WMlS 2s 1811 May 25 LoChO c.2 mJx pMm.fi. GETTY CENTER LIBRARY 3 3125 00827 6517 1811 May 25 LoChO £ Christie, James, 1773-1831. Catalogue of a truly capital & highly I valuable assemblage chiefly of distinguished Italian, and a few Spanish, French, Flemish, and l— D utch Dicti ireq _I MtpWRl ■a/mm-m J. .*»S;/•*« W; ' Y*'~o ^-:•./ SHH PSiiPfe ; “fV> \ vi^Wl W ■ ■■ • ' " :'•*• .. 1 Y* .;■ >:. I-< . :t&8sw*H! ••«.< Mpff&U l'WMtoi«>1 I RTO • i ' * i vrriYrivi . < 1 ^ V'v'v V ',*^ A CATALOGUE OF A TRULY CAPITAL A HIGHLY VALUABLE ASSEMBLAGE CHIEFLY OF HISTIJVGUISHED Jtaltatt, anti a JTui Spaniel), jfmvdj, jflenitsf), anti 30utci> Of the finest Class , ID III THE GENUINE AND ENTIRE COLLECTION OF WILLIAM YOUNG OTTLEY, ESQ. THIS COLLECTION Partly purchased on the Continent from the Borghese, Colonna, Albani, and oilier Palaces, and partly selected from celebrated Cabinets in this Country, at great Expence, will present a truly Classic Treat to the more enlightened and refined Collectors, as it comprises some one pure and first-rate Specimen oi almost every distinguished Master in the Florentine) Roman , Venetian , Lombard , and Bolognese Schools ,. From the Revival to the Perfection of the Arts. - ' ‘ AMONG WHICH ARE „> ! „ • jii.Oi j .11 4 t vj yj % Mary Magdalene transported by Angels, by Fra. Bartolommeo —.Charity, by A* del Sarto, mentioned by Vasari, and all the principal French Writers on Fainting, formerly in the King of France’s Collection — A Cabinet Picture^ by Raphael, unique—Europa, a Concert, and Portraits, by Titian —Holy Family, Parmegiano, St. Francis, A. Caracci —ale. \ s : jf-tyg , •• . v S’ *•.. It&SL • ’v . Jt' My JL HE highest Bidder to be the Buyer; and if -any Dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. v II. - No person to advance less than Is.—Above Five Pounds, 2s. 6d. and so on in Proportion. III. The Purchasers to give in their Names and Places of Abode, and to pay down 5s. in the Pound, in part of payment of the Purchase Money: in default of which, the Lot or Lots so purchased, to be immediately put up again and re-sold. IV. The Lots to be tak^n away with all Faults at the Buyer’s Expence, within One Day after the Sale. • » * * i • t • ~. r • • y • .; '■;> |T k * • \ * V. -To prevent Inconveniences that frequently attend long and open Accounts, the Remainder of the Purchase Money to be absolutely paid on or before Delivery. VI. Upon Failure of complying with the above Conditions, the Money deposited, in part of Payment, shall be forfeited, all Lots uncleared within the Time aforesaid shall be re-sold by public or private Sale ; and the Deficiency (if any) attending such Re-sale, shall be made good by the Defaulter at this Sale. f /2?- ( t ) »>;. •.! Xnm -lo arwibiq t A ZninuU sfovvltpart oi' . - i l WHS O'' tnKUflOll Oltl TO T'JS gfiOfllY tlOIEB M ; f no • ;•• ■ i f v j);;;d y: :v of!) omoH *i: jm;od";.U rut! ’!<> aim fma, v ufl< „loo;T>a ‘full n* Lvt : > .‘nubi'i rslIA. bsinribii ?h\ 70l vhtliB l -v.Uunl l. Jo oOfavifioqrjR o v/i -m Sfc. Sfc. Sfc. mi . . v. lyy/y yi iz‘) teod oil) ' ri )1 .imil ^i*« to > ? * . ■> • * V\ - ^ . W4. Wit f* .) , i Vitiili/I SATURDAY, the 25th of MAY, 1811. 1 IO Hf •ir.q !<■.vvj'iwf ilm 1 \. j Ham it ! it y i vir o’, -. i! dr or; .< - : if'! V. ' / .i*/. , , . PICTURES . . -■ ir ' jm. ,,y ’ i. ii m • , :> in!t Padovanino 'X- * ii u O o 'Ip 6 O' •oolloD a'orrtf 1 ' T . bio.’ mot'!—.leUiiisq tuAl 1 LOT and his Daughters. An elegant composition, ex¬ actly in the manner of the series of pictures of the Loves of the Gods, at Blenheim, which are un¬ doubtedly the work of Padovanino, though they have been long ascribed to the pencil of Titian Alessandro Tiarini 2 The Sudarium of St. Veronica. This Artist was con¬ sidered one of the best scholars of L. Caracci FRAJtcfesco Vanni. 5 Our Saviour appearing to St. Catherine; on copper Niccolo Poussin. . 4 A correct Copy of the celebrated antique Picture, called the Aldobrandini Marriage; of the bold execution of which the laboured drawings commonly seen give no just idea v * * <\\ . t\ ' c >' C * • n m \ 4 > \ ■* * < 4 ) y Pietro da Cortona Pietro Subleiras i • 4- ■ /4 Van Goyen . Lucas Cranach . „ PoELEMBURGH . , 4- /y >- c Vanderneer Fyt . 