THE MALCOLM COLLECTION. Drawings by the Old Majlers. * . / * V •* . ' . *. • * * - *( . . - > + ■ W- • v •> ♦ * r * : ' r f * * ‘ 4 , . ‘ DESCRIPTIVE CATALOGUE OF A COLLECTION OF DRAWINGS • «r • • 4 (| BY THE OLD MASTERS. Digitized by the Internet Archive in 2015 https://archive.org/details/descriptivecatalOOmalc Defcriptive Catalogue of Drawings by ^the Old Mailers, forming the Collection of^ ^ffcjOHN MALCOLM OF POLTALLOCH, ESQ. (Jj^ BY J. C. ROBINSON. LONDON. MDCCCLXXVI. PRIVATELY PRINTED AT THE CHISWICK PRESS, BY CHARLES WHITTINGHAM. PREFACE. HE more important collections of ancient draw- ings, made by the amateurs and connoifieurs of the laft and early part of the prefent centuries, were, generally fpeaking, far more extenfive in point of the number of fpecimens than the prefent feries ; but a large proportion of the fpecimens in thofe vaft gatherings ufually confifted of drawings of doubtful authenticity or of little intrinfic value, fuch as academy ttudies, drawings by unknown and obfcure matters, copies by engravers and young artifts, &c. In the prefent inftance it has been a fpecial object to avoid the accumulation of comparatively uninterefting matter. It was felt, moreover, that in this fpeciality, fchemes of collecting of fo extenfive and univerfal a character were perhaps only really appropriate in the cafe of public mufeums, having for a primary object to illuftrate in full detail the entire range of art. The following rules have been tacitly followed in the forma- tion of this collection : — 1. Irrefpective of authorfhip, to collect only fpecimens of indifputable excellence as works of art. 2. To aim more particularly at the acquifition of authentic works of the greateft matters, and efpecially of drawings bearing the fignatures of their refpective authors. 3. In the cafe of lefs eminent matters to retain only excep- tionally fine and well-preferved examples. 4. To felect by preference works, the authenticity and rela- tive importance of which were in a meafure guaranteed by VI Preface. the faCt of their having palled through celebrated collections of former times, as evidenced by the collectors* marks and written infcriptions upon them. The writer believes, that in confequence there are but few inftances in which difference of opinion as to the authenticity or correCt attribution of the fpecimens defcribed in this catalogue would arife amonglt connoiffeurs of ancient drawings. When- ever any doubt exilted in his own mind he has not helitated to exprefs it. In fuch cafes, however, the phrafe “afcribed to’*, which is appended, mult not be conltrued as neceffarily imply- ing negation of the fuggelted origin of the work ; in all fuch inftances the drawings themfelves are intrinlically excellent, they are, in faCt, in this way pointed out as proper fubjeCts for further conlideration and comparifon. The public collections of the feveral countries of Europe have at laft abforbed a conliderable proportion of the authentic drawings of the greateft mafters, and this procefs, by which fpecimens are finally withdrawn from what may be termed the art market, is going on more rapidly than ever. In the cafe of fome pre-eminent mafters — fuch, for inftance, as Raffaelle and Michel Angelo — the whereabouts of nearly all their authentic drawings, both in public or private keeping, is now known, and it has been a paramount objeCt to fecure fuch notable fpecimens whenever opportunities occurred. A confiderable number of known works have thus been acquired, efpecially on the Continent, and amongft them may be fpecified fome of the principal drawings from the Lawrence Collection, which, during the different phafes of the difperfion of that unprecedented gathering, had been taken out of England by foreign collectors. As regards the unique and precious feries of drawings of Michel Angelo and Raffaelle got together by Sir Thomas Lawrence, it is believed, in faCt, that a majority of the fpecimens, which had of late years remained in various private hands, have now again been brought together in the prefent collection. Preface. Vll In refpe<5t of the clarification adopted, the writer’s principal aim has been practical convenience. In following the eftablifhed clarification into local fchools of art, he is well aware of the many objections to which this fomewhat old-fafhioned method is juftly liable ; but, trite and empirical as it may perhaps appear, this arrangement has the advantage of being familiar to moft perfons, and as a ready and convenient means of marfiialling fuch a collection as this it has obvious advantages. Generally fpeaking, in fettling the fequence of the feveral fchools and mafiers, he has adopted the chronological method ; but in the cafe of the Dutch School of the feventeenth century, in which the galaxy of great artifts was of almoft fimultaneous appearance, he decided upon changing that method, and adopting the alphabetical arrangement as the moft convenient. It now only remains for the writer to befpeak indulgence for the errors and fhortcomings, which are fure to be found. He is confcious that there yet remains a vaft amount of comment and numerous interefting difcoveries to be made. To note and verify thefe will, he hopes, for a long time afford grateful occupation to the owner and his friends. J. C. Robinson. Jan. $tb, 1869. * *. . 9 * # - PREFACE TO SECOND EDITION. a number of drawings have been added to this col- lection fince Mr. Robinfon’s Catalogue was written, it had become defirable to reprint it and re-arrange the drawings. Some of thofe included in the former Catalogue have been omitted from the prefent edition, as, although more or lefs inftru&ive, they were not deemed of fufficient importance to render their retention defirable, and this removal ferves to keep the total number within reafonable limits. The defcriptions of the drawings lately added, and any other new matter, are marked with an afterifk, and for fuch additions Mr. Robinfon muft not, in any way, be held refponfible. A fet of drawings, attributed to Bellini and Mantegna, has alfo lately been added to the collection. Thefe were brought from Italy three or four years ago, mounted in an old parch- ment-covered fcrap-book. The drawings have fince been removed from it, remounted, and put into a folander cafe ; but as they could not be conveniently embodied in the Catalogue, they have been defcribed in Appendix I. of this volume. Appendix II. contains a defcription of certain beautiful Italian illuminations, which have been added of late years to the collection. J. M. May, 1876. TABLE OF CONTENTS AND SUMMARY OF DRAWINGS. Florentine School. No. of Drawings. Pages. Drawings of the 15th and early part of the 16th Centuries . 