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CATALOGUE RAISONNE 
 
 PICTURES 
 
 BELONGING TO THE MOST HONOURABLE 
 
 THE MARQUIS OF STAFFORD, 
 
 GALLERY OF CLEVELAND HOUSE. 
 
 COMPRISING 
 
 A LIST OF THE PICTURES, 
 
 With illustrative Anecdotes, and descriptive Accounts of the Execution, 
 Composition, and characteristic Merits of the principal Paintings. 
 
 By JOHN BRITTON, F.S.A. 
 
 Hail, Painting, hail ! whose imitative art, 
 Transmits through speaking eyes the glowing heart! 
 
 LONDON: 
 
 PRINTED FOR LONGMAN, HURST, REES, AND ORME, PATERNOSTER-ROW ; 
 AND FOR THE AUTHOR, 
 
 1808. 
 
C. WHITTINGHAM, Printer, 
 Goswell Street. 
 
NOTICE 
 
 RESPECTING 
 
 TICKETS OF ADMISSION 
 
 TO THE 
 
 CLEVELAND-HOUSE GALLERY. 
 
 With exemplary liberality the Marquis of Stafford has appropriated 
 one day in the week (Wednesday, from the hours of 12 to 5 o'clock) 
 during the months of May, June, and July, for the Public to view the 
 pictures in his spacious Gallery. In consequence of almost innumerable 
 applications, and in order to accommodate more pleasantly those per- 
 sons who visit this splendid collection for the express purpose of exa- 
 mining the paintings, his Lordship has found it necessary to adopt 
 the following 
 
 REGULATIONS. 
 
 No person can be permitted to view the Gallery without a ticket. 
 To obtain which it is necessary that the applicant be known to the 
 Marquis, or to some one of the family ; otherwise he or she must have 
 a recommendation from a person who is. 
 
 Applications for such tickets are inserted in a book by the Porter, at 
 the door of Cleveland-House, any day except Tuesday; when the 
 tickets are issued, for admission on the following day. 
 
 Artists desirous of tickets for the season must be recommended by 
 some member of the Royal Academy. 
 
 It is expected, that if the weather be wet, or dirty, that all visitors 
 will go in carriages. 
 
PLAN 
 
 OF THE 
 
 CLEVELAND-HOUSE GALLERY. 
 
 The extent and arrangement of the suite of rooms which contain the 
 pictures usually exhibited, will be better understood by the annexed 
 engraving, than by any verbal description. All that part of the house 
 west of the Old Gallery, with the stairs, have been erected by the 
 Marquis from designs by C. H. Tatham, Esq. The Old and New Gal- 
 leries, marked B and H in the Plan, are lighted from the top • but the 
 other apartments, being fitted up and appropriated for domestic pur- 
 poses, are lighted from the sides. The western end, facing the Green 
 Park, presents a plain, chaste, and simple elevation: it is built of 
 stone : the windows from the drawing and dining-rooms, project in 
 two bows. 
 
 REFERENCE TO THE APARTMENTS, &C. 
 
 New-Gallery, No. 1 to 29, from page 2 to 39. 
 Drawing-Room, No. 30 to 67, from page 40 to 70. 
 Poussin-Room, No. 68 to 75, from page 71 to 85. 
 Passage-Room, No. 76 to 83, pages 86 and 87. 
 Dining-Room, No. 84 to 104, from page 88 to 109. 
 Anti-Room to the Old Gallery, No. 105 to 113, from page 110 
 to 116. 
 
 Old-Gallery, No. 114 to 228, from page 117 to 139. 
 Small-Room, No. 229 to 252, from page 140 to 143. 
 
PREFACE. 
 
 The present little volume would have made its appearance 
 some months earlier, but for a long series of illness, which 
 has incapacitated me from performing my duty to the Public, 
 or obtaining the pleasure and advantage which generally result 
 from literary applications. 
 
 With very considerable difficulty I have produced it in 
 its present form and character ; and as these are not com- 
 mensurate to my wishes and intentions, I trust that the gene- 
 rous reader, and liberal critic, will judge of the present pro- 
 duction more by the dictates of mercy, than the laws of jus- 
 tice. But for the cause above assigned, it would have been 
 more copious in its literary disquisitions, and have manifested 
 a more extensive investigation and critical analysis. It was 
 also my intention to have given, in this place, a concise review 
 of the present state of the fine arts in England, with an 
 inquiry into the character and effects of public and private 
 patronage ; also a few reflections on the important advantages 
 that would result from a judicious cultivation of them by the 
 ladies. For these purposes I had written several pages ; 
 but as they do not make a necessary part of the present work, 
 and as I wish to render such disquisitions, whenever they may 
 appear, accurate, apposite and forcible, they will be reserved 
 till another opportunity. Should such occur, it is my wish also 
 to investigate the point at issue between the artist and author, 
 and those who profess to be, or are deemed, their patrons. 
 This is a subject of considerable delicacy, and will require 
 a calm, dispassionate and philosophical mode of treatment : 
 for men of talent loudly complain of being neglected and 
 despised, whilst those of rank and opulence declare that 
 they are not only disposed to encourage and reward merit, 
 but are constantly in the habit of doing so. Having carefully 
 examined this question, and, from favourable associations, being 
 in possession of the sentiments of both parties, I cannot help 
 thinking that some good would result from an unprejudiced 
 disquisition on the subject. 
 
PREFACE. 
 
 The nobility and gentry of England have long borne the 
 reproach of foreigners, and of the native literati in general, for 
 a seltish and haughty conduct respecting their picture galleries, 
 and collections of curiosities. The complainants say, that the 
 possesors of rare and valuable works of art should give free 
 admission at all times to the emulous artist, and to every per- 
 son of laudable curiosity: and it is further urged, that " they 
 manage these things better in France" Italy, &c. It must, 
 however, be obvious, that a general system of policy, which 
 may be unexceptionable in one country, a certain state of so- 
 ciety, and with a particular class of people, would be highly 
 improper in another country essentially different in habits and 
 character. Thus in England, where ignorance, vulgarity, or 
 something worse, are the characteristics of the lower orders, and 
 where frivolity, affectation, and insolence, are the leading traits 
 in a class of lounging persons, who haunt most public places, 
 it would be the excess of folly for gentlemen who possess va- 
 luable museums, to give unlimited admission to the public *. 
 Certain restrictions are necessary ; and these, if properly con- 
 stituted and regulated, are as useful and pleasant to the visitor, 
 as to him who grants the favour. It should be recollected 
 that private collections are generally formed for individual gra- 
 tification, and that a private gentleman is naturally and rationally 
 more disposed to study domestic comfort than to sacrifice it 
 to public curiosity. Whenever, therefore, we are freely ad- 
 mitted, to examine and study (without extravagant taxation ) 
 the valuable repositories of art, in the houses of opulent 
 persons, we ought to be thankful. 
 
 The commencement of the present century in England, will be 
 honourably distinguished in the future annals of its historians, 
 by the zealous patronage that has been manifested towards 
 native arts and artists ; and it will be found that the latter 
 
 * I have the honour of knowing some gentlemen who possess va- 
 luable collections of pictures, &c. which they would cheerfully, if they 
 could confidently and without much inconvenience, display to the 
 public. But the public of England are not yet sufficiently advanced in 
 refinement and taste to appreciate and fully enjoy such indigencies ; 
 nor are the domestic arrangements of London houses adapted for these 
 accommodations. If the enlightened few, and the real lovers of art, 
 could be easily discriminated and selected from the idle, frivolous, and 
 affected persons, who constitute the great mass of society, I am per- 
 suaded that every proprietor of a Gallery would readily admit the 
 former to view and profit by his collection. That such a selection is 
 difficult has been recently manifested in the opening of Lord Grosvr s 
 splendid house. The apartments were thronged, but many artists and 
 literary gentlemen were unable to obtain admission. 
 
PREFACE. vii 
 
 Jiave evinced genius, talents, and application, worthy of that 
 patronage. Thus whilst liberality and riches are dispensing 
 the comforts of life, the abilities of men are stimulated to exer- 
 tion, and are sedulously employed in securing to themselves 
 honourable fame, and to their country eminence and glory. 
 
 These remarks arise from a review of the circumstances con- 
 nected with the first opening, and periodical exhi- 
 bition OF THE CLEVELAND HOUSE GALLERY. The noble 
 Marquis was, I believe, the first in London who admitted the 
 Public, by tickets, to view his valuable Gallery of Paintings. 
 This took place in May 1806, and the collection was con- 
 tinued open to visitors every Wednesday, for four months, dur- 
 ing that year ; and again for the same period in the year 1 SO/. 
 In ] 808 it continued open three months. This conduct will be 
 ever memorable in the history of the fine arts of England, and 
 will redound more to the fame of the noble proprietor, than any 
 of those popular acts of party politics which occasionally excite 
 a little temporary notoriety, but which expire with the person. 
 
 Every true lover of the arts, and every enlightened writer, 
 must contemplate with emotions of pleasure, the present state 
 of exhibitions and collections in England. Some noblemen 
 and gentlemen have laudably opened their Galleries for the 
 amusement of the Public, and for the advantage of artists. 
 This is noble, interesting, and important, for the country will 
 be ultimately benefitted by it. The emulous painter hence 
 imbibes a species of knowledge which must be valuable, as 
 he has an opportunity of comparing himself with those old 
 masters whose works have acquired popular immortality. His 
 ambition is excited, and he has a guide to direct it. Many 
 circumstances have conspired to produce this effect: and it 
 must be admitted, that much more still is necessary to be done. 
 For if the melioration of society, and expansion of human 
 intellect, be worthy of individual, and of public solicitude, 
 these will be best promoted by judiciously cultivating the fine 
 arts and polite literature. Whoever feels the importance of 
 these, and is blessed with competence, will do well to follow 
 the laudable examples of. His Majesty, the Prince of 
 Wales, the Duke of Gloucester, and the following noble- 
 men and gentlemen, whose names are here recorded, with very 
 respectful congratulation and pleasure; and in the mention 
 of whom I am only actuated by a wish to offer a trifling tribute 
 to those who have publicly manifested a patriotic zeal in be- 
 half of English art, and English talent. The Marquis of 
 Stafford, Earl Grosvenor, the Earl of Egremont, 
 
viii 
 
 PREFACE. 
 
 Lord Mulgrave, Sir John Fleming Leicester, Bart. 
 Sir George Beaumont, Bart. Sir Francis Baring, Bart. 
 Thomas Hope, Esq. Alexander Davison, Esq. Thomas 
 Bernard, Esq. Thomas Lister Parker, Esq. Charles 
 Ho a re, Esq. Captain Agar, John Houlton, Esq. and 
 Henry Hope, Esq. 
 
 These are the patrons of artists, for they dispense their fa- 
 vours on the living : and these, I am persuaded, have found 
 their patriotism excited, and the spark of liberality fanned, by 
 the arguments and precepts contained in the many useful and 
 intelligent publications on art, that have recently issued from 
 the British press. 
 
 Among these I cannot deny myself the pleasure of referring 
 to, and recommending the following : Shee's " Rhymes on 
 Art ;" Ho are's " Inquiry into the requisite Cultivation and 
 present State of the Arts of Design in England ?' Da yes's 
 " Essays on Painting ; y ' Ho are's " Artist, a Series of Es- 
 says ;" Walker's " Descriptive Catalogue of a choice As- 
 semblage of Pictures," &c. ; Landseer's " Lectures on the 
 Art of Engraving " The Review of Publications of Art." 
 A periodical work, one number of which is to be published 
 quarterly, " The British Gallery of Pictures" and " The 
 British Gallery of Engravings." 
 
 It is with much pleasure I learn, that, besides such as are 
 already before the Public, many other literary and embellished 
 works on the fine arts are preparing for publication : 
 
 Shee's continuation and completion of his very interesting 
 poem, with copious notes. 
 
 A work, illustrative of the English School, as a compa- 
 nion to the two " British Galleries/' This will comprize highly 
 finished engravings from celebrated pictures of Reynolds, 
 Wilson, Gainsborough, Ronmey, Wright, Barry, Opie, &c. ; also 
 some from living artists : with copious historical, biographical, 
 and critical elucidations. 
 
 Opie's Lectures; and Barry's Posthumous Works, with 
 Memoirs of the Authors, are also in the press. 
 
 An handsome work of Engravings, with critical accounts of 
 the antique statues, basso relievos, vases, &c. belonging to 
 Thomas Hope, Esq. is also preparing for publication. 
 
CATALOGUE RAISONNE 
 
 OF 
 
 PICTURES 
 
 IN THE 
 
 CLEVELAND HOUSE GALLERY. 
 
 The Painter's eye to Sovereign Beauty true, 
 Marks every grace, and heightens every hue ; 
 Follows the fair through all her forms and wiles, 
 Studies her airs, and triumphs in her smiles; 
 Imagines wondrous scenes, as fancy warms, 
 And revels, rich in all creation's charms. 
 
 SHEE. 
 
 3.** The Pictures in this collection are numbered, with a small ivory 
 ticket attached to each. A plan which would be very useful if 
 adopted, in all public and private Galleries ; for as paintings are avow- 
 edly collected and displayed for the purpose of affording instruction or 
 amusement to the spectator, this will be more readily effected by 
 rendering every necessary information, respecting the subjects, and 
 names of painters, as easy as possible. In such cases it is also of some 
 importance that the intelligence be accurate and apposite ; for, in the 
 present fastidious age, we are not disposed to pay much respect to the 
 silly garrulous stories of illiterate menial servants j who, in many " show- 
 houses," are the only catalogues (though not rais&nnh) provided by the 
 proprietors. 
 
 The following Catalogue I have endeavoured to render as clear and 
 perspicuous as the nature of such a work will admit ; and have, in the 
 first line, given the labelled number attached to each painting, with the 
 name of the artist, in capital letters. The next line contains the title, 
 or subject of the picture ; and subjoined to that is some account of 
 it, either descriptive or critical. This is printed in smaller type, and 
 may either be perused by the reader while viewing the pictures, or at 
 home: at a time and in a place better adapted for reflection and 
 abstraction. 
 
 B 
 
2 
 
 CLEVELAND GALLERY CATALOGUE, 
 
 NEW GALLERY. 
 
 Marked letter B in the annexed Plan. — The Numbers 
 commence on the left hand. 
 
 1. SCARZELLINO DA FERRARA *. 
 
 Christ with his Disciples at Emmaus : 
 
 Luke, ch. xxiv. 
 
 From the Orleans Gallery. Few subjects have 
 been more frequently delineated by Catholic paint- 
 ers than that represented in the present small pic- 
 ture. After the Saviour had been crucified, two 
 of his Disciples withdrew from Jerusalem, and as 
 they were going to Emmaus, a village about 
 " three-score furlongs" from the sacred city, a 
 stranger joined them on their journey, and they 
 all proceeded to the latter place. In the evening, 
 as they sat at supper, the renovated Saviour, un- 
 known to his Disciples, " took bread, and blessed 
 it, and brake, and gave to them : and their eyes 
 were opened, and they knew him, and he vanished 
 out of their sight" — ver. 30, 31. This mysterious 
 incident is admirably adapted for the painter ; as 
 
 * Subjoined to this Catalogue is an Alphabetical List of the Painters, 
 with the number of pictures by each in the present collection ; also 
 the times of the birth, death, &c. of every artist, whenever such infor- 
 mation could be obtained. 
 
NEW GALLERY, NOS. 1. TO 20. 3 
 
 the scene is replete with picturesque and expres- 
 sive effect. In the present collection is another 
 picture, No. 102, by Paolo Veronese, of this sub- 
 ject. Both these performances have considerable 
 merit in their colouring and composition, and the 
 former is painted with great force and freedom of 
 pencil. The picture indeed possesses more than 
 usual interest, for the story is admirably described, 
 and the two astonished Disciples are marked with 
 the most appropriate touches of expression. At 
 the upper end of the table, which is covered with 
 white cloth, is seated the Saviour in the act of 
 breaking the bread ; and his two companions are 
 shown on the opposite sides of the table ; each 
 placed in an attitude indicative of awe and wonder. 
 
 2. SASSO FERRATO. 
 
 A Madonna: a small head, with the hands 
 folded and resting against her breast, 
 
 3. BALDASSARE PERUZZI. 
 
 The Wise Mens' Offering : 
 
 Matthew, ch. ii. ver. 2. 
 
 From the Orleans Gallery. The artist who 
 painted the present picture has been more cele- 
 brated as an architect, than a painter : and in the 
 subject now before us, it is to be remarked, that 
 he has made a fragment of a building the great- 
 est, if not the most prominent feature in the com- 
 
CLEVELAND GALLERY CATALOGUE. 
 
 position. In the centre is an unfinished or ruined 
 portico of the Corinthian order : and beneath it is 
 seated the Madonna, with the infant Saviour on 
 her knees. Joseph is seen behind, leaning on his 
 staff, and one of the Magi is presenting a cup 
 to Christ. The two other sages, with their at- 
 tendants, are represented as preparing to present 
 their offerings : and in the distance, on the right, 
 are some camels, horses, &c. the retinue of the 
 wise men ; whilst, on the other side of the pic- 
 ture, is a sort of episode, displaying the shep- 
 herds approaching with their presents, over whose 
 heads appear the directing star. 
 
 In this representation of the passage, the artist 
 has not strictly adhered to the literal text: for St. 
 Matthew says, when they " came into the house," 
 &c. but here is neither inside nor outside of a 
 dwelling. Such a violation of the subject is par- 
 ticularly reprehensible ; for the primary merit of 
 historical painting, as well as historical writing, 
 is truth : and a faithful and accurate display of 
 this should be strictly adhered to by the painter as 
 well as author. It is but a weak excuse for the for- 
 mer, to plead the want of picturesque effect, and 
 a desire to give more interest and variety to his 
 subject, by indulging in the pictoria licentia ; for 
 nothing can compensate for the want of truth in 
 historical pictures. Sir Joshua has strenuously 
 urged this in his admirable Discourses; and, with 
 the discrimination of a judicious critic, has defined 
 and characterised the specific province of this high 
 
NEW GALLERY, N0S. 1. TO 2<?. 
 
 6 
 
 department of art. The present worthy President 
 of the English Royal Academy, Mr. West, has 
 also nobly and laudably dared to practise it in nu- 
 merous pictures, the effcctsoi which would, perhaps, 
 have been improved by the adoption of Grecian 
 or Roman costume, &c. In criticising this or any 
 other work which may demand my attention, I 
 shall studiously strive to discriminate between 
 truth and falsehood, history and fable ; and shall 
 also endeavour to regulate my strictures by the 
 philosophy of criticism. The rising race of artists 
 should be taught to derive every possible advan- 
 tage from their renowned predecessors : and this 
 can only be effected by knowing how to select and 
 appreciate the merits and excellencies of their pic- 
 tures ; at the same time to avoid their errors or 
 defects. 
 
 u Learn to be wise from others' faults, 
 And you will do full well." 
 
 The cabinet pictures by Peruzzi are very rare ; 
 and his frescoes, according to Fuseli, who calls him 
 a " great artist," approach the style of Raffaelle. 
 Lomazzo styles him " Architetto Universale." — 
 " The style of this little picture is simple, the 
 characters of the heads are varied, and the whole 
 is highly finished and well coloured, rendering 
 the performance a valuable specimen of the abi- 
 lities of this master*." The back-ground, how- 
 ever, is defective in aerial tones. 
 
 * British Gallery of Pictures. No. 1 . 
 
6 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 4. grimoux, after murillio. 
 The Good Shepherd: 
 
 St. John, ch. x. ver. 11. 
 
 " lam the good shepherd," said the Messiah, 
 " that giveth his life for the sheep." The painter 
 has here represented him in the figure of a youth, 
 standing with a crook in his hand, and three 
 lambs near him. The original picture, by Murillio, 
 now in the possession of Sir Simon Clarke, has 
 been much celebrated : and the present wa* im- 
 ported into England by an engraver, and sold 
 to the Duchess of Bridgewater as an original 
 painting. Tricks and impositions of this sort 
 have been so frequently practised by " picture- 
 mongers," and are still so often used, that what 
 would be deemed roguery in another branch of 
 trade, is not only tolerated in this, but is too fre- 
 quently indulged in and sanctioned by the example 
 of gentlemen-dealers. The professed buyers and 
 sellers of pictures have been often and severely 
 reprobated by critics, in selling copies for origi- 
 nals, and for numerous other " tricks of trade :" 
 but I cannot help thinking, that the folly and 
 ignorance of those who only affect to be thought 
 collectors, are equally censurable. If there were 
 no receivers of stolen goods, there would be no 
 thieves, is a maxim of law ; and if pictures were 
 esteemed solely for their merit, the artifices of 
 
NEW GALLERY, NOS. 1. TO 20. 7 
 
 unprincipled dealers would have little influence ; 
 for with the discriminating connoisseur, no sort 
 of varnish will enhance the value of a bad pic- 
 ture, nor depreciate the merit of a good one. 
 If we habituated ourselves to look more into paint- 
 ings, than to the names of painters, we should be 
 likely to judge more impartially. It is the enviable 
 lot of a few persons only, to be capable of appre- 
 ciating works of art by their intrinsic merit : and 
 there is scarcely that person living who can always 
 discriminate between copies and originals, or po- 
 sitively identify a master by the penciling or 
 colouring of a picture. Hence the critic should 
 learn a little humility in animadverting on the 
 productions of genius ; and the connoisseur should 
 estimate paintings by their intrinsic qualities, not 
 by any adventitious celebrity, which some do 
 attain. 
 
 Give me the critic bred in nature's school, 
 
 Who neither talks by rote, nor thinks by rule ; 
 
 Who feeling's honest dictates still obeys, 
 
 And dares, without a precedent, to praise ; 
 
 Whose hardy taste the bigot crowd disclaims, 
 
 That chorus catalogues, and worship names ; 
 
 Unbiass'd still to merit fondly turns, 
 
 Regardless where the flame of genius burns ; 
 
 Whether through Time's long gloom transmitted bright, 
 
 Or pour'd a later lustre on the sight ; 
 
 From Rome's proud dome it dart a beam divine, 
 
 Or burst spontaneous from a Cornish mine. 
 
 SHEE. 
 
0 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 5. DANIELLO RICCIARELLI, called 
 DA VOLTERRA. 
 
 The Entombing of Christ. 
 
 Matthew, ch. xxvii. ver. 60, &c. — John, ch. xix. ver. 38. — Mark, 
 ch. xv. ver. 43, &c. 
 
 From the admirable examples and judicious pre- 
 cepts of Michel Angelo, the artist who painted 
 the little picture now under consideration, pro- 
 duced some works of distinguished eminence. In 
 the Vatican, and in the Farnesina, he executed pic- 
 tures that even attracted the attention and admi- 
 ration of his preceptor. Poussin ranks him with 
 Raffaelle and Dominichino, by stating, that the 
 three greatest " master-pieces" of painting were 
 produced by these artists. They were, till lately, 
 preserved in " .the Descent from the Cross" a 
 fresco in the Trinita del Monte, at Rome, by 
 Ricciarelli ; " the Transfiguration" by Raffaelle ; 
 and " the Communion of St. Jerome" by Domi- 
 nichino. The former, it is feared, is either wholly 
 or nearly obliterated ; for I am informed, that the 
 French, with more insatiable avarice than real love 
 for art, endeavoured to remove it from the walls, 
 and destroyed it in the attempt. Vasari states, that 
 Ricciarelli executed a fine bronze bust of Michel 
 Angelo . and it is asserted, on pretty good au- 
 thority, that he obtained the name of II Braghet- 
 tone from having exercised his brush in painting 
 
NEW GALLERY, NOS. 1 TO 29- 
 
 9 
 
 over certain parts of the human body in the in- 
 estimable frescoes of Buonarrotti, then in the Sis- 
 tine Chapel *. The easel pictures by Volterra 
 are extremely rare : and it is related by some con- 
 noisseurs, that there is not more than one or two 
 other paintings by him in England. The altar- 
 piece at King's College Chapel, Cambridge, pre- 
 sented by Lord Carlisle, is said to be a copy ; 
 but Lord Suffolk has an undoubted original. 
 The present small picture is a work of consi- 
 derable merit : and in its drawing, composition, and 
 colouring, evince the hand and eye of a master. 
 The dead body of Christ extends obliquely across 
 the picture, on a cloth, and is supported by two 
 men, who are cautiously placing it in a stone 
 coffin, or ** new tomb which he had hewn from 
 the rock." In the fore-ground is a large brass 
 pan, with the mixture of myrrh and aloes, which 
 Nicodemus had brought to wash the crucified 
 body. In the back-ground are the three Maries, 
 with other females ; all of whom appear different- 
 ly, but much distressed by the afflicting scene. 
 So peculiarly excellent is this small picture, that it 
 seems almost impossible for the pencil to excel it. 
 In the new edition of Pilkington's Dictionary, 
 p. 449, is a short but interesting account of Ric- 
 ciarelli, by Fuseli. 
 
 * In the very elegant and interesting volume on the Life and Works 
 of Michel Angelo, by Mr. Duppa, this anecdote is related from a very 
 rare little book, entitled " Memoria fatta del Signor Gaspero Celio," 
 &c. printed at Naples, in 1638, 12mo. 
 
10 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 6. AOIBAL CARACCI. 
 
 St. Gregory, with Angels. 
 
 This singular picture was formerly the prin- 
 cipal altar-piece in the church of St. Gregorio, at 
 Rome, and is often referred to as a fine speci- 
 men of Caracci's Roman manner. It is well 
 known that this artist, with his brothers, and re- 
 latives of the same name, laid the foundation of 
 the Bolognese School, which, in some of its scholars, 
 presented a strong rivalry to that of the Roman. 
 Indeed after Annibal had completed his renown- 
 ed work of the Farnese Gallery, he devoted his 
 attention and abilities to an investigation into 
 the principles, and an imitation of the style, &c. 
 of the Italian artists. Du Fresnoy, after descanting 
 on the peculiar merits of RafTaelle, Michel^ Angelo, 
 Correggio, Titiano, &c. says, 
 
 From all their charms combin'd, with happy toil, 
 Did Annibal compose his wond'rous style : 
 O'er the fair fraud so close a veil is thrown, 
 That every borrow'd grace becomes his own. 
 
 ART OF PAINTING. 
 
 The present picture displays a full-length figure 
 of the Saint kneeling, which is supposed to be a 
 portrait of Gregory the Thirteenth, who embel- 
 lished Rome with many fine buildings, and re- 
 formed the Calendar, that now goes by his name. 
 The figure occupies the centre of the picture, 
 
NEW GALLERY, NOS. 1 TO 29- 1 i 
 
 from which it is looking, and directly faces the 
 spectator : on each side is an angel, one standing, 
 the other kneeling ; and over its head are boy 
 angels, with the dove, &c. In the accompanying 
 view of the Gallery, this picture is shown the first 
 on the left hand. 
 
 7- ANNIBAL CARACCI. 
 
 Danae on a couch, with a Cupid, &c. 
 
 From the Orleans Gallery. The daughter of 
 Acrisius, King of Argos, is represented reclining 
 on a white couch, with only a loose veil thrown 
 carelessly across her right arm and thighs. Her 
 left arm is resting on a pillow, and with the right 
 hand extended, she appears to be catching the 
 golden bait with which the libidinous Jupiter se- 
 duced her. In the fore-ground is a Cupid, with 
 his quiver and arrows ; and through a large open- 
 ing of the room, is seen a distant landscape. This 
 is not exactly consistent with the fable ; for, ac- 
 cording to the strange relation of that, king Argos 
 immured his daughter within a brazen tower, to 
 preclude her from the society of man, because the 
 oracle had informed him that he should be killed by 
 a grandchild. The cruel precaution of the monarch 
 was counteracted by the supernatural cunning of 
 Jupiter, who transformed himself into " a shower 
 of gold," and passing through the roof of the 
 tower, thus seduced the imprisoned virgin. In 
 perusing the fabulous accounts of these super- 
 
CLEVELAND GALLERY CATALOGUE. 
 
 natural personages, the mind recoils at the general 
 depravity and grossness of the age that sanctioned 
 them, and it is a subject of equal surprise and 
 regret that these writings are recommened by pre- 
 ceptors, or admitted into the moral seminaries of 
 the present times. The generality of fables and 
 romances are themes of absurdity, impropriety, 
 and folly ; and most of them may be denominated 
 the monsters of literature : yet with a very irra- 
 tional prejudice the latter are commonly given, 
 by preceptors and parents, to children for the 
 purpose of amusing them, and also to inculcate 
 lessons of morality. Strange inconsistency ! that 
 men of erudition and good sense should sanction 
 and justify that species of folly in the ancients, 
 which they would indignantly reprobate in the 
 moderns. Thanks to the watchful and fastidious 
 spirit of English criticism, we are not likely to 
 repeat or encourage these palpable absurdities in 
 the present day. 
 
 This picture is shown next to that of St. Gre- 
 gory, in the accompanying " View of the New 
 Gallery.'''' 
 