5 The Shepherds’ Offering. A picture of merit, by an anonymous artist of the Lombard School 6 His finished Sketch for the very celebrated Fresco on the Ceiling of the Hall of the Barberini Palace, at Rome 7 A native of France, who chiefly,resided at Rome, and was ^ one of the last artists of eminence •’in that school. A finished Study for his admired Altar Picture, copied in mpsaic in St. Peter’s Church at Rome « ^ ij. » • > .(’J • J fj 8 A very small specimen, in which however the appearance of motion in the water is admirably expressed 9 Next to Albert Durer, this artist was considered the best Portrait Painter in Germany, of his time. It is probable that this is the Portrait a Princess of Saxony, ■ at which court Lucas was employed during the greater part of his life 10 The Holy Family. A highly finished and well preserved picture 11 Sunrise. Admirable tor its effect 12 Dead Game, with a Cat. One of the best pictures of that excellent painter.—From Lord Mazarine’s Collec¬ tion , p Es A. V A NDERVELDE. ■ nir ru; ibinw .mi ' • > an?/ m- /( ft - & S . Ruysdaee Z5--4- Van Goyen. at 13 Returning from a Fair. The merit of this artist is at present little known, except from his etchings; from this specimen he seems entitled to what he maintained during his life-time, a very high rank amongst the Painters of his school 14 Wood and Water. A tranquil scene ^ I 15 View on the Coast of Holland, with his mark and date. It is rare to meet with pictures of this artist, who painted with a very small body of colour, in such perfect preservation—on panncl ( 5 ) 3 / €0 2/ J6 -/* - l/7- o - //- ^ -/r- * 16 A Nymph Sleeping. A study from nature for his Antiop e painted in his boldest manner 17 A Dutch Concert. The reflexion from the white paper on the face of the Old Woman, is admirable w /4- /z l-r - 4 - //- i? Z4 /• o Vandyk .. #d) moil £»‘jy«g' mm A. Ostade ...._ *fi o) bijnoooiq turn A. Cuyp . 18 The Portrait of his Son. Not inferior to Rembrandt Jan Miele . 19 A Landscape, with Italian Peasantry. One of his very ( . finest pictures.—From the Collection of the late Sir L. Dundas • ' & Maria Cosw r AY... 20 A Jewish Woman ascending the Steps of the Temple, with an Offering of Doves. This picture was considered by the fair artist as one of her best productions, and has been finely engraved by Mr. Tomkins - /2 .0 II. Fuseli, Esq.R.A. 21 The Dream of Eve; from Milton. Admirable for its com - position and effect Ditto . 22 Sin and Death; from the same Poet. These two pictures are, it is presumed, two of the finest effusions of this great artist’s genius, ami have been since in the pos¬ session of the Proprietor, engraved upon a large scale, amongst a selection of what their author deems his best "works Camil. Procaccini 23 The Repose in Egypt. Pannel i Niccolo Poussin.. 24 Landscape, with Figures reposing, and a distant View of an ancient City ; the solemn tranquil effect of Evening Twilight in Niccolo’s Roman manner.—Brought from Rome by Mr. Ottley 25 The Dead Christ, with the Maries. A grand and pathetic composition ; a capital picture of an unknown Italian artist of a great school 26 Venus lamenting the Death of Adonis 27 The Virgin and Child, pannel, by an unknown Artist of the Raffaele age v /A 6 /3- * /4- M- o ~ A - & Luca Ca^giagio., /• 4 t "4 \ V>\ Giotto...., __ 28 A Fragment of his Frescoe painting, from the Chapel in the Carmelites Church at Florence. Sawed from the wall by Mr. Patch, before the rebuilding of the Church, after the fire of 1770, and presented to its present owner by the late Charles Townley, Esq. by whom it was brought to England. As Boccaccio was the father of modern prose, so was Giotto, as a late eminent Italian writer justly observes, the father of modern painting Simone Memmi... 29 Two Saints, small life in distemper; brought to England by • . -.joiiocuc iq the late Lord Bristol. As a remembrance of the artist aWfbic: ov/i oaortT ■ L A - t who painted Petrarch’s beloved Laura, it is to be wished that these two figures, the female one certainly not wanting in grace, should find a place in the deco¬ ration of some gothic mansion, or chapel, for which they seem particularly calculated Masaccio .. SO S. Dominic, head and hands distemper. From the eollec- r ^\yy^ tt'aoqir dt- 2 •'([ riUl tion of the late Honble. Charles Greville. The se¬ cond age of painting dates its commencement with Masaccio, who greatly advanced whatever relates to Hf .