37 • i to 13 Drawings by Leonardo da Vinci 16 . 14 — 18 » Michel Angelo ....... 30 . 19—34 33 Fra Bartolommeo 17 • 34—39 )) Andrea del Sarto ....... 10 . 39—42 9 ) Baccio Bandinelli ....... 8 . 42—45 99 99 Jacopo da Pontormo ...... Florentine Mailers of the 15th and 16th Centuries . 23 . 45—50 Drawings by Siennese School. various Siennefe Mailers 9 • 51—53 Drawings by Umbrian and Roman Schools. various 15th Century Umbrian Mailers . 3 • 54—55 » Pietro Perugino ....... 55—58 ty 15th and 16th Century Umbrian Mailers 6 . 58 — 60 » Raffaelle 61 — 78 >» Scholars and Imitators of Raffaelle. 16 . 79—83 a Umbrian and Roman Mailers, 16th and 17th Centuries 17 • tv 00 1 00 Drawings by Neapolitan School. various Mailers ....... 5 • 88—89 School of Fontainebleau. Drawings by Italian Mailers who worked chiefly in France . 4 • 90—91 Drawings by Bolognese School. various 15th and 16th Century Mailers . 6 . 92—94 >> the Carracci ........ 94—97 » other 1 6th and 17th Century Mailers 6 . 97—98 » Guercino ........ 99 IOI 3 ’ various 17th Century Mailers 6 . 101 — 102 Xll Table of Contents School of Parma. % No. of Drawings. Pages. Drawings by Correggio io3to 108 ,, Followers of Correggio 4 • 109 — 1 10 „ Parmegiano 6 . 1 10 — 1 1 1 „ Girolamo Mazzola ....... hi Milanese School. Drawings by various Milanefe Matters, chiefly of the 16th Century 12 . j 12 — 1 16 Various North Italian Drawings. Drawings by Andrea Mantegna 117—119 North Italian Drawings, 15th and 16th Centuries 16 . 120 — 125 Genoese School. Drawings by Matters of the 16th and 17th Centuries . 3 • 126 Venetian School. Drawings by Early Matters ....... 16 . n 1 Osi ,, Titian 19 . 132—138 ,, Domenico Campagnola 4 • 138—139 ,, Paolo Veronefe 9 • 139— 142 ,, fundry Venetian Matters ..... 1 5 • 142 — 146 Spanish School. Drawings by various Matters chiefly of the 16th and 17th Centuries 24 . 147— 153 French School. Drawings by Early Matters ....... 3 • 1 54— 155 ,, Claude Lorrain 26 155—161 ,, Nicholas Pouflin ....... 9 • 161 — 164 ,, Gafpar Pouflin 3 • 164 „ Watteau 14 . 164—167 ,, other French Matters 10 . 1 68 — 169 German School. Drawings by Early Matters ....... 13 • 170— 174 „ Albert Durer 174— 177 ,, Holbein ........ 177—180 Schools of the Netherlands. Drawings by Early Netherlands Matters ..... 1 1 181 — 185 ,, fundry Flemilh, Dutch, and German Matters, 16th and 17th Centuries ...... 28 . 185 — 192 ,, Rubens 192 — 196 ,, Vandyck ........ 1 6 . 197 — 201 ,, other Flemifh 17th Century Matters 9 • 201 — 203 ,, David Teniers ....... 6 . 204 — 205 'Table of Contents xm Dutch School. {Arranged in Alphabetical Order of Mafiers ' Names.) No of Drawings. Letter A 3 • Drawings by Ludolph Backhuylen . . . . . . 8 . Letter B 5 • Drawings by Nicholas Berghem . . . . . . . 14 . B continued . . . . . . . 14 . C 4 • Drawings by Albert Cuyp ........ 5 . D 6 . E 4 • Drawings by Albert Van Everdingen 7 . F 1 . G 1 . H 16 . Letter J (drawings by Karel du Jardin) . . . . 7 . K 2 . L 6 . M *5 . N 5 • Letter O (drawings by Os, Jan Van) . . . . . . 1 . Drawings by Adrian Van Oftade . . . . . . 9 . Ommeganck, Balthafar Paul 1 . Drawings by Ifaac Van Oftade . . . . . . . 3 . Letter P (drawings by Paul Potter) . . . . . 6 . Q Queboorn, Crifpin Van Der 1 . Letter R (drawings by Rembrandt) . . . . . 30 . R continued 12 . S 17 • Tol, Dominick Van 1 . U 3 • Letter V (Velde, Efaias Van de) . . . . . . 2 . Drawings by Adrian Van de Velde . . . . . 9 . Drawings by William Van de Velde . . . . . 6 . V continued ......... 5 . Drawings by Cornelius Viflcher . . . . . . ♦ 5 • V continued 1 . W 7 • Drawings by Philip Wouvermans 7 . Dutch School, Matter unknown 2 . Z 3 Appendix I. Drawings, Early North Italian . . . . . . 31 Pages. 206 207 to 209 209 — 210 210 — 21 3 214 — 217 217 218 — 219 219 — 220 221 222 — 223 223 224 224 — 227 228 — 229 229 230 — 231 231 — 236 236 — 237 237 238 — 240 240 241 242— 243 252 243— 249 249 — 252 252 — 256 256 256 257 * 57 — *59 259 — 260 261 — 262 262 — 263 263 263 — 265 265 — 267 267 267 — 268 269—273 Illuminations, Italian Appendix II. *5 • 275 — 280 MEMORANDA. HE terms “on the right” and “on the left ” of the compofition, in the following defcriptive notices, delignate the refpedive fides of the drawing oppofite to the fpedator’s right or left, as the cafe may be, in contra- diftindion to the pradice fometimes adopted (more efpecially by Continental writers on art), by which the contrary fenfe, i. e. the right or left of the pidure or drawing itfelf, is indi- cated. The dimenfions noted are thofe of the fheet or leaf of paper on which the drawing is executed, and the terms “ height ” and “ width ” indicate refpedively the vertical and lateral dimenfions of the drawing, when placed upright in its proper pofition before the fpedator. The colledions through which the drawings have fucceflively palTed are noted at the conclulion of each entry, in all cafes when they are indicated by the marks or fignatures of the owners on the drawings, or when the “ provenance ” has been otherwife politively afcertained ; but in order to avoid the unneceflary repetition of the fame names, the three colledions which were the principal fources of the prefent feries, viz., the Robinfon, Leembruggen, and Wellelley Colledions, are reflec- tively indicated by the initial letters only (R.) (L.) (W.). * FLORENTINE SCHOOL. DRAWINGS OF THE FIFTEENTH AND EARLY PART OF THE SIXTEENTH CENTURY. I. FRATE GIOVANNI DA FIESOLE (FRA ANGELICO). Born, 1387; Died, 14 55. HE Prophet David. Highly finifhed pen drawing, fhaded with purple tint, on vellum ; a camaieu or grifaille illumination. The prophet is feated on an altar-fhaped pedeftal, refembling a Florentine cheft or cajfone , playing on a dulcimer. He is clad in armour, over which is a mantle difpofed in beautiful fculpturefque folds. In the field of the drawing is infcribedin large characters “ Prophaeta David.” The reverfe of the leaf contains a portion of a pfalm written in two columns, in fine Italian rubricated characters. This admirable and certainly authentic drawing doubtlefs formed one of the illuftrations of a pfalter, in all probability one of the celebrated books known to have been illuminated by “II Beato” for his own convent of San Marco, and which are faid to have difappeared during the French invafion at the end of the laft century. Although ftyled an illumination, it fhould be noted that this drawing is executed in an entirely different manner from the ufual choral book minia- tures. It is, in faCt, a highly finifhed painter’s drawing, and of a clafs quite diftinCt from the productions of the profefiional miniatore or illuminator. Collection (W.) Height, 8 in. ; Width, 7 in. B 2 Florentine School. 