4 . Digitized by the Internet Archive in 2016 https://archive.org/details/descriptivecatalOOottl descriptive catalogue OF THE PICTURES IN THE/ national gallery, WITH CRITICAL REMARKS ON THEIR MERITS. BY WILLIAM YOUNG OTTLEY, F.A.S. Itlmbero/thc Societies of Arts and Sciences at Utrecht AiiUor of ‘ The Italian School of Design,’ ‘ An into the early History of Engraning,’ Sfc. and Ghent Inquiry LONOON: PiilNTEi) KY J. POUI/rKI? , great chesterfield STRi Pner One S/iilfinn-, K) HIE KEADEK. I’Ht. pieseut Catalogue is divided into Four distinct parts: 1. The Collection purchased by His Majesty’s Go- IK>.MI NT EKO.M THE ExECUTORS OF THE LATE Mr. An- C E H •» I E 1 N . li. The Collection presented to the Nation by the !. VIE Sir George Eeaumont, Eart, III. Additional Pictures; whether presented by individu-. uLs, or purchased for the Gallery by Government. IV. 'I'HE Collection bequeathed to the Nation by Ke\. W illiam Holwell Carr. 'I'he following List contains the whole, arranged according to the .Numbers attached to the Pictures as they are now hung ; with references to the jiages where they are severally described. )>y permission of the Noblemen and Gentlemen, Directors of the National Gallery, this Catalogue is sold at the Rooms. The Author alone will of course be considered as responsible for the opinions il contains. LIST OF THE PICTURES IN THE NATIONAL GALLERY. No. of Picture. Described in page 1. Richard Wilson (h. 1714, d.;JL782) — Landscape, with the Story of Niobe 39 2. Wilkie — The Village Festival .29 3. lienj. West (h. 1738, d. 1820)—Cleombrotus banished by Leonidas 46 4 — 9. Wm. Hogarth (b. 1698, d. 1764) — Marriage a la Mode 26 10. iri/.soa — Villa of Maecenas at Tivoli 38 11. llofiarlh — His own Portrait 26 12. Copleij — 'fhe Death of Lord Chatham 48 13. D'e.st--Story of Fyhulesand Orestes 40 14. Sir Geo. Beaumont, Bart. — Landscape, with Jaques and the W ouiuled Stag 48 la. iV. Poussin (b. 1594, d. 1665) — Landscape and Figures . 30 10. West — Christ healing the Sick 45 17. Sir G. Beaumont — A Landscape 48 18. Jan Both (b. 1610, d. 1650) — Landscape and Figures .... 37 19. Sir Jos. Reynolds (b. 1723, d. 1792) — Portrait of Lord Heathfield 28 20. Anl. Canaletto (b. 1697, d. 1768)— A View in Venice . 33 LIST OF PICTURES, Hi No. of Picture. Described in page 21 — 22. Ant, da Coreggio (b. 1494, d. 1534 — Two Groups of Heads 13 23 . West — The Last Supper 48 24. Don Diego Velasquez (b. 1594, d. 1660)—Two Portraits . 26 So. An. Caracci (b. 1569, d. 1609) — St. John the Baptist 13 26. Jac. Robersti, called Tintoretto (b. 1512, d. 1594) — St. George killing the Dragon 57 27. Ant. Vandijck (b. 1599, d. 1641) — Portrait of Gevartius 22 28. Sir Jos. Reynolds — Head, The Banished Lord 41 29. Giorgione (b. 1478, d. 1511)— St. Peter Martyr 55 30. Tiziano Vecellio (b. 1477, d. 1576) — The Adoration ot the Shepherds 55 31. P. P, Rubens (b. 1577, d. 1640) — Peace and War 46 32. Rembrandt (b. 1606, d. 1677)— The Adoration of the Shepherds 24 33. Lionardo da Vinci (b. 1452, d. 1519) — Christ disputing with the Doctors 51 34. L. Caracci (b. 1555, d. 1619) — ^Susanna and the Elders . . 13 35. Air Jos. jRf^no/ds— Portrait of the Rtl Hon. W.Windhara 50 36. Seb. Bourdon (b. 1616, d. 1671 )— Landscape and Figures 37 37. Seb. del Piombo (b. 1485, d. 1547) — The portraits of Car- dinal Hippolito di Medici and the Painter 56 38. An. Caracci — The Appearance of Christ to St. Peter . . 43 39. Claudio Lorenese (b. 1600, d. 1682)— Landscape ; with Hagar and the Angel 31 49. Domenico Zampieriy called Domenichino (b. 1381, d. 1641) — Landscape, with St. George and the Dragon.. .. 61 41. Claudio — A Study of Trees, from Nature *"32 42. T. Gainsborough (b. ! 727, d. 1788) — The W atering Place 46 43. Vandyck — The Portrait of Rubens 23 44. Claudio — Landscape, with the Story of Narcissus 32 45. Rembrandt — The Portrait of a Jew Merchant 36 46. School of Ferrara — The Conversion of St. Paul 53 47. Benvenuto Garofalo — The Vision of St. Augustin 54 AS. 