\ «-' * * 
 
THE J. PAUL GETTY MUSEUM LIBRARY 
 
 From the library of 
 Frank Simpson 
 

 
 
 
 
 
 
 
 
 
 
 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/catalogueofpictu00youn_1 
 
CATALOGUE 
 
 OF THE 
 
 PICTURES AT LEIGH COURT, 
 
 NEAR BRISTOL. 
 

 
 
 
 
 
 
 
 
/y 
 
 A 
 
 CATALOGUE 
 
 OF THE 
 
 PICTURES AT LEIGH COURT, 
 
 NEAR BRISTOL; 
 
 THE SEAT OF 
 
 PHILIP JOHN MILES, ESQ. M. P. 
 
 WITH ETCHINGS FROM THE WHOLE COLLECTION. 
 
 EXECUTED 
 
 BY PERMISSION OF THE PROPRIETOR, 
 
 AND ACCOMPANIED WITH 
 
 HISTORICAL AND BIOGRAPHICAL NOTICES. 
 
 BY 
 
 JOHN YOUNG, 
 
 ENGRAVER IN MEZZOTINTO TO HIS MAJESTY, 
 
 AND 
 
 KEEPER OF THE BRITISH INSTITUTION. 
 
 LONDON: 
 
 PRINTED BY W. BULMER AND W. NICOL, CLEVELAND-ROW, ST. JAMES’S. 
 PUBLISHED BY THE PROPRIETOR, No. 65, UPPER CHARLOTTE STREET, FITZROY-SQUARE ,• 
 AND SOLD BY R. JENNINGS, BOOKSELLER, IN THE POULTRY; 
 
 G AND W. NICOL, PALL-MALL; MOLTENO, PALL-MALL; CARPENTER, BOND STREET; 
 RODYVELL AND MARTIN, NEW BOND STREET; ACKERMANN, STRAND; 
 
 LLOYD, HARLEY STREET; NORTON, BRISTOL; AND 
 COLNAGH1 AND CO. COCKSPUR-STREET. 
 
 1822 . 
 

TO 
 
 PHILIP JOHN MILES, ESQ. 
 
 M. P. 
 
 THIS WORK 
 
 IS 
 
 MOST RESPECTFULLY AND GRATEFULLY INSCRIBED, 
 
 BY HIS OBEDIENT AND 
 
 OBLIGED SERVANT, 
 
 JOHN YOUNG. 
 

 

 
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 Although this Collection is too remote from the Metropolis, to 
 share with its splendid Galleries the frequent visits of the ama¬ 
 teurs and patrons of Art,—yet, the Pictures of which it is com¬ 
 posed can never fail to excite the highest interest, when it is 
 considered that many of them were the ornaments of the magni¬ 
 ficent palaces of Italy, which were, for a long period, almost the 
 sole receptacles of the finest works produced by the chisel and 
 the pencil. To the animating example of the ancients, we owe 
 the present flourishing state of the Fine Arts in this country ; 
 and those who distinguish themselves by collecting and exhibit¬ 
 ing their works, are entitled equally to the gratitude of the pro¬ 
 fessional artist, and to the thanks of the British public. 
 
 Among the highly meritorious individuals who have enriched 
 the country with works of ancient art, we are, in an eminent de¬ 
 gree, indebted to Richard Hart Davis, Esq., Member for Bristol, 
 by whom this Collection was principally formed ; and whose re¬ 
 fined taste led him to select the finest specimens of the Italian 
 School. During the late period of revolutionary spoliation, many 
 of the most splendid works of art were removed from Italy to 
 
this country; and they excited a competition which was at once 
 an indication of our national wealth, and a proof of the judgment, 
 taste, and liberality of our Collectors. 
 
 When these Pictures had been for some years in the posses¬ 
 sion of Mr. Davis, his friend, Mr. Miles, being desirous of adorn¬ 
 ing his noble mansion, at Leigh Court, with a splendid Gallery 
 of Paintings, contracted with him for the purchase of the whole ; 
 and, actuated by the ardent spirit of his predecessor, he has added 
 many very fine Pictures from various Collections, and especially 
 from that of the late Henry Hope, Esq. Every facility of intro¬ 
 duction is afforded by the liberal proprietor to those whose taste 
 induces them to visit Leigh Court; and many of the finest Pic¬ 
 tures in his Collection have, at different times, appeared in the 
 exhibitions at the British Institution; Mr. Miles having very 
 liberally acceded to the wishes of the Directors in this respect, 
 notwithstanding the inconvenience attending a distant removal. 
 
 In this Catalogue, as in those which have preceded it, all at¬ 
 tempt at critical discussion has been carefully avoided; but no 
 opportunity has been neglected of procuring such biographical 
 and other notices as were deemed to be useful and interesting. 
 The Drawings, of which the Etchings are faithful imitations, have 
 been made with every possible attention to expression and cha¬ 
 racter ; and I trust that this Catalogue will not disappoint the 
 expectations of those who have patronised my former works. 
 
 J. Y. 
 
 London, February \ st, 1822 . 
 

 
 
 
 
 
X 
 
CATALOGUE 
 
 all* 
 
 No. 1. 
 
 RUBENS. 
 
 THE CONVERSION OF SAINT PAUL. 
 
 * And Saul, breathing out threatenings and slaughter against the disciples of 
 
 “ the Lord, went unto the high priest.” 
 
 “ And desired of him letters to Damascus to the Synagogues, that if he found 
 
 “ any of this way, whether they were men or women, he might bring them 
 “ bound into Jerusalem.” 
 
 “ And as he came near Damascus, suddenly there shined round about him, a 
 “ light from Heaven.” 
 
 “ And he fell to the earth, and heard a voice, saying unto him, Saul, Saul, 
 
 “ why persecutest thou me ? .... I am Jesus.” 
 
 This Picture was formerly the property of M. de Montesquieu, who was one of the 
 victims of the French Revolution. It. was selected by the Commissary appointed by Govern¬ 
 ment to search for objects of Science or Art, worthy of being admitted into the National 
 Museum of France ; and, having been restored to his family by virtue of the law in favour of 
 condemned persons, was afterwards purchased, and brought to England, by M. de laHante, 
 who disposed of it, with the celebrated <f Candle Light,” by the same Master, to Mr. 
 Hastings Elwyn.' The latter Picture was purchased by Charles Duncombe, Esq. for two 
 thousand two hundred guineas; and the St. Paul was sold, at the same time, for four 
 thousand pounds, to Richard Hart Davis, Esq. by whom it was subsequently transferred to 
 the present proprietor. 
 
 Of the productions of this ornament of the Flemish School, this Collection has three: 
 but, such is the estimation of his talents, that it would be difficult to find any Collection 
 of celebrity without some of his Pictures. Highly gifted by nature, and improved by edu¬ 
 cation, he was distinguished no less as a Scholar and a Statesman, than as an Artist. He 
 studied painting in the School of Otho Venius, from whose literary acquirements and pro¬ 
 fessional excellence he derived great advantage. Rubens painted an incredible number 
 of Pictures for public edifices in the Low Countries; and although many of his designs 
 were forwarded by Vandyke and Snyders, who were his pupils; yet, in no Painter’s works, 
 do we discover so little of the labour of others. 
 
 On Canvas. 8 ft. high. 11-| ft. wide. 
 
 B 
 
[ 2 ] 
 
 >aloon* 
 
 ( L~ A 4"0 ( /i ) 
 
 No. 2. 
 
 CLAUDE. 
 
 THE LANDING OF iENEAS. 
 
 From the Altieri Palace, and Companion to No. /• 
 
 Li U _ fcUAl 
 
 iA F' AvUv 
 
 Posterity, as well as the age he lived in, has assigned to this Master the prece¬ 
 dence of all others in the department of Landscape Painting. He discovered no 
 early indications of genius; but having accepted an offer to accompany some young 
 artists to Italy, he appears, soon after his arrival at Rome, to have entered into the 
 service of a Landscape Painter, principally with the view of preparing his colours. 
 In this humble employment, he became acquainted with the rudiments of his art; 
 and by continued application, he was at length enabled to maintain himself by his pro¬ 
 ductions. The resources of literature were totally unknown to him; but, animated 
 with the love of independence, he proved that a determined resolution to excel, will 
 generally conquer the obstacles which circumstances have placed in the way. His 
 early efforts were the effect of infinite labour, and he frequently re-painted his Pictures, 
 again and again, until they appeared to his satisfaction. 
 
 It is worthy of remark, that the Panoramic Art, which has been so successfully fol¬ 
 lowed in this country, was first practised by Claude, on the walls of a nobleman’s saloon, 
 at Rome. In this woi’k, he introduced every variety of object and form calculated to 
 inspire ideas of grandeur and magnificence, and the whole became one entire connected 
 prospect. 
 
 It was the practice of this Master to insert in a book, drawings of all his Pictures, 
 inscribing, on the back of each, the name of the purchaser of the Picture from which it 
 was taken. One of these celebrated depositaries, called “ Liber Veritatis,” is now in 
 the possession of the Duke of Devonshire, and contains two hundred drawings, which 
 have been admirably imitated by Mr. Earlom. Many of his principal works have been 
 engraved by Woollett, Vivares, and other eminent artists. 
 
 Iff. 
 
 On Canvas. 
 
 5 ft. 9 in. high. 7 ft. 5 in. wide. 
 

 CLAUDE 
 


 
 
 
 
 
 
 
 »• 
 
 
 
"nV'VV''" 
 
SALOON. 
 
 3 
 
 ■jt (&l) 
 
 No. 3. 
 
 RUBENS. 
 
 HOLY FAMILY 
 
 Rubens may truly be said to have been an universal Painter; and with such felicity 
 of execution, that it is difficult to decide in which branch he most excelled. 
 
 In his own country, his productions are numerous beyond all precedent; the city 
 of Antwerp alone containing thirty-six of his Historical Pictui’es; while France, Italy, 
 and England, abound with his works. 
 
 The crowned heads of Europe seemed to vie with each other in patronising him; 
 and he was enabled to build a magnificent house at Antwerp, which he enriched with 
 the finest works of art he could procure ; and giving way to the suggestions of a liberal 
 mind, he not only became a beneficent patron of contemporary merit, but lived in a 
 style of magnificence and splendour, suitable to the honours which had been conferred 
 upon him, and to his birth, education, and talents. 
 
 MekcjcU 
 YLuAc- 
 
 OUt. 
 
 k • v . 
 
 e * 
 
 On Canvas. 
 
 5 ft. 8 in. high. 6 ft. 7 in. wide 
 
 GJ. tetLioc, .•'V'jb Kjoc (Z'X) -clu 
 
4 
 
 SALOON. 
 
 t^frJVOv v/cwJjiA \LL J 
 t — < bo-^r( l(jlO 
 
 ft'Vi. 
 
 No. 4. 
 
 TITIAN. 
 
 VENUS AND ADONIS. 
 
 This Picture, of which there are many repetitions, particularly the fine one in the 
 Collection of J. J. Angerstein, Esq., was for many years in the possession of Mr. 
 West, the late President of the Royal Academy, who considered it as one of the most 
 perfect and beautiful works of the Master. 
 
 This eminent artist received the honour of Knighthood from the Emperor Charles 
 the fifth. The achievements in which that great warrior and politician was engaged, 
 did not divert his mind from the pursuits of art; and during the intervals of peace, he 
 appears to have been fully sensible of the merits of Titian, whom he treated not only 
 with the distinction suitable to his great talents, but with the intimacy and affection of 
 a friend. Many instances of the Emperor’s partiality are upon record. Titian painted 
 three portraits of Charles, who declared, that he valued himself less on the kingdoms 
 he had conquered, than on having been thrice immortalized by the hand of Titian. 
 The Emperor once took up a pencil which had fallen from the hand of the Artist, 
 while he was sitting for his Portrait; and upon Titian expressing his sense of the ho¬ 
 nour conferred upon him, he replied—that Titian had merited to be served by Caesar. 
 His works were so universally esteemed, that he was continually receiving splendid pre¬ 
 sents and tokens of friendship from the most illustrious and eminent characters of 
 every country. 
 
 The prevailing weakness in Titian’s character was jealousy. Influenced by this 
 mean passion, lie expelled Tintoretto from his school: but his conduct had the effect of 
 raising that artist in public estimation in the same degree that it diminished the cha¬ 
 racter of his master. 
 