2. FILIPPO BRUNELLESCHI, Sculptor and Architect. Born, 1377 ; Died, 1446. Perspective Drawing of an octagonal Portico or Pavilion furmounted by a dome. In the upper part, apparently in the hand- writing of the artift, is the infcription u Porta Palazza.” Highly finifhed fhaded architectural drawing, in biftre or india ink, heightened with white, on dark grey or lead-coloured prepared ground. The complete agreement of the ftyle and details of this drawing with the well-known architectural monuments of Brunellefchi in Florence, leaves no doubt that it reprefents a defign by the great architect (probably an original projeCt, and not a building aCtually executed) ; the technical execution, in itfelf moft mafterly, is in every refpeCt that of the Floren- tine fchool of the middle of the 15th century, and everything indicates that the drawing is aCtually from the hand of Brunellefchi. On the reverfe are a number of geometrical and other architectural diagrams. Collections — Talman, Lawrence, (R.) H. 17 in; W. 124 in. 3 - LORENZO GHIBERTI (Ascribed to). Born, 1381; Died, 1455. A draped Saint holding a Book, probably St. John the Evange- lift ; apparently a finifhed drawing for a ftatue. The figure, its back turned to the fpeCtator, Hands on a low circular plinth, which is fup- ported on two fmall fleepers or u put logs ” of wood. On the reverfe is a fludy of a naked female, with a head-drefs of rays or curved flender horns ; in the left hand fhe holds out two torches. This figure is pro- bably an imitation or reminifcence from the antique. The drawings are executed in the moft highly finifhed manner on an olive-green prepared ground, in filver point, delicately fhaded with biftre and heightened with white. In the general ftyle, and efpecially in the difpofition of the drapery, the ftatue of the faint has a fpecific refemblance to the works of Ghiberti, and the technique of the drawing is evidently that of the earlier half of the 15th century. Collection (R.) H. 10 in. ; W. 54 in. 4 - MASACCIO. Born, 1402 ; Died, 1443. Study, evidently from the Life, of a Young Man seated on a Plank, drawing in a book. Pen drawing, fhaded with biftre. On Fifteenth and Sixteenth Centuries. 3 the reverfe a ftanding draped figure of a man in the Florentine coftume of the firft half of the 15th century. It is figned both at front and back “ Mafaccio,” in the fame ancient hand, and there can be little doubt that thefe life-like drawings are really by the great matter to whom they are afcribed. Colle&ion (W.) H. 7^ in. ; W. \\ in. 5 * ANDREA DEL CASTAGNO (Ascribed to). Born DURING THE FIRST Ten YEARS OF THE I5TH Century; Died circa 1480. A sheet containing Studies from Nature of Men Hanging. The ftudies are fix in number, but they are taken from three individuals only, i.e. each figure is drawn twice over from different points of view. Two of them are young men drefled in tight-fitting hofe and doublets, of the ufual fafhion of the fecond half of the 15th century, their arms pinioned behind them ; but the third is an old man, naked, with the exception of his fhirt and fome other fhort garment over it, and a (hoe on one foot only, appearing as if he had been rudely and violently ftripped, and fuddenly executed. This figure difplays with hideous truthfulnefs the wrinkled and (hrunken form of a tall bulky man of bony frame and corpulent habit. All the figures are drawn with the utmott care and fidelity with a fine pen, and are fomewhat forefhortened, /. e. feen from beneath, having evidently been delineated on the fpot, as they hung at a confiderable height above the artift. F urther down on the ftieet is a profile butt of a lady and the full-faced head of a child ; but thefe are obvioufly independent ftudies, having no connexion with the hanged men. It is believed that thefe remarkable drawings reprefent the archbiftiop of Pifa and the two Pazzi, who were hanged out of the windows of the Palazzo Vecchio, in Florence, in 1478, after the failure of the confpiracy againft Lorenzo and Giuliano de Medici. In corroboration of this fuppofition it fhould be noted that Andrea del Caftagno, imme- diately after the event, received a commiffion from the fignoria of Florence to paint, on the facade of the palace, the portraits of the principal confpirators as they were hanging : and V afari records they were u ritratti per lo piu. del naturale and that from this work the painter afterwards acquired the fobriquet of u Andrea degl ’ Impiccati. The writer is not acquainted with any authentic drawing from the hand of Andrea del Caftagno ; but the prefent ftudy correfponds in every refpedfc with the recorded chara&eriftics of his ftyle, and it was evidently 4 Florentine School. made at or about the period of the event in queftion. A particular circumftance may be further noted in refpedt to one of the figures, as tending to confirm the fuppofition. One of the young men has one leg of his tight-fitting hofe drawn down, as if it had been purpofely cut and pulled down to expofe the thigh ; and it is recorded by Machiavelli that Francefco Pazzi, the confpirator who actually flew Giuliano, in his fury wounded himfelf in the leg — an accident which had much to do with the failure of the plot. This Francefco efcaped to his own houfe, but was fhortly afterwards dragged away and hanged befide his brother and the archbifhop. Nothing feems more likely than that this circum- ftance would be made the moft of, and any evidence of the fad! dis- played to the Florentine populace, and thus the wounded limb even of Francefco Pazzi is perhaps reprefented in the prefent drawing. Colledfcions — Sir T. Lawrence, (R.) H. n in. ; W. 74 in. 6 . FRA FILIPPO LIPPI (Ascribed to). Born, 1412; Died, 1469. Standing Figure of a Female Saint, draped in an ample cloak or mantle. Her hands are outftretched, and