■ , ■■<..:)>;, b 1 ; r ui the executive parts of the art. Many of his heads for truth and expression are perhaps nowise inferior to these ■vnifi 16 jfviil j liupi of RafFaele himself Ditto .. 31 The Last Supper. Admirable for its expressive and just- . teilWq : S f« ^ ; ness of perspective, and finished like the finest minia¬ ture, in distemper. This extraordinary little picture nsilfi)! ii'/bn/Imi fir. 1< was anciently the Door of a Tabernacle and was pur¬ chased from the collection of the Villa Aldobrandini Sandro Botticelli 32 The Nativity of Christ. A very interesting specimen of • 'lit■.'iwon.jU'.Vt the fancy of its author (who has inserted his name in the Greek inscription, at the top of the picture ) and ijuit lo linitVvKf us., of the state of Italian art, about the year 1480. iniLamdofy!nlii / f It is painted in distemper, on cloth, and is one jOnhlHlbjO to amongst several examples which might be mentioned -m!j lot •> » to prove, that although the early Italian painters jOan^ui-jj lijfjirise Oiii usually painted on board, they did not constantly pursue that method—From the V illa Aldobrandini Fra. Bartolommeo di S3 Mary Magdalen, carried to Heaven by Angels, An altar San Margo ..._ picture onboard, unfinished; supposed to have been painted for Leo X. when Cardinal, whose portrait is introduced in the lower part of the picture. Vasari speaks with admiration of the mastery observable in several pictures which this great artist left at his death, (in 1517) prepared with, browns. One of . these of superlative excellence was celebrated in the lo r- Ooiri Ir.iti Gallery of Florence. This picture has received the artist’s second coat of colour, and in some parts, espe¬ ivymQ u!> ‘i: cially the head of the Magdalen, is nearly finished, —-n*?r«0 >.■ ' O sV I*i with a tone of colouring and lightness of pencil resembling the latter works of Guido. Raffaele, during a’ \■ \ t * In ; < t v. ' i his stay at Florence, improved in his colouring under iftlvf Jtwf , ' • the tuition of the Frate, to whom, in return, it is said, he taught the rules of perspective Michelangiolo 34 Christ and the Samaritan Woman at the Well. The finished Buonaroti preparation for a picture, in chiaroscuro, on board; from the collection of the king of Naples* at Capo di visv fi <■] mirtoiq «idr Monte. This great Florentine artist, according to ii ^borja'ri doit r.ii i ; j. t.iJ*3 J / f Vasari and other writers, having only in one or two instances indulged in the relaxation of oil painting, it is presumed that this undoubted specimen of his talents, intended, perhaps to be coloured by one of his scholars, may be deemed an interesting succedaniura t ( 8 ) ) G ~ f ~ G -t— -■ T ~5dr Joan of Arc. A very higbly 1 finished portrait of that cele¬ brated persoftage. From the Villa Aldobrandini O Coreggio, after ... 36 Facsimile of the celebrated Marriage of St. Catharine, formerly at Capo di Monte; executed for the pro¬ prietor, from the original, with the greatest diligence, by a Neapolitan Artist * Ditto, ditto. 37 The Madona del Coniglio; in the same collection, by the n same r* * *" & Ditto, ditto ...... 38 The loin the Imperial Gallery at Vienna; same size as the original, by Henry Thompson, Esq. R. A. 3/-/o- * Ditto, ditto ....... 39 The Ganymede. Companion to the last mentioned pic- / ture; from the same collection, by the same ^ ^ / ""“Ditto, ditto . 40 The exquisite Magdalen in the Dresden Gallery, by [the same; perhaps the finest copy of that celebrated picture extant &£ 4 ~ o Coreggio.... _ 41 The Holy Family. A small original picture of that great artist; formerly one of the collection of the Queen of Sweden, and afterwards in the Orleans Gallery— transferred from board to canvas 42 Europa. A finished study for his larger picture of this subject formerly in the Orleans Collection, but with variations: in his latter manner, and in the finest preservation A. Cauacci . . - ... 43 Christ praying in the Garden ; a cabinet picture Schidone ........ 