 Titian became a victim to the plague at the extraordinary age of ninety-nine. 
 
 On Canvas. 5 ft. 10 in. high. 6 ft. 8 in. wide. 
 
 r- ** 
 
 
 V£nu z vT.t. 
 


 
 
 
 
 
 
 
 
DOMEMCimO. 
 
 i 
 
SALOON. 
 
 o 
 
 No. 5. 
 
 DOMENICHINO. 
 
 SAINT JOHN. 
 
 This Picture, previously to the French Revolution, formed one of the principal or¬ 
 naments of the Giustiniani Gallery, at Rome, and is allowed to be the finest single 
 figure painted by this distinguished disciple of the Carracci. The leading excellence in 
 the Pictures of Domenichino is expression, for which he has been considered as inferior 
 only to Raphael. The purity and grandeur of the design, the inspired expression of 
 the countenance, the splendour of the colouring, with the harmony of the accompani¬ 
 ments, all tend to fill the mind with awe and admiration. The Artist has repeated this 
 design, with little variation, in a fresco painting of the four Evangelists, in the church 
 of Saint Andrea in Valle, at Rome ; and which is still in high preservation. 
 
 Domenichino received his first instructions in the art under Denis Calvert, at Bo¬ 
 logna; but having been detected in copying a drawing of Annibale Carracci, he was 
 treated with unmerited severity, and, at his particular desire, removed to the school of 
 the Carracci. In that distinguished seminary, it was customary to excite the emulation 
 of the students, by offering rewards to those who produced the best drawings. Such 
 was the humble opinion which Domenichino conceived of himself, that he would wil¬ 
 lingly have declined entering into competition with those whom he regarded as his su¬ 
 periors : but, when his drawing was pronounced by Annibale to be the best, this deci¬ 
 sion, far from inspiring him with confidence and presumption, had the effect of encou¬ 
 raging a close application to the principles of his art. His reputation was established 
 by the works which he executed at Rome, amongst which was his well-known Picture 
 of the Communion of Saint Jerome, which ranked in reputation next to Raphael’s 
 Transfiguration. It is remarkable that, although he was endowed by nature with shin¬ 
 ing talents, his works were the result of the most vigorous and uninterrupted study. In 
 Music and Architecture he was equally distinguished as in Painting ; but his talents 
 excited so much envy, that he was even denied the merit of having executed his own 
 works. Through the malice and cabals of his professional brethren he was driven 
 from Rome, and afterwards from Naples; and upon his return to that city, their con¬ 
 duct assumed the most cruel and vindictive shape ; the manner of his death leaving a 
 reproach on his contemporaries to which history offers no parallel. 
 
 On Canvas. 8 ft. 7 in. high. 6 ft. 8 in. wide. 
 
 * ■ (x es. 
 
 Jr 
 
 fvLw 
 
 hy Ifv. (-(. Cljiu i I(yfj2c^ fi( 
 
 H I K 
 0 > 
 
 V>u. 
 
 f ^ I l -*>.<■ L f/jrtef. w. CL L 
 
 'fo-j-Z-j /k 
 
6 
 
 SALOON 
 
 No. 6. 
 
 RUBENS. 
 
 THE WOMAN TAKEN IN ADULTERY. 
 
 “ And the Scribes and Pharisees brought unto Jesus a woman taken in adultery.’ ’ 
 “ And they said to him—Moses in the law commanded us that such should be 
 “ stoned : but what sayest thou ?” 
 
 “ He that is without sin among you, let him first cast a stone at her.” 
 
 St. John, eh. viii. v. 3, 5, 7 ■ 
 
 "iO 
 
 This Picture was painted for the family of Knyf, of Antwerp, and afterwards became the 
 property of the celebrated Collector Canon Knyf, at whose sale it was purchased by the 
 late Mr .Hope. 
 
 Two of the accusers are said to be portraits of the celebrated reformers, Calvin and 
 Luther: the former is distinguished by a black beard, and a phylactery on his forehead, 
 on which appears an inscription. The second is without a beard, and his head covered with 
 a quoif ; the third, between the woman and Christ, is Van Oort, the early master of Rubens; 
 and the young man bending over the woman’s shoulder, was taken from Vandyke ; the 
 head of Christ being obviously a portrait of the Artist. 
 
 The works of this illustrious Master are the most lasting records of his fame, but the 
 following tribute of affection from his widow and children was inscribed on a monument 
 erected to his memory; and it becomes interesting, as bearing testimony to his varied 
 faculties, and to the honours conferred upon him. 
 
 J2a/mV^ (' x 
 
 2c) ( c /j) U 
 
 ^To-\(~Cn/i Sw i lul J 
 
 
 n, ic. We (M) 
 
 <t~v 
 
 3.5“, 
 
 c 4 . 
 
 •'2 DCvV f 2 ) \ LvVCi 
 
 D. O. M. 
 
 Petrus Paulus Rubenius, Eques, 
 
 Joannis hujus Urbis Senatoris Fifius, 
 
 Steni Toparcha. 
 
 H. S. E. 
 
 Qui inter caeteras, quibus ad Miraculum, 
 Excelluit Doctrinae, Historiae priscae, 
 Omniumque bonarum artium, et elegantiarum dotes. 
 Non suum tantum saeculi, 
 
 Sed et omnis aevi, 
 
 Apelles did meruit, 
 
 Atque ad regum Principumque Virorum Amicitias, 
 Gradum sibi fecit. 
 
 A Philippo IV. Hispaniarum Indiarumque Rege, 
 Inter Sanctions Concilii Scribas adscitus; 
 
 Et ad Carolum Magnae Britanniae Regem 
 Anno M.D.C. XXIX delegatus, 
 
 Pacis inter eosdem Frincipes mox initae 
 Fundamenta feliciter posuit. 
 
 Obiit anno Sal. M.D.C. XL. iEtatis L.XIII. 
 
 Domina Helena Formentia Vidua ac Liberi 
 Sacellum hoc Aramque, ac Tabulam Dei Parae 
 Cultui consecratam, memoriae Rubenianae 
 L. M. poni dedicarique eurarunt 
 R. I. P. 
 
 iu 
 
 On Wood 
 
 6 ft. 3 in. wide. 4 ft. 9 in. high. 
 

 J 
 
 
 

 
 
 
 
X 
 
 
 CJLAUBE 
 
SALOON. 
 
 £ fa) U ^ . 
 
 Coll. ,3- ^■\)^ t t) 
 
 fal\ YiJ/ Ii.h.tyyf ) M ^<aI' 
 
 
 CLAUDE. 
 
 No 7 . 
 
 THE SACRIFICE TO APOLLO. 
 
 This celebrated Picture, and No. 2, are known by the name of the Altieri Claudes, 
 and were purchased from the Prince by Mr. Fagan, an English Artist, afterwards 
 British Consul for Sicily, during the military occupation of Rome. They were con¬ 
 sidered as the greatest ornaments of the Altieri Palace ; and to save them from the 
 French, Mr. Fagan took the precaution to secrete them within a wall, built by himself 
 under the stair-case. It was not long before a rumour of the sale reached the French 
 Authorities; and the purchaser refusing to deliver up the Pictures, was arrested, and, 
 for some time, confined in the castle of Saint Angelo. But the place where they were 
 deposited not having been discovered, he afterwards found means to convey them to 
 Naples. When the French took possession of that city, in 1799, while attempting, 
 with many of his countrymen, to take refuge on board of Admiral Nelson’s fleet, he 
 was arrested, with the Pictures in his possession; but being released, through the 
 interference of a friend, he succeeded in conveying these inestimable works of art to 
 Palermo. They were subsequently transmitted to a merchant in this country, for the 
 purpose of sale; but, through an error in the consignment, they were deposited, for a 
 considerable time, in a custom-house, at some port in the west of England. On Mr. 
 Fagan’s arrival in this country, he ascertained that his Pictures had been advertised 
 for sale. He found no difficulty in proving them to be his property ; and they were 
 restored to him, on the payment of all expenses. 
 
 They were subsequently disposed of to Mr. Beckford, with a few small Italian Pic¬ 
 tures, for £75500., and purchased from him, by It. H. Davis, Esq. for £12,000., by 
 wffiom they were transferred to the present proprietor. 
 
 On Canvas. 5 ft. 9 in. high. 7 ft. 5 in. wide. 
 
[ 8 ] 
 
 
 /VV-v^i G"V^ »r l-^UJ 
 
 m Sr-Cc 
 
 ® turns &oom. 
 
 No. 8. 
 
 /U^,. a 7 A?^y• ICjsz^Uf-) 
 
 LODOVICO CARRACCI. 
 
 SAINT JOHN. 
 
 The Arts in Italy were sinking into languor and debility, when the transcendent talents 
 of Lodovico, Agostino, and Annibale Carracci raised them to the highest degree of excel¬ 
 lence. This was accomplished by the formation of their School of Painting; and the 
 noble principles on which it was founded, entitle the distinguished triumvirate to the gra¬ 
 titude of posterity. Not only were the most beautiful models selected for study, but casts 
 from all the best Figures and Antique Statues were executed under their superintendence, 
 and conveyed to Bologna. A Collection of works of the best Masters, with a Library, con¬ 
 taining every book written upon Art, was also added to this establishment. 
 
 On Canvas. 4 ft. wide. 3 ft. high. 
 
 No. 9. 
 
 MURILLO. C*\L V-■! 
 
 V f 4_() h W - lio I c ** ■ f 2 ^')* ^ 
 
 d J VIRGIN AND CHILD. 
 
 
 
 i n 
 
 \ (dMoL etc a t Kma 
 
 On Canvas. 
 
 4 ft. wide. 3 ft. 4 in. higli 
 
 a . K.A iVyO. 
 
 No. 10. 
 
 VELASQUEZ. 
 
 THE VIRGIN IN ADORATION. 
 
 The early works of this Master afforded but little promise of excellence, being chiefly con¬ 
 fined to objects of still life. But when he aspired to a higher department in the Art, it was 
 his custom to make Sketches from the characters he met in the streets, and these being 
 executed with a bold pencil, and attention to character, brought him into notice. His 
 master, Fr. Pacheco, having received from Italy several fine Pictures by Guido, Caravaggio, 
 and others, he was by them inspired with the desire of employing his pencil on subjects of 
 more consequence. 
 
 When he attained his 33d year, his talents recommended him to the notice of Philip IV. 
 of Spain ; he afterwards formed an intimacy with Rubens, by whose advice he transferred his 
 residence to Italy, where he attained that taste and correctness which laid the foundation 
 of his future fame and fortune. 
 
 
 On Canvas. 
 
 4 ft. 11 in. high. 5 ft. 9 in. wide. 
 
8 
 

 
 
 
 
 - 
 

 
 
 
 
 
 is 
 
 
 
 
 
 
MUMLLO. 
 
 9 
 
 
 MURILLO 
 
DINING ROOM. 
 
 9 
 
 No. 11. 
 
 MURILLO. 
 
 THE MARTYRDOM OF ST. ANDREW. 
 
 
 
 I'A&dtr 
 
 The Martyrdom of this Apostle took palce at Patrae, in Achaia, by order of the 
 Proconsul iEgeos, whom he had endeavoured to convert to Christianity. After his 
 interment at Patrae, his body was removed to Constantinople, by Constantine the Great, 
 and buried in the church which he had built in honour of the apostles. In the church 
 of Saint Victor, at Marseilles, there is still a cross to be seen, which is believed to be 
 the same on which Saint Andrew suffered. 
 
 
 On Canvas. 4 ft. 3 in. high. 5 ft. 6 in. wide. 
 
 No. 12. 
 
 MURILLO. 
 
 THE FLIGHT INTO EGYPT. 
 
 " But when Herod was dead,, behold an angel of the Lord appeared in a dream to 
 c< Joseph in Egypt, 
 
 “ Saying, arise, and take the young child and his mother, and go into the land of 
 “ Israel ; for they are dead whieh sought the young child’s life.” 
 
 St. Matthew, Ch. ii. v. 19 and 20. 
 