her attitude in general is that of a perfon who is expounding or arguing fome weighty matter. This drawing was afcribed by Richardfon to “ Gaudentio it is obvi- oufly, however, not by Gaudenzio Ferrari. Silver point, heightened with white, on light minium red prepared ground. On the back the ftudy of a draped figure, without a head. Silver point heightened with white. Colledfcions — Richardfon, Sir B. Weft, Sir T. Lawrence, (R.) H. 124 in.; W. 64 in. 7 * FRA FILIPPO LIPPI (Ascribed to). Our Saviour in the Temple Disputing with the Doctors. A compofition of nine figures. Our Saviour, feated on a throne with an arched canopy, his right hand uplifted, and with a book on his knee, appears in the adfc of addrefling a company of fix dodfcors, who are feated in Symmetrical order around. JoSeph and the Virgin ftand behind a low breaft wall or partition on the right. Pen and Slightly walhed drawing in biftre, heightened with white, on pale red prepared Fifteenth and Sixteenth Centuries. 5 ground. Afcribed by Dr. Wellefley to Giotto, but in the writer’s opinion it difplays the fpecific ftyle of defign of Fra Filippo Lippi. It is, at all events, obvioufly a drawing of the 15th rather than the 14th century. Collection (W.) H. 64 in.; W. 64 in. 8 . BENOZZO GOZZOLI (Ascribed to). Born, 1424; Died, 1485. Two Studies of Draped Figures on the fame {heet. One is a young man in the coftume of the fifteenth century, with a turban on his head ; the other a more aged perfon, with flowing hair, and wearing a cloak or mantle. Pen drawing, {lightly walhed with biftre, on reddifh-tinted paper. From Richardfon’s collection, by whom the attribution to Benozzo was originally given. Collections — Richardfon, (R.) H. 8 in.; W. 64 in. 9 - NERI DI BICCI (Ascribed to). Born, 1419; Died, i486. An uncertain Ecclesiastical and Legendary Subject. The chief intereft of this curious early Italian drawing is in its archi- tectonic character, the figures being a minor feature of the compofi- tion. The fcene is laid within the area of a cloifter or arcaded atrium of a church, the weft end of which, of a fevere, early, round-arched ftyle of architecture, occupies the right of the drawing, and is ap- proached by a flight of fteps extending the entire width of the edifice. In the background, above the roof of the arcade, are feen the towers and upper ftories of various edifices of an early Florentine character. In front of the church Hands a bifhop, with two attendant priefts or deacons, who, with outftretched hands, feem to be waiting to welcome the coming of three faints, who are preparing to afcend the fteps. Underneath the arcade a number of female figures, in contemporary Florentine coftume, appear to have aflembled to witnefs the ceremony. Collections — Richardfon, Dr. Mead, J. Barnard, Sir B. Weft, (R.) (The attribution to Neri di Bicci is in the handwriting of Richardfon, and is probably the true one, Richardfon having moft likely taken the infcription from the original mount.) H. 84 in.; W. 11 in. 6 Florentine School . io. ANTONIO POLLAJUOLO (Ascribed to). Born, 1433 ; Died, 1498. St. Francis espousing Poverty. The Saint, in the habit of his order, is placing a ring on the finger of a gaunt and meagre woman, barefooted and fcantily drefled ; carefully executed with the point of the brufh in biftre, heightened with white, on a dark blue prepared ground. H. 94 in.; W. 7^ in. I I. SANDRO BOTTICELLI. Born about 1447 ; Died, 1515. An Allegorical Figure of Abundance, reprefented as a beau- tiful young female, clad in thin gauzy drapery, carrying a cornucopia, and followed by a group of amorini. This moft beautiful drawing is probably the defign of an allegorical figure, painted on the reverfe of one of his female portraits, a method of which feveral examples are extant. It is executed with a fine pen, on a light reddifh ground, in biftre, the fhadows hatched, and the high lights indicated with white. Colle&ions — Morris Moore, (R.) H. 124 in.; W. 104 in. 12 . SANDRO BOTTICELLI. An Allegorical Figure of Faith, reprefented as a draped female figure feated, holding in one hand a crofs, and in the other a chalice. Pen drawing in biftre, heightened with white on light brown paper. Collection (R.) H. 94 in. ; W. 64 in. * 3 - SANDRO BOTTICELLI. The Virgin, seated, with the Infant Saviour in her Arms. Pen drawing in biftre, unfortunately much injured and defaced. Collection (R.) H. 94 m.; W. 54 in. H- SANDRO BOTTICELLI (Ascribed to). Study of the Head of a Young Man, probably St. John the Fifteenth and Sixteenth Centuries. 7 Baptift, three-quarter face, looking upwards with an expreflion of adoration. Pen drawing, heightened with white, on dark pink prepared ground. A fmall circle or medallion cut from a fheet of ftudies. Colle£tions — Earl of Egmont and (R.) Diam. 3 in. _ • ! 5 * DOMENICO GHIRLANDAIO. Born, 1449; Died about 1498. Study of a Lady in a standing position, in the Florentine cof- tume of the end of the 15th century. This graceful figure is a firft fketch (the head indicated only) of a well-known figure in one of the celebrated frefcos of the choir of Santa Maria Novella, and is a portrait of Genevra Benci, the wife of a noble Florentine citizen and a cele- brated beauty. The compofition in which this figure appears repre- fents the Vifitation of the Virgin and St. Elizabeth (fee notice in Vafari, ed. Lemonnier, 1849, vol. 5, p. 77). The frefcos were executed during the years 1485-90 at the expenfe of Giovanni Tornabuoni, and are filled with portraits of the donor’s family and friends. The prefent ftudy, drawn with the pen in biftre, has every appearance of being fketched from the life. Collection (R.) H. 94 m.; W. 44 in. 16. DOMENICO GHIRLANDAIO. Zaccharias naming the Infant St. John. Pen drawing in biftre. This interefting drawing is undoubtedly the firft ftudy for one of the frefcos in the choir of Santa Maria Novella. Vafari (vol. 5, p. 77, ed. Lemonnier) thus defcribes the compofition : — Y of a Man, from the Life in the Nude. This ing, which has much of the ftyle and fentiment of aelle, is a pafticcio, or rather a ftudy from a model :d in the fame pofe as Michel Angelo's celebrated the Cartoon of Pifa (the man buttoning his hofe, en- graved by Marc Antonio). In the right-hand lower corner are the in- itials w T. V.” in the well-known characters affixed to the drawings from the Antaldi collection (probably towards the end of the fixteenth century). 