ound-he has received, andMiis horn lies at his side. On his right, is the goddess dressed in red, with a light yellow drapery ■ floating in the air ; she is kneeling, her hands and eyes raised towards heaven, supplicating the gods to restore her unfortunate lover to life. ON CANVAS, FLEMISH SCHOOL. S9 BY THE SAME. No. 93. Portraits of Lord Stafford and Bishop Laiid^ in one picture. Lord Stafford is to the right of tho Fandyck. picture, his head uncovered, dressed in black, and decorated with the order of the garter; Bishop Laud has on, the sqifeire cap and his sacerdotal habits. These figures are in small, but we should mention that we have put the picture under Vandyck's name, because it is in his style, and don't know any other we could attribute it to ; we are certain of it's being an original, or we should not have purchased it ; but we cannot say positively that this is the Work of Vaiidyck, as we never have seen any of his. portraits, in so small a size, ON PANNEtL. 40 FLEMISH SCHOOL. BY THE SAME. No. 94. o' Portrait of the Reverend Mother of a • Nunnert/. It was customary in friaries, as well as nunneries, to have in a room appro- priated to that purpose, the portraits of their superiors ; so that as soon as a VandycL monk or sister nun was elected such, they used to sit for their pictures ; and , of course, on the suppression of so many monasteries in France and Flanders, many of those portraits have been cir- culated through Europe. The superior of an abbey, was called the lady ab- bess, and wore a golden cross; those of the convents were called reverend mothers. This is a superior of the Franciscan order, which was divided into three classes of nuns, the black, grey, and white ; she is painted in full face, dres- FLEMISH SCHOOL. 41 in a black gown and veil, with a white lappet on her breast; a cord of discipline, is tied round her waist ; and she liolds in one of her hands, w^hich are remarkably fine, the lower end of her veik This picture is engraved. ON CANVAS. DAVID TENIERS, born at Antwerp, i6iq.. No. 95. A Landscape with Figures. Such was the admiration wdth w hich Sir Joshua Reynolds beheld the w^orks of this artist, that he w^as accustomed to say, however great Raphael may have beeii^ the world imll perhaps one day^ see such another^ but it iinll never behold a second Teniers, This is tlie celebmted w^ork of Teniers so well known, under the name of the Column^ given to it on account of that column being a prominent object in the picture. It is erected, to shew’ the Teniers 4 42 FLEMISH SCHOOL. boundary of the territory of Antwerp^ bordering on that of Ghent, having se- parate j urisdictions ; the letters S P Q A are engraven on the column* Twenty-two figures form tlie compo- sition, four of whom are placed for- wards, near the monument, which is to the left. More retired tliere is a group near a thatched cottage, and the body of the picture is made up by figures which are dancing and otherwise amus- ing themselves. The back-ground is filled up by other small figures. A village church, some cottages and trees are finely detached from an enchanting sky. This was formerly in the collection of Duke de Vaientinois, and it unites all the powers of Teniers, transparent colouring, an electric touch, with a composition as interesting as it is varied ^ and the figures are painted with that ease and spirit which his imitators have never been able even distantly to ar- rive at. ON CANVAS* FLEMISH SCHOOL. 43 BY THE SAME. No. 96. The Tour Seasons. W e have seen offered to the public, other small pictures oh these subjects, which in truth, were not copies, but that Tcnkrs. have been attributed very unjustly to young Teniers, by those who having but a superficial knowledge of the art and of • masters, are subject, from a resemblance of style, to confound his works with those of his father, known upon the Continent by the name of old Teniers^ The true judges of painting, easily see, in spite of the style, the The King's tent is raised near some trees, on the left; he is just coming from it, surrounded with the body of cour- -Tiers, who used to follow him to the army; by officers on foot and horse- 64 FLEMISH SCHOOL. back, by his pages and guards, one of Avhom is reading the letter found upon the spy who is brought before him, suri'ounded by a guard of armed soldiers, his hands tied behind him, and his coun- tenance expressive of the certain fate awaiting him ; he is followed by a croud of men and officers on horseback, who occupy the right of the picture. A regiment of cavalry is in the more retired part, and the back-ground is formed by the besieged town. ON CANVAS* PHILIP DE CHAMPAGNE, born at Brussch, 1602. ^fo. 107. A 71 Ernbkrnatical. It is but seldom that this kind of sub- ject is to be met with by this master, whose time was principally occupied in portrait painting; he was particularly successful in female heads, and ap-‘ pointed principal painter to the King of France, when Lewis XIV. was very FLEMISH SCHOOL. 65 fl young ; — he frequently had the honor of painting the Queen mother* It happened that some ladies pf the court, paid him a visit in his painting room, some few days after he had finished a portmit of her Majesty ; and they had no sooner looked at it, than it underwent a severe criticism, for it had not, in their opinion, the most distant resemblance of the Queen~one found fault with the eyes — another said that the lips were too large— -in short the whole picture was decried. The artist being the only person pleased with it, resolved not to spoil it through complaisance; but aware of the consequence of prejudice, and, mis- repi'csentation, he informed the ladles that he would do his endeavours to correct any faults, if they would have the goodness to point them out sepa- rately, which they did. Champagiie then took his pallette with a dry pencil, and pretending to dip it in colour, he re-touched with it, different parts of the portrait. . Chavipagne 66 FLEMISH ^SCHOOL. Ill proportion as Cliampagiie pro-^ cccdecl with the dry pencil, over the particular places which the ladies had found defective, the faults gradually va- nished in their sight, and the artist, without his august model, but merely by the directiolis of his visitors, in a few moments, produced the most perfect resemblance of the 'Queen Dowager. His merit was then extolled to the skies, and lie had the satisfaction of keeping the picture exactly in the same state they had first seen it. The present one is emblematical of the vanitv of human grandeur — Time flies array, holding in hi's left hand, ' a scytlie, and in his right, an iron chain attached to a car he is dragging after him, and in which an old man is stand- ing up, supported by his stick, while some women near him, are tearing their hair in the agonies of despair, and look- ing towards heaven, where nothing hut destructive angels appear to them. *On the front of the picture, are scat- tered pieces of armour, helmets, Car- FLEMISH SCHOOL. 67 clinals’ bonnets, patents of nobility, skulls and books, which are mouldering into dust. ON CANVAS. HERMAN SWANEFELD, born in Flanders, 1620. No. 108 . A Landscape zoith Figures. How sweet a task it is to praise ! — • then how unceasingly painful must be - the office of the slanderer, a description of men who breathe only defamation on the living and the dead !— .-but like the policy which condemns the criminal to a public execution, that it may serve as a warning lesson to others, the faults of our predecessors are held out in the' most glaring deformity, tliat it may caution our cotemporaries to avoid them. Great men, as has becnalreadv remark- ed, are subject to great weaknesses, and VOL. II. K 68 FLEMISH SCHOOL. we have before observed that Larifranc was jealous of Domiaichino, Velasquez of hisslave,andRubens, although a warm patron ofthemei’its ofBrouwcr, Tenieis, Poelemburg, and other artists who were S ii) cttiifcld 0 ^ • -i* i« r* •j* not m his own line ot painting, was- however jealous of Vandyck and Joiv deans. Nay indeed, some artists have carried their jealousy to so monstrous an excess, that in a lit of that passion, Andrew dal Castagno murdered his rival Vetiano. We have now the un- pleasant task of remarking the same weakness in Claude, with regard to Swanefeld. Swanefeld by his sweet conciliatory manners, and a taste similar to that of his master, for study and solitarj^ walks, had gained the friendship of Claude, who saw him with pleasure, surpass his other pupils, and he frequently employ- ed him to put figures into such of his - pictures as he himself did not. Swane- feld however never was so employed, wnthout exciting in Claude, emotions of envy and regret, and that great man. flemish school. 6 § whose fame rung throughout Europe^, could not support the idea that any of his pupils should excel him, even in the least tiling ; so that in hopes of render^ ing himself iiidependant of their assist- ance, he constantly, "till an advanced age, went to study as a boy at the aca- demy, which however was not to his discredit. Ill proportion as the reputation of Swanefeld was increasing, it raised the sz^amjeld^ most violent jealousy in' Claude, who though confident of his own superior powers, feared that the public was not so, and his jealousy became excessive, when lie saw the works of his pupil, exported from Rome into foreign coun- tries, and the same prices nearly paid for them, as for his own. There is but one step from jealousy to suspicion; and Claude began to sus-^ pect that Swanefeld secretly copied his works, or at least, different parts of tJiem ; and to that suspicion we are in- debted for his book, cntitied Libro di Verita^ in which he has inserted the 70 FLEMISH SCHOOL. greatest part of his works, so tliat any plagiarisms might be discovered; and on the back of each drawin", he wrote the name of the person for wliom the picture was painted. , As Claude however was too just to condemn his friend on mere suspicion, he continued his attachment to him, and 'his envy did not cause their sepa- ration ; they frequently visited each Szonnejdd. other, and often met in their country rambles, where they examined together, the different effects of nature. The landscape before us, presents on the left, a rising ground crowned with several fine old trees, and a pea- sant who is guarding some cows graz- ing near him. A river runs at the foot -of the hill, forming a cascade on the right, and flow-' ing to the fore-ground: a man and a boy arc on the bank, returning from ai}giing. On the riglit, a man and woman ad- vance over a tract of, sand, which is backed by a range of trees, and varied herbs and shrubs, which, combining with FLEMISH SCHOOL. ' Jl a fascinating and harmonious ■ sky, add fresh beauties to the performance. ON CANVAS* , BY THE SAME. No. 109. , ' ' A Landscape 'with Figures.- Tliis is one of those cabinet pictures, which at first sight seduces the eye by it’s picturesque composition and colouring, and ensures our admiration, after a close examination. The fore-ground is occupied by a high way, in the middle of which, ai*e two figures, a woman carrying a bundie on her head, and a man accompanying her. The next objects to the right, are two men fishing in a river which runs through the centre of the picture, and at a distance are rocks, finely spread with roots and briars. In the fore-ground, on the left of the picture, which is enriched by the stump 72, FLEMISH SCHOOL. of ail old tree, a:nd variegated shrubs ; 'd rising ground partly conceals the high way that runs behind it, and discovers a countryman advancing, mounted on an ass. Then our attention is attracted by a cluster of trees beautifully formed^ and finei}^ contrasted with the warm and spirited sky: ON CANVAS. JAMES FOUQUIERES, born at Antwerp, 1580* No. 110. A Landscape with Cattle and Figures^ This artist was a, descendant of the family of the Fouquieres, of Augsburg, in Germany, so celebrated in the mer- cantile world, for tlieir credit and opu- lence ; they had obtained the exclusive privilege of the spice trade, so that tliey could limit at pleasure; the market of that commodity. Such was at that time, the extravagant price of spices, that cinnamon sold at tvro ducats, nearly a guinea, an ounce. FLEMISH SCHOOL. 73 The urandfatlier of our artist, had advanced a considerable sum of money to the Emperor, Charles the Fifth, for which tliat sovereign had given his note, but finding it out of his power to pay at the stipulated period, he was uneasy concerning that engagement ; however on his return from Italy, through Augs- burg, he alighted at Mr. Foiiquieres’s, by whom he was received with a mag- Fouqmeres nificence suited to his rank, and enter- tained with that luxury which immense wealth ^varrants. After a stay of tw’enty-foiir hours at Augsburg, the Emperor, while prepa- rations were making for his departure, sp.ketoAIr. Fouquieres of his note, and of the difficulty he experienced in the payment of it ; breakfast w as in the mean time, laid before the monarch who, as it was then autumn, expressed that he felt himself sensible of the dif- ference between the warm climate of Italy, and that of Germanv. Mr. Fou- quieres immediately ordered a fire, and tliat it might be a clear and grateful 7 - , , : ' - ' 4 FLEMISH SCHOOL. I I some faggots of ciiinamoii were brought; at the same time takin<^' from the drawer, the Emperor's note, Mr. Fou- quieres shewed it to him, and then set Fouquieres. ^^dtli it, to the eimianion. James, his grandson, was pupil to Brueghel, whose manner however he did not adopt, as he formed himself a style between Titian and Rubens, by whieh he acquired great fame, and Lewis XIII. gi’anted him patent letters of nobility, from which moment he never would paint, but with his sword at his side. . ' The performance of his pencil, which is in this collection, represents a fine ' . landscape, the, right of which offers a cluster of trees and a large barn ; near are seen a shepherd and his sheep ; and on'the left, a sheet of ‘water, with some cows'. . . ON CANVAS. . flemish school. 75 MINDERHOUT HOBBIMA, born 1611. ^ No. 111. A Landscape. Ill the time that the low countries belonged to Spain, in almost all the woods and forests there, hermitages were raised, in each of which associated three or four peasants, who took the habit of monks, like that of the Capu- chins, and were called brother hermits. Some lived by begging in the neigh- bouring villages , others by making rush and willow baskets, and going thither to sell them, and some by keeping schools. In one of these schools, Hobbima was brought up, and it was there probably, that he first imbibed the taste of paint- ing forests ; but his father who had des- tined to him a considerable fortune, opposed his son’s inclination for paint- ing, which obliged young Hobbima to Hobbima, 76 FLEMISH SCHOOL# secrete himself in his studies, and for a long time after he had quitted the school, he used to return to the woods, under pretence of visiting his old mas- ters the hermits, and while with them, he used to draw and paint. . Amongst the works of the greatest masters, a choice is unquestionably to be given to some in preference to others, and however celebrated an artist may be, the performance of his youth or old age, seldom equal those of the prime of his life. — The want of study and expe- rience in early years, and the debility attendant on advanced age, preclude the hopes of expecting eJuf d'ccuvres from cither. But even amongst the productions of - the l3est time of a master, there is am- ple ]’oom for choice, for notwithstand- ing they may equally be ranked amongst good pictures, they may from compo- sition and subject, be widely different in effect and merit. Many pictures will fascinate an artist, which a connoisseur, would view with FLEMISH SCHOOL. 77 indifference, although generally those which please a true connoisseur, will likewise prove the favorites of the artist. Among the multitude Avho are igno- rant of the rules of the art, and suffer themselves to be seduced by false beau- ties, it frequently happens that a chef d’ceuvre is neglected to admire some mi- serable production ; as a cottage girl who will prefer coarse woollen, if it blaze in scarlet, to the modest beauties of the finest lace. Sometimes how- ever by it"s singular merit, and a cer- tain je ne mis qiioi^ a picture commands the admiration of the artist, the con- noisseur, and the multitude ; and those are the truly desirable ones. But even the greatest masters them- selves, have produced only few of those fortunate pictures, and consequently they are extremely scarce ; this how- ever, justly ranks among the number. Unaided by what generally embel- lishes a landscape, it possesses neither stately buildings, nor those of humbler life — fine ruins, nor superb columns. Hohbima 78 FLEMISH SCHOOL. broken or intersected grounds-— un- adorned either by threatening I'ocks or majestic mountains, rivers or bridges, cascades or cattle, and even without the artifice of a rising or setting sun ; but merely with a few trees and a chaste natural sky, the skilful artist has pro- duced a picture that has never failed to fascinate those who have seen it. ON PANNEL^ GIOVANNI DELLA VITE, called JAN MIEL, Born 1599. No. 112. A Landscape •with Figures. We have already remarked that such artists as have distinguished themselves in painting small figures, can seldom paint well iii large. On Miel’s arrival at Rome, Andrea Sacchi was so struck with his merit, that he admitted him into his academy, with the intention of enabling him to paint history; and asAn- FLEMISH SCHOOL. 