 If the reader sympathizes with me in these sen- 
 timents, he will be much interested in perusing 
 an Essay, by the Rev. G. Walker, in vol. i. of 
 Manchester Memoirs, 1805, "on the Machinery of 
 the ancient Epic Poem," &c. : also, the Poems by 
 John, commonly called Bard, Williams, in 2 vols. 
 12mo. 
 
NEW GALLERY, NOS. 1 TO 29. 
 
 13 
 
 8. RAFFAELLE SANZIO DI URBINO. 
 
 The Virgin, with the infant Jesus and St. 
 John, in a landscape. 
 
 This beautiful little picture, which formerly 
 constituted part of the well-chosen collection of 
 Sir Joshua Reynolds, attracts our admiration by 
 the novelty of its composition, and the fascinating 
 expression and sentiment that it conveys. Holy 
 Families have been so repeatedly painted, and with 
 such little variation of character or incident, that 
 they generally fail to excite any pleasure, or even 
 engage the attention of the connoisseur. This 
 cannot be said, however, of the picture now under 
 discussion ; for it must inevitably fix the eye and 
 interest the mind of the spectator, who will be 
 more or less forcibly excited in proportion to his 
 taste and abilities. For as the painting is not os- 
 tentatiously gaudy, it will not be likely to cap- 
 tivate those persons who have not studied works of 
 art: but the practical artist, and unsophisticated 
 connoisseur, will readily recognise its merits, and 
 dwell on it, " as if increase of appetite, had grown 
 by what it fed on." The infant Jesus is repre- 
 sented lying asleep on a dark blue mantle, which 
 is spread on a bank : his mother is kneeling by 
 him ; and with an expressive air of maternal af- 
 fection, united with placid demotion, is cautiously 
 lifting up a light veil with which the infant had 
 
14 CLEVELAND GALLERY CATALOGUE. 
 
 been covered. Her left arm embraces the youth- 
 ful St. John, who is also contemplating with ani- 
 mated but mild aspect the sacred infant. Affec- 
 tion, meekness, and benignity, seem to be skil- 
 fully but unaffectedly displayed in the composition 
 of this exquisite picture. As we dwell on it, the 
 most endearing emotions of the human heart are 
 called forth and delighted ; for that breast must 
 be savagely callous indeed which can contemplate 
 a sweet sleeping infant, and its meek mother af- 
 fectionately watching over it, without feeling some 
 degree of admiration and love. In the National 
 Gallery at Paris is another picture, by Raffaelle, 
 of the same subject ; and these have been re- 
 peatedly copied. 
 
 9- RAFFAELLE. 
 
 The Holy Family, in a circular landscape. 
 
 From the Orleans Gallery. It is the opinion of 
 some connoisseurs, that this picture is an early 
 specimen of the master, and probably executed 
 soon after Raffaelle returned from Florence, which 
 city he visited in 1504. The Virgin is seen seated 
 on the right-hand side of the picture, with the 
 naked infant in her lap. Joseph is kneeling before 
 them, and presenting Jesus with a bunch of wild 
 flowers. A palm-tree and some palisadoes are 
 shown just behind the Madonna, whilst the distance 
 displays a cheerful landscape, with meadows, 
 water, &c. Though this painting exhibits the 
 
NEW GALLERY, NOS. 1. TO 20. 
 
 15 
 
 usual characteristic amenity and sweetnes of Raf- 
 faelle, yet it has a portion of that dryness and 
 hardness of style which distinguishes the works of 
 the early artists after the revival of painting. 
 This picture " was originally painted on board, 
 but has been since transferred to canvass 
 
 10. RAFFAELLE. 
 
 The Holy Family, in a landscape. 
 
 From the Orleans Gallery. A third picture by 
 the same artist, and of nearly the same subject ; 
 but without any thing like sameness or similarity 
 in composition, colouring, or grouping. Here 
 Raffaelle is displayed in brighter colours, but his 
 brilliancy does not either disfigure or disguise 
 him. The figures of Jesus, St. John, the mother, 
 and Joseph, are all the creations of his own chaste 
 . and dignified mind. Each is lovely, all are cap- 
 tivating, and the whole piece of the most exqui- 
 site description. By way of pre-eminence, this 
 piece has been styled by the French connoisseurs 
 La Belle Vierge, and the English approbation of 
 it tends to justify and perpetuate the title. 
 
 In the middle of a pleasant classical landscape, 
 the holy mother is represented standing, with one 
 hand holding the arm of Jesus, and the other 
 resting on the head of the infant St. John, who 
 has his camel's coat thrown loosely over his should- 
 
 * British Gallery of Pictures. Class 1. No. 2. 
 
CLEVELAND GALLERY CATALOGUE. 
 
 ers. The two lovely children are nearly naked, 
 and the painter has given to the former a lightish 
 carnation skin, whilst that of St. John is distin- 
 guished by a more brown or tawny hue. In the 
 middle distance is shown the figure of Joseph, who 
 appears to be retiring from the affectionate group, 
 and with a " longing, lingering look," seems to 
 quit it with reluctance. The back-ground dis- 
 plays a rich landscape, with rocks, a temple on 
 the margin of a lake, &c. ; and it may be remarked 
 of this, as of all Raffaelle's landscapes, that the 
 horizon is made high to correspond with the 
 figures. This circumstance is seldom attended 
 to by modern portrait painters ; whence strange 
 discordant effects are often produced, and all the 
 principles of linear perspective are violated. 
 
 Raffaelle ! whose more than mortal pencil caught 
 The soft emotions of the lightsome thought ; 
 Skill'd to arrest the passions as they roll, 
 And snatch expression — touchstone of the soul ! 
 To bid with grace the bending neck decline, 
 To float loose draperies with the flowing line, — 
 Fame at thy call inflates her brazen lungs, 
 And breathes thy glories on her hundred tongues. 
 
 ANONYMOUS. 
 
 The pictures above named, by the justly esteem- 
 ed Raffaelle, are interesting and valuable speci- 
 mens of the master; as they display the mind 
 and talents of the artist at different stages or 
 periods of his professional career of glory. In 
 No. 9 is exhibited what has been technically called 
 
NEW GALLERY, NOS. 1. TO 2Q> 
 
 17 
 
 his Perugino style, as being similar to that dis- 
 played in the paintings, by his preceptor of that 
 name ; but in No. 10, which is one of Raffaelle's 
 best easel pictures, we perceive a manifest im- 
 provement : and immediately recognize that beau- 
 ty, grace, and impressive simplicity of expres- 
 sion, for which he is so justly celebrated. 
 
 The peculiar tenour and manners of the times 
 when Raffaelle and his contemporaries lived, im- 
 pelled them to exercise their pencils, with very 
 little latitude for fancy, on subjects of Holy Fa- 
 milies, or some passage relating to Christ ; as 
 most of the pictures were intended for churches. 
 As the Protestant Christian and connoisseur views 
 them only as works of art, they will now be ra- 
 tionally estimated by their relative scale of merit, 
 and not as memorials of religion. It may be 
 safely asserted, that the greatest excellence of 
 painting consists in a select and faithful represen- 
 tation of natural objects ; and as Mary the Mo- 
 ther of Jesus, and her Son, were corporeally human 
 beings^ Raffaelle, with more good taste than any 
 preceding artist, successfully endeavoured to make 
 his pictures approach this standard : hence his 
 paintings of the Holy Family, &c. are consistent 
 with truth, and at the same time dignified with 
 the fascinating and commanding touches of taste 
 and judgment. 
 
 It is with much pleasure I embrace this occasion 
 of referring to an engraving, lately published by 
 Holloway, from one of Raffaelle's much admired 
 c 
 
i 8 CLEVELAND GALLERY CATALOGUE. 
 
 Cartoons : by which very exquisite print some of 
 the pre-eminent excellencies of the artist will be 
 preserved, when his Cartoons and pictures are de- 
 stroyed, and by which the English engraver will 
 perpetuate his own professional talents with those 
 of the immortal Roman. 
 
 11. LUDOVICO CARACCI. 
 
 Dead Christ, with the Three Maries and 
 St. John. 
 
 John, ch. xix. 
 
 From the Orleans Gallery. The peculiarly af- 
 fecting event represented in this picture, must 
 have been in reality almost too powerful for 
 human sensibility to endure ; and the artist, with 
 that singular felicity which only belongs to an 
 eminent genius, has transferred to the mimic can- 
 vass the event as supposed to have existed at a 
 very awful and distressing moment. The cada- 
 verous body of the recently crucified Saviour, is 
 represented lying on white drapery in the fore- 
 ground, and though a little fore-shortened, extends 
 all across the picture. Immediately behind, and 
 leaning over it, is a female in great anguish ; and 
 still further back is a group of three women, 
 one of whom has just fainted, and is supported 
 by her two sympathizing companions. The figure 
 of St. John, which is not very graceful in action, 
 or of engaging features, occupies the right-hand 
 side of the picture, and appears as if going to 
 
NEW GALLERY, NOS. 1. TO 29« 19 
 
 procure some assistance. The scene is of a dark 
 solemn hue, corresponding with the melancholy 
 subject, and all together is calculated to impress 
 the spectator with the most powerful emotions of 
 sympathy and sorrow. The colouring of the whole, 
 and of its individual parts, displays the high de- 
 gree of excellence which Caracci had attained at 
 the time he painted it. We may almost be al- 
 lowed a little extravagance of language in speak- 
 ing of this picture, by saying that it beams with 
 solemn expression, and harrows up the feelings of 
 the soul through the medium of the eye : 
 
 Give sorrow words ; the grief that does not speak, 
 Whispers the o'erfraught heart, and bids it break. 
 
 SHAKSPEARE'S MACBETH. 
 
 The pictures by L. Caracci, according to De 
 Piles, were much sought for in Lombardy, where 
 they were valued above all others : and many of 
 them were hung up in the churches of that 
 country. 
 
 12. SALVATOR ROSA. 
 
 Jacob tending his Flock, in an upright 
 landscape. 
 
 Genesis, ch. xxx. 
 
 Jacob, or a shepherd, is represented seated on 
 a large stone, on the brink of some water, to 
 which a flock of sheep is approaching to drink. 
 Behind them is a mass of forest wood, enveloped 
 
20 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 in the dark shade of evening. It is a scene fitted 
 for banditti, and the shepherd has more the as- 
 pect of one of those midnight marauders, than 
 that of a " pastoral swain," in that age of sim- 
 plicity. Indeed the vigorous but eccentric mind 
 of Salvator was not exactly adapted to delineate 
 the peaceful or the rural scene : it was more happy 
 in displaying craggy rocks, rifted trees, and their 
 appropriate accompaniments. " Salvator," ob- 
 serves Sir Joshua Reynolds, " gives us a peculiar 
 cast of nature, which, though void of all grace, ele- 
 gance, and simplicity, thougb it has nothing of that 
 elevation and dignity which belongs to the grand 
 style, yet has that sort of dignity which belongs to 
 savage and uncultivated nature : but what is most 
 to be admired in him, is the perfect correspondence 
 which he observed between the subjects which he 
 chose, and his manner of treating them. Every 
 thing is of a-piece : his rocks, trees, sky, even to 
 his handling, have the same rude and wild cha- 
 racter which animates his figures." The picture 
 now under consideration was bought by the late 
 Sir Paul Methuen, for the first Duke of Bridge- 
 water. 
 
 13. FRANCESCO MOLA. 
 
 St. John preaching in the Wilderness : 
 
 Matthew, ch. iii. 
 
 From the Orleans Gallery. " In those days," 
 Anno Domini 26, " came John the Baptist preach- 
 
NEW GALLERY, NOS. 1. TO 29. 
 
 21 
 
 lug in the wilderness of Judea," — and he " had 
 his raiment of camel's hair, and a leathern girdle 
 about his loins." To delineate historical subjects, 
 with the united requisites of taste, truth, and feel- 
 ing, is the happy lot of a very few artists only. 
 If Mola has not completely succeeded in this 
 exalted department of art, or has not equalled 
 Raffaelle, or N. Poussin, he has displayed a style 
 of landscape, in some of his pictures, which very 
 few painters ever excelled. It is recorded of 
 Gainsborough, who viewed nature with a discri- 
 minating and retentive eye, that he was so highly 
 captivated with some of Mola's landscapes, as to 
 declare, in terms of despair, that he should never 
 attain to equal excellence ; for, said that eccentric 
 but admirable artist, " Mola appears to have made 
 it his own by patent" The picture before us is 
 replete with merit : for the handling, colouring, 
 and shapes of the trees, display a free and spirited 
 style ; whilst the grouping, with the varied ex- 
 pression of the figures, are in unison with the 
 other parts. His picture of St. Bruno, at Paris, 
 is described to be nearly equal to any of Titian's 
 best pieces. In the present picture, St. John is 
 represented seated on a bank, beneath a group of 
 trees, and is addressing, with impassioned action, 
 a diversified assemblage of people. These are 
 dispersed in various situations, and all the promi- 
 nent figures are described as being affected, in 
 some respect, by the preachers' discourse. In the 
 
22 CLEVELAND GALLERY CATALOGUE. 
 
 Orleans Gallery were two other very fine land- 
 scapes, with figures, by Mola. 
 
 14. GIULIO ROMANO. 
 
 The infant Hercules, with Juno, and other 
 figures. 
 
 From the Orleans Gallery. The actions and 
 • prowess of Hercules have afforded numerous sub- 
 jects for the pens of the poet and mythologist ; 
 and also employment for the chissel of the sta- 
 tuary, and pencil of the painter. When only half 
 hour old, the fable says, he strangled two large ser- 
 pents, that were maliciously placed by Juno, near 
 his cradle, to destroy him. This extravagant in- 
 cident has been rendered familiar and interesting to 
 the English connoisseur, by the inestimable picture 
 which Sir Joshua Reynolds painted of it ; and 
 which, to our great mortification, was suffered to 
 be transported to the Court of Russia. Juno be- 
 ing afterwards reconciled to the monstrous infant, 
 allowed him to suck ; but the power of the child 
 was intolerable, and the goddess was obliged to 
 force him from her breast. This is the incident 
 here represented ; but it is rather strangely de- 
 scribed by the painter. The child is seated on 
 the ground, whilst the female is represented as 
 leaning over it, and with distorted features is 
 suffering under its powerful operation. Pallas is 
 
NEW GALLEUY, NOS. 1 TO 20. &5 
 
 reclining on the nursing deity, and different 
 satyrs, boys, &c. are dispersed in the back-ground, 
 and some are seen climbing up the trees. A French 
 critic implies, that " the emblematic thought of 
 this compostion is not clear enough : however, it 
 is sufficient to view the picture with respect to its 
 style. In it we observe the strength and colour- 
 ing of Giulio Romano's pencil, and all that cha- 
 racterizes the fine productions of this master." 
 
 15. ANNIBAL CARACCI. 
 
 The infant St. John sleeping, in a land- 
 scape. 
 
 From the Orleans Gallery. The youthful com- 
 panion and relation of Christ is here represented 
 as a naked boy, lying asleep. He stretches ob- 
 liquely across the picture, and rests on his coat 
 of camel's hair, with the right arm thrown care- 
 lessly over his head, and the left holding the 
 crook. The colouring and expression of the in- 
 fant are very fine, and the landscape perfectly 
 harmonizes with the figure. 
 
 16. FRANCESCO MAZZUOLI PARMI- 
 
 GIANO. 
 
 Cupid making his Bow. 
 
 From the Orleans Gallery, The mischievous 
 but fascinating god of love is here represented as 
 
24 CLEVELAND GALLERY CATALOGUE. 
 
 a fine youth, with his back and left side opposed 
 to the spectator, having one foot resting on two 
 books, and seemingly employed in shaving or 
 making his bow. Between, and under his legs 
 are seen the heads of two boys, one of whom 
 appears to be laughing, and the other crying. By 
 this the painter intimates, that love occasionally 
 produces joy and grief j and by the books be- 
 neath his feet, that it also often tramples on 
 learning. This picture was formerly attributed 
 to Correggio, and before it graced the Orleans 
 collection, was in the Queen of Sweden's Gal- 
 lery. Henry Hope, Esq. has a small " study " of 
 it. The same figure is represented on an ancient 
 gem, from which the painting seems to have been 
 copied. Bartollozzi has engraved it, and it is 
 also ' published among the prints from the Or- 
 leans Gallery. 
 
 17, PARMIGIANO. 
 
 The Virgin and Child, with St. John and 
 Elizabeth. 
 
 The young artist, and judicious connoisseur, 
 may derive some amusement, if not useful know- 
 ledge, in comparing and analyzing the prot uc- 
 tions of different painters; and the minds and 
 merits of these can never be better appreciated 
 than from those pictures that profess to display 
 the same subject. In the present gallery there is a 
 fair opportunity of comparing Raffaelle with his 
 
NEW GALLERY, NOS. 1 TO 29. 
 
 25 
 
 avowed imitator ; for we can here oppose this pic- 
 ture with either of the three already mentioned by 
 that artist in the same room : and in this compa- 
 rison we shall not be long in pronouncing a verdict. 
 In those by Itaffaelle, every touch and expression 
 evinces feeling and taste, whilst this of Parmi- 
 giano betrays what may be termed a want of, 
 or at least an affectation of them. It seldom 
 happens that man combines the latter with the 
 two former : they are as incompatible as wisdom 
 and folly, or pride and humility. The artist, how- 
 ever, who affects the style and practices of a 
 superior genius, may, by perseverance, acquire 
 some sparks, or reflected lights, from the luminary 
 that attracts his admiration. This is manifested 
 in the professional career of Parmigiano, who 
 first imitated the style of Michel Angelo, in the 
 picture of St. Eustatius, in the church of St. Pe- 
 tronius, at Bologna, and afterwards followed that 
 of Raffaelle. At length, according to Sir Joshua, 
 in his fifteenth Discourse, he painted " Moses 
 breaking the Tables, in Parma," wherein, says 
 the same judicious critic, " we are at a loss which 
 to admire most, the correctness of drawing, or 
 the grandeur of the conception." 
 
 18. LUCA CAMBIASSI. 
 
 The Death of Adonis. 
 
 From the Orleans Gallery. Adonis, a beau- 
 tiful young shepherd, excited the love of Venus, 
 
26 CLEVELAND GALLERY CATALOGUE. 
 
 and thereby provoked the jealousy of Mars, who, 
 assuming the shape of a wild boar, attacked and 
 mortally wounded his unoffending rival. Venus 
 hearing his cries, flew to his assistance, but was 
 unable to reanimate his lifeless frame. The painter 
 has chosen this crisis for his picture, which dis- 
 plays the beautiful goddess, clasping and attempt- 
 ing to enliven the dying swain. A Cupid is con- 
 templating the scene, with his back towards the 
 spectator ; and it is rather a curious circumstance 
 to remark, that the painter has not exhibited 
 either of the three faces. Naked legs, arms, and 
 bodies, nearly cover the canvass : and the colouring 
 of these is so faint and pale, that it is presumed 
 the artist used much lake, or some other equally 
 evanescent tints, in painting the flesh, 
 
 19. ANNIBAL CARACCI. 
 
 The Repose in Egypt : 
 
 Matthew, ch. ii. 
 
 From the Orleans Gallery. Before Annibal vi- 
 sited Rome, to which magnificent city he was 
 invited by the ungenerous Cardinal Farnese, he 
 painted many pictures in imitation of different 
 masters : but those executed during his stay at 
 Bologna, are commonly said to be in his Bolog- 
 nese style : in which is the picture before us. But 
 it is evident, from the characters and expression 
 of the figures, that he had not then acquired that 
 dignity of manner, and accuracy of taste, which 
 
NEW GALLERY, NOS. 1 . TO 29- 27 
 
 are displayed in his later productions. Joseph is 
 represented as an old man, in the act of tying an ass 
 to a tree, the Virgin as a robust youpg woman ; 
 whilst in the clouds are two cherubs scattering 
 flowers, and two angels are attending the mother, 
 who bears the sleeping infant in her lap. 
 
 This subject has been so repeatedly painted, 
 that it seldom excites any historic interest; we 
 rarely contemplate it in any other light than as 
 a specimen of a master, or an example of colour- 
 ing. Yet some modern English artists have 
 thought it worthy of repetition. Sir Joshua gave 
 it great dignity and elegance in a picture painted 
 and engraved for Macklin's Bible. Turner has ex- 
 hibited it ; and a young artist, named Haydon, 
 has lately painted the same subject; but in the 
 latter it is treated in a style of composition and 
 colouring very different to any thing I have before 
 seen. The picture possesses much merit, and is 
 intended to constitute a part of the very classical 
 collection of Thomas Hope, Esq. It is fairly cha- 
 racterized in No. 2 of " The Review of Publica- 
 tions of Artr 
 
 20. ludovico carracci, after cor- 
 
 REGGIO. 
 
 St. Jerome, with the Virgin, Christ, Mary 
 Magdalen, St. John, &c. 
 
 From the Orleans Gallery. The chief of the 
 peripatetic philosophers, Aristotle, has, in his 
 maxims of dramatic criticism, contended for a 
 
CLEVELAND GALLERY CATALOGUE. 
 
 strict adherence to the unities of time, place, and 
 action, and asserts that any violation of these is 
 incompatible with good composition. If this be 
 admitted in poetry, it should be more carefully 
 adhered to in historical painting : for nothing can 
 be more absurd than to introduce into one piece, 
 persons of different ages and countries. Even 
 the great Correggio, however, has been guilty of 
 this species of anachronism; for in the painting 
 now under consideration, are assembled the four 
 personages above named, one of whom never had, 
 nor could have had, any association with the others. 
 St. Jerome lived in the fourth century ; and the 
 others in the first. However, where saints con- 
 stitute the subject, it is almost superfluous to argue 
 about consistency and rationality, or even proba- 
 bility: for as the authors of their lives and actions 
 have given an uncontrolled latitude to faith and 
 fancy, there appears to be no reason why painters 
 should be denied the same indulgence, if by that 
 privilege they render their pictures more beau- 
 tiful, or produced a grander effect. Artists are 
 not always to blame on these occasions; for they 
 are generally obliged to procure a livelihood by 
 their works : and to obtain this, they must often 
 " keep down" all the feelings of taste, and sup- 
 press the dictates of judgment. An employer, or 
 assumed patron, may be .liberal; but, at the same 
 time, extremely silly and obstinate: and such 
 a person may insist on having his spouse and 
 daughters painted as the Graces, and himself as 
 Apollo. The painter complies with his wishes : his 
 
NEW GALLERY, NOS. 1. TO 20. 
 
 29 
 
 name is transmitted, with the picture, to distant 
 ages : for even to objects of unmeaning insipidity, 
 the man of genius gives value ; whilst the proto- 
 types of his efforts are either wholly forgotten, 
 or their memories despised. 
 
 It was currently related in Parma, where Cor- 
 reggio's picture was highly prized, that the artist 
 painted it for a lady devotee, who claiming the 
 patronage of certain saints, requested the painter 
 to bring them together in the same picture. Be- 
 sides, it is very probable that she had her own 
 head copied to represent one of the holy group. 
 The original picture was taken from Parma by the 
 French ; is now in the National Museum at Paris ; 
 and has been repeatedly copied. Mr. West made 
 a small one, and Mr. Williams copied it of the 
 same size as the original. 
 
 21. GIORGIONE. 
 
 The Holy Family and St. John, in a land- 
 scape. 
 
 From the Orleans Gallery. Fashion is an arbi- 
 trary tyrant in the regions of refined society. The 
 rich worship her, and those who hope to obtain 
 riches must sacrifice .at her shrine. Painters, 
 sculptors, architects, and authors, have too gene- 
 rally been her slaves : whence, absurd principles 
 have been first tolerated, afterwards rendered po- 
 pular, and false taste thus been permitted to domi- 
 neer. Meretriciousness has thereby superseded 
 
CLEVELAND GALLERY CATALOGUE. 
 
 real beauty and grandeur; and though a few cri- 
 tics of independent minds, and original sentiments, 
 have dared to arraign or reprobate the vices of 
 fashion, they have been considered morose, treated 
 with contumely, and their writings deemed libels 
 in the high court of politeness. 
 
 The Venetian school of painting is partly in this 
 situation; its scholars sought fame and fortune, in 
 substituting tinsel for gold, shadow for substance, 
 and affectation for reality. It was like preferring 
 poetry to history, or romance to science. Their 
 object was to fascinate the eye at the expense of the 
 understanding, and they succeeded to a great de- 
 gree, for their works became extensively fashion- 
 able: the great praised them, and the little sedu- 
 lously endeavoured to imitate them. It is to be 
 regretted that the English school has followed this 
 model, rather more than the Roman; but, here we 
 find an apology for its error, in the caprice and 
 vanity of the public. The artist, as well as actor, 
 is obliged to acknowledge the axiom of 
 
 K He that lives to please, must please to live." 
 
 Hence, the painter of profound science, and good 
 taste, is often obliged to make living dolls appear 
 like angels, and insipid beaux with the " front of 
 Mars," or symmetry of Apollo. It is barely justice 
 to the English painter to state, that such practices 
 do not originate with him, and that he has evinced, 
 on many occasions, equal taste and talents to some 
 of the most esteemed Roman artists. Fashion is 
 
NEW GALLERY, NOS. 1. TO 2p. 31 
 
 at length getting into the road which leads to truth 
 and utility, and when it has learnt the power to 
 appreciate the productions of genius, we shall soon 
 find that the artists can supply her demands with 
 works worthy of themselves, and of their country. 
 
 Let it not be inferred that I am disposed to re- 
 prove indiscriminately the whole Venetian school, 
 or that I disapprove entirely of its colouring. I 
 conceive it is only censurable in making this the 
 chief and almost only object of study ; as if dress 
 was more important than manners, or phraseology 
 was to be preferred to sentiment- In the colour- 
 ing of Titiano, Tintoretto, Paolo Veronese, and 
 Giorgione, we are captivated with the beauty and 
 harmony of tints, and can dwell on their best pic- 
 tures with much delight. Should the unqualified 
 admirer of this school be disposed to cavil at, or 
 disapprove, these sentiments, I wish him to peruse 
 Sir Joshua's fourth Discourse, when he will find I 
 am sanctioned by that great authority. 
 
 The picture that excited these associations, and 
 led to the remarks, is distinguished for its vivid 
 colours in the lights, and great depths of shadow. 
 The figures are dispersed across the landscape, that 
 of Joseph being at one end of the picture; the 
 Virgin on the opposite side; and St. John, with 
 the infant in his arms, in the centre. The painter 
 has portrayed St. John as a large man, and Jesus 
 as a child : a strange anachronism, as the two were 
 born within seven months of each other. 
 
32 CLEVELAND GALLERY CATALOGUE. 
 
 22. G. F. BARBIERI GUERCINO. 
 
 David and Abigail. 
 
 1 Samuel, ph. xxv. v. 23. 
 
 From the Orleans Gallery. Abigail, the wife of 
 Nabal, " was a woman of good understanding, and 
 of a beautiful countenance." Her husband pos- 
 sessed 3000 sheep, and 1000 goats: and was shear- 
 ing the former, when David, who was in the wil- 
 derness with a few of his chosen friends, sent a de- 
 putation to Nabal, soliciting him to afford them 
 some sustenance ; but the great and haughty yeo- 
 man treated the messengers with contumely, and 
 sent them back fasting. David, exasperated at 
 this conduct, directed his followers to gird on their 
 swords, &c. and endeavour to obtain by force of 
 arms, what he was refused by courtesy. To avert 
 the threatened danger, Abigail u took two hundred 
 loaves, and two bottles of wine, and five sheep 
 ready dressed, and five measures of parched corn, 
 and an hundred clusters of raisins, and two hun- 
 dred cakes of figs, and laid them on asses." — 
 ver. 18. " And it was so, as she rode on the ass that 
 she came down by the covert of the hill, and behold, 
 David and his men came down against her, and she 
 met them. And when Abigail saw David she 
 hasted, and lighted off the ass, and fell before 
 David on her face, and bowed herself to the ground" 
 Such is the incident portrayed in the above large 
 picture, wherein the painter has represented 
 
NEW GALLERY, NOS. 1. TO 29- 33 
 
 David, and his associate warriors in the Roman 
 costume, with helmets, coats of mail, shields, &c. 
 Abigail is kneeling at his feet, with her attendants, 
 who are laden with loaves and other presents. 
 
 23. \ IL TINTORETTO. 
 
 The Entombing of Christ. 
 
 From the Orleans Gallery. There are some 
 paintings which may be said to possess that pecu- 
 liar quality called negative excellence: i. e. they 
 have many fine passages and certain merits, but 
 these are accompanied by improprieties and de- 
 fects. They may be said, according to Sir Joshua, 
 to " tell the truth, but not the whole truth:" and 
 this is the character of the principal pictures by 
 Tintoretto, Bassano, and Paolo Veronese. Atten- 
 tive chiefly to colouring and grouping, these artists 
 neglected or slighted " the most essential part of 
 the art ; the expression of the passions." — Those 
 persons who may feel disposed to question these 
 remarks, are solicited to compare the present pic- 
 ture with that by Volterra, No. 5 ; and again, with 
 that of L. Caracci, No. 1 1, where the same subject, 
 though not exactly the same point of time, istreated 
 by these different masters. A French critic ob- 
 serves, with great truth, that M this picture pos- 
 sesses a fine tone of colour, and a very striking 
 effect : but some persons may desire more cor- 
 rectness in the design, and more nobleness in the 
 expression." 
 