'After Michelayigiolo Buonaroti(hAA7 A, d.l563) — TheDream 52 49. Nic. Poussin — A Bacchanalian Scene 15 50. Sir Jos. Reynolds — A Man’s Head — Profile 40 51. Tiziano — A Concert 10 52. Rubens — The Rape of the Sabines 21 53. Fed. Baroccio (b. 1528, d. 1612) — The Holy Family .... 57 54. Rubens — The Holy Family, with Saints 21 55. An. Caracci — Silenus 58 66. Coreggio — Christ praying in the Garden 12 57. Rembrandt— The Woman taken in Adultery 23 58. Rembrandt — A Female Bathing 66 59. Wilkie — The Blind Fiddler 40 60. Nic. Poussin — A Bacchanalian Dance 44 61. An, Caracci — Landscape with Figures: Hunting Party 59 62. Rajfaello Sanzio d’Urbino (b. 1483, d. 1520) — Portrait of Pope Juiiiis II 7 6.3. Seb del Piombo — A female Saint 55 64. Rubens — A Landscaj)c and Figures 34 65. Giovanni Francesco Barbieri, called Guercino (b. 1590, d. 1666) — Dead Christ, with Angels 62 Lisr OF PICTURES. \ o. of Picture. Described in page ♦iC. Ant. Caracci^Pan teaching Apollo to play on the Reed- Pipe 14 G7. Landscape; with the Death of Procris 33 es. Rembrandt — Landscape, with Tobit and the Angel 60 G'J DomenicUino — The Stoning of St. Stephen 61 70 A. Rousmn—The Story of Cephalus and Aurora 49 71 . Ik. Cumcci— A River Scene, with Boats 59 72. Francesco Diola (b. 1620, d. 1665) . .St. John preaching. . 62 73*. Paolo Caliuri, called Paolo Veronese (b. 1528, d. 1588), The Rape of Europa 57 7-1, Andrea del Sarto (b. 1488, d. 1530) . . The Holy Family . . 52 7.7. Murillo (b. 1618, d. 1682)— A Boy^s Head 41 7G. Albert Cuijp (b. 1606, d. )— Landscape with Cattle and Figures 25 77 . Domenif/ibio—Erminia and the Shepherds 14 78. Gasparo Poussin (b. 1613, d. 1675)— A Land Storm 16 79. Gasp. Poussin — Landscape, with Abraham and Isaac.. 15 80. Gainsborough— The Market Cart 49 8! . C/a»dio— Landscape, the Marriage of Isaac and Rebecca . 20 82. Paolo Veronese — The Consecration of St. Nicholas 45 PM. Sir Joshua Reynolds— The B.o\y Family 48 81. Claudio — A Seaport, Embarkation of the Queen of Sheba 19 85. Gasp. PoMssm— Landscape and Figures 64 86. Coreggio— The Holy Family 41 87. Gasp. Poussin — A Road Scene, with a Shepherd & Sheep 64 88 Ohdio Romano . .Latona, with her two Infants 56 89. Claudio . . Landscape ; with the Story of Sinon brought before Priam 63 90. riziano— Ganymede 12 91. Francesco Mazzuoli, called II Parmigianino (b. 1503, d. 1540)__The Madonna and the Infant Saviour, with St. Jerome and St. John Baptist 45 92. Rembrandt — Christ taken from the Cross 36 93. Domenichino—St. Jerome with an Angel 60 94. Domenichino — Landscape, with Tobit and the Angel .... 60 95. Blazzolino da Ferrara — The Holy Family 53 96. Angiolo Bronzino (b. 1501, d. 1570) — Portrait of a Lady . 56 97. Gasp. Poussin — A Landscape, w'ith the Story of Dido and jEneas 65 93. Tiziano — Venus and Adonis 11 99. Guido Reni (b. 1575, d. 1642) St Jerome 60 100. Claudio — A Sea-port, Sunset 17 101. Vandijck — Archbishop Ambrose and Emperor Theodosius 22 102. Seb. del Piombo — The Raising of Lazarus 8 103. Claudio — The Embarkation of St. Ursula 18 104. Claudio — A Pastoral Landscape with Figures 17 105. Lod. Caracci— The “ Ecce Homo,” after Coreggio .... 58 106. Rubens. . .St. B?iYon 65 ) 07. Tiziano — Bacchus and Ariadne 42 NATIONAL GALLERY. PART I. €i)e Angn-0tcin ©ollfction. I. RAFFAELLO SANZIO DI URBINO, The Portrait of Pope Julius II. . Although the political conduct of Pope Julius was not eJways such as became a Christian pastor j still, his abi- lity in the cabinet, and his , intrepidity in the field, have justly rendered him illustrijous j besides that the liberal patronage which he first extended to Michelangiolo and Raffaelie, will ever entitle his name to the respectful re- membrance of all lovers of the fine arts. The veteran pontiff is represented in a sitting posture, his elbows resting on the arnis of his chair. His cap and short cloak are of crimson s^lk, edged with ermine, and his under garment is of whit^ linen, plaited, with silken sleeves. He holds one of the arms of the chair with his left hand, whilst the right hangs easily, advancing before, and hiding part of the body. ^ The