79 drea was then painting in the Barbarini palace, the Pope revieimng his cavalry, he employed him on fliat grand work, but to his sorrow, for in a day or two, he found that his new pupil had spoiled it, upon which, in a great passion, Sacclii turned him out of the gallery, and Miel very prudently never attempted after, to paint in large. The left of the picture, presents an old convent, on the top of wdiich are fixed a bell and two crosses. That holy edifice is inhabited by Franciscan friars, a lay brother of whom is on the threshold of the door, giving alms to the poor, with that benignity which dictates a truly benevolent heart, and which alone can inspire confidence. At his feet is a large kettle of broth which he is distributing in small browm dishes to those who surround him. A woman is seated on his left, feeding her- self and her little boy, and behind her a young man is eating with avidity. Towards the centre, stands an old man Ivho is also making his meal, while the MkL Mid. 80 FLEMISH SCHOOL. I friar is serving a girl who appears about ten years old ; behind her, a little boy is waiting, with his jug in one hand, and his hat in the other. On the right of the picture, a man who has just received his portion, has seated himself on a fragment of ruins, and is warming his fingers, with his breath, in spite of the impatience of his dog, who has already put himself in a begging posture. A little retired, a pilgrim is running, his arm pointed towards the monastery, in the attitude of calling to others, and informing them of what is -going on. The whole scene offers a short relax- ation from misery, for those poor ob- jects relieved at so trifling an expence, and it reminds us.of the great and good Lord Bessborough whose life was daily cheered by the blessings of relieved in- digence, and whose crowded door never was shut against want, nor were the poor suffered by him to go cheerless away. FLEMISH SCHOOL, 81 This one of those clear and silvery pictures of which Miel has left us but a very small number. ON CANVAS. BY THE SAMEw No. 113, A Landscape, Viao in Italp, On the high road, is seen a woman going to market with her little boy, and her ass loaded with panniers filled with poultry and game. The ass want- ing to rub it’s back, has lain down on the ground, and overturned the pan- - niers ; the pigeons and fowls are flying away, and the road is covered with hares, ducks, and partridges. The ingenious artist has remarkably well expressed the embarrassment and agitation of tlie mistress, on this trying occasion, for in her fear of losing so many good things, she has thrown her- self on her knees, to cover part of her MieU 82 FLEMISH SCHOOL. poultry with her apron; but wanting also to recover her pigeons, she stretches in vain, one of her hands in the air. Mid. whilst her little boy extends his arms, and calls to them. In the mean time, some good pea- sants who chanced to pass that way, with their horses, have stopped to raise the ass, at which a dog is barking. The one raises up the body, the other draws him by the tail, and a third is beating him Avith his stick ; but the restive and obstinate animal keeps firm in it’s po- sition, whilst some children, who were at play, not far off, having perceived what is passing, have quitted their sport, and are running to come and enjoy the scene. ON CANVAS, Dutch School. PHILIP WOllVERMANS, born at Haerlem, 1625^* No. 114. A Landscape ivith FigureSi Although it said that Wouvermans had all his designs and drawings burnt in his last illness, there are some stilL extant, for the drawing of this picture was but a few years ago, in the posses^ sion of a merehant at Amsterdam,where a friend of our's saw it. It is certain that Wouvermans threw liis portfolio into the fire, but not, as has been asserted, to prevent his son and his brother Peter profiting by his studies. Notwithstanding his superior abilities, W ouverraans was in the utmost poverty, from having been continually imposed upon by the picture dealers, who uyed not to remit him above the tenth part of what his works were sold fon I have been so ill recompensed for my labours^ VOL. IL M 84 DUTCH SCHOOL. said Wouvermans, that I will not have rny drawings engage my son to become a - painter. That son followed his advice, and made himself a friar of the Carthu- sian order. We see in this, detached from a warm, U'ouvermans sihreij and ti-ansparent sky, a small house covered with thatch, built on an eminence, and surrounded with trees ; a gentleman is near, wrapped in a cloak, and mounted on a fine horse ; his ser- vant who rides a white one, upon which is a red saddle, is dismounted, and giv- ing him to eat, out of a basket. On this side, is a man dressed in brown and blue, with a red bonnet on his head ; he appears fatigued, and re- poses himself extended on the ground ; a little fartlier, to the left, a cascade is seen, and on the second ground to the right, an old willow with but few leaves, and almost despoiled of it’s verdure. This picture, wdiich is of a most pre- cious enamel, and an uncommon force of colouring, will always rank among the finest productions of the master. , #N ?A>’NE.L, DUTCH SCHOOL. 85 BY THE SAME. No. 115. - A Landscape with Cattle and Figures. On the right of the picture, some children are bathing in a sheet of water, on the edge of which, a girl is washing some linen she has in a basket hear her, while a man mounted on a white horse, is advancing in the centre, to water him ; two other figures, and some sheep occupy the left. Some beautiful buildings, and trees of exquisite foliage, are seen more re- tired on the right and left, and the dis- tant mountains are masterly detached from a lovely transparent sky. ON PANNEI-. % BY THE SAME. No. 116. A Landscape with Figures. The composition presents twenty-five figures, large and small ; two trees on a * 86 DUTCH SCHOOL. little hill, are seen in the centre of the picture ; and on the right, some gentle^ men on horseback, going a hawking, one of whom holds the bird on his wrist ; several dogs are around him, and upon the x'oad, a beggar is lying down, and holding out his hat to them, for chai’ity. Opposite to him, a huntsman is ad" vancing with his dog ; and on the second ground, a man canying on his back, a Wouvemam. package of merchaftdize, is going off on one side, with other figures; and on the other, two reapers are at work in a field, On the left, is a piece of water, where we see a man wateiing a white horse : a little boy half naked, is w'ashing his feet there, whilst two fishermen are drawing tlicir nets; upon the second ground, are a shepherd with his flock, a house, and several figures. ^ - On the third, we distinguish a village, a river and another hill : and at a great distance some mountains, ju-t per- ceptible to the eye, unite with a most DUTCH SCHOOL. 87 clear' and luminous sky, Avhich indicates the middle of the day. ON PANNEL, BY THE SAME, No. 117. Halt of Horsemen. One of the most capital performances of that admirable master, not only for the quantity of fibres, and variety of . ... IVoiivermans, horses, but also for their extraordinary merit as to animation, their movements, their various and difficult attitudes, and for the correctness and spirit with which they are painted, and .most highly ' finished. It is a composition of seventeen figures and twelve horses, on the left of the picture are seen rocks and some trees, from whicdi a man is cutting away the suckers, and here the horsemen have made their halt ; two of them are dis- mounted, whilst the others are watering their hoi’ses at a river which is on the 88 DUTCH SCHOOL. , right. There are also seen people bath- ing and a boat with oars, in which are two men. On the second ground, a lady advan- ces mounted on a horse which a man on foot leads by the bridle, and she is ^ Sei'Vant, who is alsO Oil horseback. ON PANNEL, The companion of thi3 picture painted also on wood, formerly belonged to Car- dinal De , by whom it was promised to Doctor Bouvart, first physician to Lewis XV. who had so much esteem for him, that he made his son maitre de reqiiete when only twenty-five years old, his ministers on the occasion, repre- sented to his Majety, that he was very young. Your o':s^zrvation is just, replied the King, hut when we graze old, we must pay court to our doctor. The Cardinal some time afterwards, being taken ill, sent for Dr. Bouvart who found his Eminence in the greatest agonies, and in a most dangerous state. I shall not DUTCH SCHOOL. 89 get mer if^ cried the Cardinal in despair. You must rather hope to do so^ replied the physician, have patience^ my Lord^ and let your cowrage support you. I trmt you will be better in a few days.^Ah^ returned t his Eminence, I shall owe my life to your cares^ and it shall be devoted to the service of you and your family^ my dear Doctor ^ great and justly celebrated Bouvart. Such continued to be the language of the Cardinal during the few first days ; but the physician is no stranger to compliments from his patients, nor un- acquainted with the real value of them. Doctor Bouvart however, little af- fected by the promises or flattery of his Eminence, * afforded through duty, every attention that suffering humanity requires, attended him with unrelaxcd assiduity, and frequently remained an hour at a time, in his patient's room, in which hung the picture by Wouvermans, which we have just mentioned, and he ,of course frequently admired it. Does it please you?' said the Cardinal. It is impossible otherwise y replied the Doctor; 90 DUTCH SCHOOL. and his Eminence insisted on his ad-- ceptiiig it, and would have sent it to his house immediately, but Dr. Bouvart, far from taking , advantage of his pa-* tient's offer, absolutely declined it. See- ing him hurt however by the refusal, he agreed to take it, when, requested by the Cardinal after his re-establishment. -tVouvermans, But ill proportion to the Cardinars ^ recovery, his caresses, politeness, and flattery diminished so much, than his dear doctor, the great and jtistty cele-* brated Bouvart became plain Bouvarty whom his Eminence came gradually to treat as he used to do every one, with pride' and hauteur* It is the custom in England, to com^ pliment the physician, with his fee at each visit; but in France, they are paid, or at least ought to be paid, after ; and Dr. Bouvart, not having been so, at the lapse of twelve months, was under the necessity of writing several letters to the Cardinal, who would not even send , him an answer, which ingratitude so mortified the physician, that he com- DUTCft SCHOOL. 91 plained of ' it to the king, and unfor** tunately for the Cardinal, at the mo- ment his Eminence was solicitin2[ a re- levee, the King sent for tlie Cardinal, into his closet, which made him look with confidence to obtaining the favour he solicited ; but what was his surprize on finding Dr. Bouvart with his Ma- jesty, who after highly censuring his conduct, ordered him to pay the doc- tor, his demand in twenty-four hours \ Dr. Bouvart however did not wait that time, for on his return home, they brought him on the part of his Emi- . nence four times the amount of his claim, accompanied with the work of Wouvermans — -the physician taking only what was justly due to him, re- turned the overplus with contempt, as well as the picture, which after the Car- dinal, passed into the collection of Ma- dame la Comtesse de Verue. giment for his nephew. The next day, previous to the voL.ir. N 92 DUTCH SCHOOL. BY THE SAME. No. 118 . . ■ . _ . ■ 1.^. ■ / / V..' / ^ , i Two Pictures of Farriers* Shop!^. ^ ^ . One of these, presents in a most pleas- ing landscape, a composition of eleven figures, with six horses ; on the left is IVuuvernians. seen an old vaulted building, whose summit is covered with mos.sy verdui'e, and in this rault is a farrier’s shop. Two gentlemen followed by a servant, have stopped to have one of their horses shod ; it’s saddle is taken off, and lies on the ground near them. Whilst the farrier is shoeing the horse, one of the workmen, is holding it by the bridle, and the servant alighted from his horse, is occupied in re-sad- dling it. A young man leading two other hoi'ses to the forge, is watching 'till the farrier has finished ; on this side, is also seen a fine child dressed in blue, playing with a dog. DUTCH SCHOOL. 93 I'he right of the picture, presents a woman, seated at the foot of a willow, stript of its leaves ; near her, is. a little girl lying down on the ground, and a man who seems to be speaking to her ; farther, another is seen going oli on horseback ; and at a distance, a moun- tain of a bluish colour, which is in per- -fect harmony Avith one of the finest iAdes^'^onvermans, . we have ever seen. The .other picture, it’s companion, is painted with the same delicacy, and is in all respects, of equal merit. It re- ^ presents one of those old buildings raised formerly, and such as they now con- struct in villages, with pieces of brick and highway stone, to build at a small expence ; these different materials ce- mented together, form solid Avails Avhich are generally plaistered over, but Avhen, ■ through length of time, this plaister be- gins to fail, the edifice has the appear- ance of an old shabby building, of a A’a- riety of colours ; and it is then that the ingenious landscape painter knows how to profit by it, in his works. 94 DUTCH SCHOOL. Such is the one we are now speaking of ; it is long, with two doors, and serves for two different families ; near the first, is a farrier employed with his workmen, shoeing a beautiful white horse, upon the back of which the master, who has just alighted, has left a red cloak and valise; his dog is at his side, seeking to caress him, and behind a little page in livery, rvaiting with his hat in his hand. The farrier’s wife is on the threshold of the door, over which is a grated win- Wouvermans, , i *1 aow; a child is by her side, and in her arms, another still at the breast ; a gen- tleman, whose white dog is lying near him, is waiting ’till his friend’s horse is shod ; and is conversing with her, while another Avoman is climbing over a Ioav wall Avhich is between the two houses, with a basket of linen to dry. Near the other door, which is also open, and nearly ,in the centre of the picture, is a barrel on one side, and on the other, a man sleeping, extended on the ground ; his wife is seated near him, and holding a child upon her knees. BUTCH SCHOOL. 95 ' Oil the left, a road ivhich leads into the country, from whence a shepherd is returning with a I'lumerous flock of sheep, followed by a girl carrying a Iamb, and a young man, mounted upon an ass loaded witli straw* T he ground is enriched with a piece of water, trunks of trees scattered here and there, and with the finest verdure ; while the effect of a sky, the most piquant, adds greatly to the beauty of the whole. ON CANVAS, BY THE SAME. No. 119. A Departure. The composition is of eiev'en figures, and sev^en horses, represented in one of those large inn yards peculiar to. HoU land and Flanders; they are generally Jialf exposed and half covered, shelter- ing a trough for the accommodation of the liorses of those passengers who put Me, \\J. s- ■■ M rovv\..v’b-£'kci,_ , 96 DUTCH SCHOOL. up, at their inns, for an hour or two only ; more retired are the stabling ' and .coach-houses . On the left, three horses are attached to the manger, and near them the host- ler of the inn is pointing out a quantity of haj^, in the top of the range, to a gentleman standing by him, in a red cloak ; nearer, a little boy is wheeling a barrow, into which he has put an infant. In the centre of the picture, a lady Wouvermans dre^^sed ill blue, and mounted on horse- back, is on the point of setting out ; she is stopping only for a gentleman who is putting on his spurs, wbilsl a groom holds his beautiful white horse; in that part of the yard, which is uncovered, Uv beggar, supported by crutches and a wooden leg, is waiting for them, and already extends his hat for charity . On the right side, < a servant maid is getting wnter from a well, in one corner of the yard, near which two travellers, on horseback, are leaving the inn through a back gateway, opening to a superb landscape. DUTCH SCHOOIi. 97 The composition, the high finishing, and the delicacy of this work, will never fail to command the admiration of con- , / noisseurs, ON PAN N EL, BY THE SAME. No. 120. / A Landscape with Figures, 'The centre of the picture, is occupied ^ by a cottage which extends itself to right, and is surrounded by a variety of trees ; a woman is seen at a window, while a man is at the door, coming out. The left presents a steep hill, de- tached from a clear silvery sky, and ^ which a man and a child are ascending ; a cart drawn by two horses, and which is coming down the road, is, ^Isaseen at the top ; and the fore-ground of the picture, is enriched^wnth trunks of trees, and a variety of leaves. ©N CANVAS. 93 DtJTCII SCHOOL. At one period, "^Youveniians painted ill so small a size, that some of his pic- tures, like works in enamel, have been put in toiiel and snuff-boxes. Frede- Wauvermansf^^^'^'^^- PrUSSia, had 0116 of them, representing a inarch of cavalry , painted on copper, and incrusted in a double case gold Avatch he used to wear, till he gave it to a soldier, by wliom he passed one day, as the man was on guard at the palace; The King having remarked that he wore a watch, and doubtful Avhether his Avas set right, stopped and asked him Avhat o’clock it Avas, Avhich question stag- gered and thrcAV into confusion the soldier, Avho AA^ore only a Avatch chain, and in fact had no Avatch ; but soon re- coA^ring, he pulled out a gun-bali to Avhich it was fixed, and said, My Avatch, Sire, does not tell the hour, but reminds me that it is my duty to die fisditing in the serAuce of your Majesty.” A brave man, who employs his time so, deserves to knoio how time goes^ replied the King, and he gaA^e the sol- dier’ his OAvn watch. DUTCH SCHOOL. 