 D 
 
CLEVELAND GALLERY CATALOGUE, 
 
 24. TIZTANO VECCELLI. 
 
 The Three Ages. 
 
 From the Orleans Gallery. In another place * I 
 was induced to offer a few remarks on Tiziano's style 
 and powers of painting landscape. Since writing 
 those observations, I have seen two or three pic- 
 tures by that great artist, and am inclined to be- 
 lieve that if he was ever equalled in this branch of 
 the art, he certainly never was surpassed by any 
 Venetian or Italian painter. In the present picture, 
 and in a large one now in the possession of Mr. 
 West, as also in No. 81, Diana and Calisto, there 
 are portions of landscape, with sky, &c. which for 
 depths of tone in their colouring, breadth of effect, 
 and general harmony, are almost unparalleled ; 
 and are demonstrative proofs of the superior talents 
 of this artist in that style of painting. 
 
 At the time Tiziano was painting this picture, 
 about 1514, he became acquainted, according to 
 Vasari, with Ariosto the poet, who in his eccentric 
 poem of the " Orlando Furioso," says 
 
 E Tizian, che onora 
 
 Non men Cador, che quei Vinegia e Urbino. 
 
 This picture was painted for the father-in-law of 
 John da Castel, a Bolognese, in whose possession 
 it was when Vasari wrote his account. 
 
 * Historical Account of Coreham House, &c. 8vo. 1806, 
 
NEW GALLEliY, NOS. 1. TO 29- 
 
 35 
 
 25. LUDVICO CARACCI. 
 
 The Dream of St. Catharine. 
 
 From the Orleans Gallery. The saint whose 
 fanatical vision is represented in this, as well as in 
 numerous other pictures, for it was a popular sub- 
 ject, was born at Sienna in 1347, and obtained 
 great celebrity in catholic countries, by her wild 
 visions, or waking-dreams, which were called, by 
 her partizans, prophecies and miracles. The Monks 
 appear to have sanctioned her reveries, and thus 
 promoted delusion. Indeed, in crediting and pro- 
 pagating prophecies, those holy fathers seem to 
 have surpassed the notorious fictions of Cervantes, 
 and more particularly so in the stories they have 
 related of this lady*. Among other things they 
 state, that she became a nun of the order of St. 
 Dominic, when only seven years of age ; and that 
 she saw numberless visions, and wrought many mi- 
 racles. In one of her dreams they relate that she 
 saw, and was immediately married to Jesus Christ. 
 This seems to have been her most celebrated reverie ; 
 and is, therefore, often represented by the Romish 
 painters. That a person of deranged intellect 
 
 * The follies of prophesying have prevailed in all ages and na- 
 tions : and though it is generally asserted that we are now blessed 
 with " the Age of Reason," and that the present era is proudly 
 exalted in wisdom above any former, in the annals of England, 
 yet male and female prophets, or persons assuming this charac- 
 ter, still exist, are tolerated, and, strange to relate, are credited 
 by hundreds and encouraged by thousands. See a very rational 
 exposition of these, in the third volume of " Letters from 
 England," &c. ; by Don Manuel Espirella. 
 
36' CLEVELAND GALLEItY CATALOGUE. 
 
 should fancy and report such things is not at all 
 improbable ; but that many other persons of sane 
 understandings should give credit to, and assi- 
 duously propagate them, is rather surprising. 
 
 " Credulity on one part," says Dr. Johnson, 
 " is a strong temptation to deceit on the other." 
 
 This picture passed from the cabinet of M. de 
 Nanere to the Orleans Gallery ; and in the printed 
 catalogue of that collection, it is justly described as 
 one of the best of L. Caracci's performances, " as 
 much for the grace of composition, and the beauty 
 of the colouring, as for the delicacy and softness 
 of the execution." 
 
 26. DOMENICO ZAMPIERI, called 
 DOMENICHINO. 
 
 Christ bearing the Cross. 
 
 From the Orleans Gallery. " And they," the 
 Jews, " took Jesus, and led him away ; and he, 
 bearing his cross, went forth into a place called 
 the place of sculls," &c. John, ch. xix. ver. 17. 
 There are few passages in the sacred writings 
 more interesting to the feelings of a Christian than 
 that relating to the above event : but although the 
 mere recital of it is calculated to operate power- 
 fully on the susceptible and religious mind, it is 
 not equally understood or felt by every class of 
 readers. — In the painted representation of the scene, 
 each person who can see must understand : and 
 all who possess this faculty in a superior degree 
 must acknowledge, that the effects of this picture 
 
NEW GALLERY, NOS. 1. TO 29- 
 
 37 
 
 are much more impressive than the description of 
 the sacred writer. Whilst one only appeals to the 
 imagination, the other addresses the organ of 
 vision. The painter has also heightened and 
 contrasted the maliciously ferocious aspects and 
 attitudes of the Jews, with the placid meekness 
 and benevolent resignation of Christ. This picture 
 was in the cabinet of M. Seignelay, before it be- 
 longed to the Duke of Orleans. It represents 
 Jesus prostrate on the ground, borne down and 
 pressed under the incumbent cross. One soldier 
 is flogging him with ropes, whilst others are em- 
 ployed in dragging him along. The expression 
 of humility suffering under oppression, contrasted 
 with the unfeeling ferocity of the soldiers, is 
 strongly depicted. 
 
 27- SEBASTIANO DEL PIOMBO. 
 
 The Entombing of Christ. 
 
 From the Orleans Gallery. It is related of this 
 artist, that he was sometimes favoured with the 
 practical assistance of Michel Angelo; and that 
 the reputation he has obtained is partly to be at- 
 tributed to that important advantage. The Resur- 
 rection of Lazarus, by Piombo, now part of the 
 very choice and valuable collection of J. J. Anger- 
 stein, Esq. is asserted, by Mr. Duppa, to have 
 been " painted under the direction of Michel 
 Angelo, who corrected the design in some places ; 
 but there is no evidence that the composition was 
 
38 CLEVELAND GALLERY CATALOGUE. 
 
 made by him, or that he executed any part of the 
 picture/— Life, &c. of Michel Angelo Buono- 
 rotti, 4to. 1807. It is generally believed that 
 the present picture is the exclusive work of 
 Piombo. In the Catalogue Raisonne of the Or- 
 leans Gallery, it is observed, that " it is admirable 
 for the force and beauty of colouring ; as well as 
 for the purity of the design, and truth of the ex- 
 pressions." 
 
 28. GUIDO RHENI. 
 
 Head of a Magdalen : 
 
 Presumed to be a study for a larger picture. 
 29- ALESSAND RO TURCHI. 
 
 Joseph and Potiphar's Wife. 
 
 " And she caught him by his garment, saying, 
 lie with me : and he left his garment in her hand 
 and fled." Genesis, ch. xxxix. ver. 12. Fielding, 
 in his admirable novel of Joseph Andrews, has re- 
 presented his hero as a pattern of virtue and con- 
 tinence : and it is said that he intended to exem- 
 plify, by an example in familiar life, the character 
 of the Hebrew, Joseph. In the present age we 
 rarely ever hear of male chastity, and as seldom 
 of any instances where the vicious practices, called 
 fashionable gallantries, of men are punished, or 
 even reprobated. Whilst a single indiscretion of 
 the female, from whatever circumstance it may have 
 
NEW GALLERY, NOS. 1. TO 29- 
 
 39 
 
 arisen, is treated with unforgiving severity. — The 
 consequence is inevitable : the distressed outcast, 
 who is " ruined by our sex, is prevented reforma- 
 tion by the reproaches of her own." Examples 
 of male continence are however to be found 
 both in the ancient and modern world. That of 
 Scipio is noted: and Alexander of Macedon dis- 
 played more true heroism in subduing his passions 
 when the beautiful wife and daughters of Darius 
 were in his power, than on any other occasion. 
 King Henry VI. is described by Rapin to have 
 been particularly modest: but the most eminent 
 instance I have heard of in England is that of 
 Joseph Addison, the admirable author of the Spec- 
 tator, &c. A lady of beauty and quality having 
 made certain overtures, which could not be mis- 
 understood, the honourable secretary wrote her a 
 letter, which breathes the sentiments of an amiable 
 heart and wise head, rejecting her advances, and 
 reproving her conduct. Among other arguments, 
 he says, 
 
 " Give me leave, madam, to remark, that the connection sub- 
 sisting between your husband and myself, is of a nature too 
 strong for me to think of injuring him in a point where the hap- 
 piness of his life is so materially concerned. Suffer me to ob- 
 serve, that, were I capable of such an action, how much soever 
 my behaviour might be rewarded by your passion, I must be 
 despised by your reason, and though I might be esteemed as a 
 haver, I should be hated as a man," &c. &c. 
 
 Rede's Anecdotes, 8.vo. 1.799, 
 
40 CLEVELAND GALLERY CATALOGUE, 
 
 DRAWING-ROOM. 
 
 Marked C in the accompanying Plan. — The Numbers 
 are continued from the left to the right hand. 
 
 >Tis painting's first chief business to explore 
 What lovelier forms in nature's boundless store 
 Are best to Art and ancient Taste allied, 
 For ancient Taste those forms hqfc best supplied. 
 
 mason's fresnoy, 
 
 30. GUIDO RHENI. 
 
 Infant Jesus sleeping on a cross. 
 
 From the Orleans Gallery. A small picture, 
 in which a naked child is shown lying on his side, 
 in the midst of a plain, unadorned landscape. In 
 this painting we instantly recognize that quality 
 in art, which is denominated the beautiful, as dis- 
 tinct from the picturesque ; "and from this example 
 we must admit, that the former is equally capable 
 of making a pleasing and interesting picture as 
 the latter. Simplicity may be called the hand- 
 maid of beauty, which consists in smoothness, 
 freshness, youthfulness, and grace. The natural 
 object wherein these are combined, must be fas- 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 41 
 
 cinating : and whenever that is accurately and 
 tastefully represented in painting, it will irresistibly 
 captivate the eye, and gratify the fancy. 
 
 What art thou, beauty ? —whence thy pow'r 
 
 That thus persuasive charms the heart, 
 When thy fair hand adorns the roseate bow'r, 
 
 Or blooming virgin, pride of all thy art. 
 
 LANGHOItNE. 
 
 Judging more from passion and customary as- 
 sociation, than from philosophical principles, we 
 generally speak and think of beauty only as con- 
 nected with the female face and form : but na- 
 ture, in all her perfect works, developes endless 
 beauties. This is tacitly admitted by every per- 
 son who views a picture that is correctly drawn, 
 and faithfully coloured ; for, whether it be of 
 flowers, fruit, birds, trees, or the human figure, 
 it imperceptibly arrests attention, and excites ad- 
 miration. The artist, therefore, who hopes to 
 acquire honourable eminence, must diligently and 
 incessantly study nature ; and if he be blessed with 
 an eye to see, an heart to feel, and a judgment to 
 analyze and appreciate, he will inevitably parti- 
 cipate in the deserved fame of Reynolds, Wilson, 
 and Gainsborough. Without adverting to other 
 nations for examples, we may adduce the prac- 
 tices and celebrity of those painters to stimulate 
 the emulous student ; and it may not be irrele- 
 vant to point out two or three artists who have 
 acquired an exalted reputation by pursuing a 
 similar course of practice. Cousins, Girtin, and 
 
CLEVELAND GALLERY CATALOGUE. 
 
 Turner, have constantly copied the forms and 
 tones of nature ; whence their drawings and pic- 
 tures have become extremely valuable even in the 
 present day ; and though the merit of their best 
 works will not increase with age, yet they will 
 progressively assume additional value, and ulti- 
 mately rank with the most esteemed of Claude, 
 Poussin, and Tiziano. 
 
 By the terms of simplicity and beauty, as ap- 
 plied to the picture now under consideration, I 
 mean that its composition consists of but few 
 parts, and that those are of a plain, incomplex 
 character. Its drawing and colouring are also 
 particularly chaste, delicate, and appropriate : 
 whence I cannot help thinking, that it may be 
 characterized as an example truly beautiful, with- 
 out having any traits of the picturesque, grand, or 
 sublime. Of the sleeping figure, it is scarcely 
 enough to say, that it is well drawn and co- 
 loured ; but the whole countenance, and every 
 limb and muscle seem tranquil and serene, whilst 
 the landscape and sky are completely in unison 
 with the subject. The latter are also quite sub- 
 servient to the former ; a circumstance not always 
 attended to by artists. The picture is painted on 
 copper, and the colouring is very fresh and clear; 
 but Guido has rather injudiciously, though, no 
 doubt, for particular local reasons, placed the 
 crown of thorns and nails on the fore-ground, as 
 if these were necessary emblems of the infant 
 Jesus. 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 43 
 
 31. carlo maratti, Cavaliere. 
 St. Elizabeth teaching the Virgin to read. 
 
 32. IL BORGOGNONE. 
 
 Landscape, with water, building, &c. 
 
 This picture has been commonly attributed to 
 Salvator Rosa ; but I have been assured, that it 
 is from the pencil of the painter above-named, 
 and is a creditable specimen of his abilities in 
 this department of the art. He is justly noted 
 for his battle pieces: which have attained so 
 much celebrity, that it is a common practice to 
 attribute almost every unnamed picture of this 
 kind to him. The colouring of the present land- 
 scape is clear, and of a soft silvery tone, with 
 a breadth of effect that evince considerable talent. 
 
 33. M. A. DELE BATTAGLIA. 
 
 An Old Clothesman, with other figures : 
 a small picture. 
 
 34. G. 6. MOLA. 
 
 The Baptism of Christ. 
 
 John, surnamed the Baptist, son of Zacha- 
 rias and Elizabeth, was, during his infancy, the 
 
CLEVELAND GALLERY CATALOGUE. 
 
 playmate and companion of Jesus. When grown 
 to the state of manhood, he " went from place 
 to place, through all the country about Jordan," 
 preaching, and preparing the way for his cousin. 
 Many were converted to his new doctrine, and 
 were baptized in the river Jordan. Among these 
 was Christ, who participated in this ceremony 
 when about thirty years of age. Upon this oc- 
 casion, it is said, that the heavens were opened, 
 and the Spirit of God descended upon him with 
 a hovering motion, after the manner of a dove ; 
 and an awful voice issued from heaven, saying, 
 " Thou art my beloved Son, in thee I am well 
 pleased." Luke, ch. iii. v. 22. This subject will be 
 further adverted to in the account of Poussin's 
 more celebrated picture of the same event. 
 
 G. B. Mola, and his brother Francisco, were 
 both pupils of Albano, but they proved very 
 unlike each other in the progress of their works. 
 Francisco acquired a more broad and dignified 
 style ; but Giovanni does not appear ever to have 
 excelled his preceptor. In the present instance, 
 there is a want of propriety, consistency, and 
 grandeur, which can scarcely be dispensed with 
 in such subjects. The painter who attempts to 
 delineate the forms and features of Angels, should 
 be endowed with almost a supernatural genius ; 
 for the task is extremely difficult, and has scarcely 
 ever been executed with tolerable success. 
 
 To portray corporeal beauty, and give it all 
 the ease, grace, and charms of one of the best 
 
DRAWING-ROOM, NOS. 30 TO 67. 46 
 
 models of unadorned reality, has scarcely ever 
 been effected by the painter : so difficult is art, 
 so simple is nature. Yet many artists have fre- 
 quently attempted to paint Angels, and even the 
 Deity, which we must consider to be the very 
 essence, or immaterial spirit of beauty, and of 
 every imaginary grace. Man can scarcely hope 
 to conceive any thing in form or substance ade- 
 quate to the idea ; therefore, how absurdly pre- 
 sumptious is the attempt to embody, or give it a 
 character even below that of the human ! for what 
 cannot be comprehended cannot be represented. 
 Albano was constantly attempting this, and as 
 frequently made himself ridiculous. Mola also 
 ventures above the clouds, and is lost : for he has 
 endeavoured to personify the Deity, who is re- 
 presented as an old man, seated on the regions 
 of air. 
 
 35. GUERCINO. 
 
 Landscape, with figures. 
 
 36. CIRO ferri. 
 Madonna, and the infant Christ. 
 
 37- TIZIANO VECCELLI. 
 
 Portrait of Clement the Seventh. 
 
 In the long list of Romish Popes, there are 
 fourteen who bore the name of Clement. The 
 
46 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 person who is here represented by Tiziano, was 
 advanced to the pontifical chair in 1523, and died 
 in 1534. His eventful reign, observes Mr. Duppa, 
 tc was more chequered than that of any prince 
 of modern times. Guicciardini, who has record- 
 ed his actions with the feelings of partiality, has 
 ieft this portrait of him in a few words." — <c He 
 was rather morose and disagreeable, than of a 
 pleasant and affable temper ; reputed avaricious ; 
 hardly to be trusted, and naturally averse from 
 doing a kindness ; very grave and circumspect in 
 his actions ; much master of himself, and of great 
 capacity, if timidity had not frequently corrupted 
 his judgment." In Duppa's Life, &c. of Michel 
 Angelo, are several anecdotes of this Pontiff, who 
 was Bishop of Worcester for one year. 
 
 38. PIETRO DA COIITONA. 
 
 The Wise Mens' Offering. 
 
 A small picture, of an oval form. This sub- 
 ject is here treated in a very different style of 
 composition, colouring, &c. to the one already 
 described, No. 3. 
 
 39. CLAUDE DE LORRAINE. 
 
 A Landscape, with cattle, &c. 
 
 This beautiful cabinet picture is distinguished 
 for its simple and natural tone of colour, and 
 seems to display a partial view of the country 
 
DRAWING-ROOM, NOS. SO TO 6j. 
 
 47 
 
 round Tivoli. In the fore-ground are seen Italian 
 cattle grazing ; and in the middle distance, a large 
 tree of a round shaped massy top, whilst the back- 
 ground terminates in a steep hill, partly covered 
 with woods, and crowned with villas. 
 
 40. F. MILE, Or MILLE. 
 
 Landscape, with figures, monuments^ 
 temples, &c. 
 
 Though this artist was endowed with an un- 
 commonly retentive mind, and could, from strength 
 of memory, delineate almost any scene or object 
 he had observed in nature, yet, from some ac- 
 cidental circumstance, he was induced rather 
 to imitate the pictures of Nicholo Poussin, than 
 resort to the inimitable prototype from which 
 that great artist derived his highest excellencies. 
 The consequence was inevitable : he was deemed 
 a copyist ; and though some of his pictures have 
 been sold and bought as the productions of Pous- 
 sin, the deception neither added to his honour, 
 nor redounded to his fame. 
 
 The prevailing but very reprehensible practice 
 of junior artists, in aping the styles and man- 
 ners of a popular painter, cannot be too severely 
 reproved ; for as nature presents endless combi- 
 nations, and inexhaustible novelties, it is the ex- 
 press duty of every aspiring mind, to seek for 
 meritorious reputation in the display of dignified 
 
CLEVELAND GALLERY CATALOGUE. 
 
 originality, and in the exercise and exertion of 
 independent genius. Grovelling mimickry must 
 always be degrading, because subordinate : and 
 it is generally the fate of weak imitators, to copy 
 and dwell on glaring defects, as well as prominent 
 beauties. The imitator, or copyist, has seldom 
 much discrimination : he is better pleased with 
 art than nature ; or, from a weakness of under- 
 standing, generally characteristic of such minds, 
 is unable to comprehend or feel the beauties of 
 the latter. Many instances could be produced in 
 this as well as in other countries, to elucidate 
 these remarks, and show the fallacious hope of 
 those persons who expect to obtain permanent or 
 desirable fame by any mode of imitating others. 
 True Genius aspires at originality ; and she often, 
 though not always, acquires fame and fortune by 
 her laudable exertions : but to effect this, she 
 must be sanctioned by fashion. It is then that 
 she becomes the object of envy and imitation ; for 
 fashion is a sort of queen bee, that is always fol- 
 lowed by the whole swarm. A few examples 
 among artists will serve to exemplify these maxims. 
 RafTaelle was mimicked by Parmigiano, Le Seur, 
 and others ; Poussin, by Mile and Bourdon ; Ti- 
 ziano, by several of the Venetian scholars ; Rem- 
 brandt, by as many of the Flemish ; Rubens, by 
 Jordaens ; and Reynolds, Wilson, and Turner, 
 by a host of the young artists of the present day. 
 Imitation, however, to a certain extent, is useful 
 and necessary to a painter ; for he may thereby 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 i9 
 
 acquire, without the long process of experimental 
 practice, the knowledge of his predecessors. To 
 attain this he must study the best examples of art; 
 examine pictures, and analyze them, in their prin- 
 ciples of drawing, colouring, composition, &c; but 
 he should take the works of many masters, not those 
 of one only. Parts of them should be copied, and all 
 understood : when he must go to nature, as the last 
 place for finishing his course of education. Here he 
 must be diligent, sedulous, and discriminating, and 
 he may then confidently look forward to that pleas- 
 ing reward of honourable fame, and blessed inde- 
 pendence, which sweetens the decline of life. 
 
 41. SALVATOR ROSA. 
 
 Landscape with figures, called the Sooth- 
 sayers or Augers. 
 
 This very exquisitely coloured picture, from the 
 Due de Praslin's collection, varies from the gene- 
 rality of works by this master. The scene is tran- 
 quil, soft, and delicate; the figures are all placed 
 in easy positions, and the whole is finished with a 
 light, floating pencil. On the fore-ground are 
 seven figures, three of which are standing upright; 
 the others reclining on the banks of a lake, or 
 estuary. The middle part is occupied by water, 
 and in the back-ground are some lofty craggs and 
 mountains, at the foot of which appears a town. 
 In the gallery of T. Hope, Esq. is a duplicate of 
 
 E 
 
CLEVELAND GALLERY CATALOGUE. 
 
 this picture. It has been engraved in small by 
 Le Bas. 
 
 The Soothsayers, or Augurers, were some of 
 those pretended prophets, or conjurers, who arro- 
 gated to themselves the prescience of the Deity : 
 and by predicting future events imposed on the 
 superstitious populace. These sagacious gentle- 
 men have prevailed in all ages and countries. In 
 proportion to the ignorance of the people, is 
 their credulity and superstition : and these are the 
 great props and supporters of augurs, or fortune- 
 tellers. Homer refers to several instances in his 
 time: and five different sorts of auguries are par- 
 ticularly specified in ancient writers. 1. From the 
 appearance in the heavens ; as thunder, lightning, 
 or other meteors. 2. From birds ; whence they de- 
 rived the name of auspices ; and were deduced 
 from their chirping or singing, then called oscines; 
 or from their flying, then denominated preepetes. 
 3. From birds kept in cages, or coops, for those 
 purposes. 4. From beasts: and 5, from unusual 
 accidents happening to persons, called dir&. — 
 Many curious circumstances respecting these 
 superstitions among the Romans, are mentioned 
 by Pliny, xxviii. 2 : and among the Greeks by 
 Pausanius, iv. 13, &c. Varro describes four dif- 
 ferent species of augury, or divination. 1 . Pyro- 
 mancy, or augury by fire. 2. Aeromancy, or au- 
 gury by air. 3. Hydromancy, or augury by 
 water : and 4, Geomancy, or augury by the 
 earth. 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 51 
 
 The augur was a sort of minister of religion 
 among the Romans : Romulus founded a college 
 consisting of three : each of whom was to preside 
 over a tribe. A fourth w r as added by Servius Tul- 
 lius: and in the year of Rome 454, five others were 
 added. Lastly, in 672 the number was increased 
 to fifteen. 
 
 42. F. MILE. 
 
 Landscape, with figures. 
 
 A very similar picture in subject and colouring 
 to that of No. 40. 
 
 43. CLAUDE DE LORRAINE. 
 
 Landscape, with figures. 
 
 To make the landscape pleasant to the sight, 
 
 Three points of distance always should unite ; 
 
 And howso'er the view may be confined, 
 
 Three mark'd divisions we shall always find : 
 
 Not more where Claude extends his prospect wide, 
 
 O'er Rome's Campania to the Pyrrhene tide. 
 
 Where towers and temples mouldering to decay, 
 
 In pearly air appear to die away, 
 
 And the soft distance, melting from the eye, 
 
 Dissolves its forms into the azure sky. 
 
 knight's landscape, a didactic Poem. 
 
 This description is peculiarly applicable to the 
 present picture, which is a very fine specimen of 
 the master ; and will be found to improve on the 
 sight and feeling of the spectator the more atten- 
 
CLEVELAND GALLERY CATALOGUE. 
 
 tively it be viewed. Though its luminous but 
 simple style of colouring is instantaneously pleas- 
 ing, and though it be calculated to arrest and gra- 
 tify every class of persons, yet the initiated ama- 
 teur and professed artist will be more forcibly at- 
 tracted by its merits, and will derive additional 
 zest by looking into, as well as at, the picture. 
 Such is the facinating influence of those paintings 
 that approximate nearest to nature. 
 
 In the fore-ground of the present picture five 
 female figures are represented dancing on the 
 green turf to the inspiring sounds of different 
 musical instruments, played on by three other 
 nymphs. A man who is approaching the sportive 
 scene, sacred to female pastime and innocence, is 
 punished for his imprudent intrusion, by being 
 transformed into a tree. This is the fable of 
 Apuleus, who was a shepherd of Lavinia, in which 
 country Pan had a cave overshadowed with trees, 
 where the nymphs used frequently to dance, &c. 
 The shepherd using saucy language, and intruding 
 on the privacy of the fair ones, was turned into a 
 wild olive-tree. If the impudence and criminal 
 advances of all modern coxcombs were doomed to 
 meet a similar punishment, we should not have 
 cause to lament such frequent trials for trim. con. 
 or hear of so many instances of shameless prosti- 
 tution which conspire to disgrace the present age. 
 
 This picture was bought for the Duke of Bridge- 
 water, by Sir Paul Methuen, who also possessed 
 
DRAWING-ROOM, NOS.30 TO 67. 5S 
 
 two fine landscapes, by Claude *. It is engraved 
 in the Liber Veritatis. 
 
 44. FRANCESCO ALBANO. 
 
 Salmacis and Hermaphroditus. 
 
 From the Orleans Gallery. Hermaphroditus, a 
 son of Mercury and Venus, was educated on Mount 
 Ida, by the Naides. When he had attained his 
 fifteenth year he left his preceptors and natal 
 place with intent to travel. His principal, or only 
 adventure, on that journey, was the meeting with 
 Salmacis, who seeing him bathing was enamoured 
 with his person, and endeavoured to seduce him 
 to her arms. Finding him insensible to her blan- 
 dishments, she entreated " the gods to make them 
 two but one body." The fates complied, and thus 
 the two sexes became united in one person. 
 
 In this picture Albano has represented the two 
 persons naked in a bath: Salmacis is embracing 
 the object of her desires, who appears to he re- 
 pulsing the wanton nymph. 
 
 45. GASPER POCJSSIN. 
 
 An upright Landscape, with figures. 
 
 This picture is rendered more particularly in- 
 teresting, from being a real view : or, as it may 
 
 For an account of these, and for some particulars relating 
 to Sir Paul, who was an eminent collector, see * An historical 
 Account of Corsham House/' &c. 8vo. 1806. 
 
54 CLEVELAND GALLERY CATALOGUE. 
 
 be called, a topographical landscape of classical 
 scenery. Near the fore-ground is represented part 
 of the villa of Frascati, in the vicinity of Rome ; 
 where the great master of eloquence, Cicero, had 
 his favourite villa, called Tusculanum. Part of 
 the Campagnia, which has been rendered so fa- 
 miliar to us by Claude, is shown stretching across 
 the middle of the picture, whilst the back-ground 
 displays the adjacent parts of Tivoli, and the 
 Soracte mountain. 
 
 It has been a practice with many veteran ar- 
 tists, particularly those who wish to be thought 
 of the historical and sublime class, to dissuade 
 the young landscape painter from delineating to- 
 pographical views ; or, in other terms, copying 
 a portrait of natural scenery. Instead of which, 
 say these partial professors, it is better to take a 
 tree here, a bank there, a building from one 
 place, a cascade from another, and a mountain, 
 &c. from a different situation. Such a picture 
 may be truly called a thing of " shreds and 
 patches," a sort of harlequin's jacket in the arts, 
 and rendered pleasant to the eye by being glazed 
 over with an harmonizing varnish. I wish to 
 ask those advocates of patch-work, if the pictures 
 by Gasper, or Claude, which are professedly 
 views of certain places, and nearly portraits of 
 known scenes, are not more generally interesting ; 
 and whether the association of ideas they excite, 
 are not more attractive to the cultivated mind, 
 than any of those pieces called fancy landscapes ? 
 