 In subjects of familiar life, where the amiable and tender sentiments are expressed 
 which excite sympathy and compassion, this Artist eminently excelled. The strong 
 national resemblance in his characters demonstrates his early studies to have been in the 
 school of Nature. Through the friendship of Velasquez, he had the opportunity of 
 studying the finest works of Titian, Rubens, and Vandyke; and no painter has 
 succeeded better in uniting, in his own manner, the excellencies of these masters. His 
 sacred subjects do not possess the elevation of the Italian school, but they captivate 
 equally by truth and simplicity of character, as by clear, tender, and harmonious co¬ 
 louring. After he had distinguished himself by painting altar-pieces for most of the 
 principal churches at Seville, and pictures for public buildings, he was invited, by 
 Charles the second, to Madrid; but attachment to his native city prevailed over every 
 consideration of interest and ambition. 
 
 In his habits of living he was simple and unostentatious : the wealth which flowed in 
 upon him from all quarters, was hardly sufficient to supply the circle of his extensive 
 charities; and the only record of his property was contained in the buildings which 
 had been erected and endowed by his munificence. 
 
 While engaged in his last work, for the church of the Capuchins, at Cadiz, he fell 
 from the scaffold which had been erected for him; which accident he did not long 
 survive. 
 
 On Canvas. 4 ft. 2 in. high. 5 ft. 7 in. wide. 
 
 133.. 
 
 c 
 
10 
 
 DINING ROOM. 
 
 No. 13. 
 
 CASPAR POUSSIN. 
 
 A STORM ; THE CALLING OF ABRAHAM. 
 
 \\AJb 
 
 i ? 
 
 .1 
 
 lx.c mj 
 
 This Picture is esteemed to be one of the finest specimens of the Master. It for¬ 
 merly belonged to the Colonna palace, at Rome, and was sold, during the confisca¬ 
 tions of the French Revolution, to the Chevalier de Rossi, a Roman of great literary 
 celebrity, known by his dramatic works, and by his “ Life of Angelica Kauffman it 
 afterwards became the property of Mr. Beckford, by whom it was transferred to Mr. 
 R. H. Davis. The loss of this picture has always been a subject of regret with the 
 artists resident at Rome, notwithstanding another, in the same style, viz. “ The 
 Rinaldo and Armida,” still forms one of the chief attractions of the Corsini palace. 
 
 The works of this master are remarkable for elegance and grandeur; and he is 
 celebrated, beyond all others, for the vigorous and terrific manner in which he has 
 expressed the effects of a Land Storm. 
 
 On Canvas. 6 ft. 9 in. high. 5 ft. 1 in. wide. 
 
 No. 14. 
 
 PARMIGIANO. 
 
 GRACE TRIUMPHING OVER SIN. 
 
 On Wood. 1 ft. 10 in, high. 1 ft. 4 in. wide. 
 
 No. 15. 
 
 RAPHAEL. ’/ 
 
 HOLY FAMILY. 
 
 It has been observed by Mengs, that Raphael was born at an era before the art 
 of painting had been debauched by affectation or manner. He was no less celebrated 
 in Portrait than in History. His reputation, like that of other great painters, has been 
 equally preserved by the fine plates which have been engraved from his pictures, as 
 by the pictures themselves. Of those which were executed on stucco, many have not 
 escaped the ravages of time, while others, which are preserved, are confined to one 
 place, and have in a great degree lost the advantage of colour. 
 
 On Wood. 
 
 2 ft. high. 1 ft. 7 in. wide. 
 
10 
 
 GAS'PAP. POUSSIN 
 
 fAlMIGIAKO 
 
 1APE&JE1 
 


 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ; 
 
 
 
 
 
 
C3L AUTOS 
 
 
 j 
 
DINING ROOM 
 
 II 
 
 No. 16. 
 
 f n) CLAUDE. 
 
 A SEA PORT. 
 
 j I \\ On Canvas. 3 ft. 3 in. high. 4 ft. 5 in. wide 
 
 dWWr Hu*. 
 
 I fLb. \sy £.. ScicfjL ] :1 V '' ■ 
 
 No. L/\ 
 
 ANNIBALE CARRACCI. 
 DIANA AND ACT/EON. 
 
 Sw V\Xw fflMCA ‘ 
 
 ^ Svbt 
 
 6~. j(is(s) 
 
 Dunng the erection of his noble Gallery, at Haarlem, the late Mr. Hope visited 
 Paris, where he purchased the Collection of a French nobleman. This Picture, which 
 is considered to be one of the finest works of Annibale, was one of the number which 
 induced Mr. Hope to make so considerable an addition to his Gallery. It was added 
 to this Collection by Mr. Miles. 
 
 This distinguished Artist laid the foundation of his reputation by the early pictures he 
 executed at Bologna. These led to his being employed on the great work at the Far- 
 nese Gallery, for which, to the disgrace of his employer, he only received five hundred 
 crowns,—although succeeding generations have done him ample justice, by estimating 
 his performance above all price. 
 
 To this master, in conjunction with his cousin Lodovico, and his brother Agos- 
 tino, the Arts are indebted for the foundation of that School of Painting which bears 
 their name ; and through which most of the eminent painters of the sixteenth cen¬ 
 tury passed to the Temple of Fame. 
 
 On Canvas. 
 
 3 ft. 8 in. high. 5 ft. 2 in. wide. 
 
12 
 
 DINING ROOM. 
 
 No. 18. HipLc*. cj^ /V- (xu-lcLc^ 
 
 GUIDO CAGNACCL ‘ l3.i 
 
 SUSANNA AND THE ELDERS. 
 
 This Picture was formerly in Mr. H. Hope’s Collection at Haarlem, and attributed to 
 Guido Reni, in whose school this Artist studied ; and although inferior to his master in 
 grace and expression, he often surpassed him in correctness of drawing and vigorous 
 colouring. His works, however, generally bear too much the appearance of servile imita¬ 
 tion. He was patronized by the Emperor Leopold I. and the picture of David in the 
 Colonna Palace, was so highly esteemed by the Bolognese and Roman schools, as to be 
 copied in preference to the same subject by Guido. 
 
 On Canvas. 3 ft. 6 in. high. 4 ft. 9 in. wide. 
 
 No. 19. 
 
 NICOLO POUSSIN. 
 
 THE PLAGUE AT ATHENS. 
 
 This dreadful calamity broke out in Athens during the Peloponnesian war, being 430 
 years before the Christian era. The common maladies which are the natural infirmities of 
 man, appear, at this time, to have been suspended ; or if any disorder prevailed, it yielded to 
 the more malignant influence of this contagion. It affected equally the strong and the weak. 
 
 Many perished for want of care; and others died, notwithstanding the attentions which the 
 affection of kindred, or friendship bestowed. On the first attack, the mind sunk into dejec¬ 
 tion and despair j and mutual tenderness towards each other tended to spread the infection 
 more widely, and added horror to the appalling scene. To avoid the contagion, which first 
 broke out in the country, a number of people flocked into the city, and as they had no 
 bouses, they were sheltered in booths, which were so confined as scarce to afford room to 
 breathe in. The miserable victims lay together in the streets, or near the fountains, where 
 they had gone to assuage their thirst; and they received no assistance but from those whose 
 constitutions had resisted the malady. The temples, in which tents had been erected for 
 public use, were crowded with the bodies of the sufferers ; for, during this calamitous 
 period, things sacred and holy had not only lost their distinction, but the forms of sepulture 
 were also disregarded, every one seizing the first place that offered to deposit the bodies of 
 their deceased friends. 
 
 It was the fate of this Picture to be consigned from Cadiz, many years since, to the father 
 of the late Horton Langston, Esq. who married the niece of Henry Hope. Its merits ap¬ 
 pear to have been very imperfectly appreciated by Mr. Langston, who assigned to it a place 
 on the staircase of his house, in Queen Square; where, for a very long period, from the 
 darkness of the situation, it escaped observation. From this gloomy abode, it was rescued 
 by the penetrating eye of Mr. Hope, in whose Collection justice was done to its merits. 
 
 On Canvas. 5 ft. 8 in. wide. 4 ft. high. 
 

 1Z 
 
 / 
 
 
 
 id 
 
 GUI® 0 C AGIAC€I, 
 
 19 
 
 „ ]p O'U SSII 
 

 
timer 
 
 20 
 
 \ 
 
 
 
 RAjPHjVEIL 
 
Room. 
 
 [ 13 1 
 
 liBittljtiratotng 
 
 No. 20. 
 
 CARLO DOLCI. 
 
 ECCE HOMO. 
 
 Tenderness, delicacy, and transparency, with exquisite finishing, are the leading 
 features in the works of this Master. Without talents to aspire to elevation or dignity 
 of character, he is admired for the graceful turn of his heads, for the calm expression 
 of devotion which he has given to his Saviours, Madonnas and Saints ; and for general 
 harmony and pleasing tint of colour. 
 
 On Canvas. 2 ft. 7 in. high. 1 ft. 11 in. wide. 
 
 No. 21. 
 
 RAPHAEL. 
 
 CHRIST BEARING HIS CROSS. 
 
 “ -And they took Jesus, and led him away. 
 
 And he, bearing his cross, went forth into a place called, in Hebrew, Golgotha/\j 
 ” Where they crucified him.” St. John, Ch. xix. v. 16, 17, and 18. 
 
 This unquestionable Picture of Raphael, in his early manner, was purchased at the 
 sale of the Orleans Pictures, in February 1800 . 
 
 This illustrious Artist, at the age of sixteen, painted a series of pictures for the li¬ 
 brary of the Cathedral of Siena, representing the principal events in the life of Pope 
 Pius the second. He was afterwards invited to Rome, by Julius the second, where 
 lie painted his celebrated “ School of Athens,” for one of the state chambers of the 
 Vatican; and the Pope, as a proof of the satisfaction he received from his perform¬ 
 ance, commanded that all the pictures which had been painted for that Palace should 
 be effaced, and others supplied by the hand of Raphael. The deling of one of the 
 rooms, which had been painted by his old master, Perugino, was, through the inter¬ 
 cession of Raphael, excepted from the general proscription, and exhibits a proof of the 
 grateful respect he entertained for his early instructor. Such was the high estimation 
 in which he was held by Julius, that it is probable he would have received the honour 
 of the Purple ; and as this was supposed to have been the object of his ambition, he 
 declined entering into the marriage state. Early in life, he became attached to his 
 “ Bella Fornarina,” whom he left in a state of independence; and the stories which 
 have been propagated of his irregularities are without foundation. 
 
 The last picture painted by Raphael was the “ Transfiguration,” a work which will 
 immortalize his name. In the prime of life, and in the possession of it’s enjoyments, 
 being attacked with a violent fever, he became a victim to the barbarous state of the 
 medical knowledge of his time. 
 
 On Wood. loin. high. 2 ft. 10 in. wide. 
 
14 
 
 WITHDRAWING ROOM. 
 
 No. 22. 
 
 ANDREA DEL SARTO. 
 VIRGIN AND CHILD. 
 
 V/tM-Uv 
 
 11 I T l 
 
 'fcr'W Y 
 
 g'L 
 
 W Vw - < &c^' 
 
 /fo .-5 . iqo’v^S'S) W 
 
 / > 
 
 Umx) f©.*-^i*(fc) 
 bl' Gu4vW Oyj 
 
 The works of Lionardo da Vinci and of Michael Angelo, inspired this Artist with 
 the desire to become a Painter. He applied to his art with unremitting industry and 
 perseverance; and although his advancement was slow, he acquired, in an extraordi¬ 
 nary degree, the faculty of copying the works of others. A remarkable instance of his 
 skill, in this respect, is related by Vasari:—Frederick the second, Duke of Mantua, 
 passing through Florence to Rome, had seen a Portrait of Leo the tenth, by Raphael, 
 seated between two Cardinals, with the back-ground painted by Giulio Romano ; and 
 having requested Clement the seventh to make him a present of it, the Pope gave di¬ 
 rections to Ottavia de Medici for the picture to be sent to Mantua. Ottavia, knowing 
 Andrea’s talent, and being desirous of retaining the original at Florence, commissioned 
 him to paint a copy, which was forwarded to the Duke of Mantua. It was so 
 exact an imitation, that the deception was not detected by G. Romano, who was then 
 in the Duke’s service; nor could he be convinced of the fact, until Vasari assured 
 him he had seen it executed. In Francis the first, of France, Andrea found a muni¬ 
 ficent patron, and he resided for a considerable time at the court of that Monarch; but 
 being induced, in consequence of the pressing solicitation of his relations, to return to 
 Italy, he dissipated the property he had acquired by his talents, and died in indigent 
 circumstances. 
 