99 JOHN BOTH, born at Utrecht, 1610* No. 121. A Landscape, With Cattle and Figures, by Andrew Both. Although Henry Both, the father of John and Andrew, was only a painter on glass, he knew that artists in gene- ral, did not live on friendly terms ; and sensible what hatred was excited by any thing like a rival in the art, he saw with pain, the growing inclination of his two sons, to embrace both the profession of painting*, but having remarked that the oldest was always designing landscapes, and the other figures, he considered it as a propitious olnen, and took care to encourage each in the line he had adopted, without ever permitting one to undertake what the ^^jther had done. By these means, he used to say, each of my sons will be eminent in his own style^ and their united works loill be the more VOL. lU o 100 DUTCH SCHOOL. BoiJu valuable; so that instead of being rivals^ they will reciprocally aid and encourage each other ^ and their ties of blood- icill he strengtheneil by the tie of interest^ zcJiich is not less binding: Thus reasoned this good father ; and it was nearly so that the well-meaning institutors of academies, have thought. In uniting the artists, they said, zee zcill root out those little jealousies that dishonour them ^ for as every one zeill contribute to the success of the zohole, each artist 'zeillfeel in^ terested in the success of the other, since the particular good of one, zeill be felt by all, as if' afecting every individuah — Divided they can efect only their single efforts, but united they will materially ^assist each other, by their advice and abilities ; and instead of envy, hatred, quarrels, and dissejitions, zee shall see merits peace, fraternity, concord and happiness, go hand in hand, in the sanctuary of the fne arts. The views of Henry Both, were hap- pily realized. — We hope those of the benevolent institutors of academies, have equally been so. . DUTCH SCHOOL. 101 This picture represents a mountainous country, intersected by roads ; on the ridit, runs a river which loses itself at a distance ; the^scene is clothed with beautiful trees of an exquisite foliage, and finely detached fi'om a w arm serene sky, while the distant landscape ex- hibits the mountains enveloped in the light vapour which a fine summer’s day produces. Cattle and figures w^ell disposed, con- tribute in no small degree, to the en- chanting effect of the wdiole, wdiich is heightened by a water-fall in the fore- ‘ ^ ground, losing itself among the bushes. Both stands too high amongst the first landscape painters, to need useless encomium ; w^e shall only observe that the present picture is superior to most others in execution and dowino; colour- ing. — It Avas formerly in the collection ' of Prince Rupert. ON CANVAS, 102 DUTCH SCHOOL. NICHOLAS BERCHEM, born at Harlaem, 1624, No.122. /i^ /f^ An upright Landscape xoith Cattle and .^- 7 -“ ' Figures. This picture, instead of a studied and elegant composition, merely offei's us a simple view from nature, taken in a bright day. On the left, are seen part of a cottage and a group of trees, at the foot of which a young woman is ly ing down with a child in her arms; not far from her, and in the cenfre, a young man dressed in a red jacket, is seen extended on the ground, and a little farther, are some cows and sheep. On the left, is the trunk of a free with a few branches ; beyond whieh au immense distance attracts the eye, as well as a transparent sky, in which a mass of light, pearly and silveiy clouds are calmly rolling, pN PAN.MEi, DUTCH SCHOOL. 103 A parcel of prints taken from Ber- cheni’s works, were once the cause of Voltaire’s turning into ridicule, the forty academicians of the royal academy o£ sciences, at Paris. The French, to signify that a man is endov/ed with a superior capacity, are used to say, he has alone as much sense as four. And as Voltaire had one day, company at dinner, a little girl, about Berchm. six years old, daughter to his niece Madame Denis, was brought to the desert, and with her a portfolio of prints for her amusement; but as it only contained landscapes from Ber- chem, the child, who would have pre- ferred human figures, asked her uncle, why he did not paint portraits instead of landscapes ! That is a difficult question to resolve, answered Voltaire, smiling, and which should be submitted to the aca-^ ' demy, for, added he turning to the company, there are forty 7nen there^ tcho have as inuch sense as four. 104 DUTCH SCHOOL. Bcrchem, BY THE SAME. No. 123. ^ ^ Landscape xvith Rocks ^ Figures, 4* Cattle. At the foot of a chain of rocks, from whence falls a cascade of water, is seen a man dressed in a red waistcoat, with a sheep’s skin over it ; he is standing Avitb a long stick in his hand, and leaning on an ox, while his dog advances towards another ox a\ Inch is drinking ; to the right of the picture, an ass and a cow are lying doAvn on the grass. The sky is light and transparent, and the fore- ground enriched with’the trunks and branches of trees, roots, and briars. The whole forms one of those fine productions of the art, worthy the repu- tation of Berchem, and the attention of amateurs. ON CANVAS, BY THE SAME. No. 124. A Landscape icith Cattle and Figures, Another of Berchem’s happy pro- ductions; the pleasing composition and DUTCH SCHOOL. 105 > seducing colouriiisj of which attaches the soul and the eye. In a fine summer day, a young woman is going to mar- ket, preceded by an ass carrying two panniers ; she meets a young man who, followed by his dog, is leading some goats and sheep — the master, the mis- tress, and the animals associate, and are all peaceably united. This group draws from the left of the picture towards the centre. The right presents us a river, and on the same side, a man on horseback, rvho is conducting some cattle, andat a small distance, anotlier man leading a loaded ass ; to the right, as well as to the left, are some fine trees, and at a distance, some high mountains and a sky, where the clouds seem to be in motion. Berchem. ON CANVAS, BY THE SAME. No. 125. A mountainous Landscape xoith Ca . We are liere presented M'ith a mass of rocks, on some of which, a few plots 106 DUTCH SCHOOL* of pasture ground are found, with scat-« tered trees and verdure. Water gushes from the bosom of some rocks, on the right, forming a cascade, which is re- ceived into a romantic bason ; at their base, some sheep and goats, are dis^ persed over the front of the picture ; and Berchem, the left, a womaii is milking a goat, while a girl carries away the milk of the others, in an earthen pan ; a clump of trees is in the distance on the left, and in the centre, a peasant is sitting sur- rounded by his sheep and goats. The whole is clear, silvery and spirited, and will ever pass for one of the finest pro- ductions of this master. ' ’ ON PANNEL. BY THE SAME. No. 126. /j;. A Landscape xeith a Farrier s Shop.. This cabinet picture is in the style of Wouvermans. Those of Berchem, even during his life time, were eagerly DUTCH SCHOOL. 107 coveted and purchased at large prices ; but those of Both andWouvermans were sought after with equal avidity, which excited the greatest jealousy in Ber- chem’s wife, whose avarice was insa- tiable ; she was accustomed not only to strip him of whatever . money the sale of his pictures produced, so as some^ times to place him under the necessity of borrowing from his pupils, but obliged him to work from day break "till the close of the evening. Throughout the sumniet, she used to rise every morning at four o’clock, to prepare his colours and arrange his pa- lette, and compelled him to be by five, at his easel, which she took care to place in a room directly over her own, and if ever Berchem, through fatigue of inind or want of rest, relaxed from his work, or she supposed he had done so by her not hearing him, she would make an inc(^ssant noise with a long stick, against a beam in the ceiling, "till Berchem, by a like action with his fool VOL. I/i I* ^crehemk / 108 DUTCH SCHOOL. above, informed her he was awake and at his work. As Berchem's wife disposed of all his pictures, she was not oul\^ unceasing in her clamours for more, but as many landscape painters were eager to have their works enriched by his figures, they constantly applied to her, and were sure to be successful in their applica- Berchenu they wei’c aecompanied by money ; so that Berchem’s easel was crowded with pictures o/ other artists, and notwithstanding his dislike to it, he used to comply for the sake of domes- tic quiet. At length, whether in tlie idea of hurting Both and Wouvermaais, by pro- ducing pictures in their style, or to ren- der those of her liusband, more valua- ble, by shewing the universality of his talents, slie prevailed on him, to paint some in their manner, but the genius of Berchem was not adapted for imita- tions. He produced, it is true, some new compositions in their style, but his own touch, that touch to which he owes DUTCH SCHOOL. 109 his immortality, is easily traced tlirough- out them, and none of his productions have ever passed for the works of Both or Wouvermans. The rich fore-ground of this picture IS ornamented with a piece of 'water, and on the right is the farrier's shop ; the forge is lighted, and one of the work- men is blowing the bellows. A little boy stands beside the farrier, who is himself busied in nailing on the shoe of . a beautiful white horse, whose leg is held up by a young man. Some trees shoot up behind the far- rier's house, the roof of which is deco- rated with shrubs— a man is sitting on a hill towards the left, and in the centre i are several other liouses and the village church, whose steeple is masterly de- tached from a most fascinating sky. ON PAN N EL, no DUTCH SCHOOL. GERARD DOUW, born at Leyden, 1613* No. 127. ^ / A Lady at her Harpsichord. The very high finishing, which this artist gave to. all his pictures, injured his sight to that degree, that at the age of twenty-five, he was under the neces- sity of making use of spectacles, and before he had attained ' forty, he had tried all the dilferent degrees of them, without finding any more to syit him ; in consequence he applied to dhferent opticians and to his friends, but without success, and he continued painting with the greatest difficulty, Till by accident, an old German woman, the mother qf his servant maid, requested him to try her’s, and Gerard Douw found them the treasure he had so long been seek- ing for. The first use he made of those spec- tacles, was to paint them with their case. DUTCH SCHOOL. Ill in a small picture, which he presented to his benefactress, who sold it to a Bur- gomaster for an annuity which rendered the remainder of her life comfortable. Notwithstanding Raphael and Gerard Douw were so different in their lines, their works are equally coveted, equal in excellence, and so scarce, that they are seldom to be purchased. Copies of them, are now and then, put up at auctions, but although so many pictures have been imported into this country, since the French revolution, we call on connoisseurs and collectors, to acknow- ledge that for the last thirty years, not ten pictures of Raphael or of Gerard Douw, authentic like this, have been olBfered either at private or public sales. In the interior of a richly furnished room, and to the right of the picture, a young lady is seated at her harpsi- chord placed under an open window, upon which is a vase filled with flowers ; a stool with a crimson velvet cushion is near the harpsichord ; and in the centre, suspended from the ceiling, is a bird- Douw 112 DUTCH SCHOOL. I>0UW, cage, to whose little inhabitant the lady is giving a lesson. The left offers a table covered with tapestry, on which are a water glass and a music-book open ; a base viol is lying near, and we see on the floor, beside the table, a large vase in which is a stone bottle, and a vine branch carried by chance into the apartment, part of which reclines upon the vase, and adds to the beauty of the work, as well as a rich Turkey carpet fixed to the ceiling, but folded so as to give it the appearance of an open curtain. ON PAN N EL. We have left this picture in the frame it had when we purchased it, altliougli in our opinion, Tis considerably too broad and heavy. The breadth of a frame, should always bear a proportion to the performance, and the size of it's figures; yet, in spite of that rule, there is now so great a rage for large frames, that our picture galleries, are more filled with the work of carvers and gilders, than of DUTCH SCHOOL. 113 painters, which new fashion is entirely- owing to those who being possessed of inferior pictures, and in order to make up for their want of merit, are endea- vourin2[ to ^ive them an air of conse- quence, through the help of a frame. 'Formerly books were bound in hum- ble parchment, but were witty or sub- lime; now, instead of sublimity and wit, they offer us their authors crowned with laurel by Bartolozzi, and fine spe- cimens of rich morocco binding — so it is with pictures ; the most meritorious of the old school, (the works of Ra- phael, Correggio, Da Vinci, Julio Ro- mano, &c.) were formerly put in a modest narrow frame, invented as a. mere support to the picture, but now many performances, pompously placed in collections, receive at once, their sup- port and their whole merit from their frames. Douzt) 114 t)UTCH SCHOOr. 6y the same. No. 128. j ^ Ceres, at the Old Woman’s Cottase. Notwithstanding Ovid in his Meta- morphoses, has treated, this subject with as much humour as energy, such is the merit ' of this picture, in every respect, that we are at a loss to decide whether the -painter or the poet has succeeded the best in it. In a landscape lighted by the moon, at the door of a cottage surrounded with trees entwined by the ivy and the vine, stands the goddess Ceres, her head encircled with ears of corn, hold- ing in one hand, the cup out of which she drinks, and a lighted torch in the ether. The old \^man, supported b}^ her 'crutch, holds a lighted candle in her hand ; her back is towards the door of the cottage, which is half open, and she is waiting till the goddess has drunk, DUTCH SCHOOL, 115 whilst the child, who is beside her, is ridiculing Ceres, who to punish him, afterwards transformed him into a bat. Several kitchen utensils are scattered over the ground, near the cottage, and highly enrich a pictui e which is fit for the most select collection. ON PAN N EL, Sometime after the accession of Charles II. to the throne, he sent Sir Godfrey Kneller to Versailles, to paint ^ the portrait of Lewis XIV. for him, and . the artist so far conciliated the favor of the French King, that his Majesty at the last sitting said to him, I have con-- ceived so great a regard foryou^ that I shall not be satisfied y unless you request something of me before your departure. Welly Sire^ replied Sir Godfrey, the greatest favor I can ask^ is that you would prolong your sit-- tingy some minuteSy and permit me to sketch the portrait of your Majesty for myself. The King having learned the next day, that the artist had very much ad- mired a small picture by Gerard Douw, VOL. II, Q , 116 DUTCH SCHOOL. DOU'ZV^ that was in his palace, a mndk light in the style of this picture^ which represented an old man sitting and reading to a girl who held the candle, sent it to him, and as well for the merit of the work, as tlirongh respect for the Monarch who had presented it, Sir Godfrey considered it as an heir-loom, and valued it as a little earldom in his family. In truth, it is only by the fine arts, by pictures, and statues of the first merit, that individuals who have not titles, can distinguish themselves in life, and hold, in some measure, the balance between themselves and the nobility — a title and a good collection certainly gmce each other ; but it does not follow that the want of possessing the one, should deprive us of the enjoyment of the other. Nothing can be more re- spectable than a title, since it is a dis- tinguishing mark of honor from a xsovereign to his subject ; there are however, a great many men possessed of titles, and very few men possessed of a good collection ; wliieh proves that it is to acquire favour than judgment. DUTCH SCHOOL III BY THE SAME. No. 129 . An old DufcJi Woman. 32 . This precioas cabinet plctui’c repre- sents the interior of a room occupied by a bed and various kitchen utensils; an old Dutch woiiian> in her winter dress, mounted with a ruff, and in a Dauzi^^ white stuff bonnet, is sitting opposite to a fire, and eating soup out of a brown earthen porridge pot.. To what superlative excellence may genius and application carry the art of painting! 1 We may really believe we see the head and liands of the old wo- man trembling through the debility of extreme old age. It ls however one of the early pictures of Gerard Douw, for notwithstanding ifs high finish, we easily recognize the school of Rem- brandt, wdiose manner he then followed. ON FAKNEL^ 118 DUTCH SCHOOL. KAREL DUJARDINj born at Amsterdam, 1640* No. 130. A Landscape with Cattle and Figures, It is well known that such was the prodigality of this artist,x in his youth, tliat at his return from Italy (as the only means of paying his debts) he married his landlady who, though very old, Wt\s very rich; he introduced her to his family at Amsterdam, where he thought of settling, but the mortifica- tions he suffered in consequence of his ill-judged marriage, the melancholy it gave rise to, and the peevish jealousy of his wife, cramped his abilities, and his works no longer * possessed their wonted merit. He at length withdrew himself, and returned to Italy, where he soon re- gained his usual gaiety, and his works more finely executed than ever, were some of them, sent to Amsterdam, and greedily purchased by the amateurs. DUTCH SCHOOL. 119 His family then wrote him word, that since he had recovered his spirits in Italy, and the art of painting so well, he should come and paint near his wife at Amsterdam. 'No, returned Karel Dujardin. 39ujardin, we are best as we are, for that I may paint well at Amsterdam, my wife must absolutely he in Italy, The centre of this picture, presents an Italian country house, partly con- cealed by a range of poplars in full verdure. On this side of it, are scattered statues and beautiful fragments of columns, and near them is a cotta 2 ;er Avith her five children. The eldest . boy has climbed to the top of a marble pedestal, on which he has taken his seat, and the girl who appears to be about twelve years old, and dressed in a red corset, with a sleeping infant in her arms, has likewise seated herself on the ground. The mother dressed in blue, is stand- ing between her hvo little boys, hei\ hand on the head of one Avhom she seems to be reproving. At a distance 120 DITTCH SCHOOE, from her, but alscx in the front, are cows, an ass and sheep, of which some are grazing and others lying on the ground, , ■ The beautiful foliage of the trees, the fine colouring and execution of the whole, entitle this picture to a distin- Sujardin. guished place in any collection. ©N CA^^VAS^ BY THE SAME. No. 131. A Landscape xcith Cattle and Figures^^ This is one of those exquisite per- formances of the master, and of the most picturesque effect. A young girl, with a red corset and yellow drapery, is mounted upon a white horse, on the fore-ground, towards the right of the picture, with a young man who leads her horse by the bridle. On the second ground and same side, some sheep are feeding on a little hilU I5UTCH SCHOOL. 