DRAWING-ROOM, NOS. 30 TO 6*7. 55 
 
 is not the villa of Maecenas, by Wilson ; a view 
 in Boxhill Park, by Gainsborough ; a Waltham 
 Bridge *, and Pope's House *, by Turner, equally 
 or more prepossessing than any imaginary land- 
 scapes by the same eminent artists ? If a real scene 
 has obtained any historical or antiquarian im- 
 portance, a faithful view of the place not only 
 participates in the interest of the classic spot, but 
 has the additional recommendation, if well exe- 
 cuted, of being valuable and imposing as a work 
 of art. Some of Claude's finest pictures are un- 
 questionably views of certain scenes, and painted 
 with so much fidelity as to forms, tones, and 
 natural incidents, that we view them with similar 
 associations and feelings as we do excellent por- 
 traits of eminent and illustrious persons. Is 
 not a fine half length picture, by Sir Joshua, 
 of Dr. Johnson, of himself, of the Marquis of 
 Granby, or of any other person whose name 
 and memory are respected and admired, more 
 valuable than any fancy-head by the same ines- 
 timable artist? I am almost ashamed to spend 
 time in discussing so plain a point, nor should I 
 have done it now but from a wish to counteract 
 the influence of those persons who boldty repro- 
 
 * Two pictures of these subjects have recently been painted 
 by Turner, and are the property of Sir John Leicester, Bart, 
 whose unique Gallery of British Paintings, is at once honourable 
 to his own head and heart, and to the talents of his country- 
 men. These two pictures are works of extraordinary merit j 
 and I cannot hesitate to say, will rank with the most eminent 
 productions of the pencil in this department of art. 
 
CLEVELAND GALLERY CATALOGUE. 
 
 bate all topographical landscape painters. I would 
 also gladly check the progress of those young 
 artists, who arrogantly think they can improve 
 the face and features of nature : but in attempting 
 which, we find that they too generally jumble toge- 
 ther some heterogeneous scraps of English, Swiss, 
 and Italian scenery. They should recollect, that 
 when Wilson painted an English view, he con- 
 trived to make it resemble the prototype ; and if 
 he professed to give a view of Rome, all parts of 
 the picture were local and indigenous. Gains- 
 borough and Barret did the same ; and though 
 the last named, yet first in order, Claude and 
 Gasper were laudably consistent. 
 
 I must make another remark, for I know these 
 sentiments are not exactly in unison with the opi- 
 nions of some writers and artists : but I would 
 intreat those gentlemen to recollect, that I am 
 only advocating the cause of history in opposition 
 to that of romance ; and am vindicating the utility 
 of truth, in preference to fiction. In painting land- 
 scapes, however, I do not deem it necessary that 
 the artist should be restricted to copy a)l the 
 minutiae of nature, or all the diminutive littlenesses 
 of the scene. If he takes the great prominent 
 features, and gives to these their proper charac- 
 teristic forms and colours, at the same time in- 
 troducing adventitious, but the most advantageous 
 effects of light and shade, he will discharge his 
 duty with fidelity, honour, and reputation. He 
 will then rank with the great landscape painters, 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 ■57 
 
 eventually secure to himself a perpetuity of fame, 
 and for his works increasing value and admira- 
 tion. The rising generation of young artists in 
 England, have evinced, and continue to mani- 
 fest, ample proofs of genius and talent ; and we 
 are only solicitous to see those powers judiciously 
 directed, and properly applied. 
 
 Presented to the cultur'd eye of taste, 
 
 No rock is barren, and no wild is waste j 
 
 No shape uncouth, or savage, but in place, 
 
 Excites an interest, or assumes a grace. 
 
 Nature, exhaustless still, has power to warm, 
 
 And every change of scene a novel charm. 
 
 The dome-crown'd city, or the cottag'd plain, 
 
 The rough cragg'd mountain, or tumultuous main ; 
 
 The temple rich in trophied pride array'd, 
 
 Or mould'ring in the melancholy shade ; 
 
 The spoils of tempests, or the wrecks of time, 
 
 The earth abundant, and the heaven sublime ; 
 
 All, to the painter purest joys impart, 
 
 Delight his eye, and stimulate his heart. 
 
 SHEE. 
 
 46. RAFFAELLE. 
 
 Virgin and Child. 
 
 From the Orleans Gallery. In this captivating 
 picture, the Mother and Infant are represented in 
 a room ; whereas, in the three former paintings by 
 this artist, the Holy Families are all in the open air, 
 with landscapes, &c. The present composition 
 may, therefore, be called a domestic scene. It exhi- 
 bits a modest graceful female, occupied in the 
 most endearing, and therefore the most attractive 
 of feminine duties. 
 
CLEVELAND GALLERY CATALOGUE. 
 
 In the present picture the Mother is represented 
 as being carefully and tenderly employed in 
 nursing the naked Infant, who is reclining on her 
 lap, and with its head and eyes turned towards her, 
 seems to repay the parent's solicitude by a facinat- 
 ing smile of infantine joy. A reciprocal endear- 
 ment is manifested in both figures. 
 
 If it were fashionable for mothers to superintend 
 the nursing and education of their own children, 
 the former would be properly and laudably em- 
 ployed, whilst the latter would derive from it very 
 essential advantages. For when intrusted to hire- 
 ling nurses, and illiterate menials, childern too ge- 
 nerally acquire vulgar habits and vicious propen- 
 sities, which by the other mode would not merely 
 be obviated, but useful and important lessons of 
 rectitude and emulation would be inculcated. No 
 period of life is so critical to the human being 
 as infancy: then ideas are planted, sentiments are 
 excited, and prejudices are acquired, which no 
 subsequent lessons can eradicate. The youthful 
 mind is like a pure sheet of white paper ; every 
 spot and blot disfigures it, and is absorbed ; whilst 
 the carefully written precept is indelibly fixed. 
 
 'Tis education forms the infant mind, 
 
 Just as the twig is bent — the tree's inclin'd. 
 
 POPE, 
 
 Children, like tender osiers, take the bow, 
 And as they first are fashion'd always grow. 
 
 PRIOR. 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 59 
 
 Thou art fair, and at thy birth, dear boy ! 
 
 Nature and fortune join'd to make thee great. 
 Of nature's gifts thou may'st with lilies boast, 
 And with the half-blown rose. 
 
 SHAKSPEARE, IN KING JOHN. 
 
 This picture was orginally painted on board, 
 but has been transferred to canvass. It passed 
 from the cabinet of M. de Seigpeley into that of 
 M. de Montarsis. Thence to M. Ronde, jeweller 
 to the King of France, who sold it to the Duke of 
 Orleans. It has been engraved two or three times, 
 and a print from it is intended to ornament " The 
 British Gallery of Pictures" 
 
 47. LEONARDO DA VINCI. 
 
 Head of a young Female. 
 
 From the Orleans Collection. A pleasing smile 
 pervades the countenance of this female ; and the 
 head is gracefully turned towards the left. As a 
 specimen of the master, who may be justly classed 
 among the first or most eminent artists of the 
 world, this picture is truly interesting. Da Vinci 
 united in his own capacious mind the talents of 
 an author, architect, and painter : he evinced abi- 
 lities in each, but is chiefly noted for his pic- 
 tures ; and good specimens of these are rare. 
 Lord Suffolk has a Holy Family, by him, which 
 is a work of singular character and singular ex- 
 cellence. Bone has lately copied it in enamel, on 
 a plate fifteen inches by eleven inches. The largest 
 
60 CLEVELAND GALLERY CATALOGUE. 
 
 enamelled picture that has ever been executed. 
 An account of Da Vinci's life, with his ** Treatise 
 on Painting,'''' has been published in 8vo. 1802. 
 
 48. FILIPPO LAURI, and MARIO DE ? 
 
 FIORI. 
 
 A Wreath of Flowers by the latter Artist, 
 inclosing three naked Boys by the 
 former. 
 
 49. ' Ik TINTORETTO. 
 
 A half-length Portrait of an elderly Man, 
 with a book in his hand. 
 
 50. CLAUDE DE LORRAINE. 
 
 A Landscape, with figures, &c. 
 
 Representing that passage of Holy Writ, wherein 
 it is related that the Lord appeared to Moses in a 
 burning bush: Exodus, ch. iii. ver. 1,2, 3. As 
 the holy patriarch was one day occupied in at- 
 tending the sheep of Jethro, his father-in-law, 
 near the mountain of Horeb *, he perceived a 
 bush in flames, that was not consumed. Surprised 
 at the sight, he advanced near it, when a voice 
 admonished him not to approach, u but put off 
 
 * This hill, in Arabia Petreae, is directly west of but con - 
 nected with the more lofty one of Mount Sinai. It is related, 
 that the shadow from the latter completely envelopes the former, 
 at the time of suu-rise. Moses struck the rock at the foot of 
 this mountain. 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 61 
 
 your shoes, for the place whereon you stand is 
 holy ground." Claude has introduced this inci- 
 dent as an episode into a landscape of great merit 
 and pleasing effect. It is, however, merely a 
 subordinate object ; for the natural scene, which 
 is a view of the Campagnia, &c. with a light hazy 
 sky, are the prominent features of the picture. 
 On the left-hand side of it is the base of a moun- 
 tain, covered with bushes, &c. : and close to the 
 edge is the burning bush, with a human head 
 emerging from the flames. Beneath this is a 
 waterfall; and, on a projecting mass of ground, 
 Moses is conspicuously shown running towards the 
 bush with a dog. Under a large majestic elm- 
 tree, is a flock of sheep; beyond which is a bridge 
 seen stretching across, and extending into, the 
 middle of the picture. This leads the eye to an 
 extensive distance, which melts into the horizon. 
 On the right is the bottom of a rocky mountain ; 
 beneath which are some houses, &c. This has 
 been engraved in the Liber Veritatis. 
 
 51. FILIPPO LAURL 
 
 Repose in Egypt. 
 
 52. L. CARACCI, after CORREGGIO. 
 
 Marriage of St. Catharine. 
 
 From the Orleans Gallery. In this small pic- 
 ture, the artist has displayed only the Mother, 
 the Infant, and the Saint : and thus in composition , 
 
£>2 CLEVELAND GALLERY CATALOGUE. 
 
 as well as in colouring, has made it very different 
 to the larger painting, No. 25. — St. Catharine, 
 who is represented as a young girl not exceeding 
 twelve or thirteen years of age, is kneeling before 
 the Infant, and receiving the wedding-ring. I 
 am informed by an artist, who is fully compe- 
 tent to appreciate pictures, that, in its texture 
 and sweetness of tone, this is the most faithful 
 and satisfactory copy after Correggio in England. 
 Therefore, as his works are rare, this must be 
 valuable. It is a clear, beautiful, cabinet pic- 
 ture, and justly entitled to the following praise, 
 which a French writer bestowed on it when in the 
 Orleans Collection : — " The graces of composi- 
 tion, the beauty and the naivete of the heads, 
 the fine colour, the delicacy and boldness of 
 touch, would make this picture to be regarded as 
 one of the finest productions of Anthony Cor- 
 reggio, if it was not known, in the magnificent 
 collection of which it forms a part, to be by Louis 
 Car r ache, after that great painter." 
 
 53. GASPER POUSSIN. 
 
 A small Landscape. 
 
 54. ANNIBAL CARACCI. 
 
 St. John pointing to the Messiah. 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 63 
 
 55. ANTONIO CORREGGIO. 
 
 The Holy Family. 
 
 From the Orleans Gallery, in which splendid 
 collection it was called " La Vierge au Panier," 
 to distinguish it from other pictures of the same 
 subject, by this artist. In the " Catalogue de 
 la Galerie du Palais Royal," it is affirmed to be by 
 Correggio, though some connoisseurs attributed 
 it to Schidone. Lord Radstock possesses another 
 picture of the same subject ; and in Sir Francis 
 Bourgeois' collection is a third. 
 
 56. GAS PER POUSSIN. 
 
 A Landscape. 
 
 This very exquisite and almost perfect little 
 picture, companion to No. 53, is a decisive illus- 
 tration of an opinion which I have already 
 urged, and am still disposed to cherish, that 
 landscapes only require to be selected with judg- 
 ment, and executed with taste and strict atten- 
 tion to the colouring and tones of nature, to be- 
 come pleasing and interesting pictures. There 
 are various spots and scenes on the surface of the 
 globe which almost irresistibly excite the attention 
 and admiration of a spectator. Their local fea- 
 tures are either beautiful, grand, or picturesque, 
 and their natural qualities are often powerfully 
 
CLEVELAND GALLERY CATALOGUE. 
 
 heightened by the adventitious, and even changing 
 incidents of light and shade, clearness and mist. 
 To delineate the first, with the most judicious 
 and appropriate effects of the latter, is the duty 
 of the emulous landscape painter. Claude suc- 
 cessfully fulfilled this duty in some of his best 
 pictures, but he was rather confined in his effects, 
 and often monotonous in his subjects. He, how- 
 ever, executed numerous pictures ; and though 
 all of these are not equally excellent, yet the 
 greater part of fhem are replete with fascinating 
 beauty, and important truth. G. Poussin also 
 evinced much taste in composition and grandeur 
 of forms in his pictures ; but Tiziano and N. 
 Poussin displayed still greater merits, and more 
 commanding effects. These great artists, in view- 
 ing nature, derived from her features more dig- 
 nified and exalted conceptions. They genera- 
 lized her forms, and gave to her unsophisticated 
 countenance, the commanding touches and hues 
 of grandeur, vigour, and richness. In general, 
 though not always, they chose fine forms, and 
 gave them that autumnal tone of colour, which 
 is so grateful and pleasing to the eye. These artists 
 were blessed with that species of knowledge which 
 always manifests a predilection for such shapes 
 and colours as are calculated to produce the best 
 pictures. Gasper Poussin was generally attentive 
 to the former, but not so successful in the latter : 
 whence, though his landscapes are mostly very fine 
 and grand, they are often cold and heavy. Salvator 
 
DRAWING-ROOM, NOS. 30 TO 67. 
 
 65 
 
 Rosa has shown great excellencies in this depart- 
 ment of the art: and in the present collection, 
 No. 41, is a picture by him, which will rank 
 among the finest productions of the kind. Our own 
 country presents every component part of land- 
 scape ; and in its mountains, lakes, woods, rocks, 
 and seas, unfolds all that can be wished for or de- 
 manded by the artist. A few of our native painters 
 have emulously availed themselves of these fea- 
 tures, and have carefully studied their forms and 
 colours. Actuated, however, by different feelings 
 and partialities, they have sought different paths 
 to renown ; and whilst one has been satisfied 
 with painting a few trees hanging over a sedgy 
 pool, with two or three cows ; another has boldly 
 and vigorously dared to imitate the turbulent waves 
 of the ocean, when driven by the enraged storm. 
 He has also manifested the superlative powers of 
 the pencil, in representing the effects of a meri- 
 dian sun, the union of that luminary with the 
 moon in the same picture ; also the rising and set- 
 ting sun, with other difficult and fascinating effects. 
 In the present summer, London has been favoured 
 with Two Exhibitions of Drawings ; among which 
 there were many landscapes and topographical 
 views of unequivocal excellence. This will be 
 readily admitted by those persons who have care- 
 fully examined the productions of Glover, Havell, 
 Nicholson, Smith, J. Varley, Heaphy, Delamotte, 
 Cristal, and of some other artists. 
 
 F 
 
66 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 57. PALMA VECCHIO. 
 
 Portrait of a Doge of Venice. 
 
 58. CLAUDE DE LORRAINE. 
 
 Sea-piece, with ruined Portico. 
 
 The sun 
 
 With wheels yethov'ring o'er the ocean's brim, 
 Shoots parallel to the earth his dewy ray. 
 
 MILTON. 
 
 With a fragment of a rich portico on the left 
 hand, a group of trees on the right, two vessels, 
 a boat, a single upright figure on the fore-ground, 
 a few cattle, and an expanse of water, the Bay 
 of Naples, Claude has made a picture which must 
 please all classes of persons, and will particu- 
 larly captivate those who have studied the sub- 
 ject, and who have endeavoured to paint similar 
 scenes. To represent the vivid effects of the sun, 
 either after rising, when setting, or near the meri- 
 dian, is one of the greatest difficulties of art : and 
 this is demonstratively proved by the numerous 
 unsuccessful attempts that have been made by dif- 
 ferent artists. Many have failed ; few have suc- 
 ceeded, even with tolerable effect ; and those that 
 have approximated nearest to nature, must still 
 acquiesce in the often repeated lines of Thomson : 
 
 But who can paint 
 
 Like nature ? Can imagination boast 
 Amid its gay creation hues like hers ? 
 Or can it mix them with that matchless skill, 
 And lose them in each other, as appears 
 Tn ev'ry bud that blows ? - 
 
1 
 
 DRAWING-ROOM, NOS. 30 TO 67. 
 
 67 
 
 This picture, and that of No. 50, with two 
 others by Claude, were bequeathed by the late 
 Mr. Bouverie, to the present Lord Radnor and 
 his brother. These were purchased from the 
 latter gentleman by the Duke of Bridgewater ; 
 and the two others are in the possession of the 
 present Earl, at Longford Castle, Wiltshire. A 
 particular account of them, and of two more 
 very celebrated pictures by Claude, belonging to 
 Mr. Beckford, may be seen in the Beauties of 
 Wiltshire, 2 vols. 8vo. 
 
 59. ANNIBAL CARACCI. 
 
 Christ on the Cross. 
 
 60. CARLO CIGNANT. 
 
 Christ in the Garden. 
 
 From the Orleans Gallery. 
 
 61. BAR. SCHIDONI. 
 
 The Virgin with infant Jesus. 
 
 From the Orleans Gallery. This picture has 
 been engraved in the " Gallerie du Palais Roy ale," 
 in which work it is particularly described, and 
 wherein the writer states, that the following in- 
 scription was on the back of the present paint- 
 ing. " Opera del Signor Bartolemo Schidone 
 comprata delta Sig r ViolantaCavadone sua suocera 
 
08 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 pezze 1647. de contanti, el a lei donata d'alla 
 Sig a Barbara che era moglie del di t0 Sig r Schidone 
 ora moglie de flaminio Scotti Parmico." This 
 little picture is described as one of the finest and 
 " most pure" of the artist. 
 
 62. DOMINICHINO. 
 
 Landscape, with figures, &c. 
 
 63. * * * 
 The Death of the Virgin. 
 
 This sweet little picture was purchased from 
 Mr. Purling's collection, and was then attributed 
 to Albert Durer, because that artist engraved a 
 plate from it. The painting, however, does not 
 correspond w r ith the usual style of his works. It 
 is probably by a Florentine master. 
 
 64. DOMINICHINO. 
 
 The Vision of St. Francis. 
 
 Fanaticism is a species of madness that lamen- 
 tably debases the human mind ; and as it is not im- 
 mediately cognizable by law, those who are in- 
 fluenced by it are permitted to annoy society. 
 It has prevailed in all ages, and is always dis- 
 guised under the mask of religion. Many of 
 those persons who obtained canonization, were 
 unconfined maniacs: and among them, St. Francis 
 
DRAWING-UOOM, NOS. 30 TO 6/. 6*9 
 
 was a notorious one. After leading a very dissolute 
 life for many years, he changed his conduct dur- 
 ing a dangerous fit of illness, and became an 
 extravagant devotee. He considered voluntary 
 and absolute poverty as the essence of the gospel ; 
 and, therefore, not merely inflicted the punish- 
 ment of hunger, and other bodily sufferings on 
 himself, but prescribed it to his followers. He 
 established the society, or class of religionists, 
 called Franciscans, in the year 1209: a strange mis- 
 guided set of persons, who fancied that the only 
 road to salvation was through bogs, rough stony 
 ways, over precipices, through quicksands, &c. 
 It may not be improper to describe such persons 
 in their own style of phraseology. 
 
 The artist has represented the Saint as a mi- 
 serable self-devoted victim : meagre, pallid, and 
 melancholy. Thus exhibiting a sad example of 
 human weakness, which at once excites the con- 
 tempt and pity of the philosopher. 
 
 65. ANNIBAL CARACCI. 
 
 Diana and Calisto, in a landscape. 
 
 In the present collection is another picture, by 
 Tiziano, No. 104, on the same subject, but treated 
 in a very different manner of composition, co- 
 louring, and expression to this. Here the figures 
 are small, and appear to be subordinate to the 
 landscape ; but Tiziano has made the former prin- 
 cipal, and the scenery wholly subservient to the 
 
70 CLEVELAND GALLERY CATALOGUE. 
 
 figures. The landscape of the present picture is 
 composed and painted in a very grand style ; and 
 the figures are made to illustrate the story 
 
 66. ANNIBAL CARACCI. 
 
 The Holy Family. 
 
 67. ANNIBAL CARACCI. 
 
 The Vision of St. Francis. 
 
 From the Orleans Gallery. This appears to 
 have been either a favourite subject with Caracci, 
 or it was much approved by his employers ; for 
 he painted many pictures of this infatuated, self- 
 devoted Saint. It seems a strange perversion of 
 true religion, to make it the promoter of human 
 misery: and it is equally strange to suppose that an 
 omnipotent and benevolent Deity either requires 
 from his creatures, or is propitiated by, such acts 
 of self-mortification and punishment, as this poor 
 misguided mortal inflicted on himself. But men 
 of gloomy and morose tempers cannot bear the 
 sunshine : they shrink from social pleasures, and, 
 absorbed in despair and phlegmatic melancholy, 
 they fly to solitude, and then endeavour to justify 
 themselves by miscalling their reveries, religious 
 devotion. 
 
 Seek with splenetic zeal, fantastic woe, 
 
 And for Heav'n's sake, Heav'ns choicest gifts forego. 
 
ANTI-ROOM, NOS. 6S TO 
 
 71 
 
 ANTI-ROOM ; 
 
 OR, 
 
 POUSSIN APARTMENT. 
 
 Between the Dining and Drawing -Rooms, marked F in 
 the accompanying Plan. 
 
 In this apartment are eight pictures, by N. Poussin, repre- 
 senting so many different subjects from the sacred writings and Catholic 
 ritual. I shall first specify the numbers and titles of these, according 
 to their present arrangement, and then endeavour to furnish the reader 
 with an ample account of the events, &c. which they are intended 
 to represent, and intersperse the same with such elucidatory remarks 
 as may tend to promote useful inquiry, or develope some historical facts* 
 If, in this discussion, my account appears rather prolix, I trust that it 
 will not be thought irrelevant, or dull. 
 
 NICCOLO POUSSIN. 
 
 68. Sacrament of Penance. 
 
 This rite, in the Catholic Church, is used after 
 the confession of any gross offence, which does not 
 fall under the denomination of a venial sin ; and 
 also, on the readmission into the congregation of 
 the faithful of any person who has laboured under 
 the anathema of excommunication. It is considered 
 a sacrament in that church \ because the Catholic is 
 
CLEVELAND GALLERY CATALOGUE. 
 
 taught to believe, that the grace of pardon, and 
 remission of sins, are received by the performance 
 of it. The picture illusively illustrates the subject 
 by the representation of the Saviour remitting the 
 sins of the penitent Mary Magdalen, in the house 
 of Simon the Pharisee : Luke, ch. vii. ver. 36, to 
 the end of the chapter. The prominent feature 
 is meant to delineate this circumstance, " And he 
 said unto her, thy sins are forgiven thee." 
 
 . Sacrament of Extreme Unction. 
 
 Endued with the power of the keys, and her 
 priests capable of granting absolution, it is usual, 
 in the Church of Rome, during dangerous ill- 
 ness, or in what is termed " in articulo mortis" 
 that is, near approaching death, for a priest to 
 be called ; who anoints the hands of the dying 
 person with oil : and stooping over the body, pro- 
 nounces absolution. By this rite the Catholics 
 believe, that much grace is received by the 
 dying person ; and that he is likely to fare much 
 better at the day of judgment, and in the spi- 
 ritual world, than if he had not received the sa- 
 crament of extreme unction. The ideal efficacy 
 of this ceremony is grounded on a passage of the 
 General Epistle of St. James, where the apostle 
 gives this advice, " Is any sick among you? Let 
 him call for the Elders of the church ; and let 
 them pray over him, anointing him with oil in the 
 name of the Lord : and the prayer of faith shall 
 
ANTI-ROOM, NOS. 6S TO 75. 
 
 73 
 
 save the sick, and the Lord shall raise him up ; 
 and if he have committed sins, they shall be for- 
 given him." Chap. v. ver. 14 and 15. Assuming 
 the latter, as in their own power to confer, the 
 Romish priests have converted this ceremony into 
 a sacrament, and superstition acknowledges its 
 sovereign and salutary effects ; not considering 
 that St. James alludes to the commission given by 
 Christ to his apostles, when he conferred on them 
 the power of working miracles : under which 
 " they cast out many devils, and anointed with oil 
 many that were sick, and healed them : Mark, 
 ch. vi. ver. 13. In both these cases, unction was 
 made use of to restore the sick body to a state of 
 health ; whereas the Romish church uses it for a 
 purpose diametrically opposite, that of propitiating 
 the Deity for the expiring soul. 
 
 . Sacrament of Holy Orders, or Or- 
 dination. 
 
 The admission into the holy function is consi- 
 dered by the Romish church as a sacramental rite, 
 because it believes that the power of absolution is 
 conferred on the occasion. This belief is founded 
 upon the supposed delegation of the power of 
 pardoning sins, the awful attribute of Deity in 
 a restricted sense, which, it supposes, was done 
 by the Son of God when he uttered these words 
 to his disciples, the lineal predecessors of the 
 Christian ministry, " Verily I say unto you, what- 
 
CLEVELAND GALLERY CATALOGUE. 
 
 soever ye shall bind on earth, shall be bound in 
 heaven ; and whatsoever ye shall loose on earth, 
 shall be loosed in heaven." Matth. ch. xviii. ver. 18. 
 This is called <c the power of the keys" which 
 the Catholics suppose were delivered to St. Peter 
 by the Saviour, from a misinterpretation of an* 
 other text of scripture, tc Thou art Peter, and 
 on this rock I will build my church, and the gates 
 of hell shall not prevail against it." The cere- 
 mony of delivering the keys to Peter, is the sub- 
 ject of the picture. 
 
 . Moses striking the Rock. 
 
 The subject of this picture is the ever-memo- 
 rable miracle performed for the Israelites during 
 their abode at Kadesh, while they were journey- 
 ing through the wilderness of Zin. It represents 
 Moses, at the command of God, striking a rock 
 with his wand or rod. " And Moses took the 
 rod from before the Lord, as he commanded him. 
 And Moses and Aaron gathered together the con- 
 gregation before the rock ; and he said unto 
 them, Hear now, ye rebels, must we fetch ye 
 water out of this rock ? And Moses lifted up his 
 hand, and with his rod he smote the rock twice, 
 and the water came. out abundantly, and the 
 congregation drank, and their beasts also." Num- 
 bers, ch. xx. ver. 9. But the picture includes, by 
 its representation, the whole of the transaction, 
 except the interview of Moses with the Almighty, 
 
ANTI-ROOM, NOS. 68 TO l r o. 75 
 
 which is judiciously left to the spectator's imagi- 
 nation. When the Israelites experienced a want 
 of water for themselves and their cattle, they 
 murmured against Moses and Aaron, made an 
 insurrection, and forcibly remonstrated with their 
 leader, for bringing them into this unpleasant 
 predicament ; " And why have ye brought up 
 the congregation of the Lord into this wilderness, 
 that we and our cattle should die there ? And 
 wherefore have ye made us to come up out of 
 Egypt, to bring us into this evil place ? It is no 
 place of seed, or of figs, or of vines, or of pome- 
 granates ; neither is there any water to drink." 
 This state of mind among the people is displayed 
 in one part of the picture. 
 
 Sacrament of Baptism. 
 
 The subject of this picture is taken from the 
 account given by three of the Evangelists, of the 
 baptism of Christ in the river Jordan, and is il- 
 lustrative of the circumstances contained in their 
 united description : Matthew, ch. iii.ver. 13, 14, 15, 
 16,17.— Mark, ch.i.ver. 9, 10, 11.— and Luke,ch. 
 iii. ver. 21 , 22. All agree in the baptism of Jesus, by 
 John, in Jordan ; the miraculous opening of the 
 heaven, with the descent of the Holy Ghost, and 
 the Father's voice confirmative of the divine filia- 
 tion of Christ. But St. Luke adds the circum- 
 stance, that when Jesus came up for the purpose 
 
CLEVELAND GALLERY CATALOGUE. 
 
 from Gallilee, he found John baptizing numbers 
 in the river ; and that the opening of heaven oc- 
 curred, while the Saviour was in the act of prayer. 
 " Now when all the people were baptized, it came 
 to pass that Jesus also, being baptised, and pray- 
 ing, the heaven was opened." St. Matthew states 
 the astonishment and reluctance of the Baptist, 
 and the condescension of the Saviour. " But 
 John forbade him, saying, I have need to be bap- 
 tised of thee, and comest thou to me ? And Jesus 
 answering, said, Suffer it to be so now ; for thus 
 it becometh us to fulfil all righteousness." 
 
 . Sacrament of Confirmation. 
 
 This picture represents the ceremony of initiat- 
 ing novitiates into the Christian church, by the 
 rite called Confirmation; usually performed in 
 some large church by the bishop of the diocess, 
 assisted by his elders : who, after previous exa- 
 mination, permits the youth of both sexes to take 
 upon themselves the promises and vows made by 
 their sponsors, at baptism, for them in their in- 
 fancy. Thus they are admitted into the church, 
 and become reputed members of the same ; and 
 having received the solemn charge and blessing 
 of the diocesan, they return to their respective 
 homes. On these occasions it is customary for the 
 parents and friends of the youth who are intended 
 for initiation, to witness the sacred ceremony. In 
 
ANTI-llOOM, NOS. 68 TO 75. 
 