44 The Madona and Child; full of grace, and finely coloured. On the back of this picture is a very * curious contemporary inscription respecting it q Velasquez . 45 His own Portrait; slightly painted, but admirable for its spirited expression, and finely drawn—recently pur- * chased in Spain ton in ftbooorM un i LenA 2.6-t (P i- \\ Hi bo;nr ou ye at ( 9 ) Jo ^ - O Murillos /& 7 - / C 0 - Ditto. Z£- r O Pietro Vecchia zr- 4- & Va NDYK 49 /*- c ScARSELLINO DI Ferrara Zf- C. Titian SCHIDONE 46 Christ crowned with Thorns. This little picture, probably the study for a larger work, is replete with expression and variety of character: recently from Seville , 47 The Flagellation. Its companion 4S A Warrior, half length; full of animation, and painted with prodigious boldness of pencil. Pietro Vecchia, who was one of the most celebrated Venetian painters of his time, may, perhaps not improperly, be styled the Caravaggio of that School. His pictures were often taken for the works of Giorgione, and indeed this half length, one of his best, was formerly so con¬ sidered The Portrait of a Lady; Head and Hands—in his most delicate tone of colouring The Judgment of Paris. This elegant artist was the first in celebrity of his time, in the School of Ferrara—He »: was contemporary with the Caracci; but born a few years before them. The works of P. Veronese were his model in clouring ; and at Ferrara he is styled the Paolo of that School. On copper The Portrait of a Venetian Senator in his Robes; remark¬ able for an acute expression, and like all the other works of Titian, finely coloured 52 The Holy Family, on board. This little specimen of Schidone’s finest manner, was presented to the late Sir William Hamilton, by the King of Naples, out of live magnificent collection of Capo di Monte; which collection, it is well known, was above all others rich in the works of that admirable Modenese Artist .yj vp uvi j .r .' ' ur 13 50 51 O - S* <\ "V s o 2J- o - ■ Aw. Cab acc i. 53 - /o • & Gio. And. Donducci 54 called Mastelletla f -r * Titian 67 The Shepherd’s Offering; in his last manner; when, like Titian, he painted, to use Ridolfi’s expression, a colpi di pcncllo. The effect of the light proceeding from the Infant is most powerful—on board An unknown subject, in the finest manner of the painter, figures the size of life Rinaldo and Armida; painted with great boldness and effect Children at Play; formerly in the collection of the Due de Valentinois : afterwards in that of his relative the late Lord Mazarine The Holy Family, with St. Catharine, on pannel. A genuine specimen of that Prince of colourists ht an advanced period of his life Ferdinand of Austria on Horseback. A finished study on paper for his large picture, engraved by Pontius ; in which the painter has added Allegorical Figures in the Sky, and made some other smaller alterations: pur¬ chased at Rome by the present Proprietor The Holy Family with Angels, figures the size of life. One of his most important works, and in the finest preservation The Holy Family, with St. Catharine. The genuine works of Giorgione are extremely rare; as a Colourist, he was nothing inferior to Titian, and there is a transparency, united to a vigour and richness of tone in his pictures, which few other artists have ap¬ proached, and which certainly none ever excelled The Madona and Child, with St. Jerome. This picture seems to have been painted at the time when Titian made Giorgione bis model, and is, as to force and > f ( 12 ) 9 * - / O — 0 Niccolo Poussin.. bn* - ^11 Wo-' ; 6S ix - //- 0 Fuuino 69 J/- /« - & Rubens. 70 .?<£■- /r //^ -//■ Ditto... 71 Massolino di 72 Ferrara general lone of colouring, of a character not unlike the last described; though, perhaps, inferior to it in transparency, and less decided in its local tints. It was may years ago in the possession of an ancestor of its present proprietor Landscape and Figures; the approach to an Ancient City. The pictures of Niccolo seem intended less to captivate the eye, then to set the imagination at work, and furnish food for the mind. He is the Michclangiolo of Landscape. The classic grandeur and novelty of the scene is enhanced by the judicious introduction of the figures, some of which, at a distance, seem those of Philosophers, taking