121 and on the third, arc trees, round which we distinguish some figures. The right offei s us rocks covered here and there, with shrubs, and at the foot of a mck, a woman, lies dowm, and is speaking to a man near her-r— on the second ground, another woman, wlio carries a parcel on her head, and holds a child by the hand, is coming down to the high road, preceded by her dog, and at a little distance, behind her, some other figures ai'e lying down; on the third ground, are some fine edi- fices, with a row of trees, and in the distance, a chain of mountains. BY THE SAME. No. 132 A small Landscape loith Figures. This picture represents a flat coun- try of a' rich verdure, with some little hills at a distance, and an horizon which descends very low. One sees a hunts- 122 ' DUTCH SCHOOIi. man just alighted from his horse, and near him, some dogs lying down, whilst he is putting a brace of hares into a bag. The sky appears rainy, but the light strikes most happily on some parts, which gives the picture the most pic- turesque effect. on' canvas. BY THE SAME. No. 133. A Landscape xeith Cattle and Figures, This is one of those beautiful land- scapes with which Italy abounds; in the fore-ground of a valley, on the right, a man lies negligently reclining on the grass, near a flock of sheep that are grazing, and towards the left, another man is seated speaking to a woman, who is holding the bridle of an ass loaded with a pair of panniers ; behind her, is a little girl and a boy, caressing a white horse, worn with age. and la- bour, and which is near the centre. DUTCH SCHOOL. 123 A river winds more retired, and se- parates the valley from the backr-ground, whieli is enlivened by a picturesque eountrv-house, and many scattered hgures; in the still more distant back- ground, are others crossing a road, at the declivity of a liill which breaks with an enchanting effect, from the clear silveiy and harmonious sky. Dujardin ON CANVAS. Most of the landscape and portrait painters who iia.vc lived in Italy, have attempted to paint history, and it was the case with Karel Dujardin, before he had acquired his great celebrity for painting landscapes. As he was one day, making his terms or an altar-piece, in the chapel of a nun- nery, he was proposed^ according to the Italian custom of that time, to be paid half in money and the other half in prayers, to which the artist objected, as being a protestant. Since that is the case, answered the Lady Abbess, you are ' more than any one, in want of prayers, and we shall pray for your conversion , ' VOL. n. R 124 DUTCH SCHOOL. The most famed painters, formerly emplo 3 ^ed in the churches of Italy, were chiefly paid so ; and it is weli known that when Paul Veronese had finished his celebrated picture of the Marriage of Cana, which is now valued at fifteen thousand pounds sterling, he only re- ceived fifty out of the stipulated price, and the remainder was paid in masses, for the benefit of his soul. VANHARP. No. 134. ^ o Isaac blessing Jacob. Vanliarp was one of Rubens’s pupils, and liis works, like those of his master, are extremely scarce. He distinguished himself by the brillianC}^ of his colour- ing, and truth of expression. In the interior of a room, lighted by a window, on the right, is a superb bed hung with purple silk curtains, and co- vered Avith a green embroidered coun- terpane, in which Isaac, blind througli DUTCH SCHOOL. 125 ase, and naked, according to the oricn- . tal manner, is sitting, giving his blessitig to Jacob, who is kneeling before him, his hands joined and raised towards his fatlier. Rebecca is sitting in an arm chair, at the head of the bed, enjoining Jacob by her motions, to be silent. On the other side, a table is laid out with the repast of Isaac, consisting of bread and garae; near it, is an antique vase holding two other vessels ; and at the chamber door, Esau is just return-/ ing from the chase with game. We shall not' enter into any discus- sion of the beauties of this work, but as some copies of it, have been made, doubts might be entertained of it’s ori- ginality, if we passed over it in silence. We invite the close inspection of tlie connoisseur, and assure the public that it IS the original of the copies extant; and notwithstanding the trouble that warranting a picture by any particular master, may give rise to, we will, to obviate any doubts, undertake to do so in the pesent instance. ON PAN N EL. 126 DUTCH SCHOOL. JACOB RUYSDAEL, bom at Harlaem, 16365 No. 135. , ' A Landscape and Figures. Hoiibraken informs ns that at the age of twelve 5 Ruysdael painted pictures, which for their merit, surprized all the connoisseurs. His attachment to his fatlier, was so great, that not to quit him he would ne\'er many, and when pressed to it, he used to s’dy, my father is so' happy ^ xcho hioxos if he xvould jind himsef so xeith my xvfe? ' As he was reproached with putting cascades too often, in his landscapes, which made his pictures resemble each other too much ; he answered, it is be- cause^I like to sign them. Iluysdael in Hutch signfying a fall qfxvater. It is a view taken after nature, at sun I’ise, which presents us a lovely land- scape filled with trees of the finest forms, and the lightest foliage, and in that time of the year, when they are. (approach- ing autumn) enriched with different colours. DUTCll SCHOOL. 127 To the right of the picture, is found a fine piece of water, and a low hedge, which leaves an opening for a view of the country. In the centre, we see the early rays of the sun peeping through the trees, which produces the most piquant effect; and upon the fore-ground, a young man, whose stick and bundle lie by him, is resting himself, while another .and a woman with their dog, arc seen at some distance. This picture, which is exempt from the black tone of colouring, so often re- proached to the works of Ruysdael, is enriched with briars, plants, and a sil- very ground, on which is the trunk of a tree, blown down by* the wind. OxM CANVAS. f' BY THE SAME. No. 136. A Landscape with Figures. We again present a chef d' oeuvre m't, a view from nature, which the 128 DUTCH SCHOOL. painter has chosen with exquisite taste and a truth that traces nature in every line. A sheet of water, edged with shrubs and bushes, occupies the fore-ground, whose limpid bosom reflects a warm sky, as transparent as those of Rubens — a willow and other trees beautify the left bank ; and on the right, two oaks partly unrooted from the earth, having given way, are reclining under their own weight. . ON CANVAS, JOHN VAN HUYSUM, born at Amsterdam, 1682, No. 137. Tispo of Fruit and Fhzoers. Whatever line of painting an artist may adopt, he may rise into greatness in it, and whoever excels in insects and shells only, ranks above an indifferent historical painter, who vainly strains his endeavours to surmount the obstacles .which nature has laid in his v-ay. DUTCH SCHOOL. Van Hu3^sum as much surpassed all other artists in flowers and fruits, as he surpassed them in jealousy, and we re- a:ret having to offer an additional in- stance of that baneful degrading weak- ness, which he carried to that excess, as not to permit even any of his family to be present at his work, and lie never would receive any pupils, under the apprehension that his studies and dis- coveries in the art, might by their means, outlive him. — In what a state should we be, had our ancestors acted I like him, orjiow could Van Huysum himself have begun his career, had all his cotemporary artists treated him with like illiberality. These pictures, the one representing flowers, and the other fruit, are of the best time of this master, with a clear transparent back-ground. Huysum^ ©N COPPER. 130 DUTCH SCH-QOUi J. B. WEENINX, born at Amsterdam, 1621* No. 138. A Turkish Sea-Port, The mother of W ecninx (his father having died when he was very young) placed Jiim apprentice to a stationer^ where he did not remain long, not only because he did every thing he was bid, with dislike and ill humour, but also be- cause he wasted his master’s paper, to scrawl his drawings upon, so that daily complaints were made by those who had bought reams or quires of paper, of their not finding the right quantity, or returning whole sheets that they found spoiled with drawing, half effaced, or rumpled, so that the stationer was under the necessity of discharging Weeninx. Ilis mother then placed him to a woollen draper, but with as little suc- cess, for finding no more paper to spoil, he used to draw ^vith charcoal, on the walls of tlie house, which enraged the DUTCH SCHOOL. ' l3i draper’s wife, who was obliged to have her house new painted ; but in a short time, the walls were again covered with figures and cattle — Cardinal Barbarini would probably have commended Wee- ninx, but a Dutch draper and his wife saw things with different eyes, for after beating him most unmercifully, he was turned out, and then placed with a painter. It is impossible to cast one’s eyes upoil a picture of W eeninx’s, without recal- ing to our imagination, the juvenile pro-^ ductions of Berchem, nor can we be surprized that Berchem should have become so great an artist, when we re^ collect that he had such a master. The picture represents a vast extent of sea in a perfect calm, and quite in harmony with a transparent sky. On the left, are seen men on horse- back, and a cart drawn by oxen, whilst the shore is partly covered with camels, Turks and other foreigners, with bales of merchandize, &c* Wctninx VOL. Ih 16 132 DUTCH SCHOOL* A pleasing sight which gives an idea of trade!! but is a- very feeble image of our English ports, in which, under the auspices of commerce, riches and abundance are daily arriving ' from the four quarters of the world — a com- merce so vainly envied b}^ all other nations of Europe, in whose hands it would soon languish, if yielded up to them; for to render it flourishing, it Weminx. requires the actual situation of England, and the natural cast of mind of the peo- ple ; — it has been said- by an author, that to become angels, we must be In- . liabitants of heaven ; — and we will ven- ture to add, that one must be an Eng- lishman to become a sailor and a mer- chant. ON CANVAS. GERARD TERBURGH, born at Zwool, 1608. No. 139. ( C , ■ Lord Clarendon., Chancellor ' to Charles II, It is but a few years sinee, that there M'as in one of the streets adjacent toOx„ DUTCH SCHOOL. 133 ford road, a sign under which was the following inscription — Surgeon, operator for the feet and hands, to their Skilmi Majesties. The Queen of Naples was repre- sented sitting, her hand modestly re- clining on her petticoat, while the sur- gical operator was cutting her toe nails. * The King was standing near her, friezed and powdered, and in the insignia of his different orders ; his feet bare, but in slippers, one hand resting on back of the chair on which the queen was seated, and holding his stockings and garters in the other, waiting Till the opemt^r was at leisure to begin with him. Thus by an unpardonable abuse, a sign post becomes sufficient to throw ridi- cule bn a sovereign, and by a like abuse, quack mouth cleaners,^ who under the pretence of preserving the teeth, ruin them for the express purpose of selling false ones, and making false jaws, are * They all assume the name of Dentists^ when in fa£f real and honest Dentists are of the utmost scarcity. 134 DUTCH SCHOOU arrogating to themselves, the respeetable title of surgeon, that distinguishing ap- pellation of an art almost divine, which requires every exercise of talent and ^nius ; an art to which in the person of Esculapius, the antients have, with ' equal justice and gratitude, dedicated altars. It was by a singular abuse, that scene Tcrburgh, housc paiiitcrs, daubers and all painters in oil, were formerly incorpo- rated with artists, "till Terburgh ap- plied to the High Council of Holland, when the artist painters were separated frpm them. This picture, which we bought merely for it"s merit, was sold under the assurance of it"s being by the hand of GaspardNetscher,but it appears to us that it was painted by Terburg, who imitated the style of Netscher, and what confirms our opinion, is that Gas- pard never came to England, whilst his imitator Terburgh came here under the reign of Charles H. by whom he was. long employed • ON CANVAS, DUTCH SCHOOL. 135 JOPIN VANDER HEY DEN, born at Gorcum, 1637, . A Landscape and Figures. At the time that Vander Hey dens talents were in tlie highest estimation, it was his custom to walk out every day, an hour or .two, into the country, to study nature; as he was going one morning, by the side of a canal, near Amsterdam, looking with great atten- tion to the water, he was struck with an idea, that the engines might be im- proved. On his return home, he drew up a plan which he presented to the magis- trates, who soon after appointed liim with a large salary, director of the water works and engines, which is the cause of his pictures being so scarce, as he after- wards painted but few. This is the acknowledged ch(^ d*ceuvre pf the master. It represents a canal 136 DUTCH SCHOOL. Ijoidered by trees, and ornamented by biilidings, executed with a magic pen- cil, and which reflected in it’s clear transpai ent waves, and , united to a beautiful sky, produces the most en- chanting effect. It is besides, embel- lishcd with about twenty figures by Adrian Vande^velde. ON TAKNEL. . BY THE SAME. No. 141. J Landscape and Figures. This master has surpassed all other landscape painters, by the delicacy of his pencil : — this is a performance that proves lie was the Gerard Dome of land- scape painting. How much time and study must this high-finished cabinet picture have cost him!! It is besides, embellished with nine figures by Adrian Vandervekle. On the left is seen surrounded with fine trees, a brick house covered with DUTCH SCHOOL. 137 tiles, and a baiTimade of bricks, thatch- ed with straw, Avhich a woman is ap- ' preaching: on this side, two gentlemcri (one of whom has a dog near him) are standing conversing together. Towards . tlie centre are two capuchins, and at some distance, upon a hill covered with trees, are seen a woman and child, and some sheep. The right of the picture offers us the view of a river, upon the bank of which two men are walking ; and at a distance, is distinguished a mountain detached from a warm and vapdurish sky. GN I*ANNEL. ALBERT C'UYP, born at Dort, 1606. No. 142. A Landscape with Cattle and Figures. There are many men, whose talents appear but by degrees and inteiise study, while the superior merit and genius of others, continue long unnoticed and un- known, and stamp themselves upon the 138 ' DUTCH SCHOOU. public, but after a length of time. Such lias generally been thought to be the fate of artists ; whiclrhas given rise to the Frenclv proverb, Gueux comme tin Peintre',^ it is however, a false and vul- gar prejudice : we see on the contrary^ that the great painters of every age, have met with patronage and encou- ragement, and have been more or less wealthy* If we recur back to the lives of those who have rendered themselves cele- brated, we shall not find that ministers of state, the most renowned generals or admirals, have received more honours, or have been in their illustrious career, rewarded with larger fortunes than those of Raphael, Leonardo da Vinci, Titian, Rubens, Vandyck, and so many others that Ave could name. Every age has witnessed the different Sovereigns, the Pontiffs, Cardinals, the great and opulent ' men of every state, eager to honour and enrich the painter, whose merit they have been made acquainted Avith. * As poor as a painter. DUTCH school; 139 The possession of a pallette and a pencil, does not , however constitute an artist, as the generality of the profess sion seem to believe ; it is one of those difficult acquirements by intense appli- cation, and which admits of no middle degrees of merit, for they must either attain the summit of the art, or sink into obscurity. ]\Iediocrity is unknown in painting, and is on a level with igno- rance, since they are equally incapable of producing a good picture. It is indeed to that numerous class called Mediocrity y we must attribute the many pictures with which we swarm, which compose the exhibitions daily made in every street of the metropolis, and the innumerable public sales in which, amongst a very few objects wor- thy the connoisseur s attention, and un- der the cloak of three or four good pictures, so many indifferent ones, and so many daubs are brought forward — - but such as they are, they find auc-* tioneers to puff, and fools to buy. VOL.H. T 140 DUTCH SCHOOL. However though painting has always been encouraged, it has sometimes happened, as it frequently does in every situation of life, that the most splendid abilities are unknown and uni'ewarded : and such was the fate of Cuyp, to which perhaps he himself contributed in a great measure, for such was his attach- ment to Dort, his native place, that he formed the resolution of passing his life there, and studying . in the environs of that town, the views with which he has * embellished his works. As his father had left him a small independency, he paid no regard for a considerable time, to the small prices his works were sold for, till at length he determined on sending them to Har- laem, Utrecht, and other towns of Holland; but the same fate attended them, because even first-rate merit re- quires patronage and support, to be made known and exalted. Cuyp, far from , being discoumged, formed the resolution . so worthy of himself, of redoubling his efforts, to DUTCH SCHOOL. 