 On Wood. 3 ft. 7 in. high. 2 ft. 5 in. wide. 
 
 No. 23. 
 
 GIOVANNI BELLINI. 
 
 ^ (r) TI-IE WISE MEN’S OFFERING. ;\r & we ,!Ko 
 
 “ When Jesus was born in Bethlehem, there came wise men from the East to fxo R> Z- 1 - <s^~ 
 
 “ Jerusalem. 
 
 <r And when they were come into the house, they saw the young child, with Mary 
 “ his mother; and they fell down and worshipped him : and when they had opened 
 “ their treasures, they presented unto him gifts; gold, frankincense, and myrrh.” 
 
 St. Matthew, ch. ii. v. 19 and 20. 
 
 The practice of painting in oil was first introduced by Belbni, who is esteemed to 
 have been the founder of the Venetian School. Titian and Giorgione were his scho¬ 
 lars, by whose works he afterwards improved his style. Many of his altar-pieces are 
 still in the churches of Venice, and several of his small pictures are to be found in the 
 collections of this country. 
 
 On Wood. 1 ft. high. 2 ft. 9 in. wide. 
 
zz 
 
 
 AOTMR.IEA. BEL 
 
 SAETO. 
 
 GIOTAICK'I BILLIOT 
 

 
 
 
 
15 
 
 'VANIDYJKE. 
 
 STOT1MD. 
 
 G.JPoirssm. 
 
WITHDRAWING ROOM. 
 
 15 
 
 No. 24. 
 
 * (y 6 ) VANDYKE. 
 
 VIRGIN AND CHILD. 
 
 (Wfe tj'ffex ) On Canvas. 1 ft. 10 in. high. 2 ft. 5 in. wide. 
 
 No. 25. 
 
 STOTIIARD. 
 
 THE PROCESSION OF CHAUCER’S PILGRIMS TO CANTERBURY. 
 
 , A critical description of this celebrated Picture was presented to the public several years since, by 
 
 /(oC! / j ' Mr. Carey, well known for the Zealand ability with which he has advocated the cause of Modern 
 
 Art. His performance abounds with painter-like feeling, and just discrimination of character, and to 
 be valued no less for its merits, than for the disinterested motive which gave rise to it. Among other 
 testimonies to the merits of this Picture inserted in Mr. Carey’s ingenious work, is a letter, addressed 
 to Richard Cumberland, Esq. by Mr. Hoppner, which may be considered as too long for insertion 
 here, but that its merits would be injured by abridgment. 
 
 Dear Sir, SOlh May, 1807. 
 
 “ You desire me to give you some account of the Procession of Chaucer’s Pilgrims, painted by Stotliard, and the task is a pleas¬ 
 ing one ; for the praise called forth by the merits of a living artist, from a rival in the pursuit of fame, is, I feel, like mercy, 
 twice blessed-“ It blesseth him that gives, and him that takes.” 
 
 “ The painter has chosen that moment for his Picture when the Pilgrims may be supposed to have disengaged themselves from 
 the multitude that bustle in the environs of a great metropolis, and are collected together by Harry Baillie, their guide and host. 
 The scene is therefore laid in that part of their road from London that commands a view of the Dulwich hills, where, it may be 
 supposed the host could, without fear of interruption, proclaim his proposal of drawing lots, to determine who should tell the first 
 tale. He is represented standing in his stirrups, and appears to exult in the plan he has formed for their mutual entertainment. 
 You see the group gently passing forward—all are in motion,—yet too well satisfied with each other to be eager for their jour¬ 
 ney’s end. The features of each individual are touched with the roost happy discrimination of character, and prove the Painter 
 to have studied the human heart with as much attention, and not less successfully, than the Poet. 
 
 This intelligent group is rendered still more interesting by the charm of colouring, which, though simple, is strong, and most 
 harmoniously distributed throughout the picture. The landscape has a deep-toned brightness, that accords most admirably with 
 the figures ; and the painter has ingeniously contrived to give value to a common scene and very ordinary forms, that would 
 hardly be found, by unlearned eyes, in the natural objects. He has expressed too, with great vivacity and truth, the freshness 
 of morning, at that season when nature herself is most fresh and blooming—the spring ; and it requires no great stretch of fancy 
 to imagine we perceive the influence of it on the cheeks of the fair wife of Bath, and her rosy companions, the Monk and Friar. 
 
 “ In respect to the execution of the various parts of this pleasing design, it is not too much praise to say, that it is wholly free 
 from that vice which the painters term manner; and it has this peculiarity beside, which I do not remember to have seen in any 
 picture ancient or modern, that it bears no mark of the period in which it was painted, but might very well pass for the work of 
 some able artist of the time of Chaucer. This effect is not, I believe, the result of any association of ideas connected with the 
 costume, but appears in a primitive simplicity, and the total absence of all affectation, either of colour or pencilling. 
 
 “ Having attempted to describe a few of the beauties of this captivating performance, it remains only for me to mention one 
 great defect—the picture is, notwithstanding appearances, a modem one. But if you can divest yourself of the general prejudice 
 that exists against contemporary talent, you will see a work that would have done honour to any school, at any period. 
 
 “ I am. Dear Sir, &c. JOHN HOPPNER.” 
 
 On Wood. 11 in. high. 3 ft. 2 in. wide. 
 
 No. 26. 
 
 1 --. ijwM 
 
 GASPAR POUSSIN. 
 
 LANDSCAPE. 
 
 This Artist, although placed among the Italian Masters, was born in France, and discovering, at a 
 very early age, a talent for drawing and design, he was sent to Rome for his improvement, and 
 received into the house of Nicolo Poussin, who had married his sister. He was, at first, employed 
 • to prepare the palette, pencils, and colours, of his brother-in-law ; but, possessing an apt genius, he 
 availed himself of the precepts and examples of his relative, and, in a few years, became one of 
 the most celebrated Landscape Painters of his time. It appears that the brothers lived on terms of 
 perfect harmony, not only from Gaspar assuming the name of his benefactor, but from many of 
 the figures, in his best performances, being painted by Nicolo. 
 
 On Canvas. 2 ft. 1 in. high. 2 ft. 6 in. wide. 
 
16 
 
 WITHDRAWING ROOM. 
 
 ( 4 -) 
 
 \yv/vw . \ ^aJ v ^V ftJv. /^C^> ^ /K - 
 
 W'Cl^/U£A . 
 
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 . I 
 
 No. 27 . 
 
 FRA BARTOLOMEO. 
 
 VIRGIN AND CHILD. 
 
 From the Borghese Palace. 
 
 The works of Lionardo da Vinci, at Florence, were the models on which this Master 
 formed his style. He was the intimate friend of the Dominican Savonarola; and when 
 that unfortunate zealot was seized in the Convent of St. Mark, by order of Alexander 
 the sixth, the tumult excited, by the resistance of the Monks, was so excessive, as to 
 induce Bartolomeo to make a vow to devote himself to a monastic life, if he survived 
 the danger; and accordingly, in a short time, he took the habit of St. Dominick. He 
 afterwards had the honour to instruct Raphael in the principles of colouring; and the 
 knowledge of perspective he displayed in the grand scenery which embellishes many 
 of his Pictures was derived from that great master. His Picture of St. Sebastian, 
 equally celebrated for correctness of design, and beauty of form, was removed from 
 the Convent for which it was painted, the Monks thinking the public exposure of a 
 figure so beautiful incompatible with the devotion of their order. 
 
 On Wood. 3 ft. high. 2 ft. wide. 
 
 /^KT-V q to* , 
 
 No. 28. 
 
 
 7 
 
 7^ fob) bV. 
 
 yufci' 
 
 CLAUDE. 
 
 PASSING THE FORD. 
 
 This Picture is esteemed to be one of the best specimens of Claude’s elaborate finish¬ 
 ing. It was formerly in the possession of Mr. Walsh Porter, and subsequently pur¬ 
 chased by Mr. Hart Davis. 
 
 On Canvas. 2 ft. 10 in. high. 1 ft. 11 in. wide. 
 
 No. 29. 
 
 
 COMPANA. 
 
 CHRIST PREACHING IN THE TEMPLE. f\f (^ ^.4/ 
 
 Iu this Picture the Painter has introduced the Portraits of Solyman the Magnifi¬ 
 cent, Francis the First, Charles the Fifth, Cardinal Bembo, Titian, Giorgione, Bellini, 
 and Henry the Eighth; Anna Boleyn, and Queen Elizabeth when a little girl. 
 
 1 ft. high. 2 ft. wide. 
 
 On Wood. 
 
BARTOLOMEO. 
 
 CLAUDE. 
 
 COMFAWA 
 

30 
 
 A. CARRACCI, 
 
 AFTER 
 
 CORMEGCIO, 
 
 COllEGGIO. 
 
 MENGS 
 
WITHDRAWING ROOM. 
 
 17 
 
 sfLrii. H 
 
 *JISL 
 
 HA 
 
 IUQ 
 
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 . No. 30. 
 GUIDO. 
 
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 7 
 
 CLCCj 
 
 Ae&tfa, 
 
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 Afro) 
 
 At O 2 -) m 
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 CLEOPATRA. 
 
 Formerly in the Possession of the Princess of Wales, at Kensington Palace. 
 
 This eminent disciple of the Carracci relinquished the study of Music for Painting. His style was 
 easy, graceful, and dignified,—not deficient in correctness, and always captivating through the deli¬ 
 cacy and beauty of his colour and forms. The first productions of Guido are said to have excited con¬ 
 siderable jealousy in the minds of the illustrious triumvirate; and were the cause of his dismission 
 from their school: but conscious of the extraordinary and various powers he possessed, and not 
 discouraged by the harsh treatment he received, he became one of the most admired and successful 
 Painters of the distinguished age he lived in. His latter performances are far from being his best; 
 his time having been wasted, and his faculties impaired, through his attachment to the gaming 
 table. He, at length, abandoned himself so entirely to this fatal propensity, that his circumstances 
 became desperate; the sale of his works, and the money he obtained at exorbitant interest, were not 
 sufficient to repair the losses he had sustained, and he died a lamented victim to grief and disap¬ 
 pointment.. 
 
 On Canvas. 3 ft. 10 in. high. 3 ft. 3 in. wide. 
 
 No. 31. 
 
 AGOSTINO CARRACCI, AFTER CORREGGIO. ef'h LJ^ 
 THE DEATH OF SAINT FRANCIS. 
 
 The copy of this celebrated Picture of Correggio is here exposed to the most severe test, by being 
 placed close to the original: the elevated expression of devotion in the Saint; the beauty of form, and 
 magical tone of colour are imitated to perfection. 
 
 This Artist was the brother of Annibale, and the cousin of Lodovico Carracci, and not inferior to 
 either as a Painter; of which his Picture of the Communion of Saint Jerome, now in the Louvre, 
 may be adduced as a proof. He principally devoted his time to Engraving: the works he executed 
 after his own designs, and from those of other artists, are considerable in number ; and their great 
 merits entitle him to rank among the most celebrated Engravers of Italy. 
 
 A •VWjuAtff , On Wood. 1 ft. 7 in. high. 1 ft. 1 in. wide. 
 
 No. 32. 
 
 MENGS. 
 
 THE ADORATION OF SAINT BERNARD. 
 
 At a very early period of life, the works of the best Masters in the Dresden Gallery became the ob¬ 
 jects of this Artist’s imitation; and the merit of his performances procured for him the patronage of 
 the Elector of Saxony; and afterwards of Charles the third, of Spain ; but the state of his health 
 obliging him to leave that country, he visited the friendly climate of Italy, where he devoted his 
 whole time to the study of his art. Through the frequent severe attacks he had experienced, his con¬ 
 stitution became enfeebled, and he finished a career of exemplary and unremitting zeal for Art, among 
 those hallowed relics of antiquity to which his life had been devoted. 
 
 On Canvas. 1 ft. 10 in. high. 1 ft. wide. 
 
 No. 33. 
 
 CORREGGIO. 
 