 77 
 
 the Romish church, from the belief that grace, in 
 addition to that received by baptism, is conferred 
 by this rite, it is considered one of her seven 
 sacraments. 
 
 Sacrament of Marriage. 
 
 This picture represents the ceremony of mar- 
 riage as practised by the church of Rome ; by 
 the ordinances of which, it is deemed a solemn 
 sacrament. For the Catholic is taught to be- 
 lieve, that divine grace is conferred on the united 
 pair, by the performance of this rite. It is said 
 to be emblematical of the mystical union between 
 Christ and his church. The former has declared, 
 that a man shall " leave his father and mother, 
 and cleave unto his wife, and they two shall be 
 one flesh." By the same authority, polygamy 
 was banished, and divorce forbidden, excepting 
 in the case of adultery : Matthew, ch. v. ver. 32. 
 The sacred books of the New Testament do not, 
 however, prescribe any particular ceremony for 
 the solemnization of marriage : hence different 
 nations, and sects of people, have adopted dif- 
 ferent modes and rites, to ratify this most im- 
 portant transaction of human life. 
 
 Sacrament of the Eucharist. 
 
 This picture displays the last and solemn scene 
 of our Lord with his Disciples, previous to his 
 crucifixion, when he ate and drank with them in 
 
78 CLEVELAND GALLERY CATALOGUE. 
 
 the upper-chamber, where he instituted the or- 
 dinance of the Eucharist, or Sacrament of the 
 Lord's Supper. Then " Jesus took bread and 
 blessed it, and brake and gave it to his Disciples, 
 and said, Take, eat, this is my body. And he took 
 the cup and gave thanks, and gave it to them, 
 saying, Drink ye all of it, for this is my blood 
 of the New Testament, which is shed for many for 
 the remission of sins." St. Matthew, ch. xxvi. ver. 
 26, 27, 28.— St. Mark, eh. xiv. ver. 22, 23, 24.— 
 St. Luke, ch. xxii. ver. 19, 20, 21, 22, 23. The 
 design of the picture is taken from the latter de- 
 scription, in which our Lord excites the astonish- 
 ment of his Disciples, by saying, " But, behold ! 
 the hand of him that betrayeth me, is with me 
 on the table. And truly the Son of Man goeth, 
 as it was determined ; but woe unto that man by 
 whom he is betrayed. And they began to inquire 
 among themselves, which of them it was that 
 should do this thing." 
 
 Such are the subjects represented in the eight 
 much -esteemed pictures by Poussin. Seven of 
 these constitute a series illustrative of as many 
 sacraments in the ritual of the Catholic church, 
 and thus serve to perpetuate, by impressive deli- 
 neation, those important passages of sacred reve- 
 lation and ecclesiastical controversy. 
 
 No era of the church was more eventful, nor 
 tended to swell the page of history more, than 
 the violent contentions which long existed be- 
 tween the Reformed and Catholic churches re- 
 
ANTI-ROOM, NOS. 68 TO 75. J(J 
 
 specting the nature and end of a Sacrament ; and 
 the number which the Saviour had instituted in 
 his church, as essential to be observed for the 
 purposes of salvation. The Catholics consider- 
 ing it in the light of a mystery and adverting to 
 the ceremonies of the Old Testament, fixed on 
 the number seven, as comprehending the most, 
 important mystic rites, within a mystic number. 
 The Reformed church rejecting the ceremonial 
 law, as abrogated by the Christian dispensation, 
 and strictly adhering to the institutes of the New 
 Testament, confined the number to two only, 
 " as generally necessary to salvation." Those 
 still viewed by the Catholic church as absolutely 
 essential, are, Baptism, Confirmation, Penance, 
 the Eucharist, Marriage, Holy Orders, and Ex- 
 treme Unction ; but of these only Baptism and 
 the Eucharist are retained, and practised by Pro- 
 testants, the rest being inadmissible upon the very 
 essence of a Sacrament, which is defined to be <c an 
 outward visible sign of an inward and spiritual 
 grace." Baptism was instituted by our Lord, 
 when he enjoined his Disciples to preach the 
 gospel to every creature, and " baptize them in 
 the name of the Father, and of the Son, and of the 
 Holy Ghost." St. Matthew, ch. xxviii.ver. 19. That 
 of the Eucharist, he instituted on the evening pre- 
 vious to his passion ; when, taking bread, he said, 
 u Take, eat ; this is my body :" and taking the 
 cup, he said, " Drink ye all of it, for this is my 
 blood." St. Matthew, ch. xxvi. ver. 27, 28. Re- 
 
CLEVELAND GALLERY CATALOGUE. 
 
 specting more sacraments than these, there is 
 nothing positively commanded, or, by any just 
 construction, implied in the New Testament. The 
 term mystery, from the Greek word (jLvgrepw, in 
 that language signifies any thing covert, or se- 
 cret ; and every religion, true or false, has had, 
 or still has, its mysteries. The Pagans embraced 
 in theirs things only to be divulged to the initiated ; 
 and the religion of the Jews was full of mysteries, 
 the meaning of which were only known to the 
 faithful. Their ceremonies, sacrifices, expiations, 
 unctions, benedictions, consecrations, &c. under 
 the Law of Moses, were all mysterious, as being 
 prefigurative of things to come, either events 
 which were to happen in the Christian economy, 
 or in the future world ! the meaning of which is 
 explained by St. Paul in his Epistle to the He- 
 brews. But, he says, " those were weak and 
 beggarly elements," which of themselves had " no 
 grace or efficacy:" Gal. ch. iv.ver. 9. The whole 
 of which were ultimately abrogated by the Chris- 
 tian institutes. 
 
 Respecting the seven celebrated pictures, illus- 
 trative of the Sacraments, I am enabled to fur- 
 nish a few particulars, which will afford, at least, 
 some amusement to those who are partial to such 
 anecdotes. Felibien, and some other Italian au- 
 thors, state, that Poussin painted two series of 
 these, and that they were both in high estimation 
 among the connoisseurs of the age. It is indeed 
 not improbable, that he either executed more of 
 
ANTI-ROOM, NOS. 68 TO 75. 81 
 
 the same, or that some of his pupils copied them 
 under his inspection. For there are now in 
 England two sets, one in the Cleveland House 
 Gallery, and another at Belvoir Castle. I have 
 also seen a duplicate of " Moses striking the 
 rock," which bears strong marks of originality. 
 The first series that he executed was for the Com- 
 mendatore Pozzo, who had patronized the artist. 
 This set descended to the Marquis Boccapaduli, 
 at Rome, from whom it was conveyed to England, 
 and became the property of the late Duke of 
 Rutland * 
 
 The pictures now belonging to the Marquis of 
 Stafford, vary in composition and size from those 
 just aliuded to. They were painted for M. de 
 Chantelon, who was a particular friend of the 
 artist, and at the time when they were executed 
 was Maitre d'Hotel to the King of France. The 
 picture of Extreme Unction was the first finished, 
 (a. d. 1644) and was sent from Rome to Paris, 
 where it attracted the notice and admiration of 
 the connoisseurs. This subject seems to have 
 been most congenial to the mind of the artist ; for, 
 he said, that he had endeavoured to form his ideas 
 from what he had seen recorded respecting the 
 
 * This nobleman manifested a laudable partiality for the best 
 works of the English school, and enriched his collection at Belvoir 
 Castle with some fine pictures by Sir Joshua Reynolds, West, 
 Stothard, Mortimer, Gainsborough, Peters, &c. A list of these, 
 from the pen of the latter gentleman, is published in Nichols's 
 History of Leicestershire, vol. ii. part 1, page 71, &c. 
 
S2 CLEVELAND GALLERY CATALOGUE. 
 
 pictures of Grecian artists ; and that Apelles had 
 been accustomed to choose similar subjects, where 
 dying persons formed the leading incident. The 
 picture of " Moses striking the rock," was painted 
 for M. de Gillier, from whom it passed through 
 the collections of M. de L'Isle Sairdiere, the Pre- 
 sident de Bellievre, M. de Dreux, the Marquis de 
 Seignelai, and that of the Due d' Orleans. 
 
 In the year 1647 he completed the Sacrament 
 of Penance, with that of Ordination, and also the 
 Eucharist. The last of the series is said to have 
 been finished in 1648, when Poussin was 54 years of 
 age. When the picture of Baptism reached Paris, 
 it experienced much severe criticism, and was 
 generally censured. This induced the artist not 
 only to vindicate the style he had adopted, but 
 to assure his Parisian friends, that such strictures 
 would tend more to stimulate than depress his 
 exertions. Such conduct manifests the true Philo- 
 sophy of Genius; which always aims to baffle the 
 efforts of envy and il liberality by laudably pur- 
 suing the road to wisdom, without waiting to 
 wrangle with every idle or peevish traveller it may 
 meet on the journey. It is a tax, however, which 
 merit must ever be subject to: for invidiousness 
 and ignorance are the collectors, and they always 
 levy their rates in proportion to the celebrity of 
 an individual. 
 
 These pictures passed from their original pos- 
 sessor to the Orleans Gallery : from which col- 
 
ANTI-ROOM, NOS. 6$ TO 75. 83 
 
 lection they were conveyed to Cleveland House. 
 They are all on canvass, and are nearly of the 
 same size : i. e. about three feet nine inches high by 
 five feet eight inches wide. 
 
 Having been rather copious respecting the his- 
 tory and subjects of these celebrated pictures, I 
 feel it necessary to restrain further observation ; 
 otherwise it would be interesting to many readers, 
 and could not be deemed irrelevant by any, to in- 
 vestigate and describe the characteristics of them, 
 in their several qualities of drawing, grouping, 
 composition, colouring, &c. For such a mode of 
 analyzing them, if ably and judiciously written, 
 would define the merit of the master, and also 
 embrace a pretty ample essay on the essential 
 principles of historical painting. Such an essay, 
 if impartial, might be useful at the present crisis; 
 for this is an era of the fine arts, and the young 
 painter and collector should be instructed and 
 warned by the example of their predecessors, 
 what ought to be studied and selected, and what 
 should be avoided. 
 
 With one or two quotations from writers whose 
 sentiments must be deemed more scientific than 
 my own, I shall conclude for the present the ac- 
 count of these pictures. u Poussin," says Sir 
 Joshua Reynolds, " lived and conversed with the 
 ancient statues so long, that he may be said to 
 have been better acquainted with them than with 
 the people who were about him. No work 3 of 
 
CLEVELAND GALLERY CATALOGUE. 
 
 any modern has so much of the air of antique 
 painting as those of Poussin. His best performances 
 have a remarkable dryness of manner, which, 
 though by no means to be recommended for imita- 
 tion, yet seems perfectly correspondent to that 
 ancient simplicity which distinguish his style. 
 Like Polidoro, he studied the ancients so much, 
 that he acquired a habit of thinking in their way, 
 and seemed to know perfectly the actions and ges- 
 tures they would use on every occasion. 
 
 " Poussin, in the latter part of his life, changed 
 from his dry manner to one much softer and 
 richer, where there is a greater union between 
 the figures and the ground, as in the Seven Sa- 
 craments in the Duke of Orleans collection ; but 
 neither these, nor any of his other pictures in 
 this manner, are at all comparable to many, in his 
 dry manner, which we have in England." The 
 following particulars, by Mr. Desenfans, respect- 
 ing Poussin, are calculated to elucidate his pro- 
 fessional life. 
 
 " He lived at a period when painting was most 
 pursued, and consequently most understood. It 
 was in the time of Rubens, Vandyke, Guido, Do- 
 minichino, Guercino, Albano, Claude, Velasquez, 
 Murillo, and many other celebrated masters, who, 
 notwithstanding the jealousy common to artists, 
 did, however, admire and praise the works of 
 Poussin, whose commissions were more numerous 
 than he could execute ; and, without mentioning 
 
ANTI-ROOM, NOS. 6*8 TO 75. 85 
 
 all the palaces and principal collections he con- 
 tributed so highly to enrich, we will enumerate 
 only those of his admirers, who were the most 
 eager for his works. 
 
 " Cardinal Richelieu, prime minister of France ; 
 the celebrated Cardinal Barbarini, whose taste and 
 knowledge have stamped the collection of his name 
 with renown ; the famous Chevalier del Pozzo ; Mr. 
 Gillier, the first connoisseur of that age ; the 
 Marquis de Voghera, that scientific antiquarian, 
 whose collection of medals and paintings was so 
 extolled ; M. de Cambray, the well-known writer 
 on the fine arts ; the celebrated Marquis de Seig- 
 nelay ; the President de Thou, another first-rate 
 amateur ; Mr. Sumague ; M. Scarron ; Mr. Poyntel ; 
 Mr. Raynon ; whose names hold the most illus- 
 trious rank in the annals of painting ; M. de la 
 Vrilliere, secretary of state ; M. de Mauray, su- 
 perintendant of the finances ; M. de Noyers, the 
 French Mecenas ; nearly all the sovereigns of 
 Europe, and the superiors of the different mona- 
 steries : in short, all those men of taste and genius, 
 contemporaries of Poussin, were those who most 
 sought to possess his works." 
 
$6 CLEVELAND GALLERY CATALOGUE. 
 
 PASSAGE-ROOM. 
 
 Marked F in the Plan, 
 
 76. F. ZUCCHERO. 
 
 The Ascension. 
 
 77. RAPHAEL MENGS. 
 
 Portrait of Robert Wood. 
 
 This gentleman was a native of Ireland, and 
 actuated by a love for works of art, travelled, 
 in company with Messrs. Bouverie and Dawkins, 
 through Greece. During this journey, they col- 
 lected a number of drawings from ancient frag- 
 ments of architecture, &c. and many of them 
 were engraved and published with historical and 
 descriptive accounts by Mr. Wood. 
 
 They are comprehended in two separate works : 
 and display " the Ruins of Palmyra and Balbec." 
 Mr. Wood is also known by a classical and inge- 
 nious Essay on the original Genius of Homer. 
 He was appointed Under Secretary of State, and 
 died in 1771. The present portrait of him was 
 painted during his stay at Rome. 
 
PASSAGE ROOM, NOS. 76* TO 83. 
 
 87 
 
 78. F. MILE. 
 
 Landscape, with figures. 
 
 79. * * * 
 Bacchanals. 
 
 80. CASTIGLIONE. 
 
 Jacob journeying. 
 
 81. * * * 
 
 A Landscape, with a stormy effect. 
 
 82. DOMENICO FETI. 
 
 Head of St. John in the Charger. 
 
 83. PALMA VECCHIO. 
 
 Soldiers playing in a Wood. 
 
38 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 DINING-ROOM. 
 
 Marked G in the Plan. 
 
 84. TIZIANO. 
 
 Diana and Actaeon *. 
 
 From the Orleans Gallery. Actaeon, the son of 
 Aristaeus, by Antonce, was a famous huntsman. 
 One day, compelled to desist from the sport by 
 the scorching rays of a meridian sun, he retired, 
 for the benefit of shade, to the sylvan covert of 
 a grove, dedicated to Diana ; in which was a 
 fountain, where the goddess and her attendant 
 nymphs usually went for the purposes of bathing, 
 after the fatigues of the chase. At the time the 
 young hunter made his appearance, Diana was 
 . undressed, and had just emerged from the re- 
 freshing stream. Surprised, and enraged at what 
 she considered to be unpardonable presumption, 
 she was about to snatch her bow, and aim a dart ; 
 but repressed her intention, and seizing as much 
 
 * This picture has been admirably copied, on a canvass of 
 the same size, by T. Phillips, R. A. an a» tist who has manifested 
 on this occasion, as well as in many original pictures, a scientific 
 knowledge of colours, combined with much taste and judgment 
 in drawing and execution. 
 
DINING-ROOM, NOS. 84 TO 104. 89 
 
 water as would fill the hollow of her hand, she 
 dashed it in his face ; and with sarcastic contumely, 
 said, 
 
 Boast now, thou rash, advent'rous youth, 
 That thou hast seen Diana naked. 
 
 In collections of pictures, such as the one I am 
 now describing, however beautiful and excellent 
 the generality of them may be, there will always 
 be some few of pre eminent merit ; most conspi- 
 cuous for the combination of the various requi- 
 sites of art ; and most excellent in their style of 
 execution. In this class stands the picture now 
 mentioned ; and I am, therefore, induced to enter 
 at length into some of the beauties and charac- 
 teristics of this excellent work. 
 
 The composition consists of the goddess Diana, 
 naked, seated on a piece of crimson drapery, and 
 attended by her nymphs, who are also naked. 
 They are assembled in a ruined building, which 
 serves as a bath. One of Diana's attendants is 
 wiping her after bathing ; another, (a black fe- 
 male) is assisting in attiring her; and four others 
 are represented in varied actions of surprise and 
 alarm at the sight of Actaeon, who appears to have 
 hastily advanced with his dogs to the opposite 
 side of the stream of water in which the females 
 have been bathing, and which runs diagonally 
 across the picture. The young hunter appears 
 astonished at beholding so much beauty unveiled 
 to his bewildered eyes; and marks, by the retiring 
 
CLEVELAND GALLERY CATALOGUE. 
 
 action of the upper part of his body, his ele- 
 vated arm, and the bow fallen from his hands, 
 the great consternation necessarily accompanying 
 such a circumstance. The building appears to 
 be a remnant of a magnificent structure, by a part 
 of its ruins fallen in the water being highly enriched 
 in bas-relief, and the arches of its roof being gilt 
 and painted. Large trees are represented in the 
 opening to the right ; and a distant landscape, 
 closed by mountains, terminates the scene. 
 
 The principal beauties of this exquisite work 
 are, its arrangement of light and shade ; its colour ; 
 and its freedom and style of execution. That of 
 its light and shade is so complete, that though the 
 back-ground possesses all the brilliancy of the 
 figures and fore-ground, yet each object keeps its 
 proper place, and the contrivance is such as not to 
 have theleast appearance of art ; whilst, from the va- 
 rious alterations (pentimenti in Italian) observable 
 in different parts, it is certainly the result only of 
 the most perfect science and art ; and as there is 
 no apparent study of dark to relieve light, and 
 visa versa, it bears the appearance of being 
 a happy combination of objects, by the liberal 
 hand of unrestrained nature. This is the truly 
 great difficulty of the chiaroscuro ; so often 
 spoken of ; so little understood ; so seldom ef- 
 fected. With respect to the colour ; the principal 
 mass being of flesh, Tiziano has been obliged to 
 vary the tones of it ; to make some in shadow ; 
 and even to do what is, by severe critics, con- 
 
DINING-ROOM, NOS. 84 TO 104. 01 
 
 sidered as false taste, to introduce one of Diana's 
 attendants in the African character, a female ne- 
 gro; which, however it may be condemned, serves a 
 most excellent purpose in the picture : as by termi- 
 nating the group immediately behind the goddess, 
 it assists in making a mass of dark, which relieves 
 the figure, and confines the eye to it: and by its 
 contrast, gives more clearness to her colour, and 
 dignity to her character. Besides, it rounds the 
 light in an agreeable manner, and prevents its 
 spreading too much to the boundary of the pic- 
 ture, which seems tc have been a circumstance 
 ever in the contemplation of this artist. A piece 
 of light crimson drapery hanging from the ruins 
 separates the figure of Actaeon from the sky, and 
 conveys into the upper part of the picture that co- 
 lour which is there continued and spread amongst 
 the dark building by the painting and gilding of 
 the roof. The general character of the tone is not 
 brilliancy and lustre of colour, like Rubens's, or 
 of Tiziano's earlier works ; but depth and clear- 
 ness, with simplicity. A circumstance in this 
 beautiful work, exhibits the skill of the master 
 very powerfully. The large mass of flesh made 
 by the figures, would be too soft and delicate, 
 and want vigour sufficient to counteract the 
 effect of light in the sky. Tiziano knew better 
 than to alter the nature of his materials : he would 
 not make flesh, like metal, to obtain his end, but 
 has effected it by the simple means of introducing 
 a small crystal vase, ornamented with gold, in the 
 
CLEVELAND GALLERY CATALOGUE. 
 
 midst of that mass. This, by reflecting a light 
 sharper and brighter than any other object in the 
 picture, completes all the desired purpose, and 
 makes the flesh appear still more agreeable than 
 without such a foil. There are several other arti- 
 fices of this nature, which nothing but an intimate 
 acquaintance with the picture will satisfactorily ex- 
 plain ; and thus does this powerful master, by these 
 alluring branches of the art of painting, almost 
 supersede the more important requisites of draw- 
 ing, expression, and composition, in which this 
 work must be allowed to be defective. Colours 
 may be said to appeal to that sense which almost 
 every person enjoys, and can exercise ; whilst ex- 
 pression, &c. is only recognized by the professed 
 artist and connoisseur. Hence arises the very ge- 
 neral approbation that is bestowed on pictures 
 which are richly and finely coloured ; and this con- 
 sideration should teach the young painter the ne- 
 cessity of cultivating and studying 6 fi the graces" 
 of his art, but not to pay too much court to them, 
 for they are likely to deceive ; as is manifested 
 by the works of Tiziano, the greatest master of 
 colouring, and equally so by many of his disci- 
 ples ; for drawing, composition, and expression, 
 were to them secondary considerations. 
 
 In the picture now spoken of, these great es- 
 sentials are sadly neglected ; the actions are far 
 from grand \ that of Actaeon is somewhat thea- 
 trical ; the expressions are vulgar, and without 
 interest, except Diana's \ and the drawing of the 
 
DINING-ROOM, NOS. 84 TO 104. 
 
 99 
 
 figures is, in general, coarse and bad. These are 
 too often the defects of Tiziano, but by no means 
 always: he would occasionally strike out ideal 
 grandeur, and give it its utmost force ; as in the 
 St. Peter Martyr, now in the Gallery at Paris ; 
 and in many other works. Since time and general 
 approbation have almost consecrated his produc- 
 tions, it may be deemed (by some persons) almost 
 high treason in the court of taste, to descant on 
 their defects ; but I cannot help thinking, that 
 discriminating criticism, including praise and cen- 
 sure, is the only useful, because the only just 
 mode of animadverting on works of art. If the 
 latter wholly prevails, it betrays a bad head, and 
 worse heart ; whilst extravagant encomium is al- 
 most equally disgusting to the impartial mind. 
 
 The history of this picture, with its companion, 
 No. 104, is extremely curious ; and were their 
 various situations and destinations recorded on 
 them, the narrative would prove highly interesting. 
 King Henry the VHIth, though more prone to 
 ferocity than refinement, evinced either a real 
 or affected partiality for the fine arts ; and having 
 failed in his endeavours to seduce Tiziano and 
 Raffaelie to his court, he at length succeeded in 
 procuring these two pictures as specimens of the 
 former master. They appear to have continued 
 in the royal collection till the dispersion of King 
 Charles's pictures, when they were sold to some 
 foreigner ; and soon afterwards were introduced 
 into the Orleans Gallery, where their superior 
 
94 CLEVELAND GALLERY CATALOGUE. 
 
 merit was highly extolled. Once more they were 
 destined to visit England, in company with the 
 remainder of the Duke's collection, and were pur- 
 chased by the late Duke of Bridge water. 
 
 85. ZTJCCARELLI. 
 
 Landscape, and figures. 
 
 86. LEANDRO BASSANO. 
 
 The last Judgment. 
 
 From the Orleans Gallery. In this extraor- 
 dinary little picture, the artist has displayed a 
 vast number of figures, which are painted with 
 great care and attention. Every face is minutely 
 finished, and the whole appears like an assemblage 
 of highly wrought portraits. It is a curious paint- 
 ing. The upper part of it displays a concourse of 
 angels, saints, &c. whilst at the bottom is shown a 
 group of uncouth, monstrous, and frightful figures. 
 Among them is a beautiful woman, whose limbs 
 are entwined with a serpent, and represented as 
 being forced into the " bottomless pit" by the 
 ministers of darkness. Thus whilst the upper part 
 of the picture excites joy and pleasure, the lower 
 part is shocking to the sight, and dreadful to 
 reflect on. 
 
 87- ALBANO. 
 
 Virgin and Child, with Angels, in an up- 
 right landscape. 
 
DINING-ROOM, NOS. 84 TO 104. 
 
 95 
 
 88. IL BOLOGNESE. 
 
 Landscape and Figures, with a Waterfall, 
 and a Bridge. 
 
 89- D. G. ARPINO. 
 
 The Fall of the Angels. 
 
 In this very highly finished picture, the artist 
 appears to have taken the idea of his figures from 
 RafTaelle and Michel Angelo ; adopting his Saint 
 Michael partly from the former, and the expelled 
 angels from the latter. It represents several naked 
 figures, thrown in different falling attitudes, and 
 one above them clad in armour and drapery, as 
 if in the act of driving them before him. All the 
 faces and bodies are highly finished, finely fore- 
 shortened, and discriminated by varied but very 
 strong expression. 
 
 This subject is taken from the account of the 
 mysterious dereliction of principle in a portion of 
 the heavenly hosts, their consequent fall from 
 happiness and hope, and their direful assignment 
 to the regions of misery. The awful circum- 
 stance is thus described in the General Epistle of 
 the Apostle St. Jude, ver. 6. " And the angels, 
 which kept not their first estate, but left their 
 own habitation, he hath reserved in everlasting 
 chains, under darkness, unto the judgment of 
 the great clay." This event is finely wrought up 
 by Milton, and furnishes the poet with some of 
 
96 CLEVELAND GALLERY CATALOGUE. 
 
 the most striking imagery of that sublime and 
 inimitable poem, " Paradise Lost." Having de- 
 scribed the angels as waging war in Heaven, he re- 
 presents the Eternal Son of God making his ap- 
 pearance, and by Almighty power terminating the 
 vain and unequal combat. 
 
 full soon 
 
 Among them He arriv'd, in his right hand 
 Grasping ten thousand thunders, which he sent 
 Before him ; such as in their souls infixed 
 Plagues. They, astonished, all resistance lost, 
 All courage ; down their idle weapons dropt : 
 O'er shields and helms, and helmed heads, He rode, 
 Of thrones and mighty seraphims prostrate ; 
 That wish'd the mountains now might be again 
 Thrown on them, as a shelter from his ire. 
 
 90. LONDONIS, 
 
 Landscape, and figures. 
 
 91. DOMENICHINO. 
 
 A Landscape, with figures, a Waterfall, 
 &c. 
 
 92. LUDOVICO CARACCI. 
 
 St. Francis. 
 
 In this picture the artist has, with great ex- 
 pression, represented the Saint fainting or dying 
 in the arms of two angels, whilst another angel is 
 exhibited in the clouds, with a violin, &c. 
 
DINING-ROOM, NOS. 84 TO 104. 
 
 97 
 
 93. P. DA CARAVAGGIO. 
 
 The Passage of the Red Sea. 
 
 94. TIZIANO VECCELLI. 
 
 Venus a la Coquille. 
 
 From the Orleans Gallery. This is one of those 
 pictures which produces an increasing gratification 
 to the eye and judgment, the longer it be viewed and 
 investigated. Unlike the meretricious coquet, who 
 merely charms the sight for a moment, this paint- 
 ing may be compared to the elegant and accom- 
 plished female, whose merits are unequivocal, but 
 not obtrusive, and who excites a lasting admiration, 
 rather than a momentary passion. Here are no 
 brilliant colours, forced effect, or picturesque fea- 
 tures. It is an unaffected picture, representing 
 the body of a naked female, who is standing in, or 
 just emerging from the sea, and appears in the act 
 of pressing the water from her hair. On the sur- 
 face of the ocean is a small shell, which gives name 
 to the picture. The expression, and turn of the 
 face and head, with the colouring of the flesh, and 
 delightful harmony of the whole, conspire to 
 render this performance peculiarly interesting and 
 fascinating to the professional artist and discri- 
 minating connoisseur. In a single figure of this 
 kind, and in some portraits, Tiziano was cer- 
 tainly pre-eminent ; but he was not equally suc- 
 
 H 
 
CLEVELAND GALLERY CATALOGUE. 
 
 cessful in grouping several figures. Venus has 
 been the theme of many poetical compositions, 
 and numerous painters and statuaries have exer- 
 cised and exerted their respective powers in repre- 
 senting this imaginary personage under the figure 
 of a beautiful female. Among the ancient artists, 
 Apelles was the first who painted her as just 
 emerging from the sea, and pressing the water 
 out of her hair. Tiziano has here repeated the 
 same subject ; and however perfect may have been 
 the performance of the Greek artist, we can 
 scarcely fancy that he excelled the Venetian. 
 That of Apelles was much celebrated by Pliny, 
 and several other Roman writers. It was probably 
 part of the collection of the Emperor Augustus, 
 and placed by him in a temple, which he dedi- 
 cated to his predecessor Julius. 
 