141 obtain from posterity, those honours which were denied him, by his cotempo- raries, and to which he was so justly entitled from his abilities ; — it was re- served to the English nation, to have the merit of bringing them to light, and to give his works the high reputa- tion they are now held in. For a considerable period after his death, his works experienced the fate they had ever met with, in his life time ; they continued in the private houses of' the Hollanders, covered with filth and dirt, not considered as cabinet pictures but merely fit to supply the place of furniture, "till at length, sometime about the year 1740, a native of Switzerland, called Grand Jean, who resided in luon- don, but made frequent excursions to Holland, for the purpose of selling Avatches and scissars, of English manu- facture, returned with ten or twelve landscapes of Cuyp. His speculation was attended Avith every success, as their clear and silvery tints Avere universallv admired ; for not- 142 DUTCH SCHOOL. withstanding pictures may possess great merit, the English view them with in-^ difference if they are dark or sombre. Grand Jean, who had received those pictures in exchange for his merchan-^ dize, sold them at low prices, but in fact with so much profit to himself, that emboldened by his success, he col-^ lected another assortment of watches, and other wares, and returned a second time from Holland, with many pictures of the same master, His advantages on this exchange, were so considerable, as to induce Mr, Blackwood, of Soho-square, a man of taste, and a judge of the art, to repair to Amsterdam himself, where he was fortunate enough to purchase some cAg/* iV oeuvres of Cuyp's, which he sold to Sir Lawrence Dundas on his return. In a short time, the French dealers, an ingenious set of men, who under-^ stand the traffic of pictures, better than any other people, hearing of the great success which had attended the works of a master till then unknown, over-ran DUTCH SCHOOL. 143 5ill Hoiland for the purpose of collect- ing them ; but the Dutch, who are not easily duped, surprized at the eager and constantly renewed demands for them, at length began to open their eyes, and to iind out beauties in those chef d" oeuvres which had so long surrounded them, unregarded; their value immediately increased, and the pictures of Cuyp were removed from the hall to the drawing-room. Since that time, connoisseurs have been unanimous in their praise of them, and tliey have been sought for with such avidity, that a work which fifty years ago, sold for five ' guineas, will readily now fetch five hundred. The fore-ground of this, represents- the highway, .on the right of which, is a shepherdess, dressed in blue, a straw hat on her head, and her crook in her hand; she is .walking in conversation with a countryman mounted on a mule loaded with panniers, who seems to be passing by chance — a beautiful cluster of trees is in the centre; at the fool of 144 DUTCH SCHOOL. which are two shepherds surrounded with sheep and their dogs — the left is enriched with shmbs and bushes, lining the bank of a river which is on the other side of the road, and in wdiich two men thrown rather into the back-ground, are angling. At some little distance from them, are other figures at the door of a cot- tage beautifully surrounded by- trees. The next objects are some mountains, which ai’e detachedwith a masterly hand from a warm and silvery sky of the most fascinating effect. ON CANVAS, - ^ t BY THE SAME. No. 143. , A Lamhcape with Cattle and Figiu^es. 6 ’* Onecannot refrain indulging awishfor the country, while considering this mor^ ccau, which traces nature in one of her happiest scenes, offering a gay, extended landscape, and immense sky, whose sil- very masses float on the calmest breezes. DUTCH SCHOOL. 145 III the back-ground, a chalky uneven soil, covered with a few scanty blades of grass, is occupied by three peasants conversing ; and not far from them, a flock of sheep are feeding. , ’ On the right, two goats arc brow- • sing on a sand bank, bordered witli shrubs — ^ river glides on the farther side; the left is enriched with a tree, at the foot of which, in an inclosure, is group of cattle. We are not sensible of exaggeration, when we assert, that if ever a cabinet picture has united in itself, the perfec- tions of the art, it is the present one. ON PAN N EL. BY THE SAME, ^ No. 144. A Landscape with Cattle and Figures. The composition, is that of a ricJi landscape, enamelled with the finest verdure, and in which, detached and finely contrasted with tlie sky, are a groyp of cattle. One cow-cmly, pic- 146 DUTCH SCHOOL. turesquely spotted black and white, standing ; the others of different colours, are lying down in happily diversified attitudes. On the right of the picture, is the principal point of light, and not far from the cows, a peasant dressed in a red jacket,andwith his knapsack, is standing and leaning on his stick — his dog is be- hind hiiiij while he is conversing with a * woman sitting by liim, and dressed ina red corset and straw hat ; a little girl is stand-' iiig opposite to her, her head covered with a stuff bonnet, and holding her hands under her apron. The figures are like- wise well contrasted with the sky, ]\Iore retired, an old oak ornaments the baiiks. of a river, in which several vessels are under sail ; and bevond them appears a small island, with a tower and other buildings, losing themselves in the distance. The immediate fore-ground is filled with varied herbs and shrubs,which com- bining withafascinatingjiarmonious sky, adds fresh beauties to the performance. ON PANNEL, DUTCH SCHOOIi. Ut BY THE SAMEj No. 145. e'T A small Landscape loithCattle Sf Figures* On the right, a tree extends it's light ^nd exquisitely delicate foliage, con-^ ti'asted with a warm, animated sky^ At it’s foot some sheep are lying, and' others grazing ; in the centre, there are * two beautiful cows, on an elevated spot of the finest verdure, Jsmd a luxuriant shrubbery ; one of them^ spotted black and white, is lying on the ground, the other is of a red colour^ and both of them are masterl^, designed i The secondary objeets are some small buildings^ surrounded by young trees — ^ at the door of one of them, (a thatched cottage) an old man is giving charity to a poor woman, near whom a little boy is standing, and she is carrying an infant in her arms* The Whole has the most ' captivating effect* VOL. u. ON PANNIL, V 148 DUTCH SCHOOL. This, for it’s tone of colouring, size, and high fiiiisliing, reminds us of ano- ther small, but exquisite picture of .Cuyp, which Mr. Blythe, of Dean- street, bought for a few sliillings, from a milkwoman who lives in the neigh- bourhood of Moor fields. Being in want of a sign, she was car- rying a board to a man who had agreed to paint her a cow for five shillings, when she met a broker’s wife, who said her husband had just brought home, amongst some old furniture, such a sign, on which were painted a hoy driving some cows and sheeps but as ‘it was not new, she would let her friend have it for half the price the painter was to receive, and on the same day, the sign was nailed over the milkwoman’s cellar window, where it remained ’till Blythe (who being an auctioneer, had fre- quently business in Moorfields) stopped there by chance, took notice of it, and by the help of his glass, was soon convinced that the sign was the work of Cuyp, whose name he found upon it. DUTCH SCHOOL. 149 and for fifteen shillings, he obtained it with many thanks beside. BY THE SAME, No. 146. The Imide of a Stable, This is one of those places covered with stubble, that are found near al- most all the great farms in Flanders and Holland ; there, they bring their goats and sheep, to pass the night ; there, the shepherd sleeps ; and there the poultry is perched : it is also in that place the farmers keep their utensils. In the interior, is seen a young girl in a red petticoat, and with a basket on her arm, departing from the stable, and she is followed by a young man wdio carries his crook on his shoulder ; four sheep are behind them, and above, a cock- and some hens are perched ; there is also a milk -pan turned dowm on the ground, with some other utensils. J 5 Q ■ PUTCH SCHOOL. All the amateurs have agreed that this is one of the finest works of Cuyp ; < — we never saw any more preciously finished. ^ , ON PANNEL, rltU Lti'twt, AjyUW IaS'LuL Cewv)vC«^ wtC:^^ i iU. jJvLcX Kc j'^v * ' BY THE SAME, No. 147. A Landscape with Cattle and Figures. . Upon an eminence, to the left, we C^yp. see a group of cows, some standing, others lying down, and a man on horse- back, followed by a little boy. The right is occupied by a piece of water ; . and in the front of the picture, are scat-» tered some roots and beautiful foliage, A small hill, covered with trees, is seen on the second ground ; and at the dis- tance, we distinguish ruins detached from one of the finest skies the master has ever painted ; but unfortunately this picture, painted on pannel, is split, and though it is secured behind, with plates of iron, to prevent the pannel opening, the accident is still visible. pN panned. DUTCH SCHOOL, 151 3Y THE SAME. No. 148.. A small Landscape with Cattle. ix This cabinet picture offers us a simple view from nature, of an effect equally pi- quant and picturesque — we see upon an eminence aredand white cow, lyingdown upon the grass, and near her another cow spotted black and white, standing ; on the left, some palisades, entwined with briars ; and upon he fore-ground, some large stones, and different leafage; the right of the picture, presents a piece of clear and silvery water, where a va- pourous and transparent sky is reflected, and against which, some branches of the arbustus are detached; the left ’ presents an edifice, and an agreeable distance. / ON PANNEL. 152 DUTCH SCHOOL, WILLIAM VANDERVELDT, born at Amsterdam, 1633, No. 149. Two small Sea Pieces. This is another artist who holds the very first place in the branch of paint- ing which he has adopted. — Let the subject of a picture, be what it will, as soon as we find in the performance, those qualities which constitute a master, we see the hand of a great man, for it is then evident, that the painter has sur- mounted the difficulties of the art, and risen of course above mediocrity ; therefore, ’tis not requisite that he should become a Raphael or a Poussin^ to attain the summit, for he is as great in his line, as they were in their own, as soon as his works receive the same degree of perfection, w hich those mas- ters have given to their’s. Although collectors may have a par- tiality for subjects, they are all equally DUTCH SCHOOL. 153 indifferent to the true judge and ama- teur, who being only in search of merit, ■finds it out, and admires it in any per- formance whatever ; therefore while the multitude are crowding before u large daub, he is frequently in extacy before Vandcrvddt. a small picture, in a solitary corner: — but the multitude are always beholding pictures wdth two eyes only, and the connoisseur looks at them with three. One of these, is a sea view, in a per- fect calm, in w hich some frigates and other vessels, are finely contrasted with a brilliant silvery sky^ The other represents a storm, where the restless billow’^s are beating a ship against a rock, with destructive vio- lence; a low^ering sky adds to the hor- ror of the scene, BY THE SAMB. No. 150. A large Sea Piece. This, truly one of the most capital performances of the master’, offers us a 154 DUTCH SCHOOL. view of the sea, in a brisk gale, with a variety of shipping. Emanuel DEWITT, bom at Altmaer, i6of; Ko.151. The Inside of a Chmxli in Holland. This artist was not only an excellent painter, but also a great architect, and • besides his painting on canvas and pan- iiel for cabinets, he painted eciualiy well upon glass, and it is by him the windows of St. John at Ghent, are painted. Notwithstanding he was a very cor- pulent man, he would frequently climb up high ladders, and as he was one da\% putting up some of his painted glass, at one of the windows of that church, the frame gave way, and Dewitt falling into the -Street, from so great a height, would inevitably have been killed, if a man, who was' removing his furniture, had not passed there, by the greatest chance, loaded with bedding, on which the DUTCH school. 155 Artist fell ; but the porter was crushed under him, and did not survive the accident above two hours ^ Dewitt escaped totally unhurt. The art here, offers us a chef d' oeuvre of architecture and perspective, which is not darkened and obstructed by a mass of paintings, statues, and monu- ments, as churches in general are — ;the eye passes without interruption through a vast edifice which the day enlightens, and the tranquility and simplicity of which, are truly enchanting ; — the bot- tom of the church, presents a numerous congregation attentive to a sermon, and these figures^ correctly drawn' and art^ fully disposed, are painted with as much spirit as truth. We see^ on the left, towards the centre of the picture, the preacher in his pulpit, surrounded by a numerous audience of both sexes* The women are ranged on one side, and the men on the other, having their hats on. At some distance from the pulpit, by the large pillar, are two churchwardens in VOL. I U X 156 DUTCH SCHOOL. Dczvitt, their pew — the beadle dressed after the old Spanish manner, is standing near. On the right, are benclies fronting the pulpit, filled also with figures. Towards the centre, are two youths coming forward ; and at the entrance of the church, a mother and a daugh- ter, who coming late, seem hastening to join the congregation. According to the custom of that time, in Holland, the young people are dressed in different colours, and the men and women in black. ox CANVAS. Job Berkeyden was so struck with the works of Dewitt, that he devoted himself, through admiration of tliem, to painting architecture, a line in which he succeeded to a certain degree, and it is probable he might have become one of the first painters of his school, had he not had the misfortune in his youth, to have a dream Avhich ' inter- rupted his studies, and embitteied the remainder of his days. Descamps informs us he dreamt that he was raised up to heaven, amidst the DUTCH SCHOOL. 157 acclamations of his countrymen; and this he augured so much in his favour, that he redoubled his application to study, fiiTTily persuaded that his pro- gress in painting, would raise liim above all his coteinporary artists ; and the idea of his future glory, inspired most of his moments with cheerfulness ; but our Dutch dreamer, not contented with his first dream, the following year, and on the same night, saw himself, like a second Absalom, hung to a tree, by the hair of his head, which, in the supersti- tious age in which hedived, met with so manyfearfulinterpretations,thatpoorJob Berkeyden lost all hopes of future gran- deur, and every pleasing prospect va- nished ; he now became so extremely timid, that every noise shook him witli convulsions, lie dreaded, and every moment believed that the officers of justice were in search of him: however he attained an advanced age, without the accomplishment of either of his dreams; for his reputation did not ex- tend beyond the marshes of his country. Dewiti, DUTCH SCHOOL. 158 , and returning home one evening, he fell into the Brewers’ canal, near Har-. laem, and instead of being hanged was drowned. ADAM PYNAKER, born at Pynaker, 4621, No. 152. Landscape with Cattle and Figures^ When this painter had finished his studies in Rome, he stopped, in his re- turn from Italy, on the. Alps and in Switzerland, for the purpose of taking views, providing himself with a guide, as- he penetrated into the most desart and isolated parts of the mountains. While he was one day taking a view far advanced among the precipices, his . guide, being much fatigued, lay down near him, to take a short sleep ; but the artist intent only on his work, advanced insensibly, among the rocks, and at- tempting to regain his companion, losf; r himself in a labyrinth. DUTCH SCHOOL. 159 Pjiiaker and his guide sought for and called to each other in vain ; and the more they think of approaching eacii other, the wider they separate; — the terrors of tlie artist (who was however provided with some little food) may be easily conceived. — Forty^eight hours had elapsed, and he began to abandon himself to despair, when was indebted to a cow for his deliverance. « Pynaker, In the death-like silence which reigned over the awful beauties of savage natui'e which surrounded him, Pynaker thought he heard the sound of a bell, which at first, caused the most lively emotions — he listened attentively, and again heard the sound, but more faintl}^ — he endea- voured to gain it, but it was no more. At length night drew on, when worn with anxiety and fatigue, he resigned had barely appeared, when he was awoke by the sound of a bell, at a very little distance from him, which he soon discovered to he attached to the neck of a cow that was grazing near him.^ himself to rest* — Day-break ^Jnaker. 160 DUTCH SCHOOL. Pynaker felt new life at that sight, and resolved to follow the animal which was soon joined by two others, and shortly after by their owner, who came to milk them. This is one of those small pictures in which (as all writers agree) Pynaker ex- celled, and we owe him the justice of adding, that we have also seen large o’ o landscapes from his pencil, of the first merit. This represents a view taken in the mountains of Switzerland, where na- ture, in a savage and uncultivated state, shews herself under that picturesque aspect which our eyes are not accus- tomed to. To the right, at the bottom of the picture, are seen some large pieces of rock ; and in the middle of the picture, water, part of which is hid from the sight by stones and bushes. On the left, is a man leading two mules, upon one of which a woman is seated. On one side of the second ground, is seen a rugged road, with a man carry- DUTCH SCHOOL. 