head is admirable. It i^ that of a hardy old man, accustomed to combat and to } conquer difficulties j and the square projecting forehead,] strongly marked features, straight white beard, and eyes ifceply seated in their sock- ets, indicate at once that keenness of penetration and firmness of purpose, which were among the leading traits in the chai*acter of Julius. He appears absorbed in thought, little mindful that he is sitting for his picture ; and we may conjecture, from the expression of the countenance, that whilst Raffaelle was employed in delineating his fea- tures, the enterprizing spirit of the pontiff was meditating the subjection of new provinces to the See of Rome in distant parts of Italy. Although this portrait is simple and dignified, it is not deficient in becoming ornament. The back-ground is a E NATIONil. GALLERY. L ■^c'cn hana'inir, on which, at regular distances, are slightly indicated,"with a somewhaf: darker tint of the same colour, the cross-kevs of the pontifical office ■ and from the cor- ruTs of the l)ack of the chair rise two shafts, surmounted by gilt ornaments in the form of acorns, in reference to the'armorial bearings of the Pope’s family. On the fingers of e:icli hand are three rig'gs ; and in the right the Pontifi' holds a small handkerehi^ef, which, from its whiteness, contrasted with the dark ;int of a ring on the fore-finger, IS areatly beneficial to tin effect of the whole • by giviirg increased projection to that hand, which, freua the per- spective chosen by the artlist, is intended to appair nearer the eye of tiie spectator than any other part of the figure. From the Borghese Pa ace. On wood,* 3 feet 6 inches in height, by *2 — S. n. FRA SEBASTIANO BEL PIOI^JBO. The RAisif^G op Lazarus. This picture, the prodjuction of an eminent cokiurist, aided by the greatest designer that Italy has yet produced, is alike admirable for itp merits as a work of art, and interesting from the cirqumstances which are connected with its history. j it was painted by Sebastiano in 1518-1519, in compe- tition with liaffaelie, who was then employed upon his celebrated Transfiguration. The invention, we think, ought principally to be ascribed to Michelangiolo,t and the point of time choseiji is after the completion of the miracle, Lazarus is represented sitting on the stone coffin which had contained hi| body, supported by three men, who, having been empldyed to remove the lid from the sepulchre, are now reUeyiiig him from tlie grave clothes witli which he was enveloped. Jesus, standing in the midst, appears to be addressing him after his return to consciousness, in wmrdsl as may be supposed, not unlike those which he had be; ore used to Martha; I am the resurrection and the life ^ he that believeth in me shall live though he die.’’ iLazarus, his countenance at once strongly expressive of a^e and gratitude, gazes upon him, * Pictures are generally ‘painted on canvass^. The pfiBsent Ga- taiogue notices only the exceptions to that rule. t T)»e rich Cabinet of Sir Thomas Lawrence contains several sketches by Michelangiolo for parts of this picture, especially for the figure of Lazarus. 9 ANGERSTEIlN COLLECTION. wildly, but stedfastly, list^ing to his words 5 whilst with his right hand and foot he/assists in disengaging his limbs from the linen bandages! which bound them j eager to prostrate himself at the :|’eet of his Saviour. The first great momerjt is past j afid the overwhelming and indescribable emotiohs, occasioned by the miracle in the breasts of the spectators, have somewhat subsided 5 and have given place to /varied feelings of astonishment, reverence, or devotion. I Immediately behind the figure of Cluistis an old maniwiio looks, awe-struck, upon the reanimated corpse, elevating both his hands ; — a figure, cKimirable for the expresjsion, and which Buonaroti repeat- ed many years afterwartjs in his Last Judgment;— and o;i the left is seen another! old man, kneeling at the feet (, f Jesus, his hands joined j together ^ia devotion, impatiently awaiting the moment