 THE DEATH OF SAINT FRANCIS. 
 
 The reputation of this Picture may be estimated from the honour conferred on it by Agostino 
 Carracci, who copied it. 
 
 On Wood. 1 ft. 7 in. high. 1 ft. 1 in. wide. 
 
 
 D 
 
18 
 
 WITHDRAWING ROOM. 
 
 * 0«, 
 
 No. 34. 
 CORREGGIO. 
 SAINT JOHN. 
 
 U 7 •</vJ&k.oHt'' 
 
 La 
 
 Ctrty. \Xxrcb^ 
 
 It was not the fate of this Artist to participate in the advantages of study enjoyed by the 
 great Masters of his time : but nature was uncommonly bountiful to him, and bestowed 
 more than an equivalent for what fortune had denied. He spent his life at Parma, where 
 the Arts were neither highly esteemed, nor encouraged. An Assumption of the Virgin, 
 painted on the dome of the cathedral, and equally celebrated for fine taste and magnificence, 
 was his last work; but such was the fate of Correggio, that although he had stipulated for a 
 very moderate payment, even that was denied him, on the pretence of an imperfect perform¬ 
 ance of his contract. ; and he was compelled to receive the miserable pittance of two hun¬ 
 dred livres. To add to the degradation, the payment was made in copper; and having a 
 distance of eight miles to carry his burden, the heat of the weather, added to the mortifi¬ 
 cation he had suffered, brought on a fever, which proved fatal to him. When Titian passed 
 through Parma, in the suite of Charles the fifth, he was desirous to see this chef d’ oeuvre of 
 Correggio, and the praise he bestowed upon it was the means of its being preserved. 
 
 On Wood. 5 ft. 4 in. high. 3 ft. wide, 
 
 \j 2/vclMkA IX. % , | v .4oV £c6 (^cVi l -^ -Lw J ■ C ■ 'f'Vfrfc'Cv-a* ^ . 
 
 7f 
 
 
 
 . r fi r< ^ 
 
 k. oJ/ 
 
 
 w , , ,-Ui cl ■ (/?=) 
 
 PAUL POTTER 
 COWS. 
 
 This Animal and Landscape Painter was considered as a prodigy in his profession, at the 
 age of fifteen 
 
 
 (tvo P 
 
 U.UW 
 
 Some of his finest Pictures were painted for Maurice, Prince of Orange; 
 and so great was the demand for them at the Hague, that he could not supply the extensive 
 circle of his admirers. It was his practice to sketch from nature, and he afterwards com¬ 
 posed and painted his subjects from these original studies. His Pictures are of great value, 
 not only for their peculiar excellence, but from their scarcity. His constitution was natu¬ 
 rally delicate, and he fell a victim to an unremitting application to his art, in the prime of 
 life. 
 
 . , f n On Wood. 1 ft. 4 in. high. 1 ft. 3 in. wide. 
 
 |<rdtr.2.5, 
 
 No. 36. 
 
 ? V(W \0 7s 
 
 Sv 
 
 
 
 
 v-laic 
 
 GERHARD DOUYV. 
 
 THE WATER DOCTOR. 
 
 This celebrated Flemish Painter was indebted to Rembrandt for the principles of his Art. 
 His Pictures were held in the highest estimation, not only by his own countrymen, but by 
 the connoisseurs of Italy. They are all of the cabinet size, and finished with so much clear¬ 
 ness, freedom, and harmonious colour, as to give them a decided superiority over the works 
 of the best Dutch Painters. He was induced to abandon the practice of Portrait painting, 
 because very few could be found either to give up the time he required for a sitting, or to 
 pay his excessive prices. 
 
 The French Museum is said to contain seventeen Pictures of this Master. 
 
 On Wood. 1 ft. 9 in. high. 1 ft. 7 in. wide. 
 
 
 
 M \\jVvv , 1 , 
 
 ftxhMX 
 
 No. 37. 
 CORREGGIO. 
 CUPID. 
 
 11 in. high. 
 
 iviL' 
 
 
 
 
 f-'l 
 
 b_, A .f 
 
 SM 
 
 loll 
 
 K 
 
 -.SUM, 
 
 £kvj 
 
 i 
 
 
 On Wood. 
 
 8 in. wide. 
 
AY 
 
 COBJREGGIO. 
 
 
 35 
 
 P. POTTER. 
 
 36 
 
 GERHARD DOWE 
 
38 
 
 LIOWARD© DiV TIHC3 
 
 •%> 
 
 H AP THfATRI, 
 
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 [ 19 ] 
 
 
 CJLh.held. 
 
 "etw. Htbrarp. 
 
 / g’r/f y.'f cj-Sx f. 
 
 /^/^r 
 
 
 No 38. 
 
 LIONARDO DA VINCI. 
 
 /%yy. 
 
 
 CREATOR MUNDI 
 
 /XA+i'oA 
 
 Was purchased about thirty years ago, at Paris, by the late Mr. Bryan, who dis¬ 
 posed of it, soon after it was brought to this country, to the Rev. Mr. Hamilton, (bro¬ 
 ther of Sir William Hamilton, and uncle to the Earl of Warwick) in whose posses¬ 
 sion it remained, until a change of residence induced him to part with it. For this, 
 and five other pictures, amongst which were the Bacchanalian Dance of Nicolo Poussin, 
 from the Colonna Collection, and the Enchanted Castle by Claude, he received from 
 Mr. Troward, six thousand guineas. 
 
 This picture is an evidence of the elevated genius of the illustrious painter. The figure 
 is strictlyideal; the expression sublime and superhuman; and altogether a production in 
 which the very soul of poetry is embodied upon canvas. The subject has usually been 
 denominated “ Salvator Mundi.” That it represents Christ there can be no doubt, 
 but it is the Son of God in his character of majesty and glory,—not in his state of 
 humiliation and suffering ; the expression and the action denoting divine power and 
 energy. It has, therefore, been justly regarded as a representation of the Son of God 
 as creator of the world, in which character he is repeatedly alluded to in different parts 
 of the bible. The globe which he holds in one hand, in the centre of which a bright 
 light is seen sparkling ; the raised arm and uplifted finger of the other hand, appear to 
 allude to the omnifick mandate “ Let there be light, and there was light.” 
 
 In Lionardo’s pictures two manners are distinctly visible; the one exhibits powerful 
 opposition of light and shadow,—the other is of a more placid description, in which the 
 effect is produced through the medium of half tints. In both, grandeur of design, 
 and exquisite pencilling are remarkable. 
 
 A beautiful enamel has been executed from this picture by Mr. Bone. 
 
 -IL Lil 
 
 
 U , Ilf .6 . ICjhJ ( 4 - fj 
 
 SM.. 
 
 h Xo»- 12 
 
 ’■■ip (hr) 
 
 On Canvas. 
 
 3 ft. 2 in. high. 2 ft. 8 in. wide. 
 
 No. 39. 
 
 RAPHAEL. 
 
 VIRGIN, WITH THE INFANT JESUS. 
 
 The same subject painted by Raphael, with the addition of Joseph in the back¬ 
 ground, was one of the ornaments of the church at Loretto. It was purchased by Mr. 
 Davis in Italy, and the thick oil and yellow varnish with which it was covered being re¬ 
 moved, it was restored to its original exquisite purity and tone of colour. 
 
 4>ve' r I'cAjjO 
 
 3 - 5 ~ Tc^, fcpjrf&s) ^.UuA 
 
 (Xd Gt Cc cr" 
 
 3 ft. 3 in. high. 2 ft. 9 in. wide. 
 
 On Wood. 
 
[ -20 ] 
 
 JHustc rRoorn. 
 
 / i P /! No. 40. 
 
 A" i j Itk 
 
 GASPAR POUSSIN. 
 
 AcJk. % l.z. CASCATELLAS OF TIVOLI. 
 
 This Picture and its Companion, No. 43, were purchased at Paris by Mr. Beckford, 
 and by him sold to Air. Hart Davis. 
 
 This composition is formed upon the beautiful scenery of the valley of Cascatellas, 
 adjoining Tivoli, The artist has selected the most striking features of that classical 
 and enchanting spot, and embodying them into one whole, has produced a picture 
 which, for play of light and shadow, and general arrangement, has seldom been equalled 
 even by his own pencil. 
 
 On Canvas. 4 ft. 6 in. high. 3 ft. wide. 
 
 No. 41. 
 
 GUIDO. 
 
 SAINT PETER. 
 
 On Canvas. 2 ft. 11 in. high. 2 ft. 2 in. wide. 
 
 
 (foe? 
 
 No. 42 
 
 MURILLO. 
 
 HEAD OF SAINT JOHN THE BAPTIST. 
 
 On Canvas. 2 ft. high. 
 
 A AlV , 
 
 2 ft. 5 in. wide. 
 

 
 
 
 
 
 * 
 
 'i 
 
 
 
 
 
 
 i 
 
 
 
 
 
 
 
 
PARMIGIANO 
 
MUSIC ROOM. 
 
 21 
 
 ~X~ ly[ /h^ _ 
 
 1^ ('. ^ <?c^ ^5 .s. ic) ifo (yi ) 
 
 No. 43. 
 
 GASPAR POUSSIN. 
 CASCADE AT TIVOLI. 
 
 (m) 
 
 *(k) 
 
 /Ju y< 
 
 (L> N>C\ 
 
 $y l ''Arv(X 
 
 I'Li Vl. 
 
 J ■ &<fr -w i/ y.t 
 
 V Vj^wc^o-C . /O5o 
 
 This Picture is the companion of No. 40, and represents the Cascade formed by the Anio, at Tivoli, 
 immediately below the grand fall. The rocks on the fore ground are contiguous to the grotto of the [- (x C^vkV( • ( f/ 
 
 Syrens, into which the river precipitates itself. The whole is a correct view of the spot. 
 
 On Canvas. 4 ft. 6 in. high. 3 ft. 4 in. wide. 
 
 No. 44. 
 
 PARMIGIANO. 
 
 THE VISION OF SAINT JEROME. 
 
 This very interesting cabinet Picture has been considered as a small model for the celebrated work 
 of this Master, formerly in the possession of the Marquis of Abercorn, and now in the Collection of 
 George Watson Taylor, Esq. It was sent from Leghorn, to be forwarded to the French Museum, by 
 order of Bonaparte ; but the vessel having been captured by an English cruizer, the cargo became the 
 prize of the captors and this Picture, with several other works of art, being sold by auction, by Mr. 
 
 P. Coxe, became the property of Mr. H. Hope, at whose sale it was purchased by Mr. Miles. 
 
 On Copper. 1 ft. 4 in. high. 1 ft. wide. 
 
 
 
 it (yi) 
 
 
 No. 45. 
 
 PAOLO VERONESE. 
 
 CHRIST ENTERING JERUSALEM. 
 
 “ And they brought the colt to Jesus, and cast their garments before him ; and he sat upon 
 him. 
 
 “ And many spread their garments in the way; and others cut branches off the trees, and 
 strewed them in the way : 
 
 “ And Jesus entered Jerusalem, and into the temple.” St. Mark, ch. v. 7, S, II. 
 
 This great Master of the “ Ornamental Style” was the son of a Sculptor at Verona. His genius 
 for painting discovered itself at a very early age ; and having been engaged with others to paint in 
 fresco the dome of the cathedral at Mantua, he distinguished himself above all his competitors. 
 On his removal to Venice, he was equally successful. The Senate having offered a reward to the 
 artist who should produce the best work for the ornament of the Palace of the Conservators, it was 
 not only conferred on Veronese, but the adjudication obtained the sanction of his rivals. It was the 
 fortune of this Artist to enjoy the esteem, not only of the eminent characters of his time, but of the 
 most celebrated professors of his own art. Notwithstanding he accepted no remuneration for the 
 pictures he executed for Convents, the number of which was considerable, he died in opulent circum¬ 
 stances ; and a statue of brass was erected to his memory in the church of Saint Sebastian, at Venice. 
 
 On Copper. 1 ft. high. 1 ft. 4 wide. 
 
 No. 46. 
 
 CORREGGIO. 
 
 HEAD OF A VIRGIN. 
 
 On Wood. 1 ft. 4 in. high. 11 in. wide. 
 
22 
 
 MUSIC ROOM. 
 