161 ing a sack, who is climbing up, and seems suspended between heavcni an earth. On this second ground, which is of a considerable eminence, the eye enjoys the sight of some old firs, near which a man is leading some cattle to £i'raze. • ' • The third ground offers another emi- nence, which commands this, and is twice as considerable. In the centre Qf the picture,between the first and second ground, is seen a man ; and to the left, a cultivated country, with fine ^^oplars, and a distance which gives pleasure to the eyd. - CANVAS* BY THE SAME. No. 153. A Landscape with Cattle and Figures. This is another vie>v taken in a moun- tainous country; the right and fore- ground are filled with trees ; and in the centre, is a huntsman carrvin 2 j some game and a fuzee on his shoulder. 165 DUTCH SCHOOL. ' On (he second ground we discovcf on a steep road, a peasant mounted on an ass, and leading a cow. , There is also another entering the road, coming for- ward with some cattle, and the distance presents some high mountains. ON CANVAS* BY THE SAME. « % . No. 154. Pynaker A Landscape and Figures. Some trees of the finest- form, are growing to the right of the picture, and on the left, some old firs, on this side of which is raised a stone fountain. The water falls into a large bason, which the chissel has also cut in the stone, and a man is there drawing water. In the centre of the picture, three others are on horseback. On the other side*, we see some ^ firs and other trees, with some goats dis- persed here and tliere, and a high moun- tain well detached from a warm and ♦ DUTCH SCHOOL. 163 transparent sky. The fore-ground is embellished with large stones, leaves, briars, and large trunks of trees that the wind has broken. • ON CANVAS, So great was the fertility of this mas- ter’s.genius, that although all his compo- sitions presents scenes of desart, uncul- tivated nature^ they never resemble each .other, nor has he ever repeated the same subject : indeed but very few ar- • tists have done it, and when they did so, it was generally with such altera- tions, that two pictures alike do not exist. As to copies, although the vulgar may find them perfect resemblances of the originals, the connoisseur easily sees the difference; so that whilst gold and sil- ver, pearls and diamonds, the most pre- cious articles of furniture, all the other objects of luxury, the most difficult compositions in music, of the produc- tions of eminent Writers, are alike pos- sessed by many men in common, the VOL. IL y 1 164 • DUTCH SCHOOL. owner of an original picture boasts the exclusive possession of it, with the happy privilege of permitting others to enjoy it as well as himself, without di- minishing it’s value or it’s merit. All those prodigalities daily made in a riotous tavern, those costly attend- ances at tumultuous meetino:s, and those sumptuous dinners, overcrowded with unwholesome dainties, like the table of Guildhall on a Lord Mayor’s day, af- ford so momentary and unstable grati- fications, that the remembrance of them is only excited on the morrow, by a i^gret for the expence, or the anguish of an head-acbe; but the acquisition of a good picture, gives a pleasure as last- ing as it is ci'editable and innocent, not only to the purchaser, but to his pos-' terity for ages; and ’till taste becomes unknown, the proprietor sees in it, the moiiey it has cost, as Jre sees one hun- ched pounds steiiing in the bank note he carries in his pocket. DUTCH SCHOOL* 1 65 BY THE SAME, No. lao' A Landscape with Cattle and Figures^ This is a^ain a view taken iii the mountains, and painted with that bold- ness and spirit which characterize the works of this master. The right of the picture, presents a' group of cattle, cows, goats and sheep, near which a woman sucklingher child, is sitting — at her side is a young girl standing and holding under .her arm, a large faggot of wood ; on the same side, on the second ground, we see some very high mountains. The left ofiers to our view, some old trees, and other mountains crowned with wild shrubs, and at the foot, there is a road, upon v hicli is seen a- cart, and a ’ woman mounted upon an ass, coming to water her cows and sheep, at a piece ^ of water, which is on the fore-ground. ON CANVAS, 166 DUTCH SCHOOL. LUDOLF BACKHUYSEN, born atEmbden, 1631, No. 156. A Sea Piece. U This artist never surpassed, but fre- quently equalled young ■ Vanden^elde ; . — almost all the Princes of Europe weie eager to procure his works, so that he accumulated a fortune superior to any other marine painter. lie had the honour of having for a pupil, the Czar Peter the Great, who not content with learning the nautical art, wished to de^- sign and paint sea pieces, and that he might perfectly fulfil the duties of a scholar, his Imperial JMajesty insisted on setting his master’s palette. The sea in this picture, is seen vio^- lently agitated through the hazy atmos- phere ; in the centre of it, is a Dutch man of war, from which a gun has just been fired ; a frigate, and some boats filled with sailors, occupy the right ; and a fishing smack under sail, and another DUTCH 8011001:.. 1()7 frigate, are indistinctly seen through the mist, on the left. It is avowedly one of the choicest works of this celebrated ma ON CANVAS, BY THE SAME, No. 157. A Sea Viexo, It represents the sea in a brisk gale, and is painted with uncommon spirit. ON CANVAS. JOHN WYNANTS, born at Harlaem, 1600 , No. 158. , I '' A Landscape rmth Figures. Whenever Wynants, in his infancy, committed a fault, his mother always threatened him with ghosts, and would frequently repeat the most frightful 16 S DUTCH SCHOOL. stories of them, in his hearing, for the pupose of intimidating him, which made so strong an impression on his mind, that even an advanced age could not eftace it. lie would often awake suddenly in the night, believing that he had been struggling with spirits, and as soon as the evening approached, he w'ould not enter a room, without being accompa- nied by his wife; — we may readily Wynants S'Jppose wlio was tlic domestic com- mander in chief ; but w'e can with diffi- culty, reconcile so much pusillanimity with the boldness of design, and the spirit wdiich leign through his works. The right of the picture, offers to our view a terrace, upon which is a group of trees, and below, the trunk of a tree thrown down, some thistles, briars, and other leafage ; in the cen- tre, are seated a man and a woman, with their child, and a dog near them ; on the left we see a piece of w ater which serpentines and loses itself in the country. The second ground presents on one side,' a little hill, where a man, who car- DUTCH SCHOOL, 169 lies a basket on his back, is reposing himself ; a huntsman going olf with his dogs; and upon the summit, another huntsman on horseback, with several other licfures ; — to the left also of the o second ground, we find on the brink of the river, ' two men fishing with their lines, under the shade of a group of trees ; and fields in the distance. The figures are by Van Tulden. ON CANVAS, BY THE SAME & ADRIAN VANDERVELDE - No. 159. A Landscape with Figures. It is one of those small pictures of the master, which are so remarkable for their delicacy and high finishing. The left and centre of it, represents a sandy rising ground, scantily covered with grass, and on it are two old trees, whose roots by the sand having given way, are partly exposed. Further back, 170 DUTCH SCHOOL. we see the fences of a meadow, with ei range of trees breaking from a light vapourons sky^ , Towards the bottom, on the rights ' a sportsman is resting himself upon his gun3 and conversing with a woman, who has a basket on her arm 5 whilst more in the fore-ground, a man loaded with a sack, advances towards the -rising ground : on the same side but more re^ , tired, are other trees, through an open- ing of which a beautiful back-ground is seen, losing itself in the horizon. The fore-ground, like most of the pictures of Wynants, -is enriched with the trunk of a tree lying on the ground, with several shrubs and bushes of the most masterly execution, and producing the finest efiect. ON CANVAS. BY THE SAME and LINGLEBACK, No. 160. Viciofrom l^aturey loith Cattle 4 ' Figures* This is one of those scarce pictures, in which the scite is so varied, and se- bUTCii sciibC)L. 171 iluctive objects so prevalent, that we find it impossible to detail them; we shall therefore content ourselves with observing that the ground, the water, the trees, and the sky, are of the finest execution, and the utmost high finish — a mlmber of cows, horses, and figures, by liinglcback, add to the merit of the picture. ON CANVASi LE DUG. No. I6L The Interior of a Spanish Corp de Garde* It is a composition of seven figures-^— ^ Oil the right, two men are seated at play, whilst the others stand round them, as spectators of the game; and amongst them, in the centre of the picture, is an officer: a drum is suspended on the wall, on the left, which is also occupied by a cask and several utensils. The unrivalled excellence of the artist, in these subjects, is universally known, VOL. II. z 172 DUTCH SCHOOL. and this work is in every respect, wor- thy the high reputation he is held in. ON PANNEL. We have not been able to find the natal place and the year of this master's birth, nor any account of him whatever, in the different authors we have con- sulted. We only recollect having read, in an old French magazine, that he* was Lc Due * ^ * born in Holland, a relative of John Lc- duc, the landscape painter, from whom he had the first rudiments in the art, and that notwithstanding his great abi- . lities, he was so addicted to drinking, as to neglect, frequently, his profession, which made him labour under much distress, at times. ‘‘ While Leduc (says the magazine) / lived at Amsterdam, he went once, to ' , a tavern, where he bespoke a good din- ner, and had the best liquors in the house ; but when his bill m as brought^ the hostess finding that he had no mo- ney, fell into a violent fit of passion, and getting hold of the artist by the beard, DUTCH SCHOOL. iT-'i swore she would pluck every hair of it, if she was not paid. The noise soon brought the land- lord, with the waiters and other servants of the family ; so that the poor painter was beset from every quarter, Till he thought of an expedient to extricate himself. He requested half a sheet of paper, which w as immediately brought, wdth pen and ink, as they imagined he was Lt Due. going to apply to a friend for some money ; but as Leduc had not a single friend on wiiom he could draw% he drew two or three figures on that paper, and liad it carried to a collector, wdio cheer- fully paid for it, four ducats, at the sight of wdiich, both the landlord and land- lady became equally amazed and civil.’’ ADRIAN VANDERVELDE, born at Amsterdam, 1639. No. 162. • An upright Landscape^ ivith Cattle and Figures. When his father took him as a pupil to Wynants, he carried w ith him, some 174 DUTCH SCHOOL. papers on which the youth had amused himself, in sketching out trees, cattle, &c. As they had been left on the table, Wynants’s wife saw them, and told him, You think you have taken a scholar ^huctym %mll find you have taken your master. Notwitlistanding the extreme scarcity of this masters works, so celebrated in the Dutch school, we have had the goodi fortune to obtain four of them for this collection, at the period when the French Nobility fled their countiy, Vandervelde. picturcs as they could bring off with them. Those of Vandervelde, are rarely to be met with, not only on account of the avidity of connoisseurs to possess them, but from his dying so young, at the early age of thirty-three, and during that short space, a consi-^ derable part of his time, was occupied in filling up the works of other landscape ^ painters, with his figures. The fore-ground of this, represents a sheet of water, in which two cows, a goat, and sheep are watering ; a country woman bare-legged, dressed in a blue corset and petticoat, is stepping into it> DUTCH SCHOOL. 175 to fill a pitcher, which she holds, with water, Avhile a countryman, who is moun- ted on a white horse, is speaking to her. More retired on the right, we observe ruins partly surrounded, and partly coii’^ cealed by shrubberies ; and towards tlie centre, at the declivity of a hill, beauti- fully clothed with trees, two pilgrims are seated, one of whom is extending hishat to, and receiving chanty from a country-woman who is passing, mounted on an ass. The back-ground is ornamented with trees on one side, and a hill on the other, covered with a luxuriant verdure, affording ample food to a flock of sheep which are grazing on it ; — the retired mountains break in perfect harmony, from a beautiful expanse of sky. ON canvas. BY THE SAME, No. 163. ^ I Landscape loitli Cattle and Figures, Adrian was not only celebrated for his landscapes, but distinguished him- 176 DUTCH SCHOOL. self ill the historical line, and introduced poetical subjects into his landscapes, with the greatest success. The pre- sent picture is an instance of it — it re- presents a young woman in armour, leading a horse from which she appears to have just dismounted, and is speak- ing to an old shepherd, who is guarding his herd of cattle and sheep. We do not recollect any fable corres- ’ ponding with the present subject; — perhaps the artist has meant to repre- sent Pallas, the guardian goddess ofagrw culture, extending her cares indiscrimi- nately to all it’s various branches. The natural beauties of this enchant- ing landscape, are effected in the most masterly execution, ON CANVAS, BY THE SAME. No. 1(54. A Jjimhcgpe with Cattk and Figures. The fore-ground of tliis picture? is occupied b)’ a sheet of M'ater; on it’.s DUTCH SCHOOL. 177 banks, are a young shepherd and shep- herdess — she is dressed in blue and yellow, and is sitting on the trunk of a tree, her feet in the water, while she drinks out of a s>oblet she holds with both her hands; the young man is standing near her, dressed in red ; a light brown cow is drawing towards them, apparently lowing. At ^a little distance, another cow, and some sheep are reclining on a mossy bank, while the scene is greatly heightened by ^ Vand^rvddf. COW, in the natural action of rubbino* herself against one of the trees, in the more retired part of tlie picture. ON CANVAS. The companion picture to this, is of e(iual beauty, but we have recently withdrawn it from the collection, to restore tlie same to the gentleman who had sold it in distress. He was one of those respectable emi- grants, who being victims of their at- tachment to their sovereign, have done the greatest honour to human nature, by the dignified philosophy with wl)ich 178 - DUTCH SCHOOr.. they liave borne adversity, and who, during their stay here, have proved how truly deserving they were of an asylum, and of that extiaordinary gene- rosity Avith Avhich (to the astonishment ras&TOfa^.and admiration of the world) it has pleased Great Britain to support them, A calm having at length succeeded the most tempestuous occurrences, religion so long estranged from the French, has returned amongst them, and raises scru- ples in the peasantry, as to the propriety of retaining the properties and estates that they purchased at very low prices, ' while their owners^ under - the dread of Robespierre and the guillotine,left them; those owners now recover them for what they have cost their- present pos- sessors, and it is through tliat resource, that this emigrant, formerly a man of eminence in France, is endeavouring^ from his great love to the art, to recover those pictures, he had disposed of. ^ Once more therefore, a prospect of happiness beams over France as well as England ; and v hile we have to express DUTCH SCHOOL. If9 our gratitude to our late ministers, for unrelaxed attention and the devotion of their exalted abilities to the difficult means of continuing a war, that has covered Great- Britain with glory, and preserved her privileges and commerce ; Ave are alike bound to return our ac- knowledgements to our present minis- ters, for having accomplished the still more difficult task of making peace — » but Ave have not here to do Avith peace or war — our subject is pictures. JOHN VAN HUGTENBURGH, Born at Harlaem, 1646, No. 165. A Horse Fair in the Environs of Rome. It is well known how fond the Czari Peter the Great was of the sea, and that being determined to learn the nau-^ tical art, he lived in our ports, as a sailor, to acquire the manoeuvring of a ship. Having frequently heard Hugtenburgh VOL If. A a 180 DUTCH SCHOOL. spoken of as a great painter of battles, he asked for some of his works, but the Emperor who expected they were sea ■ lights, was much surprized at seeing them, and said he was determined to ^ ^ ^ other than sea fights : Princes ^ however will differ in taste, like others, for as the King of Poland was fond of horses, his Majesty particularly recom- . mended the purchase of the works of those masters most celebrated for paint- ing them, and it is for that reason, there are found in this collection, two battles, with several pictures of Wouvcrmans and Vandermeulen. Knowing how much llugtenburg had distinguished himself in these subjects, ' by painting for Prince Eugene, his pro- tector, the sieges made by the great Duke of JMarlborough, and the difterent battles lie won, we thouglit it proper to procure one of his works. The composition consists of nineteen figures, and twentj^-two horses, on a spot near the city of Rome, which is seen at a distance. ON CANVAS. DUTCH SCHOOL. 