1 Italian chalk. Collections — Antaldi, Lawrence. H. 164 in.; W. 74- in. TUD draw Raffs place Handing figure in 198. TIMOTEO DELLA VITE. Study of a Young Man in the Nude, his arms uplifted, and holding a ftaff or wand. Black chalk, on light brown tinted paper. Probably alfo from the Antaldi collection, though without the mark. Collection (R.) H. 134 in.; W.6i-in. 1 The colleftion of the Marchefe Antaldi of Pefaro, confiding chiefly of drawings by Raffaelle and Timoteo della Vite, was bought in block by Woodburn, and this was doubtlefs one of the drawings fo acquired. The Antaldi family were defcended from Timoteo della Vite, to whom Raffaelle is faid to have bequeathed his fketches, and the drawings had never fince changed hands. The Raffaelle drawings were marked with the rather large Roman letters “ R. V.” in biftre, and thofe by Timoteo as indicated above with a “ T. V.” 8o Scholars and Imitators i 99 . TIMOTEO DELLA VITE (Ascribed to). Two Studies on the same Sheet. On the right a kneeling figure of a young female, or perhaps an angel ; on the left an aged male figure feated on the ground, with hands clafped round his knees, apparently intended for one of the apoftles in a compofition of the Agony on the Mount, and copied from a defign by RafFaelle, now in Venice. Pen drawings in biftre, on light brown tinted paper. In the right-hand lower corner are the letters “ R. V.” in bold chara&ers (indicative of RafFaelle Urbino). This fignature denotes the drawing to have originally formed part of the Antaldi colle&ion. Cohesions — Antaldi, Lawrence. H. 6j in. ; L. 94 in. 200 . GIULIO ROMANO (GIULIO PIPPI). Born, 1492 ; Died, 1546. Two Tritons in the Sea, one of them riding on a dolphin and holding a trident, the other playing on a lyre. In front on the left a duck fwimming. Pen drawing in fepia. This drawing is apparently of the early time of the mafter; it is conceived fomewhat in the fenti- ment of Mantegna. Colle&ions — J. Richardfon, Sir Jofhua Reynolds. H. 5^ in.; L. 7 in. 201 . GIULIO ROMANO. Study for a Ceiling. The figures feem forefhortened from beneath. Compofition of four half-draped female figures with mufical inftruments ; an amorino feated on clouds $ and two flying draped figures of angels, or genii, bearing palm branches Pen drawing in biftre, with numerous pentimenti ; probably for a ceiling in the Palazzo del T at Mantua. In the right-hand lower corner is the name “ Giulio Romano,” Colle&ions— Earl of Arundel (or King Charles I.), C. Rogers, Sir J. Reynolds. H. 8^ in. ; L. n^in. 202 . GIULIO ROMANO. A Warrior in a Quadriga, furrounded by foldiers. One of his attendants is falling wounded from the car, and is fuccoured by a of Rajfaelle. 8 1 (lave or follower, wearing a Phrygian bonnet. Or perhaps this compofition, full of turmoil and energetic movement, may be intended to reprefent He&or dragged behind the car of Achilles. Finiftied pen drawing, wafhed with biftre, and heightened with white, on blue paper. H. io in.; L. 15 in. 203. GIULIO ROMANO. A Draped Female Allegorical Figure, feated, with out- ftretched wings ; probably an allegorical imperfonation of air or rain. She is combing her ftreaming hair with her right hand, and with her left holds up a mafs of clouds : on each fide is an amorino, the one to the right holding an urn with the mouth downward, that to the left apparently fuftaining with uplifted hands a mafs of heavy clouds. Pen drawing fhaded with biftre. Colle&ions — Earl of Shrewfbury, (R.) H. 74 i n *i W. 84 in. 204. GIULIO ROMANO. Perseus Disarming himself, after flaying the monfter. Pen drawing in biftre, on grey paper. In the centre of the compofition, Perfeus feated, wearing the helmet of Hades, is apparently taking off the talaria , or winged fandals, after the deliverance of Andromeda ; near him is feen the forefhortened figure of the fea-monfter lying on its back, and on the right two fea-nymphs, apparently dyeing the coral in the blood of the monfter, according to the old fable. Colle&ion — Richardfon. H. 74 in. ; W. 124 in. 205. GIULIO ROMANO. A Lion, about to make a fpring ; probably intended as one of the figns of the zodiac for the Mantua frefcoes. Pen drawing in biftre. Colle&ions — Richardfon, (R.) H. 7 in.; W. 12^ in. 206. RAFFAELLINO DEL COLLE (Ascribed to). Flourished circa 1546. The Almighty, in the a& of benedi&ion, furrounded by boy G 82 Scholars and Imitators angels. A circular drawing, probably a defign for the centre of a ceiling or cupola. Biftre-wafhed drawing, on pale brown tinted paper. Cohesions — Count Gelofo, (W.) Diam. 74 in. 207. RAFFAELLINO DEL COLLE (Ascribed to). Head of the Virgin, looking downwards. Shaded chalk drawing heightened with white chalk, on pale brown tinted paper. Colle&ion (L.) H. 134 in.; W. 11 in. 208. SICIOLANTE DA SERMONETA (Ascribed to). Born, 1504; Died, 1580 (?). A Sheet of Studies, of clafllcal or mythological figures, amorini, etc. ; probably for arabefque frefco decoration or ftucco-work. The principal group (on the left) reprefents Hercules prefenting the horn of the bull Achelous to a nymph. Drawing on green prepared ground, pen, wafhed with biftre and heightened with white. Colle&ion (R.) H. 104 in.; L. 164 m. 209. PIERINO DEL VAGA (PIETRO BUONACORSI) (Ascribed to). Born, 1500; Died, 1547. Holy Family, with St. Jofeph, St. Elizabeth, and the infant St. John. Pen and biftre-wafhed drawing heightened with white, on grey paper. Colle&ions — Lagoy, Lawrence, (L.) H. 94 m.; W. 64 in. 210 . POLIDORO CALDARA DA CARAVAGGIO. Born, 1495 ; Died, 1543. Our Saviour being hurried away by the foldiers after his betrayal. This impreflive compofition of many figures is arranged as a frieze- ihaped proceflion ; our Saviour is being dragged along by a cord, and a figure behind him is ftriking him with his clofed hand. The group is illuminated by the light of a burning creflet carried aloft. Biftre- fhaded drawing heightened with white, on brown paper. Colle&ion (R.) H. 94 in. ; W. 84 in. of Raffaelle. 83 21 1. POLIDORO DA CARAVAGGIO. A Roman Sea-Fight. Compofition of many figures ftruggling together, in claflical richly ornamented galleys, Roman architecture in the background. An elaborate pen and biftre-walhed drawing of cir- cular form ; probably a defign for a majolica ware falver. Collection (R.) Diam. 12^ in. 212 . POLIDORO DA CARAVAGGIO. A Roman Soldier leading a Horse. Shaded drawing in biftre, heightened with white, on grey paper. Collection (R.) H. i6| in.; W. 9 a in. UMBRIAN AND ROMAN MASTERS. i6th and 17TH Centuries. 