 The following lines from Thelwall's " Song 
 of Eros," convey a forcibly poetic picture of 
 Tiziano 9 s Venus : 
 
 " Then Beauty, from the waves, 
 
 Flush'd with primeval glow, in polish'd grace 
 Of motion, form, and feature, floating pride 
 Of shadowing ringlets, and resistless glance, 
 And the mute eloquence of witching smiles 
 And bosom-heav'd emotion, burst to view," 
 
DINING-KO0M, NOS. 84 TO 104. 
 
 9SI 
 
 95. GIACOMO BASSANO. 
 
 The Circumcision. 
 
 Luke, chap. ii. ver. 21, &c. 
 
 From the Orleans Gallery. The subject repre- 
 sented in this picture alludes to a religious rite 
 practised by several Eastern nations. Among the 
 Jews it was considered a divine institution. It 
 was enjoined to Abraham as a sign of the Covenant 
 of Grace, made between the Almighty and him- 
 self; and, in obedience to the command of God, 
 he received circumcision at the age of ninety-nine 
 years. " This is my covenant, which ye shall keep 
 between me and you, and thy seed after thee : 
 every man child among you shall be circumcised." 
 Genesis, ch. xvii. ver. 10. This operation was to 
 be performed on the child, if possible, on the 
 eighth day after his birth : Lev. ch. xii. ver. 3« 
 Agreeably to this injunction, the earthly parents 
 of the Saviour, wishing to comply with the rites of 
 their religion, had their son circumcised. " And 
 when eight days were accomplished for the cir- 
 cumcising of the child, his name was called Jesus, 
 which was so named of the angel, before he was 
 conceived in the womb. And when the days of 
 her purification, according to the Law of Moses, 
 were accomplished, they brought him to Jeru- 
 salem, to present him to the Lord." Luke, ch. ii. 
 ver. 21 and 22. 
 
100 CLEVELAND GALLERY CATALOGUE. 
 
 The picture of Bassano, representative of the 
 ceremony above alluded to, is distinguished for 
 its harmony, and the rich but delicate style of 
 colouring with which it is executed. It repre- 
 sents an high priest standing at the altar, with an 
 infant before him, who is attended by its mother, 
 and some other figures. Another female, with an 
 infant, are near the fore-ground, beyond whom 
 is the officiating boy with a lighted torch. 
 
 96. A. SCHIAVONE. 
 
 Christ before Pontius Pilate. 
 
 From the Orleans Gallery. The subject here 
 delineated is described by the Four Evangelists. 
 " And Jesus stood before the Governor, and 
 the Governor asked him, saying, Art thou the 
 King of the Jews? And Jesus said unto him, 
 Thou sayest. And when he was accused of the 
 Chief Priests, he answered nothing. Then said 
 Pilate unto him, Hearest thou not how many 
 things they witness against thee ? And he answered 
 him to never a word ; insomuch that the Governor 
 marvelled greatly." Matthew, ch. xxvii. ver. 11,12, 
 13, and 14. After a further investigation, he felt 
 satisfied in the innocence of Christ, and was 
 desirous of setting him at liberty, but his ac- 
 cusers persisted in having him crucified. There- 
 fore Pilate, finding he could not prevail against 
 the clamour of the assembly, took water and 
 washed his hands before the multitude, saying, 
 
DINING-ROOM, NOS. 84 TO 104. 
 
 101 
 
 " I am innocent of the blood of this just person : 
 see ye to it. Then answered all the people, and 
 said, His blood be on us and on our children.'' ver. 
 24 and 25. Some little variation of circumstances 
 occur in the accounts of the three other Evange- 
 lists, but not material for elucidating the picture. 
 
 This picture is described by De Fontenai in the 
 " Galerie du Palais Royal," as the finest specimen 
 of the master, and said to be excellent in compo- 
 sition, expression, and colouring. The painter was 
 contemporary with Tintoretto, who was a great 
 admirer of his colouring. Like most of the Vene- 
 tian painters, he neglected the greatest essentials 
 of his profession, drawing and composition ; — or, 
 at least, sacrificed them to colouring. 
 
 97- SPAGNOLETTO. 
 
 Christ disputing with the Doctors. 
 
 From the Orleans Gallery. It was a custom 
 among the Jews, for all persons that were able, 
 to make a religious visit to Jerusalem annually, 
 and pay their respects to the Temple at the time 
 of the Passover or Paschal Feast. The parents of 
 Jesus complying with this custom, took their son, 
 when he was supposed of an age sufficient to 
 profit by the journey. C£ And when he was 
 twelve years old, they went up to Jerusalem, after 
 the custom of the feast. And when they had ful- 
 filled the days, as they returned the child Jesus 
 tarried behind in Jerusalem j and Joseph and his 
 
102 CLEVELAND GALLERY CATALOGUE. 
 
 mother knew not of it ; but they, supposing him 
 to have been in the company, went a day's jour- 
 ney ; and they sought him among their kinsfolks 
 and acquaintance. And when they found him 
 not, they turned back again to Jerusalem, seek- 
 ing him. And it came to pass that after three 
 daysthey found him in the Temple, sitting in the 
 midst of the Doctors, both hearing them, and 
 asking them questions : and all that heard him, 
 were astonished at his understanding and answers." 
 Luke, ch. ii. ver. 42, 43, 44, 45, 46, and 47. 
 
 This extraordinary incident forms a subject for 
 one of the finest pictures that Spagnoletto ever 
 painted ; and it will be no exaggeration to say, 
 that it is equal, if not superior, to any painting 
 of the same kind that has ever been executed. 
 The subject is admirably explained ; the colour- 
 ing is rich, firm, appropriate, and harmonious ; 
 and the expression and composition are apposite 
 and excellent. On the right-hand side of the 
 picture is displayed a profile face, with a half- 
 length figure of Jesus (about twelve years old) 
 who appears to be eagerly and earnestly engaged 
 in addressing a group of old men, the Doctors, 
 on the opposite side of the picture. These are 
 all apparently perplexed ; and some of them are 
 examining the books and rolls, in order to obtain 
 matter to refute the inspired disputant. 
 
 The present picture is thus rendered replete with 
 interest ; for it arrests the attention of the spec- 
 tator, and will inevitably excite sympathy and 
 
DINING-ROOM, NOS. 84 TO 104. 
 
 103 
 
 investigation. Whatever tends to promote ra- 
 tional reflection, must be useful to the mental 
 faculties; for the mind is improved by judicious 
 exercise. Thus good pictures become powerful 
 stimuli, and thus the fine arts are rendered the 
 handmaids to knowledge and wisdom. 
 
 98. PALM A VECCHIO. 
 
 The Holy Family, in a landscape. 
 
 A similar anachronism to that already noticed in 
 No. 21, is displayed in this picture, which is also 
 distinguished for its vivid colouring. It will be 
 found an useful exercise to the young artist, to 
 compare and analyze the styles of this painter, of 
 Tiziano, Schiavone, &c. with that displayed in the 
 pictures by Raffaelle and N. Poussin. Whilst the 
 former appear to be attentive only to the orna- 
 ments of their works, to the surface of objects, the 
 others manifest mind and feeling. One is philoso- 
 phy, the other coquetry ; and it will not require 
 much deliberation or sagacity to decide which 
 should have the preference. 
 
 99- IL PORDENONE. 
 
 The Woman taken in Adultery. 
 
 This picture, from Sir George Yonge's collec- 
 tion, represents that passage in the writings of 
 
 &C^cLlc\ cx&Qa,^. CcS. ^tr: yz t 
 
 * )& Ml ; SUTWc*. l*t>4> t9<>) ^ ^ hl SU T* ■ 
 
104 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 St. John, where it is related that as Jesus was 
 seated in the Temple teaching the people ; the 
 " Scribes and Pharisees brought unto him a woman 
 taken in adultery ; and when they had set her 
 in the midst, they said unto him, 4 Master, this 
 woman was taken in adultery, in the very act. 
 Now Moses in the Law," Lev. ch. xx. ver. 10. and 
 Deut. ch. xxii. ver. 22. " commanded us that such 
 should be stoned/' St. John, ch. viii. ver. 3, 4, 5. 
 Importuned by them to give an answer, at length 
 he replied, " He that is without sin among you, 
 let him first cast a stone at her." This memo- 
 rable incident of the lenity and mercy of Christ 
 has frequently been painted, and it is calculated 
 to make an highly interesting picture ; for the va- 
 ried expression of the persons accusing, with the 
 meekness and humility of the persecuted female, 
 and this opposed to the dignified and benignant 
 aspect and attitude of the Saviour, are all admi- 
 rably adapted to call forth and put to the test the 
 talents of the artist. Poussin, Raffaelle, &c. would 
 have rendered such a scene grand and impressive. 
 Rubens has exerted his strength on it, and has 
 evinced considerable powers *. The present pic- 
 ture has also excellencies ; but, as Sir Joshua re- 
 marks, it may 66 tell the truth, though not the 
 whole truth." 
 
 * His very fine picture is now in the collection of Henry 
 Hope, Esq. and displays in its grouping, expression, and colour- 
 ing, the highest excellencies of the master. It is carefully and 
 tastefully engraved by Cardon, for " the British Gallery of Pic- 
 
DINING-ROOM, NOS. 84 TO 104. 
 
 105 
 
 100. ANTONIO ALLEGRI, called 
 CORREGGIO. 
 
 The Muleteers. 
 
 From the Orleans Gallery. This picture is sim- 
 ple and uninteresting in its composition : but be- 
 ing unquestionably the work of an eminent mas- 
 ter, and produced under peculiar circumstances, 
 is entitled to particular attention. Few artists 
 have obtained more flattering celebrity than 
 Correggio ; whence the critic, who wishes to 
 form his opinions rather from ocular evidence 
 than through the medium of other persons' senti- 
 ments, is anxious to examine and analyze the 
 works of this master. Unfortunately we have not 
 many fine specimens by him in England. There- 
 fore, the one now under consideration is valuable 
 and curious. This, however, furnishes only an 
 example of colouring, and that merely slight, or 
 sketchy. Still it is the work of a skilful artist : 
 and every touch and tint manifest taste and talent. 
 
 Bright, beyond all the rest, Correggio flings 
 His ample lights, and round them gently brings 
 The mingling shade. In all his works we view 
 Grandeur of style, and chastity of hue. 
 
 DU FRESNOY, BY MASON. 
 
 furcs," in which work it is also eloquently described. The print 
 is executed in the dot or stipled style of engraving, and is a de- 
 monstrative example of the superiority of that style to the stroke 
 for pictures of this kind. At some future opportunity, I intend 
 to investigate and discuss the controverted subject of stipled and 
 line engraving. 
 
CLEVELAND GALLERY CATALOGUE. 
 
 A traditional anecdote is attached to this pic- 
 ture, whereby the poverty and ability of the artist 
 are equally characterized. It is related, that it 
 was painted for the landlord of an inn, or public 
 house, to whom the artist had contracted a debt, 
 which he was unable to pay in any other coin. 
 The picture was quickly executed, was accepted 
 by the host, and placed as a sign to his house. 
 Similar stories are related of Moreland, that very 
 imprudent, dissolute man, but pleasing painter. 
 Anecdotes of this sort may serve to characterize 
 the natural disposition of a man ; and whenever 
 they attach to men of talent, they always excite 
 the mingled emotions of pity and contempt. We 
 deplore the weakness of human nature, and 
 despise the man, at the same time that we admire 
 his abilities. It is but justice to Correggio to 
 state, that we know but little of his life and 
 actions: consequently the above, like many other 
 stories respecting pictures and artists, may be un- 
 founded and untrue. Fuseli, in the new edition 
 of Pilkington's Dictionary, has furnished a con- 
 cise but interesting account of this artist's style 
 and character. 
 
DINING-ROOM, NOS. 84 TO 104. 
 
 10? 
 
 101. PALMA VECCHIO. 
 
 The Holy Family, with St. John. 
 
 In a fine landscape, with a mass of ruins in the 
 back ground, is represented a group of four per- 
 sons, the colouring of whom, and of the whole pic- 
 ture, is in the finest style of the Venetian school. 
 
 102. PAOLO VERONESE. 
 
 Christ, with his Disciples, at Emmaus. 
 
 From the Orleans Gallery. In this very finely 
 coloured picture we immediately recognise the 
 master, and perceive much to admire ; for it is 
 distinguished by that skilful style of clearness, 
 transparency, and harmony of tone, which cannot 
 fail to please the artist and amateur. The Sa- 
 viour is represented seated at the supper-table, 
 with five other persons ; and in the fore-ground 
 is displayed a child playing with a dog. The 
 latter figures do not appear very appropriate to 
 the composition, or subject ; and the character of 
 both is very uncouth and unpleasant. They have 
 the appearance of being portraits ; and were pro- 
 bably introduced at the express desire of some 
 person, for whom the picture was painted. It 
 would be a severe reproach on the artist, to sup- 
 pose that he voluntarily introduced such a dis- 
 cordant part, in a picture that is otherwise chaste 
 and harmonious. 
 
108 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 103. A. SCHIAVONE. 
 
 Marriage of St. Catharine. 
 
 104. TIZIANO VErCCELLI. 
 
 Diana and Calisto. 
 
 From the Orleans Gallery. — Companion to No. 
 81. According to mythological story, Callisto or 
 Calisto, called also Helice, was daughter of 
 Lycaon, King of Arcadia, and one of Diana's at- 
 tendants. Having excited the amorous passion 
 of Jupiter, that libidinous heathen god assumed 
 the shape of Diana, and thereby imposed on and 
 seduced the unsuspecting princess. As she was 
 afterwards bathing with the goddess and her at- 
 tendants, they discovered the effect of her inter- 
 course. This so much incensed the chaste deity, 
 that she transformed Calisto into a bear. 
 
 The painter has chosen that crisis in the story 
 when the ladies are all naked, and when the prin- 
 cess's crime is just discovered. At such a mo- 
 ment every figure must have been peculiarly af- 
 fected ; and the positions, arrangement, group- 
 ing, expression, and scenery of such an assem- 
 blage, all conspired to produce a picture of the 
 most fascinating description. Tiziano has effected 
 much in treating the subject, for he has de- 
 lineated and coloured some beautiful female 
 figures. In the representation of which he has 
 
DINING-ROOM, NOS. 84 TO 104. 
 
 109 
 
 so mingled and blended the glowing, peachy, ani- 
 mated tints in imitation of the human body, that 
 the figures may be said almost to " live and 
 breathe." It requires no extraordinary stretch of 
 fancy to suppose, that the blood is circulating 
 through the veins, and that the flesh would yield 
 to pressure. Though the picture has some ex- 
 quisite passages of this kind, yet it has faults; and, 
 I think, that Annibal Carracci has represented the 
 incident in a more impressive and perspicuous 
 style in his picture, which has been described in a 
 former page. 
 
110 
 
 CLEVELAND GALLEUY CATALOGUE. 
 
 ANTI-ROOM TO THE OLD GALLERY. 
 
 Marked G in the Plan. 
 
 This apartment is distinguished by a few specimens of the works 
 of English Painters ; and had it been wholly appropriated to some 
 choice pictures of this School, it would have proved gratifying to every 
 unprejudiced lover of the fine arts. Here would then have been a fair 
 opportunity for the British artist to have stood the test of compa- 
 rison, and to have been judged not merely by his individual, but by his 
 comparative merits. For myself, I should not fear the issue ; as I am 
 convinced that the best works of a Reynolds, Wilson, Gainsborough, 
 Opie, Barry, Wright, West, Northcote, Turner, and of some other 
 living painters, whose science and taste are honourable to themselves 
 and their country, would rather be exalted than depreciated by a fair 
 and impartial comparison with similar productions by the old masters *. 
 A few pictures by Raffaelle, Tiziano, and Claude, may stand above 
 competition : as the writings of a Shakspeare, Milton, and Johnson, 
 are unrivalled by those of any Italian author. It would afford me 
 much pleasure to pursue the subject, to investigate and analyze it, 
 to show what is the true state of English art, and by a dispas- 
 sionate, analytical exposition, vindicate the cause of genius and ta- 
 lent. I trust this might be done without prejudice or partiality, and 
 without depreciating in any degree the fair and honourable fame of the 
 old masters. It is a false and silly practice to depreciate one, in order 
 to exalt another. The essence of equity consists in apportioning to 
 every case and person, an honest and just award, which must be de- 
 
 * A literary and graphic work is now preparing for publication, to illustrate the 
 ENGLISH SCHOOL. It will consist of highly-finished engravings, from select pic- 
 tures hy English artists, and each print will be accompanied by apposite anecdote, 
 history, and description. To every series of subjects, hy one master, will be given 
 a portrait, with a copious memoir of the artist. Specimens of the work may be 
 seen at Mr. William Bond's, No. 37, Newman Street, London 
 
ANTI-ROOM TO OLD GALLERY, NOS. 105 TO 113. 
 
 113 
 
 duced from individual and local evidence, not from irrelevant prece- 
 dent, or nearly parallel examples. 
 
 Though the Cleveland House Gallery contains only a few pictures by 
 English artists, yet it is but justice to state that the noble Marquis has 
 made a considerable collection of these, which are deposited at 
 Trentham Hall, Staffordshire. 
 
 105. NICOLO DEL ABBAT1. 
 
 The Rape of Proserpine. 
 
 From the Orleans Gallery. In the fore-ground 
 of a large comprehensive landscape, the artist 
 has represented some female figures, the com- 
 panions of Proserpine, whilst the latter is shown 
 with Pluto, her ravisher, near the right hand side 
 of the picture. The distance, and middle of the 
 painting, display a great and grand diversity of 
 mountain, water, palaces, &c. whereby the artist 
 has endeavoured to represent the mythological 
 descriptions. In these it is related, that Pluto, 
 who was brother to Jupiter, could not prevail on 
 either of the goddesses to marry him, owing to 
 the deformity of his person, and gloominess of 
 his mansions. Enraged and disappointed, he as- 
 cended his chariot, and drove to Sicily, where he 
 discovered the lovely Proserpine, who, with her 
 female companions, were gathering flowers, in a 
 valley of Enna, near Mount iEtna. Captivated 
 by the personal charms of the former, the mer- 
 ciless god seized and conveyed her to his chariot, 
 which he instantly drove off, and plunging through 
 the river Chimarns, entered a territory, which 
 
112 CLEVELAND GALLERY CATALOGUE. 
 
 was perpetually enveloped in darkness. Such is 
 the fabulous story that gave origin to this picture, 
 and the latter displays it in a grand, expressive, 
 and admirable style. of composition and colouring. 
 A broad river is shewn extending obliquely across 
 the landscape ; and beyond that are some moun- 
 tains, whose tops appear immersed in, and uniting 
 with, the clouds. On the banks of the river are 
 some palaces, or castellated mansions, which are 
 illumined by a broad ray of sun-light. In the 
 drawing and characters of the figures, Abbati ap- 
 pears to have taken Parmagiano as a pattern ; but 
 in the landscape he has judiciously endeavoured to 
 imitate nature, and has manifested great taste and 
 judgment. See an interesting account of this 
 painter, whose works are little known in England, 
 by Fuseli, in the last edition of Pilkington's Dic- 
 tionary. 
 
 106. J. W. M. TURNER, II. A. 
 
 Sea Piece, with Dutch Fishing Boats. 
 
 I have already had occasion to refer to and 
 commend the pictures of this artist. It is a just tri- 
 bute due to merit ; and whether the painter be 
 living, or dead, we should learn to examine and 
 speak of his works in precisely the same terms. 
 I cannot help thinking it a false delicacy to with- 
 hold the meed of praise, because the individual be 
 alive, to enjoy, and benefit by it : nor is it a less 
 injudicious policy to repeat and re-echo the often- 
 
ANTI-ROOM TO OLD GALLERY, NOS. 105 TO 113. 113 
 
 recited encomiums on certain old masters: to con- 
 template their works solely with a view to dis- 
 cover beauties, and to fancy that every produc- 
 tion of their pencils must be excellent. It is such 
 a palpable absurdity, that we can scarcely reflect 
 on the timidity or pliability of the mind that 
 yields to it, without feeling an unpleasing emo- 
 tion, bordering on indignation : yet there have been 
 many, and still are some personsof thisdescription ; 
 but thanks to the vigorous and enlightened criti- 
 cism of the present age, we are just beginning 
 to emancipate from the common-place trammels 
 of custom : we are commencing the era of rationa- 
 lity and discrimination ; and the reflecting mind 
 anticipates an important result *. It is from such 
 artists as Turner that a correct taste will be formed 
 respecting landscape painting ; where the painter 
 seeks excellencies from carefully copying the 
 well-chosen effects, tones, and forms of nature. 
 He thereby tempts the opulent amateur to admire 
 and purchase the works of the artist, instead of 
 courting fashionable fame, by adopting some sub- 
 jects of temporary celebrity, or submitting to fol- 
 low, rather than nobly endeavour to lead, the 
 sons of emulation. 
 
 This picture of Turner's displays a ruffled sea, 
 with a few fishing-boats, and broad space of sky. 
 The latter consists of a little blue, with a large 
 
 * As calculated to promote this end, in a powerful manner, 
 I refer, with much pleasure, to a periodical work, now publish- 
 ing, entitled " The Review of Publications of Art." 
 I 
 
i 14 CLEVELAND GALLERY CATALOGUE. 
 
 dark cloud, which is formed and coloured to unite 
 and harmonize with the water. In his mode of 
 arranging and colouring the vessels, the artist 
 has evinced consummate science and taste; for 
 by two gleams of light, he has produced bright- 
 ness and breadth of effect, whilst the relative 
 situations and sizes of the floating objects unfolds 
 to the eye and fancy of the spectator, a grand 
 expanding scene. Though this picture is very 
 fine, Mr. Turner has shown still greater talents 
 in his later works: whence we are justified to 
 hope, that he will not stop short of excellence in 
 this department of art. 
 
 107. RICHARD WILSON. 
 
 A Landscape, with figures. 
 
 108. R. WILSON. 
 
 A Landscape, with figures, called Niobe. 
 
 The composition and effect of this grand pic- 
 ture, must be very generally known to every 
 lover of the arts, both at home and abroad ; for 
 the admirable print of it, by Woollet, who per- 
 petuated his own talents with those of the painter, 
 has been widely circulated, and universally ad- 
 mired. To show the comparative state of the 
 present and past age, with respect to arts and 
 their patrons, we need adduce no other evidence 
 than what is contained in the works of Wilson 
 
ANTI-ROOM TO OLD GALLERY, NOS. 105 TO 113. 115 
 
 and Turner. Both these artists evinced eminent 
 talents in landscape ; and the pictures of each 
 are now fairly appreciated and valued : but when 
 the former lived, he could not obtain a live- 
 lihood by his pencil, and was obliged to solicit 
 the place of Librarian to the Royal Academy. 
 The latter not only paints many pictures, but 
 sells them all, or nearly all, at high prices. 
 Whilst the former found it difficult to get 50 or 
 100 guineas for such a picture as the Niobe, the 
 latter readily obtains a sale for paintings, of the 
 same size, at 200 guineas each. Let those artists, 
 who are constantly murmuring at the want of 
 patronage, endeavour to produce pictures of equal 
 merit, and they will not be at a loss to find pur- 
 chasers for them. If the opulent class of English- 
 men have appeared to neglect their native artists, 
 the latter have shown a corresponding sentiment 
 of contempt. This is certainly wrong ; for if one 
 derives a pleasure and honour from encouraging 
 ability, and possessing meritorious works, the other 
 should endeavour to supply and gratify the de- 
 mand, and at the same time prove himself fully 
 entitled to liberal and permanent patronage. 
 
 It has been a practice with several writers, to 
 compare and contrast Claude with Wilson. This 
 was pursued in a laboured and rather prejudiced 
 manner in the edition of Pilkington's Dictionary, 
 published in 1798 ; but in that of 1805, by Fuseli, 
 the former " inflated" essay is omitted, and a 
 concise, rational account of the artist inserted. 
 
CLEVELAND GALLERY CATALOGUE. 
 
 109. ANDREA DEL SARTO. 
 
 Virgin, with the Infants Christ and St. 
 John. 
 
 110. ANDREA DEL SARTO. 
 
 Virgin, Child, and St. John. 
 
 111. WIILIAM DOBSON. 
 
 A profile Head of King Charles I. A 
 study. 
 
 112. IL TINTORETTO. 
 
 A Portrait of a Gentleman, with a ruff. 
 
 In the back-ground is a crucifixion : and on a 
 scroll is the date " anno m.d.lxxxiii". 
 
 113. R. R. REINAGLE. 
 
 A Landscape, with figures. 
 
 A pleasing little picture, representing a wide 
 tract of English scenery, and painted with much 
 delicacy and truth. 
 
OLD-GALLERY, WEST-END, NOS. 114 TO 252. 117 
 
 OLD-GALLERY, WEST-END. 
 
 Marked H in the Plan. 
 
 u Of Northern Schools, we next survey the touch, 
 And mark the Belgian, and laborious Dutch. 
 These, still to modest Nature ever true, 
 Close through her humblest paths the dame pursue • 
 Through each low track with care insidious wind, 
 And from his cottage drag the rustic hind. 
 With less success the German artists toil, 
 Spreading with leisure hand the blending oil, 
 Dry and insipid. Nature they express, 
 But veil her native grace in Gothic dress." 
 
 We are now advancing to a series of pictures, which are different in 
 every respect to those already described. Most of the former were 
 of the Italian and Venetian schools ; and from their rank, importance, 
 and subjects, demanded more attention, and excited more interest, 
 than such as merely display common-place objects, and vulgar per- 
 sonages. The Dutch and Flemish painters had more of the mecha- 
 nism, if I may be allowed the expression, than the mind, of art. They 
 copied visible objects with care and fidelity ; but as most of them were 
 confined to a country that had nothing beautiful or grand, it is not 
 very surprising that their pictures are devoid of these qualities. 
 
 Having extended the preceding disquisitions much further than was 
 originally intended or calculated on, I shall merely give the titles of the 
 pictures, and names of artists, to the remainder, with a few remarks 
 on some. 
 
118 CLEVELAND GALLERY CATALOGUE. 
 
 114. WILHELM VAN-DE-VELDE. 
 
 A Sea Piece, with Shipping. 
 
 This small highly-finished picture represents a 
 memorable engagement between the English and 
 Dutch fleets in June, 1666. The battle lasted four 
 days ; on the third of which, Sir George Ascough, 
 Admiral of the White, who commanded the Royal 
 Prince, of 92 guns, had the misfortune to strike 
 on the Galloper Sands, and was immediately at- 
 tacked by the crew of the Gouda, of 64 guns. 
 A fire-ship is shown to be bearing down, with the 
 Gouda, and the enemy's boat is just boarding the 
 English man of war. Many of the sailors from 
 the latter, after being" dragged into the Dutch 
 boat, contrived to effect an escape into their 
 foundered vessel through the port-holes. Finding 
 them so refractory, the Dutch officers commanded 
 some of them to be shot ; and to prevent the 
 ship's escape, ordered it to be burnt. This sub- 
 ject is again represented in a larger picture, with 
 a little variation, No. 242. 
 
 115. NICHOLAS BERCHEM. 
 
 A Landscape, with Cattle and figures. 
 
 116. JOHN HENDRICK ROOS. 
 
 A Landscape, with Cattle. 
 
OLD-GALLERY, WEST-EN J), NOS. 114 TO 252. 119 
 
 117- LUDOLP BACKHUYSEN. 
 
 A Sea Piece. 
 
 118. N. BERCHEM. 
 
 A Landscape and figures, called The 
 Bridge. 
 
 From the Calonne Collection. 
 
 119. WILHELM VAN-DE-VELDE. 
 
 A Sea Piece. 
 
 120. DAVID TENIERS, JUN. ^ 
 
 Ducks in Water. , Moorj vol {? \) M &r<x#zr 
 
 From Sir William Hamilton's Collection. The 
 versatility of this artist's style is manifested in the 
 present collection, which contains several very 
 highly finished and much esteemed pictures by 
 
 him. Fvfcvv aril** . <& if^Wa JaeeU ) Ho^Ua ' 
 
 121. JOOS MOMPERT. 
 
 An upright Landscape, with figures. 
 
 122. CORNELIUS POELEMBURG. 
 
 A Landscape, with figures. 
 
120 CLEVELAND GALLERY CATALOGUE. 
 
 123. JOHN ROT HEN AM ER. 
 
 Group of naked Boys, dancing, in a 
 landscape. 
 
 124. JOHN ASSELYN. 
 
 A Landscape, with a Bridge, and Cattle. 
 
 125. GIOVANNI GIASCHIETTI GON- 
 
 ZALES. 
 
 A full-length Portrait of the Princess Pa- 
 latine, Elizabeth, daughter of James I. 
 
 126. CORNELIUS HU YSSM ANN. 
 
 A Landscape, with figures. 
 
 127- LENAIN. 
 
 The Village Musician, with a Group of 
 Five ragged Children. 
 
 128. FRANZ PORBUS. 
 
 A Portrait of the Artist, in a loose gown, 
 edged with fur. 
 
OLD-GALL Ell Y, WEST-END, NOS. 114 TO 252. 121 
 
 129. GILLES SCHAGEN. 
 
 Interior of a Dutch Cottage. 
 