181 It is but a few years ago, that ano- ther capital performance of this master has been sold in Mr. Christie’s room, the justly famed place for sales of pic- tures, by auction, since most of the best and genuine collections brought to the hammer in this country, Iiavc been, and continue, to be sold there. DE VLIEGER. No. 166. A Sea Piece, There is a class of men, who posses- sing by chance, some good pictures, believe themselves connoisseurs, assume the air of critics, and armed with the formidable terms design, colouring, trails-- parency, outline, and others which they have learnt from the virtuoso who visit their collections, they repeat them like parrots, to acquire a consequence in the eyes of those who happen to be more ignorant than themselves. — Such 182 DUTCH SCHOOL. an instance was exhibited in the person of little Doctor C- — , whom many of us, have known : he had inherited some good pictures, and had learned by heart many terms of the art, believed every thing of the old school, excellent, and held every production of the modern, in the most sovereign contempt. When the sea piece, which is before us, was brought from Holland, into thisi country, it was in a case, had an ebony • frame, and was very dirty. The pro*^ prietor deposited it at Doctor Brag's, of Kensington, among other amateurs who went to see it, was Doctor C ; he bestowed excessive praises on the pic- rure, and mortified some artists who were present, by saying that the art was lost, and all the modern produc- tions were mere daubs . A marine painter who happened to be there, begged Dr. Brag's permission to copy De Vlieger's work ; and as soon as the copy was dry, it was dirtied, put into the case and ebony frame of the ori- ginal, which had been cleaned and placed DUTCH SCHOOL. 183 in a new one, after which Dr. C. was invited to another visit to Kensington. Our self-created connoisseur examined with the greatest attention, the original, which was placed in the gilt frame, and which he took for the copy, and having pronounced it a very indifferent one, he enlarged on the beauties of the other, pointing out particular parts that pos- sessed particular merit, and believing his praises bestowed upon the original. But when the bursts of laughter of the company, led him to discover his error, his rage was vented on the unfortunate copy, which was cut by him into pieces, and for which he was obliged to pay the artist who had painted it. This represents the sea extremely calm, in one of those fine summer days, when a clear and brilliant sky, reflected in the water, makes us enjoy from the shore, the two grand spectacles of nature. We see in this, two fishing boats, filled with a variety of figures, wliilst a Dutch fisherman, in boots, is advancing on the shore. At a distance, a number Vlicger. 184 DUTCH SCHOOL. ' of boats are moving off, while the right of the picture, shews us two frigates at anchor. Whether we examine the graceful forms and positions of the vessels, the correctness of the drawing, the lightness of the clouds, the transparency of the colouring, or the lovely gradation of the distance, we must acknowledge that it is one of De Vlieger s best pictures., ON PANNEL. ADRIAN BROUWER, born atHarlaem, 1608. No. 167. . / It is well known that this painter was a man of very low extraction, and that his mother had been a washerwoman ; but such is the advantage of the fine arts, that as soon as a youth enters that career, let his origin be what it may, he ranks with gentlemen, because the same capacity which qualifies him for a libe- ral profession, enables him also to ac- quire a liberal education, which was the case with Brouwer, to whom Rubens was so attached, that he lodged him in, DUTCH SCHOOL* 185 his own hou.se, where he had placed several of Brouwer .s pictures. When one day after dinner, pedigree was made the topic of conversation, every one of the company traced a long genealogy, and when it came to Brou- wer to speak, he confessed that he could not boast of a distant pedigree ; Yet, said he, pointing to the pictures in the room, I am one of God's nobility^ and JBrouwn- those are my letters- patent , In the interior of a Dutch room, peo- ple are drinking and smoaking ; and at the centre of the table, an old corpu- lent man seated in a straw chair, holds a pipe with one hand, and a jug of beer ' in the other, whilst by his side, a man half intoxicated, is laying his hand on his shoulder, and rai.sin2C a f^lass to drink his health. Opposite to them a young boy, with his hat on, and wliite trow- sers, is lying on the ground and looking at him. Behind them, to the right of the pic- ture, tliree or four intoxicated Dutch- men are diverting th-emselvcs round a DUTCH SCHOOL* 185 ’ Ikirrel, upon which one of them at->- tempts to read a gazette: and upon the tbie-giound, a child lying down, is making a cat eat out of a pot. 1 his little cabinet piece will always be placed among the first pictures of the master. ON PANNEL, CORNELIUS POfeLEMBERG, born a£ • Utrecht, 15864 No. 168* A Vkio in the Environs of Italy^ lliibens had the greatest friei^dship for this artist, and used say, If I xcere not Rubens, I should wish to be Pcelembcrgi As a further proof of his esteem, he had in his own collection, as many pictures ofPademberg as he could obtain, as appears by his catalogue. The left of the picture, presents a rock, from Avhence issues a cascade of water, and in t]:ie centre, a herdsman with some goats and sheep. DtJTCH SCHOOL* 187 On the right, two other figures de- scending on the plain, with a loaded mule, and some goats ; and in the dis- tance, a chain of mountains detached from a vapourous and transparent sky* ON COPPER, One of the finest works of this mas- ter, and which passes for his chef d' oeuvre y represents a landscape with nymphs bathing. It formerly belonged to a saddler of Brussels, who, like Laurent Gelee, whom we have before mentioned^ would never dispose of it, because it had descended to him from his friends. It is not unusual to see our nobility part without scruple^ with every thing, to the last diamond, that they have in- herited from their family : but in gene- ral, the middling ranks of life^ venerate the little they have received from their forefathers. The saddler however dis- possessed himself at length, of his pic- ture, but in a manner highly honourabl#^ to his feelings* VOL. II. P elemiur, 188 DUTCH SCHOOL'. Some years before the French had invaded the I-ow Countries, they were governed the Emperor Francis's brotlier, Prince Charles de Lorraine, whom his goodness, unaffected * simpli- city, and amiable manners, had rendered' the idol of the Flemings. A wound which the Prince received by accident, in the leg, threatened the most serious consequences, and after having baffled every means of restora- tion, his life was declared in danger, M^Iiich occasioned the Flemings such an alarm, that it seemed as if they had all been on the eve of losing a tender father, and with him their whole happiness. Blit althongh the voice of court syco- phants and interested flatterers, does not ascend to heaven,’ heaven hears and never rejects the voice of a grateful peo- ple, united in supplications for a beloved • prince in illness and affliction. ]\Ir. IVIoimid, a skilful surgeon whom the French King had created knight of the grand order of St Michael, was sent for from Paris, and through liis^ DITTCH SCHOOL, 189 abilities, care, and attention, the prince was not only snatched from danger, but in the course of three weeks or a month, so far re-established as to be able to walk. So great was the joy of the people, on this occasion, that as Mr. Morand, one evening, entered a box at the play-house, he was no sooner seen, than the piece was interrupted- by the applause thun- Pc^kmhurg, dered on him, by the audience ; — the noise within excited the curiosity of • i those without, and tlie neiglibourliood of the theatre began illuminating for him; the enthusiasm gained like wild- fire, and in less than an hour, the illii- • mination became general throughout the extensive city of Brussels; and the surgeon who had saved their Prince, was drawn home in triumph, by the people amidst their thanks and blessings : but the gratitude of the saddler was carried still further. As he let part of his house, out in lodgings, Mr. Morand had frcquejitly been there, to visit one of his friends. 190 DUTCH SCHOOL. Pc^kmburg, and having seen the picture of Poclem- berg, was so captivated with it, that he had made many vain endeavours to purchase it; but the respect and attach- ment of the old saddler, for Prince Charles, were so'high, that they induced him to do, out of gratitude to Mr. Mo- rarid, that which interest could not; for he no sooner learnt that Mr. Mp- I'and Avas preparing to return to Paris, than he inclosed his- picture in a small case, and unknown to him, prevailed on a servant, to put it at the bottom of one of his trunks ; and the surgeon on his arrival at France, was equally surprized and pleased to find himself in possession of a Avork hehad so ardently wished for, and he Avrote to inform Prince Charles of it, who Avas extremely affected by the unequivocal proofs of that attachment the Flemings had for him. DUTCH SCHOOL. 191 CHEVALIER, ADRIAN VANDERWERF, Born at Rotterdam, 1659. No. 169. The Judgment of Paris. 1^1 Difterent authors have mentioned this picture, which comes from the Or- - leans collection: and Descamps in his lives of painters, informs us, that it was painted for the Duke of Orleans, while » that Prinee was regent of Franee, and even mentions the price he paid for it, about eighty-live years ago. So many have made the eulogium of this performance, in the course of that century, that it is in vain for us to attempt it ; but we beg leave to give Sir Joshua Reynolds’s opinion of it. He was not so partial as most collec- tors, to the works of Vandei werf, tho’ he did not wonder at the high prices paid for them, on account of their sweetness and scarcity ; but Sir Joshua could not be reconciled to the carna- tions of that master’s figures, pretend- 392 BUTCH SCHOOf., TanderwerJ^ ing that they had more the appearance of ivory than flesh ; and he used to say that the only one of his pictures he knew free from that tlefect, was tke Judgment of Paris ^ which lie had seeii in France, in company with his friend ]\Ir. Burke. — In that i^ork^ said Sir Joshua, Vanderwerf has shewn himself a great Italian master, in the three goddesses, which in every sense of the word, added he^ are goddesses indeed. And lie particu- larly admired the uncoinmoii decency with wdiich the subject w^as treated, adding, that when an inferior artist treats the naked, modesty is sure to be alarmed at flic performance. It is asserted that in tlie whole course of his life, Vanderwerf has not painted above sixty pictures, even inciuding those in the Dusseldorff gallery. Such others, as go under' his name, ai'C copies of his' works, or done from the cheva- lierts designs, by his brother Pc/er, wdio was also an artist of merit. Tire composition presents six figni'es — Paris, who is partly covered with a V DUTCH SCHOOL. 193 blue drapery, is seated to the right of tlic picture, on the fore-ground, his crook and stick iying by him. jVIercuiT, who comes to bring him the golden.apple, with the three Graces, is standing behind him,whilst Juno, whose head is bound with a circle of gold, and . her shoulders cohered with a lilac dra- peiy, takes the lead as the first goddess, and is standing near Paris. Minerva is on the left, with a helmet on her head, lier arms bound with gold bracelets, and is partly covered with a drapery also of lilac colour. Venus is between them, Having no other ornaments than her long fair hair; a little Cupid, at whose side hangs a / quiver, is near his motlier, w earing her blue drapeiy, and at her feet, are her two doves cen'essing. Already Venus impatient, and assu- red of victory, holds out her hand to ^ Paris, to receive the apple, but the^ j^oung shepherd vdiom equity directs, prudently withdraws his, and vrill not DUTCH SCHOOL. m give it, ’till after a more strict exa- mination. ON PANNEL. / It is WOll known that no individual ever possessed so many pictures of Van- derwerf, as, the late Sir Gregory Page^ Vandcrwerf, Blackheatli ; when his collection was sold, one of them, was purchased for the purpose of exporting to France, * wlaere it was shewn to the Queen, who ’ ' expi’essed a higher gratification in seeing ir, than she had ever received b}- any painting whatever before* In consequence, directions were -im- mediately given to buy up all the works of \ anderwerf, that could be procured in France, but unlike happy fated Bri- tain (wliere through commerce, the ge- nial source of riches, and under the best balanced constitution, almost every man may boast some wealth, and where many commoners by their placesaiches, and consequence in tlie state, vie with the first nobility) France, under it’s an- tient government, had a nobility, who DUTCH SCHOOL. 195 despising those who were not nobles^ kept no intercourse with them ; and wealth ihere, was divided between the principal lords, the monks, and the priests, while the inferior ranks of that nobility, had but a small patrimony, and the commoners, an ample share of contempt, poverty and labour, with the burthen of taxes ; therefore as the Vanderzuerfi princes and ministers of France, with a , few of the most considerable of the state, were the only possessors of pic- tures, it became necessary, to fulfil the Queen’s wishes, to seek in other coun- tries, for those of Vanderwerf. - Flanders, Holland and Germany, were searched, and Mr. Bertels, a fo- mgn dealer, came to England to pur- chase for her Majesty, those that had been in Sir Gregory Page’s collection, and on an average were ’till then, esti- mated at S50 guineas each ; but they immediately rose to 600 — Bertels even went as far as 7 and 800 for some of them ; — and those purchases, intended VOL. /r. cc ' ^ 196 DUTCH SCHOOL. for the innocent amusement of an ami- able and august Princess, who soon after became the victim of calumny and liatred, are now' embellishing the public galleiy of the Louvres. PAUL POTTER, born at Enkhysen, 1625, No. 170. , ‘ I C(So.Ht rtc^vv A c J' A.vv Landscape loitli Cattle 'd^id Fig ures. As Potter enjoyed a great reputation at the age of fifteen, we may say he had arrived at his meridian, when he was but twenty. It was then, he fell in love with Adriane Belkenede, the daughter of an architect, from whom he asked her ill marriage, but the father offended at the request, answered, I may be pre- vailed upon to give my daughter to an histo- rical or a portrait painter y but canyon ima- gine^ I will give her to a painter of cows? However, when the architect saw that Potter was making a brilliant for- tune, and that at so young an age, his DUTCH SCHOOL. 197 house was the rendezvous of men cf distinction, of the princes, and ambas- sadors who were at the Hague, he be- to think' that there^ was merit in o painting of cows, and granted his daugh- ter to the artist, who rose in such esteem among his countrymen, that had he lived longer, (according to some authors) he would have become a burgomaster. But it is also reported, and believed by many, that when Raphael died, he was on the eve of being made a Cardinal, which could never lia\^e been the case, since he was neither a priest, nor in orders. One might indeed as well say, that if Sir Joshua Reynolds had lived, liis Majesty would have made him Pri- mate of England, and Archbishop- of Canterbury.^ The composition of this picture, pre- sents a meadow, in which are five cows and a calf, two goats and three sheep, * No one can be made a Cardinal unless he is in Priests’ orders, or at least a Clerk of the church, for it being a church dignity, it cannot be bestowed on a layman. 198 DUTCH SCHOOL. a-nd almost all these animals are of co-^ lours happily varied, and in positions finely contrasted, with a clear and sil- very sky of the greatest transparency, the clouds of which, are light and of the finest form. To the right is a farm-house between two fine groups of trees, near which is. a woman dressed in a red corset and .blue petticoat, milking a beautiful cow spotted with yellow and white ; and on the second ground, there is another standing, near which two sheep are lying down. This picture, which is of a rich sim- plicity, is also of a most exquisite and firm execution. ON CANVAS. ' JOHN BONNAERT, born at Amsterdam. No. 171. Philip V, King of Spain ^ grandson ia Leids XIV, This artist became a pupil of Van- dermeulen, when he was in Brussels, DUTCH SCHOOL. 199 and followed him to Fiance, in order to finish his studies ; he painted land- scape as well as portrait, in small, and was often employed by the Royal Family. As he was one day, painting Lewis XIV. who had with him the first Pre- sident of the Parliament of Paris, with whom he was conversing, the sitting was interrupted by an interesting scene. A French Count, whose family had great credit at court, was making it his diversion to kill people — once on his return from the chase, observing a tyler at work on the top of a house, he took a deliberate aim at him, fired, and kil- led the man, by way of amusement. The noble villain had already com- mitted murder twice, and at the mo- ment that the King was sitting to Bon- naert, one of the Count’s relatives came to throw himself at his feet, to supplicate pardon for another murder he had just committed. That is not to be borne,” said lev/is XIV. this is the third man he 200 DUTCH SCHOOL. has killed?'^ Excuse me, Sire, replied the first President, the Count only killed one^ and your Majesty has killed the two othei'S. The king, sensible of the reproach of having pardoned him the first time, broke vip the sitting, and retired.— The Count however was once more pardon- ed; but if ' any one kills him, said his Ma- Bonnacrt gi’aiiting the favour, he will also be pardoned. This was soon spread, and two days after, the detested Count fell. The picture represents PhilipV. when a child, walking with a greyhound, in the orangery of Versailles. ON COPPER. We must remark in finishing the last of the old schools, that, according to the promise we made in the preface, we have not, (at least in oar opinion) carried our praises of the pictures be- yond their deserts, and our having made the purcha se of them, is the best proof Ave can give that Ave thought them me- ritorious ; therefore if they are not really so, it will not be attributed to a DUTCH SCHOOL. 201 want of, integrity, but to a real want of judgi^nent on our part. We must also add, that we have spoke in the plural, not by way of in- novation, but in conformit)^ to ihe dif- ferent French catalogues raisonnes that have come to our hands. ' English School. JAMES NORTHCOTE, Esq. born in Devonshire* No. 172. The Arrival of Edzoard the 5th ^ King of England^ into Londoni The composition offers us five figures^ large as life.