213*. GIULIO CLOVIO. Born, 1498; Died, 1578. PIET A. Chrift fupported on the knees of the Virgin, with four difciples in the background. Finifhed drawing in Italian chalk in the ftyle of Michel Angelo. Signed by the artift. Collection — Lawrence. H. 9fin. ; W. 8^ in. 214. FEDERIGO BAROCCIO. Born, 1528; Died, 1612. The Flight into Egypt. The Virgin riding on an afs, led by Jofeph, holds up the Infant Saviour, who is plucking a bough of a tree, which Angels are bending down for him. Pen and biftre wafh draw- ing, heightened with white, on a dark yellow or brown prepared ground. Collections — Lawrence, (R.) H. 16 in. j W. 94 m. 215. BAROCCIO. Life-size Study of the Head of a Saint, in profile, upturned in an attitude of devotion, probably St. Francis. Red chalk. Collection (R.) H. 13 in. ; W. 9 in. 216. FEDERIGO ZUCCHERO. Born, 1543; Died, 1609. A Group of two Standing Figures. St. John the Baptift, and Sixteenth and Seventeenth Centuries. 85 a Bifhop with a paftoral ftaff and a book, probably St. Auguftine, apparently a ftudy for the right-hand fide of an altar-piece. Highly- finifhed drawing in black and red chalk. Colle&ions — Sir Peter Lely, Holditch, Van Haaken, W. Efdaile, Hawkins. H. 74 in. ; W. \\ in. 217. FEDERIGO ZUCCHERO. The Holy Family. The Virgin and Jofeph, our Saviour fleeping in his cradle, St. Catherine kneeling in adoration ; behind her St. Chiara, and on the extreme right a boy angel with a bafket of fruit. Pen and biftre wafh, on grey paper, heightened with white. Colle&ions — Lord Somers, Richardfon, R. Cofway, Sir B. Weft, J. Thane, Richard Ford, W. Efdaile. W. iof in. ; H. 7J. in. 218. FEDERIGO ZUCCHERO. Portrait of his Pupil Raffael da Reggio. Finifhed drawing in red and black chalks, within an oval. Colle&ion — Baron de Hochfchild. H. io|- in. 5 W. 74 in. 219. GIROLAMO MUZIANO. Born, 1528; Died, 1590. “Three-quarter” Portrait of a Praying Monk in Pro- file. Finifhed drawing in black and red chalks, ftrengthened with the pen and wafhed with biftre, the lights heightened with white. Colle&ions — Richardfon, (R.) H. 5 in.; W. 4^ in. 220 . OTTAVIO LEONI. Born, 1574 (?) ; Died, 1628 (?). Portrait Study. Half-length figure of a lady playing a mandoline. Black chalk heightened with white, on brown paper. Colle&ion (L.) H. 84 m.; W. 54 in. 221 . OTTAVIO LEONI. Portrait Study of a Young Italian Gentleman, wearing a 86 Umbrian and Roman Majlers. wide ruft. Highly finifhed drawing in black and white chalk, on grey paper. Colleaion (L.) H. 8* in.; W. 6 \ in. 222 . OTTAVIO LEON I. Portrait Study of a young Girl, wearing a robe with a high collar. Black chalk, heightened with white, on brown paper. Colleaion (L.) H. 7J- in.; W. 51. in. 223. GIUSEPPE CESARI (called CAVALIERE D’ARPINO). Born, 1560 (or 1568); Died, 1640. Portrait of Himself, Head and Bust, in an oval, in black and red chalk. Inscribed beneath, “ Ritratto del Cav le . Giufeppe Cefare dArpino, originale di fua mano.” Colleaion (R.) H. 14 in. ; W. 10 in. 224*. PIETRO DA CORTONA. (PIETRO BERETTINI.) Born, 1596; Died, 1669. The Crucifixion. Highly- finifhed biftre drawing, heightened with white. Colleaion — Bouverie. H. 124 in. ; W. 74 in. 225*. CAVALIERE GIOVANNI BAGLIONI. (Worked chiefly in Rome during the first half of the Seventeenth Century.) St. Prisca baptized by St. Peter. Compofition of many figures, within a church of the Corinthian order. In the centre of the com- pofition, St. Peter, (landing on a platform, is preparing to baptize the Saint, who kneels in a devout attitude at his feet, with her hands eroded on her bofom. On the other fide is feen a young acolyte kneeling, prefenting the facramental veflels on a falver. On the pavement in the foreground, near the centre, (lands a large oviform vafe or ewer. Drawing in pen and biftre wafh, heightened with white, on grey paper. Engraved in faefimile in the Crozat Gallery. Collections — Crozat and Lagoy. H. 15 in. ; W. 104 in. Sixteenth and Seventeenth Centuries. 87 226*. PIETRO TESTA. Born, 1611; Died, 1650. Uncertain Mythological Subject. A (acrifice interrupted by a car drawn by two frightened horfes burfting into the midft of the aflembly. Pen and biftre drawing, figned “Pietro Tefta, 1640.” H. 1 ii in. ; W. 74 in. 22 7. CARLO MARATTI. Born, 1625; Died, 1713. The Death of St. Isidoro. Pen and waftied drawing in Indian ink on light grey tinted paper. On the reverfe is infcribed, u Primo penfiero del Signor Carlo Maratti per lo quadro d’altare famofiflimo, nella chiefa di St. Ifidoro in Roma, da lui dipinto.” Cohesions — Hawkins, (R.) H. i6l in. ; W. 104 in. 228. GIOVANNI BATTISTA GAULLI (called BACICCIO). Born, 1639; Died, 1709. Holy Family in a Landscape. The Virgin fupports the infant Saviour on a pedeftal, from which a marble ftatue has fallen. On the right, Jofeph, with a ftaff in his hand, contemplates the overthrown ftatue. On the left a large tree, and in the landfcape background a city or cajiello . This compofition is evidently an allegory of the victory of Chriftianity over Paganifm. Pen drawing in biftre, (haded with neutral tint. Colle&ion (R.) H. 12 in. ; W. 94 in. 229*. UNKNOWN MASTER. Very spirited Studies of Children and Amorini in a great variety of attitudes. Pen drawing wafhed with biftre. H. ioi in. 3 W. 164. in. NEAPOLITAN SCHOOL. 230. SALVATOR ROSA. Born, 1615; Died, 1673. TUDY of Trees. Highly finifhed pen drawing in biftre. Signed by the artift, “ Rofa.” Collections — Uvedale Price, (W.) H. 16 in. ; W. Hi in. On the reverfe of this drawing is the following infcription : H. 9; in. 5 ° 3 ‘ BOUCHER. Landscape. Cattle palling over a bridge. H. 7 in. ; W. 12^ in. 5 ° 4 * J. B. GREUZE. Born, 1726; Died, 1805. Head of a Child. A brilliant and powerful ftudy in red chalk, life-fize. Colle&ion (R.) H. 13 in. j W. n£in. GERMAN SCHOOL. 