their evening walk of medi¬ tation. This picture is in Poussin’s finished manner, and was formerly in the collection of M. dc Calonne Mary Magdalen, with the Box of Ointment. It may be sufficient, to give some idea of the character of this Artist, to state, that of all others he was considered best enabled to paint the companion to a very fine picture of Guido ; for which sole purpose he was called from Florence to Venice. Ilis pictures have, in some cases, on account of their excellence, passed under the name of Corcggio The Queen of Sheba visiting Solomon. A sketch on pan- nel for one of his cieling pictures; formerly in the Jesuit’s Church at Antwerp. That great work was in •-destroyed by fire. From M. de Calonne’s collection Esther and Ahasuerus ; its companion Christ disputing with the Doctors. It is supposed by the Abbe Lanzi that this extraordinary picture, together with one or two others by the same ancient artist, %> ( >3 ) \ / fi'O Guido.. f RuBENS /r- * /o — O Titian r /0 ' & Salvator Rosa_ were painted by him expressly for a Cardinal of the Aldobrandini family, who was Legate at Ferrara at the time when Massolino flourished. From the Villa Aldobrandini fc ' . r 73 The Infant Saviour dreaming of his Passion. Of this beautiful subject there exist repetitions ; some perhaps by Guido himself, but for the most part by his school: independent of its merit, the originality of this piciure is Unequivocally proved by the several alterations, or, as the Italians call them, penlimenti, which, upon examination, it may be seen, the artist made in his picture in the course of its execution 74 Nessus and Dejanira. Rubens perhaps seldom painted so beautiful a face as that of the female figure, evidently copied from his wife Helena Foreman; the Nessus is equally admirable for its drawing and expression. As a composition upon a small scale, it may be termed not unjustly one of the most happy efforts of the artist’s genius. From the cabinet of M. le Brun 75 The Portrait of Aretine. Titian was very little accustomed to paint upon so small a scale ; those, however, who are enabled to execute works in large proportions, it has been often observed, find miniature an easy task; like the use of oil colours after the more laborious practice of frescoe. This little picture was brought from Venice by an eminent living artist 76 Jason killing the Dragon. Another picture of the same subject, by Salvator, is in the collection of a Gentle¬ man of well known taste: both are undoubted originals; and it may not be uninteresting to state, that this picture differs from the other, which is con- a - Vk'vv % <> ( >4 ) V - f /6 /Zo ' /f Titian __ _ 78 A Man playing the Guitar. In his second manner; great force and truth; the hands particularly excellent , O Rembrandt. . 79 His own portrait. 'I^flere is a very old mezzotinto of this picture, which, it is believed, is the same mentioned by Descamps, in his list of Rembrandt’s pictures in France. Early in the French revolution it was brought from Marseilles to Leghorn, where it was immediately purchased by the British Consul, Mr. Udney O Pierino del Yaga 80 The Shepherd’s Offering. There is a prodigious mastery in the drawing and execution of this picture, which is coloured in some parts with all the delicacy of Baroc- cio. This great scholar of Raftaele was almost con¬ stantly occupied in great works of fresco; his easel pictures are therefore extremely rare. o Giacomo Bassano. 81 Jacob’s Journey. This, according to Ridolfi, was above all the favourite subject of Giacomo, who, with alterations, and upon canvases of various dimensions often repeated, it. This and its companion, are perhaps the finest pair of Bassano’s pictures extant. They are men¬ tioned by Ridolfi, as being, in his time, in the Palazzo Contarini, at Venice. It was several years ago purchased by the proprietor from a Palace at Naples, and was considered by the Venetian artists in Italy, the most capital of the master. Its companion was afterwards purchased at Naples, and brought over by an English Nobleman sA **• Vj % \ * ( 15 ) 0.0 Giacomo Bassano Gujsefpe Porta.. called Salviati — ft L KX A**—* • O -epuEnciNo... O ' O Titian / ^ <£"** f - O Claude / o o Parmigiano. S2 