V^hen he may express to liiin the soul-felt conviction thdt he is .indeed the Messiah, 'tLe Son of God. ! The figure of Lazarak is a. master-piece, as well for 'the invention as the execution;; and forms, with the men em- ployed to unbind him, j the most prominent group of the picture. The hand of .Michelangiol-o is apparent in every par tof this figure ; (afid the same may be said or tliat of the man w^ho is releasing the legs of Lazarus), and it cannot be doubted thaj; the Florentine artist, fiudiiig Se- hustiano utterly incon|petei2t to give to it that energy of character, and inteliiggnee in the naked parts, wiiicii he desired, seized bis pencils, v/hilst the colours were still in a moist state, and (with that prodigious pow'Cr winch he had acquired by hfs.Iong practice in fresco painting, modelled the head, ii^ibs, and body, in every part ; leav- ing untouched the kiieeling figure of Mary, in the middle of the composition, And immediately behind tlie figure of Lazarus; in order, perhaps, to prove, by the comparison, to such as sl'iould her^fter examine the work with atten- tion, how little the Vjenetian could have achieved without his aid. The drapery lof Lazarus is so disposed as greatly to assist the efiect: ai is also the figure of the man who supports his body ; ti m latter leans forward, speaking to one of his companior s, who is looking up ; and thus the upper part of his fig-fire overshadows the neck, and ]>art •us, v/l)osc face, by being kc})t cn- ites increased sublimity. At a small distance behind the figure of Clirist is seen St. Jolm, who, with a frankness of e.xpressioii ami ges- B 2 of the head of Laza tirely in shade, aetjui 10 NATipNAL GALLERY. tore becoming an apostile of the truth, appears answering objections raised against the credibility of the miracle by a man who is addressing him. Further off, behind these figures, is a group of jPharisees, whose unbelief of the divine character and mission of Jesus, is combatted by a man who, pointing energetically towards the action re- presented in the foreground, seems to say, Could any one not sent from God ;have restored, as he hath done, a dead person to life?” The figure of Mary has already been noticed ; behind her is seen her sister Martha, whose attitude is somewhat equivocal j for we are unwilling to ascribe the same sentirhent to her, as to the three other women beyond her, whd, holding their mantles over their mouths and nostrils, seem to indicate that they are not yet convinced the body of the restored man is inoffensive. It is unnecessary to descHbe the other subordinate figures and groups contmned ini this extensive composition. The point of sight is nigh up in the picture, a choice which was no doubt adopted by Sebastiano, in order that he might be the better enabled to fill his work with rich matter. The distance ijepresents a view of Jerusalem, and a river, traversed by h bridge, on the banks of which is seen a group of wom^n washing clothes. A striking effect is produced in thi$ part, by the bridge and the arched entrance into the cjty being represented in shadow j while the houses and bank of the river, which are shewn through them, appear illbmined by sunshine. The masses of light and shadow, in this picture, are broad and simple in theijr principle j and the colouring has all the depth and richness of tone of the Venetian school, without any ill-suked mixture of its characteristic gaiety. Upon the front oj the raised pavement, whereon stands the figure of our Saviour, is the inscription : Sebastianus |Venetus Faciebat. This picture was painted by order of Cardinal Giuliode’ Medici, then Archbishop jaf Narbonne in France, and was presented by him to thej principal church of that city j from which it was at length obtained, at a vast expense, by the Duke of Orleans for his well-known collection. It was originally painted on wood 5 but in the last ceU" tury was transferred to cahvass. h, 12-6. w, 9-6, III. TIZIANO VECELLIO. A Music Party. This picture appears to hate been painted by Titian at angerstei|n' collection. tl