 130. JOHN PETER VAN SLINGELANDT. 
 
 Interior of a Kitchen. 
 
 131. GABRIEL METZU. 
 
 A Lady, with a Lap-dog. 
 
 132. N. BERCHEM. 
 
 A Landscape, and figures. 
 
 133. WILHELM VAN-DE-VELDE. 
 
 A Sea Piece, with Vessels. 
 
 134. REMBRANDT VAN RYN. 
 
 A Portrait of himself. 
 
 Nearly a full face, with his hat on. Every por- 
 trait by this artist is valuable and interesting ; 
 and those of eminent characters, and in his best 
 style, may be considered more particularly so. 
 Such is the picture now alluded to. As a portrait 
 of an artist, who stands pre-eminent for chiaro- 
 scuro, and forcible effects, and as a very finely 
 drawn and coloured head, this is justly and highly 
 esteemed. 
 
122 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 135. M. HOBBIMA. 
 
 A Landscape, and figures* 
 
 136. WILHELM VAN-DE-VELDE. 
 
 A Sea Piece, with Vessels. 
 
 137- SIR PETER PAUL RUBENS. 
 
 Peace and War : an allegorical picture. 
 
 In this large painting, the artist has introduced 
 several figures, the chief of whom appear to be 
 portraits of himself, his wife Helena Forman, 
 and some of his children. To give richness of 
 tone, and brilliancy of colours to the subject, he 
 has represented the females naked, and intro- 
 duced a leopard, fruit, &c. in the fore-ground. 
 In the back-ground is a stormy sky, with some 
 monstrous figures, characterizing the fiends of 
 war. It is a picture of forcible expression, strong 
 effect, and vivid colouring ; but the characters 
 are unpleasing and ungraceful, and the composi- 
 tion has too much of common, vulgar nature, to 
 suit the style of history or allegory. 
 
 This production formed part of King Charles's 
 collection : was sold by Cromwell to some picture- 
 dealer of Genoa, where it continued till within 
 these four or five years, when it was again brought 
 to England, and immediately purchased by the 
 present noble possessor. 
 
OLD-GALLERY, WEST-END, NOS. 114 TO 252. 123 
 
 138. REMBRANDT VAN RYN. 
 
 Portrait of a Lady. 
 
 139- M. HOBBIMA. 
 
 A Landscape, and figures. 
 
 140. D. TENIERS, JUN. 
 
 The Alchymist, or Chemist. 
 
 This very choice specimen of the master has 
 been engraved in a fine style, by Le Bas, on a 
 plate of the same size : on it is the date of 1639. 
 For transparency of colouring, dexterity and pre- 
 cision of pencilling, and an unostentatious repre- 
 sentation of the figures, with the various objects 
 here delineated, it seems almost impossible for an 
 artist to excel the present picture. 
 
 141. J. W YN ANTS. 
 
 A Landscape, and figures. 
 
 142. ALBERT CUYP. 
 
 The Landing of Prince Maurice at Dort. 
 
 On viewing this very exquisite picture, the 
 mind is cheered with the tranquil, sunny effect, 
 which Cuyp has so admirably imitated ; and we 
 
124 CLEVELAND GALLERY CATALOGUE. 
 
 feel participators in the scene from its strict re- 
 semblance to nature. A broad mass of sky, with 
 the colouring of sun-set, a piece of water, partak- 
 ing of the former, but varied by several reflec- 
 tions from boats, figures, and vessels, the top of a 
 tower, and a few houses, constitute the component 
 parts of this very facinating performance. 
 
 143. PHILIP DE CHAMPAGNE. 
 
 Portrait of John Baptist Colbert, Marquis 
 of Segnelai. 
 
 This nobleman, who was a statesman of great 
 eminence, was born at Paris in 1619, and died 
 1683. He was Minister of the Interior to Louis 
 the XlVth, and honourably distinguished him- 
 self by patronizing the fine arts, and the living 
 artists of his age and country. 
 
 144. ABRAHAM JANSENS. 
 
 Woman scouring a Kettle. 
 
 145. G. SCHAGEN. 
 
 Woman frying Pancakes. 
 
 146. * * * 
 Man reading a Ballad. 
 
OLD- GALLERY, WEST-END, NOS. 114 TO 252. 125 
 
 147- CORNELIUS DUSART. 
 
 An Interior, with Dutchmen playing at 
 Cards. 
 
 148. FRANCIS MIERIS, JUN. 
 
 Interior of a Cottage, with a Lady and 
 Child. 
 
 149- WILLIAM MIERIS. 
 
 A young Fidler, and a Female. 
 
 150. FRANCIS MIERIS, SEN. 
 
 A Lady at her Toilette. 
 
 151. * * * 
 A Portrait. 
 
 152. D. TENIERS, JUN. 
 
 A Winter Piece. 
 
 153. WILHELM VAN-DE-VELDE. 
 
 A Sea Piece. 
 
 154. JAN DE REYN, Or RHENI, called 
 
 Lang-Jan. 
 The Assumption. 
 
126 CLEVELAND GALLERY CATALOGUE. 
 
 155. JAN VAN HURTEN BURGH. 
 
 A Battle Piece. 
 
 156. JOHN VAN GOYEN. 
 
 A Landscape, with a Convent, &c. 
 
 157. A. CUYP. 
 
 A Landscape, with Ruins and Cattle. 
 
 This is evidently a view ; and is treated in such 
 a clear, simple, and careful style of drawing and 
 colouring, that it appears to be a transcript of 
 nature, under the effect of a summer-sun. Few 
 artists have successfully represented such appear- 
 ances ; because few have sufficiently attended to 
 all the local tones that prevail and give unity and 
 harmony to a peculiar effect. To produce which, 
 it is necessary to study and colour from nature : 
 for no memory can retain all the subordinate in- 
 cidents that conspire to make a natural scene har- 
 monious and complete. Among the present race 
 of English artists, Glover has shown the utility 
 and importance of this conduct in his very beau- 
 tiful drawings. 
 
 158. SIR ANTHONY VANDYCK. 
 
 Madonna, and infant Christ. 
 
OLD-GALLERY, WEST-END, NOS. 114 TO 252. 127 
 
 159- JAN VAN HURTENBURGH. 
 
 A Battle Piece. 
 
 160. A. CUYP. 
 
 A Landscape, and figures. 
 
 161. A. CUYP. 
 
 A Landscape, Cattle, Man on Horse, Ruins 
 of Abbey, Sun-set. 
 
 162. SIR P. P. RUBENS. 
 
 An historical Composition : a Study for a 
 larger Picture. 
 
 163. JACOB RUYSDAAL. 
 
 A Landscape ; a woody scene. 
 
 164. A. CUYP. 
 
 A large Landscape, with Cows, &c. 
 
 165. ARRY DE VOYS, 
 
 Head of a Student. 
 
128 CLEVELAND GALLERY CATALOGUE. 
 
 166. SIR P. P. RUBENS. 
 
 The Apotheosis of Hebe. 
 
 The principal figures in this very fine and cu- 
 rious picture are partly copied from RafTaelle's 
 celebrated series of frescoes, called Cupid and 
 Psyche, in the Vatican. 
 
 167. G. METZU. 
 
 A Woman with Herrings. 
 
 168. DAVID TENIERS, SEN. 
 
 A Pilgrim, with a Cottage and Landscape. 
 
 169. JAN V AN-DER-HE YDEN. 
 
 View of a Drawbridge, &c. 
 
 170. C. DUS ART. 
 
 Dutch Boors regaling: interior of a Cot- 
 tage. 
 
 171. VAN TOLL. 
 
 Sleeping Musician. 
 
 172. ADRIAN VAN OSTADE. 
 
 Interior of a Cottage: Dutch Boors re- 
 galing. 
 
OLD GALLERY, NOS. 114 TO J22S. 
 
 129 
 
 173. A. VAN OSTADE. 
 
 An old Lawyer, with his Client, inscribed 
 " A. Ostade, 1671 " 
 
 The figure of the old man is certainly a por- 
 trait ; and is repeated again, with the same dress, 
 &c. in No. 231. 
 
 174. CORNELIUS MOLENAER. 
 
 A Dutch Wake. 
 
 175. A. VAN OSTADE. 
 
 Dutchmen playing at Skittles. 
 
 176. A. VAN OSTADE. 
 
 Dutchmen playing at Trictac. 
 " A. Ostade, 1674." 
 
 177. A. VAN OSTADE. 
 
 Playing at Cards. 
 
 178. A. VAN OSTADE. 
 
 A Man with a Glass of Liquor. 
 
130 CLEVELAND GALLERY CATALOGUE. 
 
 179. A. VAN OSTADE. 
 
 Dutch Courtship : a Woman leaning on 
 a Hatch. " A. Ostade, 1667." 
 
 This very highly finished picture formerly be- 
 longed to the Due da Rohan Chabot. 
 
 180. MIREVELT. 
 
 A Portrait. 
 
 181. VAN HARP. 
 
 A Music Party : interior of a Cottage. 
 
 182. D. TENIERS, JUN. 
 
 A Dutch Kermis, or Fair. 
 
 A much celebrated picture by the master, and 
 painted in a most skilful style. It represents a 
 concourse of Dutch peasants, all of whom appear 
 to be actively and variously engaged in the sports 
 of such a place. This picture has been engraved 
 by Le Bas. 
 
 183. JOHN WILDE NS- 
 
 A Landscape. 
 
OLD GALLERY, NOS. 114 TO 2'28. 
 
 131 
 
 184. A. CUYP. 
 
 A Landscape and Cattle, with a single 
 figure. 
 
 185. SOLOMON CONINGH. 
 
 The Interior of a Study. 
 
 186. GERARD DOUW, 
 
 Portrait of, 
 
 A young warrior playing on a violin. Interior 
 of a study, with a whole length portrait of the 
 artist, who is represented in the dress of a cava- 
 lier, with boots, spurs, &c. and playing on a 
 violin.— « G. Dov. 1637." 
 
 187. JAN STEEN. 
 
 A Woman selling Fish. 
 
 188. G. DOUW. 
 
 An old Woman and Girl, with herrings 
 and vegetables. 
 
 189- SIR A. VAN DYCK. 
 
 Portrait of Thom,as Howard, Earl of Arundel. 
 
 To this patriotic nobleman, England is greatly 
 indebted for its present eminence iathe fine arts ; 
 
132 CLEVELAND GALLERY CATALOGUE. 
 
 for Lord Arundel was among the earliest ad- 
 mirers and patrons of statuary and painting. He 
 was most partial to the former ; and during his re- 
 sidence abroad in the reigns of James and Charles 
 the First, collected many fine specimens of ancient 
 sculpture. These, since his death, have been dis- 
 tributed in different collections. See an interest- 
 ing Account of this nobleman, and of his statues, 
 antiquities, &c. in Dallaway's Anecdotes of the 
 Arts, p. 234, &c. 
 
 190. FRANCIS SNYDERS. 
 
 Dogs with Fruit. 
 
 191. * * * 
 
 A Landscape and Barges. 
 
 192. G. METZU. 
 
 Lady giving a Traveller Refreshment. 
 
 Engraved in Le Brurfs Gallery. 
 
 193. REMBRANDT VAN RYN. 
 
 Interior of a Hebrew Temple, with an 
 aged person and boy at devotion. 
 
 In Foster's " British Gallery of Engravings" this 
 picture is intitled <e Samuel and Eli" and said 
 to be " a most admirable specimen of Rembrajidt, 
 
OLD GALLERY, NOS. 114 TO 228. 133 
 
 in his best manner ; yet few or none have known 
 what to make of the subject : nor was it till after 
 much deliberation, and still even with some doubt, 
 that the name of Samuel and Eli has been ascribed 
 to it in the present work." Since, therefore, this 
 gentleman, and his friends, seem to doubt the 
 title, or correspondence of the composition to that 
 subject, I am induced to offer a few remarks on 
 it. The picture represents the interior of an 
 apartment, which, from the serpent elevated on a 
 cross, the tables of Moses in Hebrew characters, 
 and the cherubim over the chair, certainly denote a 
 Jewish temple. The principal figures, constituting 
 the subject of the picture, are an old woman with 
 a boy : the latter of whom is kneeling, and ap- 
 parently receiving some religious instruction from 
 the other, who is seated with a closed book in her 
 left hand, and spectacles in the right. She is 
 dressed in a loose gown, with an ornamented 
 stomacher, and has a black cowl thrown over 
 the head. In the back-ground is shown a 
 group of figures, representing a priest, with an 
 infant in his arms, and other persons officiating. 
 Though we are not accustomed to see propriety 
 of costume, or very strict attention to historical 
 character and emblem, in the Dutch and Flemish 
 paintings, yet as Rembrandt executed a great 
 number of pictures and drawings from subjects 
 in the Bible, it can scarcely be supposed 
 that he would represent the high priest, Eli, 
 without a beard, or mitre. Indeed I cannot dis- 
 
134 CLEVELAND GALLERY CATALOGUE. 
 
 cover any apposite passage respecting those per- 
 sonages, that strictly apply to the composition 
 before us. A judicious critic, who manifests much 
 erudition, with a knowledge of art, says it re- 
 presents " Joash, son of Ahaziah, who was re- 
 moved from among the king's sons, whom Atha- 
 liah left for dead, by his aunt Jehoshabeath, the 
 wife of Jehoida, the high priest. She hid him 
 in the house of God six years : 2 Chron. xx. 
 11, 12/ Rembrandt has represented the educa- 
 tion of the future king in the principles of reli- 
 gion by his pious patroness. Her husband is 
 engaged in the ceremony of the redemption of a 
 first-born in the back-ground." Literary Pano- 
 rama, vol. iv. fo. 39. 
 
 194. GASPARD NETSCHER. 
 
 Duchess of Mazarin and St. Evremond, 
 
 In the characters of Vertumnus and Pomona. 
 Engraved for, and published by Boy dell. 
 
 195. D. VAN TOLL. 
 
 An old Woman and Dog within an arch. 
 
 196. REMBRANDT. 
 
 A Portrait of a Burgomaster. 
 
OLD GALLERY, NOS. 11 4 TO 228. 
 
 135 
 
 197- ' VAN HARP. 
 
 Men and Women regaling. 
 
 198. D. TENIERS, JUN. 
 
 Dutch Merry-making. 
 
 199. JOHN TEUNISZ BLANKOFT. 
 
 A Sea Piece, with Vessels ; a Castle on the 
 Shore, &c. 
 
 200. D. TENIERS, JUN. 
 
 Dutchmen playing at Nine-pins. 
 
 201. EGTON HENDRICK VAN-DER- 
 
 NEER. 
 
 Dutch Drummer-boy. 
 
 202. CORNELIUS BEGA. 
 
 Interior of a Cottage, with three figures 
 and a Child. 
 
 203. * * * ^ 
 A Landscape : apparently a study from 
 nature. 
 
136 CLEVELAND GALLERY CATALOGUE. 
 
 204. VICTOR. 
 
 Interior of a Cottage: a blind Man, Boy, 
 and an old Woman, with a flax wheel. 
 
 205. stoop. 
 
 A Landscape, and figures. 
 
 206. G. G. GONZALES. 
 
 Portrait of the Elector Palatine. 
 
 Companion to No. 125. — A full length portrait 
 of Frederick V. Count Palatine of the Rhine, Duke 
 of Bavaria, and afterwards elected King of Bo- 
 hemia, from whom the present Royal Family of 
 Great Britain is descended. 
 
 207- C. HUYSSMANN. 
 
 A Landscape, and figures. 
 
 Companion to No. 126. 
 208. JOHN BOTH. 
 
 A Landscape, and figures. 
 
 This very exquisite little picture represents a 
 mass of rock on the right hand, with a large 
 opening in it, and a piece of distant landscape to 
 
OLD GALLERY, NOS. 1 14 TO 228. %$f 
 
 the left. Beneath the shade of the former are 
 some figures on horses. The colouring and pen- 
 cilling of this highly finished painting are pecu- 
 liarly beautiful and excellent. 
 
 209- JOSEPH VAN CRAASBECK. 
 
 A Portrait. 
 
 210. WILLIAM KALF. 
 
 An Interior, with " still life" 
 
 211. * * * 
 
 An old Woman, with inside of a Cottage. 
 
 212. N. BERG HA M. 
 
 A Landscape, and figures. 
 
 From M. de Calonne's Collection. 
 
 213. JOHN WYNANTS. 
 
 A Landscape, and figures. 
 
 214. ISAAC VAN OST ABE. 
 
 A Landscape, and figures. 
 
338 
 
 CLEVELAND GALLERY CATALOGUE. 
 
 215. J. WYNANTS. 
 
 A Landscape, and figures. 
 
 216. JOHN FYTT. 
 
 A Dog chained. 
 
 Desenfans, who possessed this very fine pic- 
 ture, attributed it to Velasquez ; but, I am as- 
 sured that it was painted by Fytt. 
 
 217. J. WYNANTS. 
 
 A Landscape, and ruins. 
 
 218. J. VAN OSTADE. 
 
 A Landscape, and figures. 
 
 219. " J. WYNANTS I 1659." 
 
 A Landscape, and figures. 
 
 220. * * * 
 
 A Landscape, with figures bathing. 
 
 221. J. kuysdael. 
 A Landscape. 
 
OLD GALLERY, NOS. 114 TO 228. 
 
 139 
 
 222.. * * * 
 A Landscape, and cattle. 
 
 223. PAUL POTTER. 
 
 A Landscape, with three Oxen. 
 
 224. ADRIAN V AN-DER- NEE R. 
 
 Moonlight. 
 
 225. J. RUYSDAEL. 
 
 View of the old Gate at Amsterdam, with 
 a canal, bridge, windmill, &c. 
 
 226. PHILIP WOUWERMANS. 
 
 A Landscape, with figures. 
 
 227- P. WOUWERMANS. 
 
 A Landscape, and figures. 
 
 228. P. WOUWERMANS. 
 
 An Hay Field, with figures. 
 
140 CLEVELAND GALLERY CATALOGUE, 
 
 SMALL-ROOM, 
 
 AT THE 
 
 EAST END OF THE OLD GALLERY. 
 
 Marked I in the Plan. 
 
 229- HENDRICK MARTENS ZE ZORG. 
 
 An Interior of an Alehouse. 
 
 230. ADAM PYNAKEll. 
 
 A Landscape, and figures. 
 
 231. A. VAN OSTADE. 
 
 A Lawyer in his study. 
 
 232. STEENWYCK. 
 
 Interior of a Church at Antwerp. 
 
 233. DE VLEIGER. 
 
 A Sea Piece, with Dutch Boats, &c. 
 
SMALL ROOM, OLD GALLERY, NOS. 22<) TO 252. 141 
 
 234. ADRIAN BRAUER. 
 
 Dutchmen singing. 
 
 235. ADRIAN VAN-DE-VELDE. 
 
 A Landscape, and cattle. 
 
 236. JAN VAN HUYSCJM. 
 
 A Group of Flowers. 
 
 237- CORNELIUS DE H £ E M . 
 
 Fruit and Flowers. 
 
 238. van os. 
 Fruit and Flowers. 
 
 239. w. ROMEYN. 
 A Landscape, and cattle. 
 
 240. KAREL DU JARDIN. 
 
 Travellers going through water. 
 
 241. ALEXANDER KEIRINGS. 
 
 A Landscape, and figures. 
 
142 CLEVELAND GALLERY CATALOGUE. 
 
 242. W. VAN-DE-VELDE. 
 
 A Sea Piece. 
 
 The subject of this picture has been already 
 described at No. 1 14. 
 
 243. JOHN BAPTIST WEEN I NX. 
 
 A rained Portico. 
 
 244. N. BE RC II EM. 
 
 A Landscape, and figures. 
 
 245. EGIDIUS VAN TILBORGH. 
 
 Men Regaling. 
 
 246. JOHN LINGLEBACK. 
 
 A Landscape, and figures. 
 
 247- PETER VAN LINT. 
 
 A Musical Party. 
 
 248. J. w YCKE, JUN. 
 
 A Battle Piece. 
 
SMALL ROOM, OLD GALLERY, NOS. 229 TO 252. 143 
 
 249- GERARD TERBURGH. 
 
 Gentleman paying his addresses to a Lady. 
 
 250. G. NETSCHER. 
 
 A Lady washing her Hands. 
 
 251. JAN MIEL. 
 
 Travellers taking Refreshments. 
 
 252. PAUL BRILL. 
 
 Fauns and Nymphs, in a landscape, 
 
 END OF CATALOGUE. 
 
144 
 
 OBSERVATIONS, &C. ON THE 
 
 THE 
 
 FOLLOWING OBSERVATIONS, &c. 
 
 ON THE 
 
 PICTURES BY ADRIAN VAN OSTADE, 
 
 IN THE MARQUIS OF STAFFORD'S COLLECTION, 
 
 Are from the Pen of Humphrey Repton, Esq. whose ingenious Essays on 
 " Landscape Gardening," &c. are well known to the Literati. 
 
 Without meaning to describe the technical excellencies of the 
 Dutch School, which relate to the pencilling, colouring, or even the 
 composition and clair obscure, I shall confine myself only to the expres- 
 sion : for, however we may prize the exquisite finishing of a picture, yet 
 exact resemblance of visible objects is the easiest and lowest effort of 
 art ; since young jadies, at a boarding-school, will often paint a fea- 
 ther, a shell, and even a simple leaf or flower, with all the truth and 
 delicacy of nature. The art of painting is then most exalted when it re- 
 presents not only visible objects, but those circumstances which depend 
 on the imagination ; since the most exact resemblance of the face gives 
 little pleasure, unless the mind is in a manner pourtrayed : it is not the 
 features, but the passions, which the higher art is ambitious of trans- 
 fusing on to its canvass. 
 
 As the Italian School constantly endeavoured to exalt the human 
 character, and to surpass nature in ideal grace, and dignity of form and 
 expression, so the Dutch School seems to have generally aimed at de- 
 grading nature, by selecting low, vulgar, and gross subjects, repre- 
 senting men when they are losing their reason, and brutifying into mere 
 animals. If we examine the favourite subjects of either Teniers's, we 
 rarely discover any passion expressed in the human countenance, except 
 the progress of intoxication, from the vacant stare of stupidity, to the 
 utmost' extremes of rage or brutal drunkenness ; with hardly one counte- 
 nance in a whole crowd that possesses common intelligence, manly dig- 
 nity, or female grace. Their festive scenes of mirth, rather express 
 
PICTURES BY ADRIAN VAN OSTADE. 
 
 145 
 
 the absence of care, than the presence of joy, and sometimes excite our 
 wonder that such an assemblage of ugly mortals can be pleased with 
 each other. Notwithstanding the wonderful excellence of the pic- 
 tures, No. 182 and 198, this remark will not be too severe on these 
 works of Tenier's : and in the picture, No. 140, the Alcyhmist's face 
 being turned from the spectator, we can only admire the power of his 
 pencil in representing the detail and costume of the scene. When 
 A. Ostade paints numerous groups, or festive assemblies, the same 
 character prevails as in those of Tenier's ; but in his smaller groups, 
 or single figures, he seems to rise above the Dutch School by infusing 
 a degree of intelligence and expression of thought, which, though it 
 does not raise his subjects above nature (as in the Italian School) yet it 
 does not sink it below, (as in the Dutch School) which I shall beg 
 leave to exemplify. 
 
 No. 178. This " man with a glass of liquor," betrays no vacuity, 
 no vulgarity, no absolute intoxication : it is a cheerful happy counte- 
 nance ; and by the decent and reverential attitude of the hand with the 
 hat, is expressed humility, and perhaps gratitude, for the festivity of 
 which he is a partaker. 
 
 No. 179. " Courtship." In this picture there is more of Dutch 
 prudence than of passion. The face of the female is admirably ex- 
 pressive of that doubt which would naturally arise from advantageous 
 proposals made by such a lover, whose personal charms can have little 
 weight ; and, although she is not a beauty, yet both are characters 
 strictly in nature, and neither rise above, nor fall below the common 
 standard. 
 
 No. 173, Is doubtless one of the most perfect pictures of this 
 master, or even of the Dutch School, in point of expression: The ear- 
 nest attention of the lawyer, and the doubt and anxious 'suspense of 
 the client, so forcibly attract our notice, that the exquisite finishing of 
 the detail becomes a secondary consideration. In the pictures of 
 Gerrard Dow and Mieris, and others, we are often led to admire the 
 carpets and utensils, while we regret the want of mind in the principal 
 figures ; but in this picture of A. Ostade, we are called, irresistibly 
 called, to remark the operation of the mind on the features, and after- 
 wards admire the wonderful execution in the carpet, the papers, the 
 parchment, the pewter ink-stand, and even the wood of the chair and 
 table, each so exactly expressed, that we can hardly suppose them to 
 
146 
 
 OBSERVATIONS, &C. ON THE 
 
 have been secondary objects with the painter. The great excellence 
 of this picture seems to consist in the expression of the respective 
 substances of the visible objects being perfect, and yet subordinate t© 
 the expression of mind in the figures. 
 
 No. 231, Is a picture in no respect inferior, but seems to have 
 been placed in an obscure corner for reasons perfectly consonant to our 
 notions of delicacy : it is, therefore, seldom seen, and often only 
 glanced at and avoided by the ladies who visit this gallery. The same 
 exquisite finishing prevails in the furniture and details, but the counte- 
 nance is even more expressive than that of the former: indeed it seems 
 to be a portrait of the same individual lawyer. To the same earnestness 
 is now added doubt and hesitation ; he is in the act of selecting and 
 transcribing from a book ; and with a leaf between his finger and 
 thumb, he seems to consider two pages, and to compare them. His 
 eye expresses wavering irresolution, which is more strongly marked by 
 the holding of his breath through excess of earnestness, causing that 
 protusion of the lips which takes place during suspended respiration. 
 This was, doubtless, the first intention of the painter. Is it not pos- 
 sible, that from the gross habits of the Dutch School, some brother 
 artist might suggest the idea of an accumulation of saliva in the lawyer's 
 mouth ? and the conceit of painting a man, under the circumstance of 
 just going to spit, would be irresistible to a Dutch painter. The hint 
 is, therefore, confirmed by adding this offensive utensil. On minutely 
 examining this composition, and calling Mr. Wilkie's attention to the 
 subject, we thought we could discover that this object, which 
 makes too conspicuous a spot in the centre of the picture, is painted 
 in a different tone of colour to all the rest ; ami as the drawing of the 
 perspective is not quite correct, it may possibly have been subsequently 
 added ; and, perhaps, by a different hand. It might, therefore, be 
 rendered less conspicuous, in compliment to the delicacy and more re- 
 fined notions of the present day, without injury to the composition : 
 on the contrary, with manifest improvement. 
 
 I hope I may be allowed, on this occasion, to take some notice of 
 the English School, since the pictures, Nos. 306, 107, and 108, suffi- 
 ciently prove that they do not disgrace any collection. In the higher 
 branches of the art, few pictures of this School deserve a place ; but 
 in the works of Ostade, we see that there exists a middle station be- 
 tween the grace of the Italian, and the total absence of grace in tht 
 
PICTURES BY ADRIAN VAN OSTADE. 147 
 
 Dutch school ; and that io a faithful representation of nature, without 
 elevation or depression, great excellence may be attained. And thus, 
 as our Shakspeare surpasses all poets in exact portraiture of natural 
 character, so our Hogarth seems to have marked out a track to himself 
 by delineating the passions in tlte features; and this appears to be 
 the object in which the English School is most successful. The works 
 of many living artists in this country are copies from nature, rather 
 than from any other School ; and if we may judge from two or three 
 pictures lately produced in this country, we may hope to see the 
 spirit and expression of Hogarth, the colouring of Teniers, and the 
 high finishing of Gerrard Dow, united in the works of one living 
 artist. 
 
AS 
 
 ALPHABETICAL INDEX 
 
 OF THE 
 
 NAMES OF THE PAINTERS, 
 
 WHOSE PICTURES CONSTITUTE 
 
 THE COLLECTION 
 
 OF 
 
 THE MOST HONOURABLE THE MARQUIS OF STAFFORD, 
 
 AT CLEVELAND HOUSE. 
 
 In drawing up this list I have carefully endeavoured to give the correct spelling 
 of the Artist's names, with the times and places of their respective births and 
 deaths ; also the names of their masters ; and a reference by numbers to 
 their pictures in the present Gallery. In a few instances I have not been 
 able to find any account of the painter. 
 
 No. 
 
 Nicolo 1)EL Abbati, b. at Modena, 1512 ; died in France. Pupil of 
 
 Antonio Beggarelli, a Modenese sculptor 105 
 
 Francesco Albano, b. at Bologno, a city of Italy, 1578; died at tbe 
 same place, 1660 ; aged 82. A pupil of Denis Calvert and 
 the Caracci : painted historical landscapes, tStc 44, 87 
 
 Giuseppe D'Arpino, called Gioseppino, b. at Naples, 1560; d. 1640, 
 aged 80. A disciple of Raffaelle da Reggio : painted history 
 and battles 89 
 
 John Asselyn, called Crabbetje, b. at Antwerp 1610; d. 1660, aged 
 50. A disciple of Esaias Yan-de-Velde : painted land- 
 scapes, battles, history, and animals 1 24 
 
 B 
 
 Ludolph Backhuysen, b. at Embden, 1631 ; d. 1709, aged 78. A dis- 
 ciple of Everdingin : painted sea-pieces and shipping 117 
 
INDEX.— B. C. 
 