Dives and Lazarus the companion to the last describe picture 83 This picture, when in the Orleans collection, was errone¬ ously styled the Rape of the Sabines: its real subject is one of the Gallantries of Castor and Pollux. The education of Porta had its commencement in the Flo¬ rentine School : hence ha was a learned designer. At an early age he setiled in Venice, became an excellent colourist, and the great rival of Tintoretto and Paolo Veronese. The chief great public works of painting in that city were divided amongst these three, and Porta, who got a large share of them, and was at the •» same time perhaps less expeditious than his compeli- tors, has therefore left very few easel pictures. lie was highly esteemed by Titian S4 A Man in Armour, supposed to be intended to represent the celebrated Scanderbeg. This picture has always been considered as one of the finest of the artist. From the Albani Palace at Rome 85 A Concert, a highly studied picture of the artist, painted about the same time with his celebrated works in the church, called Del Santo, at Padua. The back figure of the young woman with the guitar is perhaps inferior to nothing ever produced in the art 86 Landscape and Figures. The sultry atmosphere of the Italian climate, and the reflections in the •water are admirably treated: the large tree in the fore ground is executed in his boldest style of pencilling 87 The Virgin and Child, with St. Catharine and an Angel. From the Vitturi collection at Venice, on board. The real pictures of Parmigiano are of great rarity, since a ( 16 ) RAFFAELE 88 great part of his short life was spent, like that of L. da Vinci, in pursuits little connected with his art ; and, amongst others, in a fruitless search after th^ ^ Philosopher’s stone. lie has however left us abun¬ dance of exquisite drawings. In this picture the artist appears to have made several very notable changes, or pentimenti, in the progress of his work; especially in the hand of the Madonna and the body of the Christ, great part of which he had at first covered with drapery, which afterwards he judged better to make naked The Vision of a Christian Knight, on pannel; from the Borghese Palace at Route. The subject of this little picture may be termed the application of anci- * ent Allegory to the state of Christian warfare. As in the choice of Hercules, the hero is here repre-* sented in a vision, assailed on the one side by the Plea¬ sures of the World, whilst, on the other, he listens to the persuasive eloquence of Religion. It was pro¬ bably painted some time after Raffaele’s first visit to Florence, is studied and finished in every part, 60 as to bear the largest magnifier, and is perhaps in its kind unique A Gasparo Poussin. 89 A Landscape and Figures. From the Colonna Palace at Rome. Whether this rich and luxuriant scene is in every respect a real view, or whether it is a combi-e nation of the scattered beauties of nature, is difficult to determine. It may with greater certainty be affirmed, that Gaspar never painted a finer picture, and that there exist very few of his works in such perfect preservation. c * I ( 17 ) - £ /JO 9 3cPo Rembrandt 90 Bathsheba. Though deficient in beauty, (he Head of Bathsheba is not wanting in expression; she is just informed of the passion of David, and her countenance is clouded with the melancholy forebodings of its fatal consequences. For effect and colouring the merit of this picture, which is one of the Artist’s most studied works, is superlative Murillos . 91 The Virgin and Child, with St. Ann. This picture, cut from its straining-frame apparently with a sabre, and rolled up, was, soon after thcEnglish had possession of Cadiz, brought to this country by a Gentleman in the British Service. It was probably a part of the pillage which the French troops found inconvenient to carry with them, and has evidently been the Altar-piece of a Chapel.