5 ° 5 - EARLY GERMAN SCHOOL. N Archangel or Allegorical Figure fighting with Evil Spirits ; he is clad in a long cloak and a ftole with erodes upon it 5 round his head is a wreath of lilies, and he has two great wings outfpread behind him. In his right hand he brandifhes a iword, and in his left a circular buck- ler, embofled with a mafk or human face furrounded with a lion’s mane. Monftrous and dreamlike forms are fwarming around him and entangling themfelves in the fkirt of his cloak 3 they are compofed of femi-human, femi-beftial fhapes of toads, bats, and dragons, with fhadowy hideous human countenances leering and grimacing from various parts of their mifshapen, foreftiortened bodies. In the upper part, extending acrofs the drawing, is a line of infeription in large grotefque Gothic chara&ers, not, however, legible. This extraordinary drawing has all the characteriftics of a fantaftic Gothic carving, at the fame time it is executed with a finejje and perfection of mani- pulation feldom found in the drawings of fculptors. It is executed on vellum fized with a light cream-coloured ground or preparation, drawn in at firft with the filver point, and afterwards moft delicately and minutely gone over and fhaded with the point of a very fine hair pencil in black ink. In fome refpects the ftyle of the principal figure feems to connect it with the early fchool of Cologne, and the date of the work is probably very early in the fifteenth century. A drawing by the fame hand, and of a fimilar fantaftic fubject, is extant in the royal collection at Drefden. Collection (R.) H. in. ; W. si in- Fifteenth and Sixteenth Centuries. 17 1 5 ° 6 . MARTIN SCHOEN (or SCHONGAUER). Born about the middle of the Fifteenth Century; Died, 1499. Head of an Angel. Highly finifhed pen drawing, in brilliant black ink. The refemblance in ftyle and fentiment, and alfo in the a&ual method of execution, of this drawing to the engravings of Martin Schoen, affords fufficient evidence of its authenticity. The coronet of jafmine flowers which encircles the head, and the rich mafs of wavy hair, may be feen frequently repeated in the angels’ heads in various engraved compofitions of this true German Raffaelle. The brilliant jet black pigment with which it is executed occurs in many other early German drawings ; it is evidently indelible, the drawing having, to all appearance, fuffered not the flighted change, during the four centuries which mutt have now nearly elapfed fince it was committed to paper. Colle&ions — Earl of Shrewfbury, (R.) H. 4|- in. ; W. 4 in. 507 - MARTIN SCHOEN. Standing Figure of St. Margaret. Pen drawing in black ink, heightened with white on dark green prepared ground. This drawing exhibits a perfect type of female grace and beauty, as conceived in early German art. It is entirely different from the Italian ideal, yet fcarcely lefs beautiful. Like the preceding drawing, it is unqueftion- ably from the hand of the truly great mafter to whom it is afcribed. The faint with long flowing hair, and clad in an ample cloak, fattened on the breaft with a fibula, is ftanding on the dragon, and in the right hand fhe holds a wand, or the ftaff of a banner. It was probably a ftudy for one of the figures in a volet of a fmall tryptich. Colle&ions — S. Rogers, (R.) H. 9|- in. ; W. 4 j- in. 508. MARTIN SCHOEN (Ascribed to). Studies of Two Figures, one an aged faint with a book in his hand, the other a ftanding angel with long wings. Pen drawing in biftre. Colleaion (R.) H. 73. in. 5 . W. 74 in. German School. 172 5 ° 9 - EARLY GERMAN SCHOOL. Our Saviour mocked by the Soldiers ; compofition of feven figures. The Chrift proftrate on the ground, is furrounded by a ribald infuriate gang of foldiers, one of whom is tying a bandage round his eyes, whilft others are ftriking and fcoffing at him. One of them, on the right, holds a label fcroll in his hand, on which is infcribed in gothic church text characters, cc Profitifle quifte perkuflit,” ( fie ) whilft another blows a long horn in our Saviour’s ears. The coftumes, armour, &c., of the foldiers difplay a mixture of the aCtual mediaeval fafhion of the fifteenth century, and of fantaftic idealifed motives, doubtlefs intended as claftical or antique ; the heads and the type of the figures generally are diftinguifhed by peculiar uglinefs and vulgarity, but at the fame time by great energy of expreflion. The writer believes this defign to be of the ancient fchool of Augfburg, circa 1470. Pen drawing, fhaded with biftre, and flightly tinted in parts with blue and red. Collection (R.) W. 10^ in. ; H. 7A in. 510* EARLY GERMAN. A rich Allegorical Composition. On the right a portico, in which a king is feated, furrounded by numerous figures. A town in the background, from the gates of which iflues a long proceflion of knights 2nd foldiers. H. ioi in. ; W. 7 \ in. 5 llm MICHEL WOLGEMUTH (Ascribed to). Born, 1434; Died, 1519. Sheet of Studies. In the centre the Almighty Father upholding the crucified Saviour, flanked by two angels. On the right St. Sebaf- tian, on the left St. John the Evangelift. On the reverfe the Almighty Father, feated on a throne. Drawn with a fine pen, and flightly wafhed in biftre. Collections — W. Y. Ottley, Lawrence. L. 15 in. 5 H. 9J in. Fifteenth and Sixteenth Centuries. 173 512. MICHEL WOLGEMUTH (Ascribed to). A sheet of Studies of Figures and Drapery ; alfo other figures on the reverfe. Pen drawing in black ink. Collections — Carderera, (R.) H. n in.; W. 8^ in. 5*3- HANS BALDUNG (called “GRUN>’ or “GRUEN”). Born, 1476 (?) ; Died, 1552. Portrait Head of a Young Man wearing a Felt Cap. In the field of the drawing (on the right) is the date 1514. Chalk and Indian ink, fhaded drawing, on light brownifh paper. Collection (R.) H. 8 in. ; W. 7^ in. 5H- GRUN. The Virgin, seated on the ground, holding the Infant Saviour in swaddling clothes on her knees. Pen drawing in Indian ink. This moft beautiful drawing is of the beft period of the matter, probably circa ISIS (?) W. 64 in. 5 H. 64 in. 515- ALBERT ALTDORFER. Born, 1488. A Composition, probably intended as an abftraCt reprefentation of war. In the foreground is a march or proceffion of German foldiers, in the coftume of circa 1530. The attack on a caftle or city by efcalade is feen on the left, and a furious battle of pikemen near a battery of cannon in the background. An elaborate and crowded compofition of fmall figures, drawn with extreme delicacy with a crow-quill in black ink. Collection (R.) L. 10 in. ; H. in. 516. HANS BURGMAIR (Ascribed to). Born 1472; Died, i 559. A Knight or Cavalier, {landing befide his caparifoned horfe. Black chalk. Collection (R.) W. 10 in. ; H. 104 in. J 7 4 German School. 