 Leandro Bassano, b. at Bassano on the river Brenta in Venice 1558 ; 
 
 d. 1623, aged 65. A disciple of Giacomo Bassano : painted 
 history and portraits 86 
 
 Giacomo Bassano, or Da Ponte da Bassano, b. at Bassano, 1510; d. 
 
 J 592, aged 82. A disciple of Bonifacio: painted history, 
 cattle, landscapes, and portraits 95 
 
 Michael Angelo Cerquozzi, called Dele Battaglia, b. 1600; d. 1660, 
 
 aged 60. Imitator of Bamboccio : painted battles, &c. ... 33 
 
 Cornelius Bega, b. at Haerlem 1620; d. 1664, aged 44. A disciple 
 of Adrian Ostade : painted landscapes, cattle, and conver- 
 sations 202 
 
 Nicholas Berchem, b. at Haerlem 1624; d. 1683, aged 59. A dis- 
 ciple of Grebber, Van Goyen, and Weeninx : painted land- 
 scapes with cattle, figures Sec 115, 118, 132, 212, 244 
 
 John Teunisz Blankoft, b. at Alkmaar, 1628; d. 1670, aged 42. A 
 disciple of Caesar Everdingen : painted landscapes and sea 
 shores . 199 
 
 Gio. Francesco Grimaldi, called II Bolognese, b. at Bologna 1606; 
 
 d. 1680, aged 74. A disciple of Ann. Caracci: painted 
 figures and landscapes 8S 
 
 John Both, b. at Utrecht, a city of the United Provinces, 1610 ; d. 
 
 1650, aged 40. A disciple of Abraham Bloemart: painted 
 landscapes with figures 208 
 
 Padro Jacomo Cortese called 11 Borgognone, b. at St. Hippolito, in 
 Franche Comte, 1621 ; d. 1676, aged 55. A disciple of Je- 
 ronymo and Guido : painted battles, landscapes and history 32 
 
 Adrian Brower or Brauer, b. at Haerlem 1608; d. 1640, aged 32. 
 
 A disciple of Francis Hals : painted drolls and conversa- 
 tions 234 
 
 Paul Bril, b. at Antwerp 1554 ; d. 1626, aged 72. A disciple of 
 
 Daniel Voltelmans : painted landscapes 252 
 
 C 
 
 Luca Cangiagio or Cambiasi, b. at Mount Oneglia, near Genoa, 1527 ; 
 
 d. 1585, aged 58. A disciple of his father Giovanni Can- 
 giagio: painted history 18 
 
 Ludovico Caracci, b. at Bologna, 1555; d. 1619, aged 64. A disci- 
 ple of Prospero Fontana : painted history, landscapes, and 
 portraits 11, 20, 25, 52, 92 
 
 Annibal Caracci, b. at Bologna 1560 ; d. at Rome 1609, aged 49. A 
 disciple of Ludovico Caracci: painted history, portraits, 
 and landscapes 6, 7, 15, 19, 54, 59, 65, 66, 67 
 
 Polidora Caldara da Caravagio, b. 1492; d. 1543, aged 51. From a 
 
INDEX.— C. D. 
 
 No. 
 
 labourer became an assistant to Raffaelle in the Vatican : 
 painted history and ornament 93 
 
 Valerio Castelli, b. at Genoa 1625; d. 1659, aged 34. A disciple 
 
 of Domenico Fiasella : painted history and battles 109 
 
 Giovanni Benedetto Castiglione, called Grechetto, b. at Genoa 1616 ; 
 
 d. 1670, aged 54. A disciple of Battista Page and Giovanni 
 Andrea de Ferrari : painted cattle, landscape, portrait, and 
 history 80 
 
 Carlo Cignani, b. at Bologna 1628 ; d. 1719, aged 91. A disciple of 
 
 Battista Cairo, and Albano : painted history 60 
 
 Philip de Champagne, b. at Brussels, 1 602 ; d. 1674, aged 72. A dis- 
 ciple of Michael Bourdeaux and Fouquiere : painted his- 
 tory, landscapes, and portraits 143 
 
 Claude de Lorraine or Gelee, b. at Lorraine, a town in France, 1600; 
 
 d. 1682, aged 82. A disciple of Agostino Tassi: painted 
 landscapes 39, 43, 50, 58 
 
 Antonio Allegri, called II Correggio, b. at Corregio, a town in the Mo- 
 denese, 1494; d. 1534, aged 40. A disciple of II Frari of 
 Modena : painted history 55, 100 
 
 Pietro Beretini da Cortona, b. at Cortona, a town in Tuscany, 1596 ; 
 
 d. 1669, aged 73. A disciple of Baccio Sciarpi and Andr. 
 Com mod i : painted history and landscapes 38 
 
 Joseph Van Craasbeck or Craesbeck, b. at Brussels 1608 ; d. 1668, 
 aged 60. A disciple of Adrian Brower: painted drolls and 
 conversations 209 
 
 Albert Cuyp or Kuyp, b. at Dort 1 605 ; d. . A disciple of his 
 
 father: painted cattle, landscapes, sea-pieces, &c. 142, 157, 
 
 160, 161, 164, 184 
 
 D 
 
 William Dobson, b. in London, 1610; d. 1646, aged 36. A disciple 
 
 of Peak and Francis Cleyn : painted portraits and history 1 1 1 
 
 Domenico Feti, b. at Rome 1589 , d. 1624, aged 35. A pupil of 
 
 Ludovico Cigoli : painted history 82 
 
 Domenico Zampieri, or Domenichino, b. at Bologna 1581 ; d. 1641, 
 aged 60. A disciple of Denis Calvert and the Caracci : 
 painted history and landscapes 26, 62, 64, 91 
 
 Gerard Douw, b. at Leyden, 1613 ; d. 1674, aged 61. A disciple of 
 Rembrandt: painted portraits, conversations, and fancy sub- 
 jects 186, 188 
 
 Cornelius Dusart, b. at Haerlem 1665 ; d. 1704, aged 39. A disciple 
 of Adrian Ostade : painted conversations, dancing, groups, 
 &c 147,170 
 
INDEX. — F. G. H. I. J. 
 
 No. 
 
 F 
 
 Searzellino da Ferraha 1 
 
 Giov. Battista Salvi, called Sasso Ferrato ; b. at Sasso Ferrato, near 
 
 Urbino, 1504 ; d. 1590, aged 86. A disciple of Francesco 
 
 Penni : painted history 2 
 
 Ciro Ferri, b. at Rome 1634 ; d. 1689, aged 55. A disciple of Pietro 
 
 da Cortona : painted history 36 
 
 Jan Fytt, b. at Antwerp about the year 1625 : painted animals, fruit, 
 
 flowers, and landscapes 216 
 
 G 
 
 Giorgione Del Castle Franco, or Giorzio Barbarelli, b. at Castle 
 Franco, in the Venetian territory, 1478- d. 1511, aged 33. 
 A disciple of Giovanni Bellini : painted history, portraits, 
 and landscapes 21 
 
 Giovanni Giaschietti Gonzales, called Borgogne della Testes, b. at 
 Madrid 1630 ; d. 1696, aged 66. Studied after Tiziano : 
 painted portraits 125,206 
 
 Grimoux, after Murillo 4 
 
 Giovanni Francesco Barbieri, cabled Guercino da Cento, b. at Cento, a 
 village near Bologna, 1590; d. 1666, aged 76. A disciple 
 of P. Zagnoni and Cremonio, also Ben Genari and Lud. 
 Caracci : painted history 22, 35 
 
 Guido Rheni, b. at Bologna 1574 ; d. 1642, aged 68. A disciple of 
 Denis Calvart and the Caracci : painted history and por- 
 traits 28, 30 
 
 H 
 
 Gerit Van Harp, or Herp 181, 197 
 
 Cornelius de Heem, b. atUtretcht 1623. A djsciple of his father John 
 
 David deHeem: painted fruit and still-life 237 
 
 Minderhout Hobbima, b. at Antwerp 161 1 ; d. : painted land- 
 scapes 135, 139 
 
 Jan Van Hurtenburgh, b. at Haerlem, 1646; d. 1733, aged 87. A 
 disciple of his father Jacques : painted battles, encampments, 
 and huntings 155, 159 
 
 Jan Van Huysum, b. at Amsterdam 1682 j d. 1749, aged 67. A 
 disciple of Justus Van Huysum : painted flowers, fruit, and 
 landscapes 236 
 
 Cornelius Houseman, or Huyssmann, b. at Antwerp 1648; d. 1727, aged 
 79. A disciple of Gaspar de Wit and Artois : painted land- 
 scapes and animals 126, 207 
 
 I J 
 
 Abraham Jansens 144 
 
 Karel du Jarpyn or Jardin, b. at Amsterdam, 1 640 ; d. 1 678, aged 58. 
 
INDEX. — K. L. M. 
 
 No. 
 
 A disciple of Nicholas Berchem: painted conversations, 
 
 animals, Italian fairs, &c 240 
 
 K 
 
 William Kalf, b. at Amsterdam 1630; d. 1693, aged 63. A disciple 
 
 of Hendrick Pot : painted still-life .^10 
 
 Alexander Kierings, or Kierincx, b. at Utrecht 1590; d. 1646, aged 
 
 56: painted landscapes 241 
 
 Solomon Koningh, b. at Amsterdam 1609. A disciple of Francis Ver- 
 
 nando, and Nicholas Mooj art : painted history and portrait. 135 
 
 L 
 
 Jan de Reyn or Rheni, called Lang-Jan, b. at Dunkirk 1610; d. 1678, 
 aged 68. A disciple of Van-dyck : painted history and por- 
 traits 154 
 
 Filippo Lauri, b. at Rome 1623; d. 1694, aged 71. A disciple of 
 
 Angelo Carosello: painted landscapes and history 48, 51 
 
 Lenain 127 
 
 Jan Lingleback, b. at Frankfort, 1625; d. 1687, aged 62: painted 
 
 battles, fairs, sea-ports, and sea-fights 246 
 
 Peter Van Lint, b. at Antwerp 1 609. Studied in the academy at Rome : 
 
 painted history and portraits 247 
 
 Londonis 90 
 
 M 
 
 Carlo Maratti, Cevaliere, b. at Camurano in Ancona, 1625; d. 1713, 
 aged 88. A disciple of Andrea Sacchi : painted history and 
 portraits 31 
 
 Antonio Raphael Mengs, b. at Auszig in Bohemia 1728; d. 1779, 
 aged 51. A disciple of his father Ismuel Mengs : painted 
 history and portraits 77 
 
 Gabriel Metzu, b. at Leyden 1615; d. 1658, aged 43. Imitated 
 Douw and Mieris : painted portraits and conversa- 
 tions 131, 167, 192 
 
 Jan Miel, called Giovanni della Vile, b. in Flanders 1599 ; d. 1664, 
 aged 65. A disciple of Gerard Segers and Andrea Sacchi : 
 painted history, huntings, and conversations 251 
 
 Francis Mieris, called the Old, b. at Leyden 1635; d. 1681, aged 46. 
 
 A disciple of Toornvliet and Gerard Douw : painted portraits, 
 conversations, and still-life 150 
 
 William Mieris, called the Young, b. at Leyden 1662; d. 1747, aged 
 85. A disciple of his father Francis Mieris : painted history, 
 conversations, and landscapes 149 
 
 Francis Mieris, called the Young Francis, b. at Leyden 1689. A dis- 
 ciple of his father William Mieris : painted conversations, 
 portraits, and still-life < 1 48 
 
INDEX.— M. N. O. P. 
 
 No. 
 
 Francesco Mjlk, or Mii.le, called Francisque : b. at Antwerp, 1644; 
 
 d. 1680, aged 36. A disciple of Laurentius Franck: painted 
 landscapes and history 40, 42, 78 
 
 Michael Jansen Mireveldt, b. at Delft 1568 ; d. 1641, aged 73. A 
 disciple of Anton Monfort and Blocklant : painted portraits 
 and history 180 
 
 Giovanni Battista Mola, b. 1620; A disciple of Albano: painted his- 
 tory, and landscapes 34 
 
 Pietro Francesco Mola, b- at Lugano, a town of Switzerland, 1 609 ; 
 
 d. 1665, aged 56. A disciple of Albano : painted landscapes, 
 and history ... 13 
 
 Cornelius Molenaer, b.at Antwerp 1540; d. 1603, aged 62. Imitated 
 
 JohnNagel: painted landscapes 174 
 
 Joos or Jodocus Mom pert, b. 1580: painted landscapes 121 
 
 N 
 
 Gaspard Netscher, b. at Heidelberg, 1639; d, 1684, aged 45. A dis- 
 ciple of Koster and Gerard Terburgh: painted history, por- 
 traits, and still-life 194, 250 
 
 O 
 
 Van Os 238 
 
 Adrian Van Ostade, b. at Lubeck, a town in Lower Saxony, 1610; 
 
 d. 1685, aged 75. A disciple of Francis Hals: painted con- 
 versations, dancings, and drol Is, 1 72,1 73,1 75,176,177,1 78,1 79,231 
 Isaac Van Ostade, b. at Lubeck 1617 ; d. young. A disciple of his 
 father Adrian Van Ostade: painted drolls and conversa- 
 tions 214, 218 
 
 P 
 
 Giacome Palma, called the Old, b. at Serinalta 1548; d.1596, aged 48. 
 
 A disciple of Tiziano : painted history 57, 83, 98, 101 
 
 Francesco Mazzuoli, called Parmigiano, b. at Parma, a town of Italy, 
 1504; d. 1540, aged 36. Studied after Raffaelle and Buo- 
 narotti : painted history, and portraits 16, 17 
 
 Baldassare Peruzzi, b- at Volterra 1481 ; d. 1536, aged 55. A dis- 
 ciple of Raffaelle : painted history, and architecture 3 
 
 Sebastiano del Piombo, called Venetiano, b. at Venice 1485; d. 1547, 
 aged 62. A disciple of Giovanni Bellini, and Giorgione : 
 painted portraits, and history 27 
 
 Cornelius Poelemburg, b. at Utrecht, a city of the United Provinces, 
 1586: d. 1660, aged 74. A disciple of Abraham Bloemart: 
 painted landscapes, caves, &c. with small figures 122 
 
INDEX. — P. R. 
 
 No. 
 
 Franz Porbus, b. at Bruges, 1570; d. 1622, aged 52. A disciple of 
 
 his father Frances Porbus : painted history and portraits .. 128 
 
 Giovanni Antonio Licinio II Pordenone, called the Old, b. at Por- 
 denone, a castle in Friuli,a province of Italy, 1484: d. 1540, 
 aged 56. Studied under Giorgione : painted history 99 
 
 Paul Potter, b. at Enkhuysen in 1625 ; d. 1654, aged 29. A disci- 
 ple of his father Peter Potter: painted cattle and landscapes 223 
 
 Gasper Poussin, or Dughet, b. in France 1600; another writer says 
 at Rome, 1613: d. 1663. A disciple of Nicolo Poussin: 
 painted landscapes 45, 55, 56 
 
 Nicolo Poussin, b. at Andel in Normandy, 1594; d. 1665, aged 71. 
 
 A disciple of F. and L. Alimant. Studied at Rome after 
 Raffaelle, &c. : painted history and landscapes. 68,69,70, 71, 
 
 72, 73, 74, 75 
 
 Adam Pynaker, b. at Pynaker (whence he took his name) 1621; 
 
 d. 1673, aged 52. A disciple of : painted 
 landscapes , 230 
 
 R. 
 
 Raffaelle, Sanzio, di Urbino: b. at Urbino, a city of Italy, 1483; 
 
 d. 1520, aged 37. A disciple of his father Giovanni; and 
 ofPietro Perugino: painted history and portraits ... 8,9, 10, 46 
 
 R. R. Reinagle, an English artist now living 113 
 
 Rembrandt Van Ryn, b. at a village near Leyden in Holland, 1606 ; 
 
 d. 1674, aged 68. A disciple of Zwaanenburg Lastman, and 
 Pinas: painted history, portraits, and landscapes 134, 138, 
 
 193, 196 
 
 Julio or Giulio Romano, or Giulio Pippi : b. at Rome, 1492 ; d. 1546, 
 aged 54. A disciple of Raffaelle : painted history, land- 
 scapes, and animals — 14 
 
 W Romeyn 239 
 
 John Hendrick Roos, b. at Ottenburgh 1651 ; d. 1685, aged 54. A 
 disciple of Julian Jardeyn and Adrian de Bie: painted land- 
 scapes, animals, and portraits 116 
 
 Salvator Rosa, b. at Naples 1614; d. 1675, aged 59. A disciple of 
 Spagnoletto, and David Falcone: painted history, land- 
 scapes, battles, and sea pieces 12, 41 
 
 John Rothenamer, b. at Munich, a city of Germany, 1564 ; d. 1604, 
 aged 40. A disciple of Donouwer : studied Tintoretto : paint- 
 ed history, &c 125 
 
 Sir Peter Paul Rubens, b. at Cologne, a city of Germany. 1577 ; d. 
 
INDEX. — R. S. T. 
 
 No. 
 
 1640, aged 63. A disciple of Adam van Dort, and Otho 
 Venius : painted history, landscapes, portraits, and 
 
 flowers . 137, 162, 166 
 
 Jacob Ruyspael, b. at Haerlem 1636 ; d. 1681, aged 45. Painted 
 
 landscapes 163, 221, 225 
 
 S 
 
 Andrea del Sarto, or Vanucci, b. at Florence, 1488; d. 1530, aged 42. 
 
 A disciple of Giovanni Barile, and Pietro Cosimo : painted 
 history, and portraits 110 
 
 Andrea Schiavone, b. at Sebenico 1522 ; d. 1582, aged 60. A disci- 
 ple of Tiziano : painted history 96, 103 
 
 Bartolemio Schidone, b. at Modeno, a city of Italy, 1560; d. 1616, 
 aged 56. A disciple of the Caracci : painted history, and 
 portraits 61 
 
 Gilles Schagen, b. at Alkmaar 1616; d. 1668, aged 52. A disciple of 
 
 Solomon van Ravesteyn : painted history, and portraits, 129,145 
 
 John Peter Van Slingeland, b. at Leyden 1640 ; d. 1691, aged 51. A 
 disciple of Gerard Douw : painted portraits and conversa- 
 tions 130 
 
 Francis Snyders, or Sneyers, b. at Antwerp, 1579 ; d. 1657, aged 78. 
 
 A disciple of Henry van Balen: painted animals, fruit, 
 hunting, landscapes, and still life 190 
 
 Guiseppe Ribera, or Lo Spagnoletto, b. at Xativa 1589; d. 1656, 
 
 aged 67 : painted history, and portraits 97 
 
 Jan Steen, b. at Leyden 1636; d. 1689, aged 53. A disciple of 
 Knupfer, Brower, and Van Goyen ; painted conversations 
 and drolls 1 87 
 
 Henry Steenwyck, called the Old, b. at Steenwyck 1550; d. 1603, 
 aged 53. A disciple of Jan de Vries : painted perspec- 
 tive and architecture 232 
 
 Peter Stoop, mentioned by Walpole as a Flemish painter who settled 
 in Lisbon, resided some years in London, and afterwards 
 retired to Flanders, where he died at an advanced age 
 in 1686 , 205 
 
 T 
 
 David Teniers, called the Old, b. at Antwerp 1582; d. 1649, aged 67. 
 
 A disciple of Rubens : painted conversations and landscapes 168 
 
 David Temers, called the Young, b. at Antwerp 1610 ; d. 1694, aged 
 48. A disciple of his father, and of Brower : painted land- 
 scapes, conversations, portraits and still life, 120, 140, 152, 
 
 182, 198, 200 
 
INDEX — T. V. 
 
 No. 
 
 Gerard Terburgh, b. at Zwoll near Overyssel 1608; d. 1681, aged 73. 
 
 A disciple of his father: painted conversations and portraits 249 
 
 Egidius van Tilborgh or Tilburg, b. at Brussels, 1625. Imitated 
 
 Brower and Teniers: painted conversations and markets ... 245 
 
 Jacopo II Tintoretto, or Kobusti, b. at Venice 1512; d. 1594, aged 82. 
 
 A disciple of Tiziano : painted history, portraits, and archi- 
 tecture 23, 49, 112 
 
 Tiziano Vec( ( elli Cavaliere, commonly called Titian, b. at the castle of 
 Cador, in the Venetian territory, 1480; d. 1576, aged 96. 
 A disciple of Giovanni Bellini and Giorgione : painted his- 
 tory, portraits, and landscapes 24, 37, 84,94, 104 
 
 D. Van Toll 171, 195 
 
 Alessandro Veronese, called Turchi, and 11 Orbetto,b. at Verona 1600; 
 
 d. 1670, aged 70. A disciple of Felice Riccio : painted his- 
 tory 29 
 
 I. W. M. Turner, R. A. An artist now living 106 
 
 V 
 
 John Van de Hayden, b. at Gorcum 1637 ; d. 1712, aged 75. : painted 
 
 landscapes, and ancient and modern buildings 169 
 
 Arnold Vander Neer, b. at Amsterdam 1619; d. 1683, aged 64. 
 
 Painted landscapes and moonlights 224 
 
 Eglon Hendrick Van de Neer, b. at Amsterdam 1643 ; d. 1703, aged 
 60. A disciple of his father: painted history, portraits, 
 conversations, plants, animals, and landscapes 201 
 
 Wilhelm Van de Velde, called the Young, b. at Amsterdam 1633; 
 
 d. 1707, aged 74. A disciple of his father and of Simon de 
 Vleiger: painted sea pieces and fights, 114, 119, 133, 136, 153, 
 
 242 
 
 Adrian Van de Velde, b. at Amsterdam 1639 ; d. 1672, aged 35. A 
 disciple of Jan Wynants : painted landscapes, animals, and 
 history 235 
 
 Sir Anthony Van-Dyck, b. at Antwerp 1599; d. 1641, aged 42. A 
 disciple of Van Balen and Rubens : painted portraits and 
 history 158, 189 
 
 Jan Van Goyen, b. at Leyden 1596; d. 1656, aged 60. A disciple 
 of Gerritsen, and Esaias Van de Velde : painted landscapes, 
 cattle, and sea pieces 156 
 
 Paolo Cagliari, called Veronese, b. at Verona, a city of Italy, 1530; 
 
 d. 1588, aged 58. A disciple of Antonio Badile : painted 
 history 102 
 
 Ann. Victor 204 
 
 Leonardo da Vinci, b, at Vinci near Florence 1445; d. 1520, aged 
 
INDEX.— V. W. Z. ' 
 
 No. 
 
 75. A disciple of Andrea Veroccliio : painted history and 
 
 portraits 47 
 
 Simon de Vleiger, lived at Amsterdam about 1640 233 
 
 Daniello Rkciarelli, called da Volterra, b. at Volterra 1509; d. 
 
 1566, aged 57. A disciple of Anton. Vecelli, and Baldassare 
 
 , Peruzzi : painted history 5 
 
 Any de Voys, b. at Leyden 1641. A disciple of Nicholas Knupfer 
 and Abraham Vanden Tempel : painted history and por- 
 traits 165 
 
 W 
 
 John Baptist Weeninx, called the Old, b. at Amsterdam 1621 ; d. 
 
 1660, aged 39. A disciple of Moojaert and Abraham Bloe- 
 mart: painted landscapes, animals, portraits, and flowers... 243 
 
 Jan Wildens, b. at Antwerp, 1584; d. 1644, aged 60. Studied 
 
 after nature: painted landscapes and figures 183 
 
 Richard Wilson, b. in Wales 1714; d. 1782, aged 68 : painted land- 
 scapes 107, 108 
 
 Philip Wouwermans, b. at Haerlem, a town in Holland, 1620; d. 
 
 1668, aged 48. A disciple of Jan Wynants : painted land- 
 scapes and cattle 226, 227, 228 
 
 Jan Van Wycke, called the Young, b. at Haerlem ; d. 1702, 
 
 aged . A disciple of his father Thomas Wycke: painted 
 
 battle pieces, and hunting scenes 248 
 
 Jan Wynants, b. at Haerlem in 1600; d. 1670, aged 70: painted 
 
 landscapes, fowls, &c 141, 213, 215, 217, 219 
 
 Z 
 
 Hendrick Martensze Sorch or Zorgh, b. at Rotterdam 1621 ; d. 1682, 
 aged 61. A disciple of David Teniers, and Wil. Buytenweg : 
 painted history, conversations, Italian fairs, &c 229 
 
 Taddeo. Zucchero, b. at St. Agnolo in Vado 1529; died 1566, aged 
 37. A disciple of his father, of Ottaviano, P. Calavrese, 
 and P. da Fano: painted history and portraits 76 
 
 Zuccarelli 85 
 
HISTORY OF THE FINE ARTS, &c. IN ENGLAND. 
 
 Lately published, price 5s. crown 8vo. — 6s. medium 8vo. — and 7s. 6d. royal 
 8vo. The two latter are intended to class, or bind up, with the Beauties 
 of Wiltshire. 
 
 AN Historical account of CORSHAM HOUSE, in Wiltshire, the seat of 
 Paul Cobb Methuen, Esq. with a Descriptive Catalogue of his cele- 
 brated Collection of Pictures.. Dedicated to the Patrons of the British In- 
 stitution ; and embracing a concise Historical Essay on the Fine Arts. With 
 a brief account of the different Schools, and a Review of the progressive 
 state of the Arts in England, &c. Also, Biographical Sketches of the 
 Artists whose works constitute this Collection. 
 
 By JOHN BRITTON, F. S. A. 
 Embellished with a View and Plan of the House. 
 London: published by Longman and Co. Paternoster-Row, Taylor, 
 Holboirp, the Author, Tavistock Place, and Barretti, Bath. 
 
 THE following Work contains, exclusive of its Topographical Infor- 
 mation, DESCRIPTIVE CATALOGUES of the Pictures, &c. at 
 Longford Castle j Wilton House ; Wardour Castle, and Fonthill. 
 
 THE BEAUTIES OF WILTSHIRE. 
 
 Displayed in Statistical, Historical and Descriptive Sketches, interspersed 
 with Anecdotes of Arts, 
 
 BY JOHN BRITTON. 
 2. Vols. Price 1/. 4a\ demy 8vo. and 1/. 16s. royal. 
 The third and fourth Volumes, to complete this work, will be 
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 Wiltshire ; also a particular essay on the great Drudical Temple, &c. at 
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 fourteen Engravings. 
 
 London ; printed for Longman and Co. and the Author. 
 
HISTORY AND ILLUSTRATIONS 
 
 OF 
 
 ECCLESIASTICAL, CIVIL, AND CASTELLATED 
 ENGLISH ARCHITECTURE. 
 
 THE ARCHITECTURAL ANTIQUITIES OF GREAT BRITAIN. 
 Represented and Illustrated in a Series of Views, Elevations, Plans, 
 Sections, and Details of various Ancient English Edifices, with Historical 
 and Descriptive accounts of each, 
 
 BY JOHN BRITTON, F. S. A. 
 Vol. I. In medium quarto, price 4>L 4s. in extra boards; and in extra 
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 Dedicated, with Permission, to the Marquis of Stafford. 
 This Volume contains Sixty-one Engravings, representing Views with 
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 volume. 
 
 Prints. Letter- press. 
 
 Screen in Edward the Confessor's Chapel, Westm. . . .Title-page. . .One Page. 
 
 Door-Way to St. Mary's Church, Marlbro', Wilts. ..One Print... 
 
 St. Botolfh's Priory Church, Colchester, Essex ....Three 6 Pages. 
 
 Dunstable Do Bedfordshire... Three 6 Pages. 
 
 St. Nicholas Church, &c. Abingdon, Berks One 2 Pages. 
 
 Layer Marney Hall Essex One 2 Pages. 
 
 King's College Chapel, Cambridge.. .Cambridgesh. .Seven 16 Pages. 
 
 The Round Church at Do Do Three. 
 
 Do Northampton Three. 
 
 Do At the Temple, London Three. 
 
 Do At Little Maplested Essex Three. 
 
 Malmsbury Abbey Church Wiltshire Ten 14 Pages. 
 
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 The Second Volume of this work will be published early in the year 1809, 
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 ► 24 Pages. 
 
 ► Seventeen... 34 Pages. 
 
Chapel; also several Views, Sec. of Old Mansions; with an Historical 
 Essay on Ancient Domestic Architecture. 
 
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HISTORY AND BIOGRAPHY. 
 
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 NAVAL and MILITARY MEMOIRS of 
 
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6 PRINTED FOR LONGMAN, 
 
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 CHRONICLE of the CID, Rodrigo Diaz 
 
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 THE CHEMICAL LECTURES of the 
 
 celebrated Dr. JOSEPH BLACK, 
 
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MEDICINE, SURGERY, AND CHEMISTRY. 
 
 7 
 
 been made in this Science, especially since the Year W56. 
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