 #-(w) 
 
 iMy 
 
 (5Y) 
 
 (vt) 
 
 4. A ^U^AI^slcL 
 
 
 X 
 
 No. 47. 
 MURILLO. 
 
 vfehV kY 
 
 SAINT JOHN WRITING THE REVELATION. 
 
 This animated and expressive representation of the “ Beloved Apostle,” was formerly cJi'. Ks . (fc'f. 
 
 in the Collection of M. Robit, at Paris, at whose sale it was purchased by Mr. Bryan, 
 who afterwards sold it to Mr. Henry Hope for five hundred guineas. It was added to 
 this Collection by Mr. Miles. 
 
 On Canvas. 5 ft. 9 in. high. 3 ft. 11 in. wide. 
 
 No. 48. 
 
 C 5 
 
 ICelk .(Zlfl) 
 
 ROMAN ELLI. 
 
 FIGURE OF MUSIC. 
 
 This Artist was the disciple of P. da Cortona. Through the patronage of Cardinal 
 Barberini, he was engaged by Lewis the fourteenth to paint a series of Pictures from 
 the ASneid, for the decoration of the old Louvre. For this work, in addition to a mu¬ 
 nificent reward, the honour of the Order of Saint Michael was conferred upon him by 
 his royal patron. 
 
 On Canvas. 2 ft. 3 in. high. 1 ft. 9 in. wide 
 
 No. 49. 
 
 GUERCINO. 
 
 MAGDALENE. 
 
 Of the different manners adopted by this Master, neither of them resemble the stu¬ 
 dents of the Carracci school, in which he is said to have been educated. The fame of 
 his works obtained from Pope Gregory tbe fourteenth, an invitation to Rome, where 
 the success he met with might have induced him to remain; but neither the liberal 
 offers from the Pope, nor the commissions from other distinguished characters, could 
 prevail upon him to defer his return to his native city of Bologna; the magnificent 
 churches and public buildings of which afforded an ample field for the exercise of his 
 <nU [WO talents. He is said to have painted for churches and public buildings upwards of two 
 hundred pictures; besides numerous Madonnas, Portraits, and Landscapes, for pri¬ 
 vate collections. Of drawings he left an incredible number, many of which are in 
 His Majesty’s collection, and have been exquisitely engraved by Bartolozzi. 
 
 By his great merits and uninterrupted success, he acquired considerable property ; 
 and his generous disposition prompted him to dispense large sums, not only in building 
 hospitals and charitable institutions, but in acts of private benevolence ; and he was no 
 less celebrated for his talents as an artist, than venerated for his virtues as a man. 
 
 On Canvas. 2 ft. high. 1 ft. 8 in. wide. 
 
 SotUL ; 19L .y - f^9 (ai-V) 
 
MURILLO, 
 
 46‘ 
 
 
 
 MOMAIELLI. 
 
 GUEicmo, 
 
so 
 
 west. 
 
 bassmo. 
 
 Bassawo, 
 
 
MUSIC ROOM. 23 
 
 No. 50. 
 
 WEST. 
 
 CHRIST TEACHETH TO BE HUMBLE. 
 
 Painted for Richard Hart Davis, Esq. at the price of One Thousand Guineas. 
 
 The late venerable President was a native of Springfield, in the State of Pennsylvania. When he'was in his 21st 
 year, a combination of accidental and fortunate circumstances procured for him the gratification of visiting Italy; 
 and the liberality of his friends in Philadelphia provided him with the means of improving his taste by a residence 
 of three years among the splendid works of art, and the venerable remains of ancient magnificence. On leaving 
 Italy, Mr. West went to Paris, and the conclusion of peace in the year 1763, afforded him the opportunity of visit¬ 
 ing the abode of his ancestors. On his arrival in London, he was agreeably surprised by meeting several of his 
 earliest friends and patrons, by whose means he not only received an introduction to the first circles, but ob¬ 
 tained access to every collection of celebrity in the country. 
 
 Notwithstanding the desire he had to return to America, he was aware that his professional views could only 
 be forwarded in a country where the refinements of polished society afforded more ample scope for the practice 
 of the higher departments of art. Mr. West’s employment as a portrait painter was considerable ; but from a 
 conviction of his superior endowments, his friends were anxious to lead him to a practice more congenial to his 
 talents. He, accordingly, painted two historical pictures, by which he increased his reputation without obtaining 
 the last and most cheering testimony of the effect produced by his exertions,—a purchaser. The public had, as 
 yet, no idea of the importance of the fine arts ; their patronage extended no farther than a liberal payment for 
 a portrait, and it was only through the encouragement which he received from a few individuals, that he was 
 enabled to devote himself to historical painting. Mr West’s professional brethren did not, however, partake of 
 the same insensibility; and his determination to establish himself in this country, was by them hailed with a 
 degree of cordiality and feeling which was no less creditable to their judgment, than honourable to their cha¬ 
 racters as members of a liberal profession. 
 
 Mr. West was one of the Directors of the Incorporated Society of Artists; but in consequence of the dissensions 
 which prevailed at their meetings, he was induced to withdraw himself from that body. In conjunction with 
 several others who had left that Association, he formed the plan of the Royal Academy; and on the death of Sir 
 Joshua Reynolds, was appointed to the president’s chair, which, with the exception of a short interval, he retained 
 during the remainder of his life. 
 
 Under the patronage of his late Majesty, he painted the pictures of Regulus, Hannibal, the Death of the Che¬ 
 valier Bayard, and Epaminondas. The commission for a series of pictures in commemoration of the military 
 achievements of the English during the reign of Edward the Third; and for another series, illustrative of the 
 history of revealed religion, was derived from the same munificent source. The execution of these celebrated works 
 occupied Mr. West for upwards of thirty years, aud the progress of them was only suspended in consequence of the 
 lamented illness of the late King; but the yearly pension of one thousand pounds was continued until the period 
 of his Majesty’s final superannuation. 
 
 The picture of “ Christ Healing the Sick” was undertaken with a view of presenting it to an hospital at 
 Philadelphia; but having been seen, in its progress, by several Directors of the British Institution, a liberal 
 offer from that distinguished body was accepted by Mr. West; and a duplicate picture was afterwards painted 
 by him, and transmitted to America. Age does not appear to have impaired the vigour of his powers. The 
 pictures of “ Christ Rbjected,” aDd “ Death on the Pale Horse,” although the last, are ranked among 
 the finest of his works ;—and of Mr. West it may be truly said, that his genius neither knew infancy nor old age. 
 
 On Canvas. 7 ft. 6 in. high. 6 ft. wide. 
 
 No. 51. 
 
 GIACOMO BASSANO. 
 
 LAcron /Ucvh/( 4 a 
 
 THE CIRCUMCISION. 
 
 From the Borghese Palace. 
 
 On Canvas. 2 ft. 5 in. high. 2 ft. 10 in. wide. 
 
 No. 52. 
 
 GIACOMO BASSANO. 
 
 CHRIST HEALING THE SICK 
 
 “ And the blind, and the lame came unto him in the temple, and he healed them.” 
 
 St. Math. eh. xxi. v. 14. 
 
 From the Borghese Palace. 
 
 A contemplation of the works of Titian and Parmigiano inspired this master with the desire of be¬ 
 coming a painter. His figures were designed larger than life, and with a grandeur of style which expired 
 with his first efforts. When he painted on a smaller scale, the models he chose for imitation were the 
 works of the most celebrated Venetian painters, which are neither distinguished for sublimity of con¬ 
 ception, or beauty of form. His pictures are generally representations of ordinary nature, and are less 
 remarkable for their correctness and select forms, than for the pleasing and captivating colouring of the 
 Venetian School. 
 
 On Canvas. 2 ft. 5 in. high. 2 ft. 10 in. wide. 
 
 (jjk ,'* i asj t ,i ■ >ffl. 
 
24 MUSIC ROOM. 
 
 No. 53. 
 
 SALVATOR ROSA. 
 
 LANDSCAPE. 
 
 The indigent circumstances in which this painter was left by the death of his father, compelled him 
 to exhibit his early pictures for sale in the public market place. From this hopeless state he was re¬ 
 lieved by the liberality of Lanfranco, of the Carracci school, who introduced him to Spagnoletto. With¬ 
 out possessing the powers of expressing the elevation and dignity which belong to the grand style, his 
 pictures generally inspire the beholder with ideas of terror, wildness, or desolation. Salvator’s talent 
 for satire is well known, and it was frequently used without discretion, in ridiculing the artists who were 
 his contemporaries : he was also distinguished for his wit, and he often amused himself with a practical 
 joke. The Academy of Saint Luke having refused to admit him as a student, he introduced one of his 
 pictures, in which he had endeavoured to disguise his manner, at a meeting of the painters, informing 
 them that it was painted by a surgeon who had been refused a place in their Academy, and who was 
 very much wanted to set the limbs they were daily in the habit of distorting and dislocating. He ap¬ 
 plied himself too generally to pursuits of ingenuity, at the same time that his object was reputation, 
 rather than an eager desire to avail himself of the reward of his labours. One of his large landscapes 
 having attracted the notice of a wealthy connoisseur, the treaty for the possession of the picture pro¬ 
 duced several interviews, and the painter thought proper to advance at each meeting, a hundred crowns; 
 and when his admirer expressed his surprise, Salvator told him that all the riches he possessed could not 
 purchase the picture, which he immediately destroyed. Such instances of sublime eccentricity indicate 
 a strong sympathy between the works and the actions of the painter. 
 
 On Canvas. 
 
 1 ft. 8 in. high. 2 ft. 5 in. wide. 
 
 No. 54. 
 
 CARRACCI. 
 
 THE ENTOMBMENT. 
 
 On Canvas. 1 ft. 10 in. high. 2 ft. 3 in. wide. 
 
 No. 55. 
 
 CARRACCI. 
 
 VIRGIN AND CHILD. , 
 
 On Canvas. 1 ft. 6 in. high. 1 ft. 2 in. wide. 
 
 No. 56. 
 
 VELASQUEZ. 
 
 PORTRAIT OF PHILIP THE FOURTH OF SPAIN. 
 
 When Velasquez visited the metropolis of Spain his talents procured for him the patronage of the Due 
 d’Olivarez, the minister of Philip. He was afterwards introduced to the King, who was desirous of 
 sitting to him for his portrait; and the artist’s success on this occasion laid the foundation of his future 
 fortunes. Through the recommendation of Rubens, Velasquez was desirous of visiting Rome and 
 Venice. Philip not only approved of his intention, but furnished him with unlimited funds and recom¬ 
 mendations to illustrious characters, by whom he was provided with every facility of introduction to the 
 celebrated works of antiquity. On his return to Madrid, after an absence of two years, he was gra¬ 
 ciously received by his Royal patron, and a painting-room provided for him in the palace ; the King, 
 on this occasion, imitating the conduct of Charles the 5th towards Titian. He was afterwards honoured 
 with an embassy to Pope Innocent the 1 Oth, and instructed to collect works of art for the King. Both 
 commissions were executed to his patron’s entire satisfaction; and a magnificent assemblage of antique 
 statues and pictures by the most distinguished Italian painters were placed in the Royal Collection. 
 
 On Canvas. 1 ft. 6 in. high. 1 ft. 4 in. wide. 
 
 No. 57. 
 
 GUERCINO. 
 
 JOSEPH AND THE ANGEL. 
 
 n 
 
 Ifrw LZs^ 
 
 On Canvas. 
 
 (iwU'fci ' GmA 
 
 1 ft. 5 in. high. 1 ft. 4 in. wide 
 
‘TP 
 
 km, i.f • . ixu ■' . - 
 
 S, ROSA. 
 
 i’AREACCI. 
 
 GlUERCIN'O. 
 
 'VEjLA§(Q)1T]E.'Z.. 
 
REMBTRAKBT 
 
 LlOmiBO BA T15CI 
 
 € JL^AX t Tj"£ 
 
 Ttesxtet 
 
 Raphael 
 
MUSIC ROOM. 
 
 25 
 
 No. 58. 
 
 REMBRANDT. 
 
 A JEW RABBI. 
 
 Rembrandt became a Painter in the school of nature : be produced his first works on the banks of r,, j, , j- ; . 
 