™ The young Monarch, just arrived in liondon, is receiving the Duke of York, his brother, an infant of front of the picture embracing. Behind the King is the Duke of Glo- cester, his uncle,'* in armour, and who is leaning on the throne ; the faithful Lord Hastings, the Chamberlain, is near him : and to the riglit, v e see the good and honest, but too weak and cre- dulous Cardinal Bourchier, extending his hands to bless these young Princes, of whose ruin he became the cause. ON CANVAS. * It is the portrait of Mr. Kemble, who sat for it ENGLISH SCHOOL. 203 BY THE SAME. No. 173. The Assassins coming to surprize Edward the 5th f and the Duke of York. As Mr. Northcote had painted this subject and the preceding, with much success, for the gallery of Messrs. Boy- dell, we requested him to repeat the Northcote^ subjects for this collection, < which he has done, with alterations. The composition of this, presents but four figures. We see in the front of the picture, the young unfortunate, princes asleep in their beds, and the murderers (one of whom carries a lamp) advancing to smother them with pillows. /x ©N CANVAS. JOHN OPIE, Esq. born in Cornwall, No. 174. Damon and Musidora. ' Musidora is seated in a landscape, in the front of the picture, clothed in a VOL. a. D d j tOoU X;0 K'c-. LoL-t- tiA. (V f' rc4. 204 ENGLISH SCHOOL. white dmpery that falls down to her feet, and which she is arranginj>;, while Damon concealed behind some trees, advances with slow steps, to surprize her. The figures are large as life— per- fectly drawn, and of the finest colouring — this Avork is engraved. ON CANVAS. STUART, No. 175. Macbeth and the Witches, Stuart is the artist who retired some years ago, to America, where he painted tliat superb picture of General Wash- ington, which is in the collection of the Marquis of I.ansdown, and it is the work now before us, a\ hich even pre- vious to it's being quite finished, laid the foundation of the high reputation he has acquired ; for during the time he was painting it, crowds of people were continually going to .see it. ENGLISH SCHOOL. 205 Such was the friendship of Sir Chas. Hotham, for Mr. Kemble, that he wished to have his portrait ; and so great was his admiration of his talents, that he wished to have him in one of his characters — Sir Charles gave the preference to the one of Macbeth, as most adapted to the spirited genius of the artist, and Mr. Kemble sat to him, Stuart» several times. This scene is so universally known, that it would be ridiculous to describe it. . ON canvas. Sir FRANCIS BOURGEOIS, born in London. No. 176. A Landscape with Figures. This is a view from nature, which presents to the right, a terrace, upon which a sow is lying down suckling her young ones ; near them, another pig is standing, and on the other side of the terrace, are some trees. In the centre, two little pigs, strayed 206 ENGLISH SCHOOL. from their mother, are running towards her, to suck with the rest. There is also in the centre, a palisade, through which the eye pierces into an extensive country. To the left, a peasant coming from work, is resting himself and drinking out of a keg, as country people usually carry out with them, when at work. His little boy is at his side, and pulls him by the arm, 'as if to hinder him from drinking all it contains; we see ' also near him a shovel, pick-axe and basket. - ON CANVAS. , BY THE SAME. No. 177- The Landing of Norman Horses out of the Dieppe Packet-boat^ at Brighthelmstone, This work was pointed before the breaking put of the war between Eng- land and France. At that time, they often brought horses by the packet, .V • ENGLISH SCHOOL. 207 from Dieppe to Bi ightlielms tone, where the artist painted it after nature. The fore-ground of the picture, pre- sents the view of a shore, covered with different' figures, and the sea, with fishing boats and other vessels. On the left of the picture, advances • a young man, leading by the halter, one ^ of the horses just landed, and is follow-'^^^j^^ ed by another, whom his guide can scarcely manage, being still in the sea, and frightened by the noise of the waves. Numbers of spectators, are approach- ing, among whom two gentlemen are conversing, and strictly examining the horse just landed. Near them, a little boy that a dog is fawning upon, holds out his hat for alms ; and behind, are a man, and a woman who holds in her arms a child, and, an old man leaning upon his stick. On the same side, is a groom mounted upon a horse that he has been bathing, whilst a fisherman, Avho seems tired, leans upon one of those turning posts, fixed by the sea-side ; 203 ENGLISH SCHOOL. / near, is a child who has just come out of the water, sitting employed in dres- sing himself. In the centre of the picture, are two fishermen, one lying down upon the sand, and the other in boots, drawing his net that he had extended to dry : he is standing and conversing with a wo- near them, a greyhound has leapt into the water, and runs after; the first horse that reaches the shore. On the right of the picture, are seen two other fisher- men, upon the shore, one sitting, and the other standing; they have near them, a basket of fish, and a dog who is going off; Ave distinguish also, on the same side, the Dieppe Packet-boat, and several little boats employed in the landing of the hoi'ses. Already those w'ho have assisted in getting the two horses on shore, are returned to , the packet-boat ; and avc sec another, in which is a man, who holds the halter of a third horse, de- scending into the sea, Avhere he is swim- ENGLISH SCHOOL, 209 leing, and of which the head only is seen on the surface of the water ; and farther, another bark is fastened by a rope to the packet, to lead another ' horse that is going to descend into the sea, and which is already suspended by a pulley. ON CANVAS. BY the;same. No. 178. A Landscape^ xinth a Rainbow, The centre of the picture, presents / a little hill covered with verdure. U poii ^ ' the summit are some sheep, and a young man extended on the ground, with his dog by him ; a young girl is standing at his side, one of her petti- coats thrown over her head, to guard her from the wind. The agitation of the trees, with which the left of the picture is embellished, indicates it’s blowing with great violence — they are no ENGLISH SCHOOL# both attentivel}^ examining a rainbow just formed in the sky. The right presents a river, oh The side of which, is discovered an old cas- tle ; and the fore-ground is enriched with various leafage and trunks of trees# ON CANVAS. BY TME SAME. No. 17.9. ^ / The Funeral of a White Friar* The composition offers us seventeen / r figures ill a landscape, where friars are seen going to inter one of their bre- thren, in tlieir burying ground, at a little distance from the convent. Upon a high road, on the fore-ground of the picture, to the right, four chil- dren of the choir, are preceding the procession, according to custom, dressed in the habits of white friars — the head shaved, the feet naked, and surplices on • for the funeral ceremony ; the youngest ENGLISH SCHOOL. 211 Walks first, and is carrying the incense ; but having advanced too far before the others, he stops to wait their rejoining him ; tlie two” who are following, hold eaeh a lighted torch before the crucifix, with which the fourth advances, holding it raised with both hands. ' Bourgeois^ A few steps behind them, \ralks the chorister of* the convent, with a book open in his hand, and his eyes raised to licaven, singing psalms with the chil- dren. ^ Immediately after him,. are four friars carrying the body of their de- ceased brother, over whom they have thrown a white cloth, but his head and feet remain uncovered ; he is followed by the rest of the community, who walk two and two, in prayers and meditation. On this side of the road, to the left of the picture, are some large trees, ex- tending their branches to the sky ; and on the second ground, is a little hill, upon which are seen, towards the cen- tre of the picture, some sheep, watched by a girl and a boy, who have stopped to view the procession, and humbly incline VOL. II. E e 212 ENGLISH SCHOOL. themselves while it passes ; by the side of the little hill, a rivei* bordered with trees, offers itself to the sight, and at a distanee, some mountains. ON CANVAS, i Bourgeois BY THE SAME. No. 180. ing of Horses. The picture presents a landscape with . the declining sun. To the left, on the side of a group of trees, is a pump, where a young peasant comes to water two horses, just re- turned from woi'k, and unharnessed ; his dog is near hini. The fore-ground, towards the centre, offers a brook, aial to the right a tree lvin bordered with lace. ON CANVAS. Sir JOSHUA REYNOLDS, born in Devonshire, ■ 1723* No. 186. Portrait of a Pay. It is a full face, the head uncovered, and he is dressed in black, with a rulf. From the execution of this work, and the animation, as well as the expression in the figure, it must be acknowledged that it is one of tlie artist’s most mas- terly performances. ON CANVAS. ENGLISH SCHOOL. 219 BY THE SAME. " No. 187. A General Officer. This portrait is asserted by some to be tliat of Lord Albermarle, by others of Lord Ligonier : we leave the decision Reynolds^ to those who have known them. The scene is a field of battle, which the General enters, mounted on a fiery white steed, richly caparisoned with blue velvet, edged with gold ; it*s heroic rider appears to direct his course towards a warm engagement of cavalry, at a dis- tance ; he is in armour^ his sword at his side, and his batoon in his hand. With every sense of the merits of the old masters, we feel equal gratification in admiring those of the modern ; and it will be allowed that such pictures^as this, will always deserve a place among the best productions of the old school; indeed it would exceed the utmost stretch of our abilities, were ye to at- tempt rendering justice to the works of VoL.II, Ff / 220 ENGLISH SCHOOL. this illuslrious painter, to whom we are all so much indebted for this school. That school was wanting to tlie splen- dor of Great Britain, when his JMajcsty, whose views have alike, been directed to the most useful pursuits, and the glory of his country, instituted the Royal Aca- demy ; and happily at an epoch, when there existed an artist, whose brilliant genius, manners and talents rendered him so worthy to preside over it ; one Reynolds ^ uiiitcd tlic mail of Icttcrs and the accomplished gentleman with the great painter ; and who therefore, possessed of real taste, by his own works, as well as by his precepts, soon laid the found- ation of that celebrity, which British artists have hitherto acquired, and which we hope, through a liberal en- couragement of the community, will be long increasing, under the august aus- pices of our gracious Sovereign, and the patronage of our Nobility, that exalted and distinguished bodv, which adds so much lustre and respectability to Great Britain, and whose only pride, in ENGLISH SCHOOL. 221 their elevation, is to promote tlie good of their country. May Sir Joshua’s works, and the in- structions he has left, be always the . rules and models of our you artists ! for throughout Europe, his pictures are daily rising in estimation, are more and more sought for by the connoisseurs, while his immortal discourses to the students of the Royal Academy, being now trans-;^^^.^^^,^ lated in different languages, are recom- mended every where, as the best guide for taste and learning. We recollect his concluding the last, with name of IMichael Angelo ; and we cannot also conclude our catalogue with a dearer and a greater one than tiiat of Sir Joshua Reynolds, wlio will ever be regarded as the father of the E e.glish school. FINIS. When we published, about three weeks since, the first edition of this little work, we were not conscious it contained ought that might incur the displeasure of any one ; as however some artists, and others who believe themselves to be so, have written to reproach ENGLISH SCHOOL. us with an intention of injuring them in their profes~ sion, and have censured several passages, that are not suppressed in the present edition ; we think ourselves called upon, to say a few words in our own justification* We are in the first place, reproached with having degraded in the eyes of the public, the whole body of painters, by accusing them generally of envy and jea- lousy. — As we have alleged nothing slightly, or in- serted any thing in the catalogue, but what we believe to be strictly true, we should be wanting to ourselves were we to retract, what we then advanced. — The fact is as follows ; Having occasion, during the last autumn, to peruse the lives of the different pointers, for the purpose of procuring the best information respecting the works that we had to describe, w e were struck by observing that many of the most celebrated masters had been susceptible of so grovelling a passion as jealousy, and it reminded us of an observation we had before made, of some artists of our own time, who are subject to the same infirmity \ for we have not unfrequently wit- nessed the cruel pleasure that they have taken in de- grading the works of their fellow artists, and with a warmth that nearly bordered on rage. Such was our inducement to observe it to be a mis- fortune that instead of a low envy, the bosom of the painter did not glow with the noble emulation that existed in other liberal professionsv What would have become of us, or what w^ould have been the fate of Britain, if, about five years ago, w^hen insurrection reigned throughout her fleets ; our brave officers had, like many of our artists, been jealous of each other, and had not with an united hand, crushed the rebellion, and restored subordination ENGLISH SCHOOL. 22.^3 Faction, in an academy of painting, is neither dan- gerous nor of much consequence to the state ; but much more difficult to suppress, and more tedious in it’s du- ration, than a political revolt. Far from intending injury to any one, we have ^voided mentioning, or pointedly attacking any indi- vidual ; but in contributing our endeavours to root out an evil, which has been of considerable injury to the most meritorious painters, and particularly to young students, who stand in need of every assistance and advice, we have, on the authority of those authors mentioned in our preface, taxed Lanfranc, Claude, Rubens, and Velasquez, with jealousy and envy. —We however solemnly declare we had no intention of alluding to those artists, who have written to us on the subject; on the contrary, we freely confess we are not aware of any resemblance that they bear in any ' respect whatever to those masters. We intreat they will review the catalogue impar-^ tially, and they will observe that we have adopted great caution in mentioning the jealousy that exists among painters, and made very considerable excep- tions to it’s being general We trust it will appear evident we have only attacked the guilty. In a word, far from wishing to injure the body of painters, our attachment and zeal for their interest, is so well known, that within a short time past, the Royal Academy of London, and the Society for the en- couragement of Arts and Sciences, have respectively honoured us with a vote of thanks, at one of their pub- lic meetings. The next accusation against us is, our having said in No. 142, that the art of painting admits of no midr- 224 ENGLISH SCHOOL. die degrees'^ by which assertion, they pretend we have discouraged a number of men, who never can rise above mediocrity. We have indeed asserted what is perfectly true, and continue to say, that such painters will never be ranked amongst artists, notwithstanding the vast quantity of canvas, which by a natural quickness of hand, they colour in the course of a twelvemonth ; and we appeal to those who are acquainted with the difficulties of the art, to the professional men who really aim at fame, and are reminded of it's trouble and fatigue, by their daily' painting, rubbing, effacing, and correcting works, with which they are themselves never pleased, 'till they are brought to a certain degree of perfection, by labour and great efforts of genius — On them we call to say whether our assertion is not just. A set of men, stiling themselves artists, without any claim to the appellation, and a set of tasteless collec- tors, who satisfied with the most indifferent pic- tures, have filled their rooms at a 'few guineas cxpence, offended by our candour, have already raised the war-whoop against ourselves and a col- lection they have not yet seen. But we reflect on it with indifference, as we look forward with confi- dence, to the approbation of the true artist, and the im- partial connoisseur. Far, therefore, from retracting what we have advanced about those pretended painters, who too frequently usurp the place of meritorious ones, we are more than ever, convinced that their knowledge and a total ignorance are perfectly on a par. Any man blessed with common sense only, may, by study and labour, acquire science and sufficient knowledge to distinguish himself in most of the pro- ENGLISH SCHOOL. 225 fessions of life ; but notwithstanding good sense, la- bour, study, and knowledge are also necessary to form a painter, they are by no means sufficient ; for he must besides, be endowed with that celestial fire called genius. In time of yore, kind fairies, or Apollo himself, used to preside at the birth of poets and painters, in order to bestow on them, that precious gift ; and as no one dared then, write verses or paint without it, taste was not offended and plagued with the works of a fop, foolish poems, and bad pictures : But In our days, in spite of taste and of Apollo, and quite a stranger to genius and to the art itself, any man who can buy a few yards of cloth, a pint of oil, and a pound of colours, sets up as a painter, and feels affronted if John Bull, not awed by the productions of his pencil, enters his painting room, in boots and with his hat on, for the new Apelles says, it ought not to be the case in a polite country. X- 'hJcSiO^ SETIY CENTER U6^'