5 * 7 - “KRUG OF AUGSBURG.” Bust Portrait of a Young Man, fmall life-fize, in the German coftume of circa i520-’30. Black and red chalk. It is infcribed in an ancient hand, > Collection (R.) W. 44 in. ; H. 34 in. 777- PAUL POTTER. A Cow lying down on a Bank, and a dog in the aCt of hunting. Black chalk. Collections — Verftolk, (L.) W. 5 in. ; H. 24 in. 77 8. PAUL POTTER. Study from Nature, of two pigs lying down, and the head of a third pig. Colle&ion (L.) L. 64 in. ; H. 6 in. 779- PAUL POTTER. Two Studies of Cows, on two leaves of a fketch-book, mounted on the fame fheet. Black chalk. Collections— Verftolk, (L.) L. of each 44 in. by 3 in. in H. 780. PAUL POTTER. A Group of Three Cows (landing in a meadow, and an afs, the latter in a forefhortened pofition, fcratching its hind-quarters with its teeth. Black chalk. Collections — Jolles, Verftolk, (L.) L. 64 in. ; H. 34 in. Drawings by Rembrandt . 243 781*. PAUL POTTER. A beautiful Landscape of cattle refting by the fide of a piece of water, the herdfman lying down aileep. Drawing in Italian chalk. H. 13 in. ; W. 164- in. 782. REMBRANDT VAN RYN. Born, 1606; Died, 1674. UR Saviour with Martha and Mary. In the centre of the compofition our Saviour is feated near a table, on the other fide of which Mary is alfo feated, reading intently in a book. On the left Martha, engaged in fome culinary occupation, fits near an open fireplace, and appears to be converfing with the Saviour. Pen drawing, Rightly wafhed with biftre. Colle&ions — Dimfdale, (R.) W. 94 in. ; H. 9L in. 7 8 3 - REMBRANDT. Holy Family. The Virgin, with the child in her lap, to whom {he offers the breaft, is feated under a mafs of overhanging foliage. Jofeph {landing, his hands refting on a ftone, leans forward, and con- templates the holy child. Pen drawing, {lightly wafhed in biftre. Colle&ions — Richardfon, Lawrence, Efdaile. W. 54 in. ; H. 54 in. 784. REMBRANDT. Interior of a Room, with a Sick or Aged Man in Bed. A young man bending over him. At an open doorway a female figure ftands in a liftening attitude. Notwithftanding that the coftumes are of 244 Dutch School. Rembrandt’s own period, this exprdlive and truthful compofition is probably intended for Jacob obtaining the blefiing from his father Ifaac. Outline pen (ketch in biftre. Colle&ion (R.) L. 9 in. j H. 6| r in. 785*. REMBRANDT. A Landscape Sketch. Pen and biftre. H. 3f in. ; W. 8i r in. 786*. REMBRANDT. A Landscape Sketch. Pen and biftre. H. 44- in. ; W. 84- in. 787*. REMBRANDT. Landscape, with a cottage on the banks of a canal. Highly finifhed drawing in fepia. Colle6tions — Harman, James. H. 64- in. ; W. 94. in. 788*. REMBRANDT. Landscape. A winter fcene in Holland, open country, interfered by a canal. In the centre a cottage and leaflefs trees. Highly finifhed drawing in fepia. Colle£tions — Goll von Falkenftein, Efdaile, Lawrence, James. H. 3 in. ; W. 74. in. 789. REMBRANDT. The Virgin, with an open Book on her Knee, and Jofeph, with his head refting on his hands, fitting befide her, contem- plating the child Jefus afleep in a cradle at their feet. Pen (ketch in biftre. ColledHon (R.) W. 6 in. ; H. 44. in. Drawings by Rembrandt. 245 790. REMBRANDT. Christ, with St. Peter, walking on the Sea. Pen (ketch in biftre. Colle&ion (R.) L. 10J- in. ; H. 6j- in. 79 1 - REMBRANDT. Half-length Figure of an Aged Bearded Man, probably a Jew, wearing a cap or turban. Pen drawing, (haded with biftre. Collections — Lawrence, Efdaile. H. 6 j. in. ; W. 5 in. 792. REMBRANDT. Study (from the Life ?) of a Woman (the head and buft only) lying down in bed. Pen (ketch in biftre. Collections — Lawrence, Efdaile. W. 41. in. ; H. 3^ in. 793 - REMBRANDT. Two Studies of Heads of Aged Bearded Men, one wearing a high conical cap. Pen drawing in biftre. Cohesions — Richardfon, Count Gelofo, Sir J. Reynolds, E. Utter- fon. H. 3£ in. ; W. 3.1 in. 794 - REMBRANDT. Life Study. A nude figure of a woman feated, fide view, but with the face turned full towards the fpeftator. Black chalk drawing, walhed with biftre and heightened with white chalk. The ftudy for a well-known etching by the mafter. Colle6tions— Verftolk, (L.) H. 73. in. ; W. 6i in. 795 - REMBRANDT. An Academy Life Study. Nude figure of a young man with 246 Dutch School. long hair, feated on a cufhion on the ground, holding a flick or flute in his two hands. Pen drawing wafhed with biftre. Collection (L.) W. 6^ in. ; H. 5^ in. 796. REMBRANDT. A Woman. Standing, holding a candle in her hand, low down beneath her waift, fo that the head and upper part of the figure are illumined from beneath. Pen and fhaded drawing in Indian ink or biftre. Collections — Utterfon, (R). H. 7^ in. ; W. 54 in. 797 * REMBRANDT. Study of two Men wearing long gabardines and wide-brimmed hats, probably Amfterdam Jews. Reed pen in Indian ink. Collection (R.) H. 44 in. ; W. 3^ in. 798. REMBRANDT. A MIDDLE-AGED WOMAN IN A DUTCH PEASANT COSTUME, feated before a table, faid to be the nurfe of Rembrandt’s fon Titus. Brilliant pen drawing, fhaded with biftre. Collections — Sir Thos. Lawrence, Efdaile, Verftolk, (L.) H. 5^ in. j W. 3 in. 799 - REMBRANDT. Seated Figure of a Man with bushy Hair and Beard. Pen drawing in biftre. Collection (R.) H. 4 in. ; W. 3 in. 800. REMBRANDT. Study of a Couchant Lion drinking from a Pail. Biftre, pen and red chalk, on dark brown tinted paper. Collection (L.) W. 74 in. ; H. 3L in. Drawings by Rembrandt. 247 801. REMBRANDT. Study of a Couchant Lion licking his Paw. Reed pen, waflied with biftre. Colle&ions — Mendes, (L.) L. 64 in. ; H. 3 in. 802. REMBRANDT. A Couchant Lion. Pen drawing fhaded with biftre. W. 6j. in. ; H. in. 803. REMBRANDT. A Group of Four Bearded Old Men in the Persian Cos- tume, feated on carpets under the fpreading branches of a tree ; in the midft is a tray with coffee or fherbet, which two of them are Tipping from cups and faucers. Drawing in biftre, on prepared paper. This well-known and moft exquifite drawing is evidently a pajliccio by Rem- brandt, from an original Perfian illumination ; other fimilar renderings of Perfian fubje£ts by Rembrandt are extant; they were evidently imitated from original drawings in his poflefiion. The prefent drawing was engraved in facfimjle by Ryland, when in the Willett colledtion (fee C. Rogers’ facfimiles of ancient drawings), and it has fucceflively pafled through the hands of Richardfon, Willett, T. Dimfdale, Sir T. Lawrence, and Efdaile (1835). H. 6|- in. ; W. 4J- in. 804. REMBRANDT. View of Dort. The great church is the moft prominent obje£t in this view, which is taken from a flat meadow, interfered by a ditch or canal, vifible only as a narrow white line. The effe