 N V. CXaj ,. I . 'jn V L-0 . 
 
 c (KAk. wy) 
 
 the Rhine, near Leyden, and his father’s mill, with the peasants who frequented it, were the only 
 objects of his imitation. One of his pictures having been offered for sale to a connoisseur, he not 
 only purchased it, but persuaded him to settle in Amsterdam, where he practised as a portrait N ! 
 painter, and enjoyed a great share of public patronage. Notwithstanding his change of residence 
 
 and affluent circumstances, he still retained those manners and habits which were only suitable to the |. 7 ^ Ccr'cUe.c fo v 
 
 .t 
 
 !^2( 
 
 7 
 
 lot 
 
 ■ vc*\ 
 
 scene of his first efforts. /y # ~ , 
 
 The ample means which he had acquired by his professional labours, were exhausted in amuse- LmjccvV /- . [ 
 ments, which are the result of bad taste; and, with talents which left him without a rival, he was, at 
 length, degraded to a level with his meanest companions. 
 
 On Wood. 2 ft. 1 in. high. 1 ft. 8 in. wide. 
 
 No.59- 
 
 RAPHAEL. 
 
 POPE JULIUS THE SECOND. 
 
 On Wood. 3 ft. 7 in. high. 2ft. 9 in. wide. 
 
 No. 60. 
 
 Si2£ 
 
 Vy cec c Aj -fcUi (So A(sl[u^ 
 
 ( Ke Z dm . 
 
 LIONARDO DA VINCI. 
 
 SAINT JOHN. 
 
 This Picture was purchased from an emigrant nobleman in the early part of the French revolution, 
 by Mr. IT. Hope. The proprietor had been known to him wnen he was in affluent circumstances ; 
 and when he named the price of his picture, he received double the amount from the generous Col¬ 
 lector. Correctness and purity of design, grandeur of idea, and dignity of form, with the power of 
 delineating the affections of the mind, were the leading excellencies of this illustrious Painter, in 
 which he has only been surpassed by Raphael. 
 
 On Wood. 2 ft. 10 in. high. 1 ft. 6 in. wide. 
 
 SolC? 
 k' Sc 
 
 
 £ tlL. ton 
 
 /| 4 ) L& ti 
 
 (m) /& 
 
 r 0 
 
 
 On Canvas. 
 
 ’ No. 61. 
 
 CLAUDE. 
 
 A SEA PORT. 
 
 1 ft. 11 in. high. 3 ft. wide. 
 
 No. 62. 
 
 VERNET. 
 
 FOG. 
 
 LfvV(. [aJM. kt*. L'W'l t( 0 
 1 
 
 Ka-c-o 
 
 0 
 
 I Au, ota. Khf. 7.trS. 
 
 Ho , 
 
 ; s h t ’ AUCU . K. ^ C- (J /Z (/If) 
 of /O.A - - /] . 
 
 Under the patronage of Louis the sixteenth, this ornament of the French school painted views ofj 
 the seaports of France. The king, being aware that a painter’s works can only be known in foreign 
 countries through the medium of Engraving, gave liberal encouragement to the fine plates which 
 were executed after Vernet; and they are known and esteemed throughout Europe. This Artist 
 died at a very advanced age, and while he was meditating a retreat to this country, in consequence of f t 
 
 the dissensions which prevailed in France. 
 
 On Canvas. 2 ft. 4 in. high. 1 ft. 10 in. wide. I c' C q )JL , /> _ \ 
 
 c>,/7 f; ^ \ ». E 
 
 ly it. . I . .'/ v' in o \r\ / i. s-n i 1 1 in \ in? ft 
 
 'Sc. 
 
26 
 
 MUSIC ROOM. 
 
 No. 63. 
 
 CARLO DOLCI. 
 
 THE VIRGIN. 
 
 An Oval, on Copper. 1 ft. 1 in. high. 11 in. wide. 
 
 No. 64. 
 
 MICHAEL ANGELO. 
 
 THE CRUCIFIXION. 
 
 1 ft. 6 in. high. 1 ft. 2 in. wide. 
 
 No. 65. 
 
 SCHIDONE. 
 
 TEACHING THE INFANT CHRIST. 
 
 A repetition of the picture in the Stafford Gallery; and purchased at Mr. Hope’s 
 
 Sale, by Mr. Miles. 
 
 Transferred from the School of the Carracci, where he was taught the elements of 
 design and colouring, this Artist devoted himself to the study of the works of Cor¬ 
 reggio. He was liberally patronised by the Duke of Parma, for whom he executed 
 most of his best pictures. With talents which raised him to the highest professional 
 elevation, he was, unfortunately, captivated with the unprofitable and dangerous allure¬ 
 ments of the gaming table ; and to the time wasted in this pursuit, is to be attributed 
 the scarcity of his works. His death was accelerated through the excessive mortifi¬ 
 cation he suffered from having, on one occasion, lost a considerable sum which he was 
 unable to pay. 
 
 On Copper. 1 ft. 1 in. high. 10 in. wide. 
 
 No. 66. 
 
 DOMENI CHINO. 
 
 LANDSCAPE. 
 
 On Canvas. 1 ft. 1 in. high. ] ft. 5 in. wide 
 
 No. 67. 
 
 DOMENICHINO. 
 
 A NYMPH SLEEPING. 
 
 On Canvas. 
 
 <StA 
 
 (b 
 
 Aa . u )©7 (W) / Nr v * • ^• 
 
 VJ\AV 
 
 (V 
 
 ChNXlV . , 
 
 1 ft. 1 in. high. 1 ft. 5 in. wide. 
 
63 
 
 CAKBO BOIiCI 
 
 M1CBLAETL AUGILO 
 
 65 
 
 SCHIDOTTE, 
 
 B OSHMTI CH1IO 
 
 B OMMICHINO 
 

 
 
 
 
 
 
 
 
 
 
 
 
BiUtarti &oom. 
 
 /I 
 
 VO, li ff-\ C'k Uc i- 'nV &- 
 
 (^Wv^1 (S ’ 
 
 No. 68. 
 
 MURILLO. 
 
 THE ANNUNCIATION 
 
 On Canvas. 4 ft. 4 in. high. 3 ft. 4 in. wide. 
 
 No. 69. 
 
 ^ ' CANALETTO. 
 
 THE PROCESSION OF THE DOGE AT VENICE : 
 WITH GONDOLAS. 
 
 k .fSe* 'At 4 
 
 
 So-U , ZV. to ifcVH (w) 
 
 1 If* 
 
 4~c b <THvi> , / l-f, V\4 iaJ 0»U.Cv>iCVA. 
 
 From the theatre at Venice, where he assisted in painting the decorations, this Ar¬ 
 tist transferred the scene of his studies to the Roman capital. On his return from 
 Italy, the prospects in his native city furnished subjects for his most celebrated per¬ 
 formances. His genius appeared to have been inspired by the grandeur of the scenes 
 that surrounded him; and his fancy often produced compositions of the modern and 
 antique, which are not less remarkable for their approach to nature, than for the con¬ 
 summate art and judgment with which the combination is effected. 
 
 On Wood. 2 ft. high. 2 ft. 3 in. wide. 
 
 No. 70. 
 
 CANALETTO. 
 
 V* 13s'. THE RIALTO AT VENICE. 
 
 Over the canals at Venice are laid nearly five hundred bridges, of different sizes, 
 principally formed of stone. The chief of these, called the Rialto, is celebrated as a 
 masterpiece of art; it consists of one flat and bold arch, nearly one hundred feet span, 
 and only twenty-three feet high above the water. It was built from 1588 to 1591, 
 after a design of Michael Angelo. The breadth of the bridge, which is forty-three 
 feet, is divided by two rows of shops into three streets, that in the middle being the 
 widest; and there is in the centre an open archway, by which the three streets com¬ 
 municate with one another. At each end of the Rialto is an ascent of fifty-six steps ; 
 and the view from its summit is very lively and magnificent. The whole exterior 
 of the shops and the bridge is of marble. The foundation extends ninety feet, and 
 rests upon twelve thousand elm piles. This structure cost the Republic two hundred 
 and fifty thousand ducats. 
 
 On Canvas. 2 ft. high. 2 ft. 3 in. wide. 
 
 Sa if 
 
 X V. G. i H 
 
 OU (/vuWx cci 
 
 h[Xb) k/V 
 
 
28 
 
 BILLIARD ROOM. 
 
 No. 71 
 
 MURILLO. 
 
 THE ENTOMBMENT. 
 
 On Canvas. 4 ft. 4 in. high. 3 ft. 4 in. wide 
 
 No. 72. 
 
 M. ANGELO CAMPIDOGLIO. 
 
 FRUIT PIECE. 
 
 This Artist received the name of “ il Campidoglio” on account of an office which he 
 held in the Capitol at Rome. He was celebrated for his pictures of Fruit and Flow¬ 
 ers beyond any artist of his time. This, with a celebrated picture in the Collection of 
 the Duke of Marlborough, at Blenheim, are the best specimens of his painting in this 
 country. 
 
 On Canvas. 
 
 2 ft. 9 in. high. 3 ft. 6 in. wide. 
 
M.ANGEJLO CAMPIDOGOO 
 

 1 
 
 
 
 
 
 
IOIBEIN 
 
BILLIARD ROOM. 
 
 29 
 
 No. 7 3. 
 
 LE SUEUR. 
 
 THE DEATH OF GERMANICUS 
 
 - ito 
 
 k v /p /3» 
 : tb. iaA^ \atI\acL 
 
 i'VJtVi 
 
 
 Was purchased at Paris by Mr. H. Hope, and for composition and character, is 
 esteemed to be one of the best works of the master. It was added to this collection by 
 Mr. Miles. 
 
 This illustrious Roman took his name from the conquests he achieved in Germany. 
 He was equally celebrated for his virtues and his talents, and having been adopted 
 by the Emperor, who was his uncle, he was raised to the highest honours. In con¬ 
 sequence of his military prowess, he became a great favourite with the people; but 
 having excited the jealousy of Tiberius, it is supposed that, through his means, he 
 died by poison. His death caused an unusual sensation at Rome ; public business 
 was suspended, and there was but one exception to the general sorrow. 
 
 Le Sueur has been designated as the French Raphael, from the style of his composi¬ 
 tions and the purity of his design bearing a resemblance to the works of that great 
 master. The remains of his celebrated series of pictures illustrative of the Life of St. 
 Bruno are now in the Louvre. Of the merits of these pictures no correct estimate 
 can be formed; the ravages of time have been repaired with so little attention to 
 their preservation as works of art, that they may truly be said to have suffered martyr¬ 
 dom more than once. 
 
 
 7 sttd Jtot\ ‘SK 
 
 &L- // J . / I if w 
 
 1 JL IX\ /tVltH tkfl 
 
 \Cvf<r tfv ltr)&M Zy.IZ.iyt, o] 
 
 wf* . X%. is -. i £7 b fV\) Aik 7 
 
 Oviov hr tt to)*.! 
 
 r if 4 -y * 
 
 -A&M I C'-C.fci T 
 
 A to, $*4, ZK'b.iKKi? fbyj 
 ht " [ 7 k 7 
 
 4- Jt&(p J6js4 
 
 ^y .^55 (in) 
 
 On Canvas. 
 
 5 ft. 9 in. high. 4 ft. 7 in. wide. 
 
 No. /4. 
 
 xfj 
 
 
 HOLBEIN. ^>(^0 ' ., ,, ,, 
 
 WILLIAM TELL./ cfr , 7’ » // , v. \ ■ 1 r s V , 
 
 f\ llfifl Vcl'.lcjiQ j{\, 7^4. 7 
 
 The patriot hero of Switzerland has been alike celebrated by the historian, the 0 
 painter, and the poet ; who have been j ustly desirous of associating their labours with 
 the immortality of his name. The latest and most splendid tribute of “ Incense kin¬ 
 dled at the Muses flame,” is the noble drama of William Tell, by the celebrated 
 Schiller. 
 
 I J \ ri ( 
 
 l<16Q- 
 
 /' / 
 /to 
 
 iy 
 
 _ U'V Lvf-. 
 
 f )4- »ys 
 
 On Canvas. 
 
 /VK 1 
 
 2 ft. 6 in. high. 2 ft. wide. 
 