—A friend of the proprietor, who was lately for some time .at Seville, informs him that he there saw many small but indifferent copies of it. In the pictures generally seen by Murillos, he, for the most part, appears enamoured of the style and graces of Vandyke, and, though not his servile imitator, regulating himself by the same principles. In the dignified sobriety of this group, he seems rather the follower of a Raffacle, ora Barto¬ lommeo, especially in the draperies and style of com¬ position : the characters, it is true, are not ideal, but they are well selected models of Andalusian origin, executed in a grand and simple manner Andrea del Sarto 92 Charity. This artist, as is well known, having been some time employed at the Court of Francis the first, obtained from that monarch the permission to re-visit Florence, and at the same time a considerable sum of money to lay out in works of Art for his Gallery; C ( 18 ) - TV upon a most solemn promise of speedy return. Over¬ come, however, by the importunities of his wife, he dissipated the King’s money, and never returned to Paris. This, in the latter part of his life, was the source of many bitter reflections, and he earnestly desired to be reconciled to himself, and to Francis. As these circumstances gave rise to the execution of this capital picture, the following extract from the latter part of Vasari’s life of Andrea, may not be im- * « properly introduced. “ About this timeGio. Battista della Palla, having 11 purchased all the excellent pictures and statues “ which he was able, causing those to be copied “ which he could not obtain, had despoiled Florence “ of a vast number of fine works of Art, that he “ might enrich an. apartment of the King of France. 4< He therefore, wishing that Andrea might once more “ be received into the favour and service of the “ King, ordered him to paint two pictures. In one of “ these Andrea painted Abraham about to Sacrifice “ his Son, and that with such diligence, that it was “ judged he had never before done any thing surpassing “ it: which picture, after the death of Andrea, and Ci the imprisonment of Gio Battista, was bought by “ Filippo Strozzi, who gave it as a present to Sig. “ Alfonso Davalos Marchese del Vasto, &c.”—This picture is now in the Dresden Gallery. “In the other “ he pointed a most beautiful Charity, with three “ Children ; and this was purchased from the widow u of Andrea by Domenico Conti, the painter, who “ afterwards sold it to Niccolo Antinori, who preserves “ it as a very fine work, which it really is.” This 9^0 I 19 ) A V Conti was the scholar of Andrea, and after the death of his master, gratefully raised a monument to his memory. How the "picture found its way to France is not recorded, and indeed (he French writers, from the circumstance of Andrea’s having been some time at their court, erroneously suppose it was executed there, M. Lepicie, in his catalogue of the King of France’s Collection, relates, that this picture being found much worm-eaten, was removed from (he board by the celebrated Mr. Picault (the inventor of the method) and transferred to canvas, or rather fine cloth : he adds, £< Et la restauration s’est faite avec un succcs “ etonnant; car le tableau est actuellement sur tode, “ sans qu’on puisse s’apercevoir de l’operation en u aucun endroit: il n’a pas soufFert la moindre alte- “ ration, ni dans la partie du dessein, ni dans celle de “ la couleur.” How the picture, which was brought from France to Dublin many years ago by the Attorney General Tyndale, as its present owner has been in¬ formed, found its way out of the Royal Palace, it is not now possible to explain: it is however well known, .that the French King’s Pictures were, in consequence of alterations in the Palace, for many years heaped together, with their faces to the wall; and that some other fine pictures of that collection have since been missing. It is, according to Vasari, the only picture Andrea ever painted of the subject, except a Frescoe in a Cloister at Florence FINIS. Cl. Stueeton, Printer, 17, St. Martin's Lane. V V. ■ > ( / 4 ? ’ ' • . : f' " !. }~>.i ' » • •• •*'. *-’••• •. , ‘ ! «’• ‘ IV* “ ", « i! «•' :• . . . •» J .i Io • t X 'I'- ■» '■ : I •’ ■ ■ " 1 ,-'y \ ' ■;! J *'I! ' * ,f V)ul.-iiii - * n. V - * ' ■ ■: , >V^;iTiaaw^T '-•>■*« 1 ^ ' ' mv* iv,* '•Vo-'jb v> ' -■ ' ,ol ,J »•'• ; 'Mvi •!' ’ . : i.T - ■ t, i. , . *j,, ■.. *j! f ». {. : i'< .V; J ■ \ ,l:i :*j£V j»-V / i-" ; VI- ■ “ ' • f.? ' ,{. ''i rrx , , .'.Hi ..T fa. > V I.-. -/. - '.{ \ ? • { ,,