 A L 
 
30 
 
 BILLIARD ROOM, 
 
 No. 75. 
 
 CARLO MARATTI. 
 
 HOLY FAMILY. 
 
 It is related of Maratti, that when he was very young, he pressed out the juices of 
 flowers, and used them for colours in drawing on the walls of his father’s house. His 
 parents being induced to encourage his propensity for painting, sent him to Rome, 
 where, at the age of eleven years, he attracted the notice of A. Sacchi, through the 
 talents he exhibited in copying the works of Raphael. From Pope Clement the 11th 
 he obtained a title, and was appointed painter to Louis the 14th; but no distinctions 
 which he received from others were equal to the honours he conferred on himself; not 
 only by preserving the works of Raphael, and the Carracci, in the Farnese Gallery; 
 but by erecting monuments to these illustrious characters in the Pantheon, at his own 
 expense. 
 
 On Canvas. 2 ft. high. 2 ft. 6 in. wide. 
 
 CUm. . ■e^YC AtJ$ 
 
 4 ) 
 
 No. 76. 
 
 WEENINX. 
 
 GAME PIECE. 
 
 This artist obtained considerable reputation from his representation of Animals, 
 Flowers and Fruit; but he was more particularly celebrated for Dead Game, and 
 Huntings : he was patronized by the Elector Palatine, by whom many of his works 
 were placed in the Gallery of Dusseldorf. His pictures are still held in high estima¬ 
 tion, and only to be found in the best collections. 
 
 4 ft. 5 in. high. 6 ft. wide. 
 
 On Canvas. 
 
C. MA1ATTL 
 
 76 
 
 J. WEENINX 
 

 
 
 
 
 
 
 
 
 
 
77 
 
 SASSO FEME AT©, 
 
 w. Vahbevejlme . 
 
BILLIARD ROOM. 
 
 81 
 
 No. 7J. 
 
 SASSO FERRATO. 
 
 VIRGIN AND INFANT CHRIST. 
 
 From the Collection of Mr. Henry Hope. 
 
 This master is said to have studied his art under Domenichino during his residence 
 at Naples. But his works do not evince a particular predilection for any style, having 
 alternately imitated the works of Guido, Albano, and sometimes of Raphael; many 
 of which, from the correct imitation, have been received as the performances of these 
 great masters. 
 
 On Canvas. 2 ft high. 1 ft. 6 in. wide. 
 
 No. 78. 
 
 W. VANDERVELDE. 
 
 SEA PIECE. 
 
 The best works of Vandervelde are to be found in this country; and they have been 
 purchased by English Collectors at such high prices, that they are rarely to be seen 
 in Holland. 
 
 On Canvas. 
 
 1 ft. 6 in. high. 2 ft. wide. 
 
' 
 
 [ 32 ] 
 
 ©ressutg Boom. 
 
 THE GRACES. 
 
 From the Collection of the late Henry Hope, Esq. 
 On Canvas. 5 ft. 10 in. high. 3 ft. 11 in. wide. 
 
 No. 80. 
 
 G LAIRESSE 
 
 JUPITER AND ANTIOPE. 
 
 From the Collection of the late Henry Hope, Esq. 
 
 This eminent Flemish artist became a painter of portraits at the age of fifteen ; but 
 the encouragement he met with at Liege, his native city, not being sufficient to sup¬ 
 port him in the expensive habits of life he had adopted, he transferred the scene of his 
 practice to Amsterdam. 
 
 He is reported to have painted with great facility ; and meeting with success equal 
 to his merits, through intense study and application he lost his sight, when he was 
 only fifty years of age. 
 
 His misfortune does not appear to have depressed his spirit, or checked his ardour 
 for the promotion of an art which he could no longer enjoy the luxury of practising ; 
 and he employed his time in the composition of a treatise on the theory and practice 
 of painting, a work which is deservedly esteemed. 
 
 3 ft. 6 in. high. 4 ft. 6 in. wide. 
 
 On Canvas. 
 
 No. 81. 
 
 CARLO CIGNANI. 
 JUPITER AND ANTIOPE. 
 
 This design was taken from the celebrated picture by Correggio, in the Collection of 
 
 Charles the First. 
 
 Carlo Cignani was the founder of the Clementine Academy at Bologna. To his great 
 work of the Assumption of the Virgin, painted on the Cupola at Forli, he devoted 
 twenty years ; and it was considered as one of the grandest efforts of the 18th century. 
 
 On Canvas. 4 ft. 6 in. high. 3 ft. 6 in. wide. 
 
TITIAN 
 
 90 
 
 G.LAIRESSE. 
 
CARLO OGHAM 
 

 
 
 
 
AN ALPHABETICAL LIST OF THE MASTERS, 
 
 WITH REFERENCES TO THEIR PERFORMANCES. 
 
 Angelo, Michael, - | 
 
 Music Room, 64. 
 
 Place of Nativity. 
 
 Castel Caprese, 
 in Tuscany, J 
 
 Date. 
 
 1474 
 
 Death. 
 
 1564 
 
 Bellini, Giovanni, 
 
 Withdrawing Room, 23. 
 
 Venice, 
 
 1422 
 
 1512 
 
 Bartolomeo, Fra, 
 
 Withdrawing Room, 27- 
 
 Utrecht, 
 
 1620 
 
 1660 
 
 Bassano, Giacomo, 
 
 Music Room, 51, 52. 
 
 Bassano, - 
 
 1510 
 
 1592 
 
 Claude, - - Lorraine 
 
 Saloon, 2, 7. Dining Room, 16. Withdraw¬ 
 ing Room, 28. Music Room, 61. 
 
 1600 
 
 1682 
 
 Carracci, Lodovico, 
 
 Dining Room, 8. 
 
 Bologna, 
 
 1555 
 
 1619 
 
 Carracci, Annibale, - - Bologna, 
 
 Dining Room, 17. Music Room, 54, 55. 
 
 1560 
 
 1609 
 
 Carracci, Agostino, 
 
 Withdrawing Room, 31. 
 
 Bologna, 
 
 1558 
 
 1602 
 
 Cagnacci, Guido, 
 
 Archangel!, 
 
 1600 
 
 1681 
 
 Dining Room, 18. 
 
 
 Place of Nativity. 
 
 Dale. 
 
 Death. 
 
 Dolci, Carlo 
 
 Withdrawing Room, 
 
 Florence, 
 
 20. Music Room, 63. 
 
 1616 
 
 1686 
 
 Guido, 
 
 Withdrawing Room, 
 
 Bologna, 
 
 30. Music Room, 41. 
 
 1574 
 
 1642 
 
 Guercino, 
 
 Music Room, 49, 57 
 
 Cento, 
 
 1590 
 
 1666 
 
 Holbein, Hans, 
 
 Basle, 
 
 1498 
 
 1554 
 
 Billiard Room, 74. 
 
 Lairesse, G. 
 
 Liege, 
 
 1640 
 
 1711 
 
 Dressing Room, 80. 
 
 Murillo, 
 
 Pilas, near Seville, 
 
 1613 
 
 1685 
 
 Dining Room. 9, 11, 12. Music Room, 42, 
 
 47. Billiard Room, 68, 71- 
 
 Mengs, 
 
 Auszig, in Bohemia, 1728 
 
 177*) 
 
 Withdrawing Room, 
 
 32. 
 
 
 Maratti, Carlo, 
 
 Camurano, - - 1625 
 
 1713 
 
 Billiard Room, 75. 
 
 
 
 Poussin, Gaspar, 
 
 France, - - 1600 
 
 1663 
 
 Dining Room, 13. Withdrawing Room, 26. 
 Music Room, 40, 43. 
 
 Compana, Pedro, 
 
 Withdrawing Room, 29. 
 
 Brussels, 
 
 1503 
 
 Campidoglio, M. Angelo, - 
 Billiard Room, 72- 
 
 Rome, 
 
 1610 
 
 Correggio, 
 
 Correggio, 
 
 1494 
 
 Withdrawing Room, 33 
 Room, 46. 
 
 , 34, 37. Music 
 
 
 Canaletto, 
 
 Billiard Boom, 69, 70. 
 
 Venice, 
 
 1697 
 
 Cignani, Carlo, 
 
 Dressing Room, 81. 
 
 Bologna, 
 
 1628 
 
 Douw, Gerhard, 
 
 Withdrawing Room, 36. 
 
 Leyden, 
 
 1613 
 
 Domenichino, 
 
 Bologna, 
 
 1581 
 
 Saloon, 5. Music Room, 66, 67. 
 
 1570 
 
 Poussin, Nicolo, 
 
 Dining Room, 19. 
 
 Andely, in Normandy - 
 
 1591 
 
 1665 
 
 1670 
 
 Parmigiano, 
 
 Dining Room, 14. 
 
 Parma, - 
 Music R,oom, 44. 
 
 1503 
 
 1540 
 
 1534 
 
 Potter, Paul, - - Enkhuysen, 
 
 Withdrawing Room, 35. 
 
 1625 
 
 1654 
 
 1768 
 
 Rubens, Peter Paul, 
 Hall, 1. Saloon 3 
 
 Cologne, 
 
 , 0 . 
 
 1577 
 
 1640 
 
 
 Raphael, 
 
 Urbino, 
 
 1483 
 
 1520 
 
 1719 
 
 Dining Room, 15. Withdrawing Room, 21. 
 Library, 39. Music Room, 59. 
 
 
 
 1674 
 
 Romanell 1, 
 
 Music Room, 48. 
 
 Viterbo, 
 
 1617 
 
 1662 
 
 1641 
 
 Rosa, Salvator, 
 
 Music Room, 53. 
 
 Naples, 
 
 1614 
 
 1673 
 
AN ALPHABETICAL LIST OF THE MASTERS, &c. 
 
 Rembrandt, 
 
 Music Room, 58. 
 
 Place of Nativity. 
 Leyden, 
 
 Date. 
 
 - 1606 
 
 Death. 
 
 1674 
 
 Sarto, Andrea del. 
 
 - Florence, 
 
 - 1428 
 
 1530 
 
 Withdrawing Room, 22. 
 
 Place of Nativity. 
 
 Date. 
 
 Death. 
 
 Vernet, - Avignon, 
 
 - 1712 
 
 1786 
 
 Music Room, 62. 
 
 
 
 Weeninx, John, - - Amsterdam, - 
 
 - 1644 
 
 1719 
 
 Billiard Room, 76. • 
 
 
 
 Sassoferrato, 
 
 At the Castle of Sasso- 7 
 ferrato, near Urbino, j 
 
 Billiard Room, 77* 
 
 1605 
 
 1685 
 
 Stothard,Thomas,R. A. —- 
 Withdrawing Room, 25. 
 
 SCHIDONE, 
 
 Modena 
 
 1560 
 
 1616 
 
 Music Room, 65. 
 
 
 
 
 Sueur, Le, 
 
 Paris, - - - 
 
 1617 
 
 1655 
 
 Billiard Room, 73. 
 
 
 
 
 Titian, 
 
 f Atthe Castle of Cador, 
 l in Friuli, - J 
 
 | 1480 
 
 1576 
 
 Saloon, 4. Dressing Room, 79. 
 
 
 
 Velasquez, 
 
 Seville, 
 
 1594 
 
 1660 
 
 Dining Room, 10. 
 
 Music Room, 56. 
 
 
 
 Veronese, Paolo, - Verona, 
 Music Room, 45. 
 
 Vandervelde, William, Amsterdam, 
 Billiard Room, 78. 
 
 Vandyke, Sir Anthony, Antwerp, 
 Withdrawing Room, 24. 
 
 3 At the Castle of Vinci, 
 near Florence, 
 
 Vinci, Lionardo da. 
 
 Library, 38. Music Room, 60. 
 
 X 
 
 Vinci, 7 
 e, -3 
 
 1530 
 
 1633 
 
 1599 
 
 1445 
 
 West, Benjamin, 
 Music Room, 50. 
 
 Springfield, County 1 
 of Chester, Penn- l 1738 
 sylvania, - - J 
 
 1588 
 
 1707 
 
 1641 
 
 1520 
 
 1820 
 
 Printed by W. Buhner and W. Nicol 
 CieYeland-row, St. James’s. 
 
gettv center library 
 
 N 5247 M55 
 
 C l „ BKS 
 
 3 3125 00225 8255