a time when he was thinliing of the works of Giorgione. The most prominent figure is that of a Music-master, wljo is instructing a boy in singing. It was formerly in the collection of King Charles the First, and we regret to say, is not in g^ od preservation, le?igth 4-1. by 3-2. IV. TIZIANO. Venus AND Adonis. The subject was well Calculated for the display of Ti- tian’s prodigious powers is a colourist j and he has made tlie most of it. The figi re of Venus, which is seen in a Ixick view, receives the [irincipal light 3 and is entirely naked, save that a white veil, which hangs from her shoulder, spreads itself over the rjght knee. The chief parts of this figure are scarcely less excellent in lespect of fonn than colouring. Tiie head possesses great beauty, and is replete with natural expression. The blond hair of the goddess, collectei^ into a braid rolled up at the back of her head, is entwined by a string of pearls, vvliich from their whiteness, give value to the delicate carnation of her figure. She throwsjher arms, empassioned, around her lover 3 who, resting with his right hand upon hi.s javelin, and holding with the left the traces whicdi confine his dogs, looks upon her> unmoved by her solicitations, and impatient to repair to the chase. Cupid, meanwhile, is seen sleeping at some|distance, under the shadow of a group of trees, from cne of which are suspended his bow and quiver 3 — -a truly poetical thought— by which, it is scarcely necessary to add, the painter intended to signify that the biandisl unaided by love, may be ments and caresses of beauty, esLerted in vain. In its colouring, this picture unites the greatest possi- ble richness and depth ofi tone, with that simplicity and sobriety of character wjhich Sir Joshua Reynolds so strongly recommends in |his lectures, as being the best adapted to the higher kinds of painting. The habit of the Goddess, on which she sits^ is of crimson velvet a little inclining to jiurple, and ornamented with an edging of gold lace, which is however of so subdued a tone, as not to look gaudy 3 its lining being of a delicate straw colour, touched here and there w'ith a slight glazing of lake. 4'he dress of Adonis, also, is crimson, but of some- what warmer hue. Tlie|re is little or no blue in the sky, which is covered with clouds, and but a small pro[)orliou A B 3 12 NATIONAL GALLERY. of it on the distant hills j the effect altogether appearing to be the result of a very simple principle of arrange- ment in the colouring : namely, that of excluding almost all cold tints from the illumined parts of the picture. From the Colonna Palace. /. 6-2. h. 5-9. V. TIZIANO. I The R.\PEjoF Ganymede. This picture appears to 'have been intended to fill the central compartment of a ceiling, and was probably paint- ed at an advanced period df the artist’s life. The figure of Ganymede, though foreshortened with trie greatest boldness, is graceful in the|attitude, and for the most part elegant in its forms. He is borne upwards with rapidity by the eagle, and seems dying into the canvass. The bird, being all black, except a few featiiers in the inside of the wings, makes a fine contrast to the sky j at the same time that by its depth of tone, and breadth of mass, it gives relief to the flesh.f A long floating drapery, of a light lakisb colour, passes gracefully over the right shoulder and left arm of (^anymede 3 its extremities pro- jecting forward, and constituting, with the right leg and foot of the. figure, the rdost prominent parts of the pic- ture, which is painted throughout with great vigour of pencil and richness of colouring. From the Colonna Pa- lace. An Octagon, kei^it ajid width, 5-8. VI. ANTONIO DA GOREGGIO.. Christ praying in the Garden. The scene of the representation is a sequestered spot much overshadowed by trees 3 and it appears by the faint cool light of the sky behind the distant hills, that Cor- reggio intended to describe a point of time not long pre- ceding the first dawn of morning. On an elevated part of the foreground, on the left, the kneeling figure of Christ appears, attended by a ministering angel. Both are illumined by a supernatural splendour, which seems as if reflected, reciprocally, from one flgure upon the other : for the painter designed to represent Christ as glorified in his sufferings. The figure of the Saviour is in the high- est degree elevated and pathetic in its attitude and ex- pression 5 full of resignation and sorrow — not my will, but thine be done !’’ — whilst that of the comforting spirit ANGERSTEli^ <^OLLECTION. 13 is beautifully expressive bf compassion and veneratioue In the middle distance, tl e three, attendant Apostles are indistinctly seen, overcome by sleep j and still further off may be perceived the Jevffsh mob, approaching to seize Jesus. This affecting picturelis a repetition of one of great celebrity, formerly in the cabinet of the King of Spaisi, and now in that of his jGraee the Duke of Wellington. On wood. /. 1-4. /^. 1-i VII. VIII. cor|:ggio. Two Groups of Heads^ p.iucii larger than Nature. These bold and mastery performances formerly be- longed to Christiana Queen of Sweden, whose coHeetion, after her death, was pure] lased by the Regent Duke of Orleans, for his celebrated gallery. It is said that this princess caused some of hpr pictures to be cut, in order to adapt them to particular situations in her apartments ; and it is probable that those two pieces, which appear to be fragments of a large work intended to be placed at a great distance from the eye, may owe some of their muti- lation to her commands. / Barry speaks of them in terms of high commendatioiv \ h, 5. w. 3-6. IX. LODOA^CO pARACCL Susanna and ^he Elders. The subject is here represented with less violation of decency than is commonly ihe case. The upper j>art of the body of Susanna, only, i^ naked 5 the rest of iier figure being enveloped in the am|)le folds of a dark green dra- pery, One of the Elders ibans forward, and appears to remonstrate \vith her, using arts of persuasion ; v/hilst his companion, behind, seem^alarmed at her cries for help, and already determined ujion revenge. This picture is painted with force of effect^ and at the same time is highly studied in the parts. Wc are obliged to add, however, that the head of the female is deiicient in expression. From the Orleans collectibn. A. 4-8. to. 3-7. X. ANNIBALE CARACCI. St. John the Baptist. The Baptist is represented in a recumbent posture, the upper part of his body naked, He rests with his left arm 14 nationaV gallery. is in tne Aipon a bank, and holds in the right hand a bowl, which he appears filling from a sireamlet tliat gushes from a rock. The figure is drawn a[nd executed with great aca- demic power j and the background, a w'ild, picturesque landscape, is painted in Annibale’s boldest manner. From the Orleans collection, h. 5^. w. 4-1. XL ANNIBALE CARACCI. Pan instructing Apollo t« play upon the Reed-Pipe. This small picture is supposed by Lanzi to be done in distemper j and in truth it possesses all that simplicity and freshness in the execution, Iwhich are characteristic as well of that method as of frespo-painting. Tiie figure of xApollo has a certain youthful timidity, and at the same time archness of expression, joined to a gracefulness of attitude and deportment, which render it particularly captivating. He has just ceased to play, and, holding the reed-pipe with both hands, listens attentively to the observations of his instructor t who, resting his elbows on his knees, sits with the as^raed dignity of a judge, and appears to have just uttere^i some remark relative -to the progress which his young jpupil has made on the in- strument. Both the figures are drawn with simplicity of outline, and executed with gileat boldness of manner ; and the landscape and other accessories are in a truly clas- sical taste. The figure of Pan lis said to be the portrait of’ a music-master with whom Annibale was ii}>on tenns of intimacy. From the Lancelot ti Palace. On wood, 1. 9-S. h, i-<2. I i XII, DOMENICO ZMIPIERI, called DOMENL CHINO. Erminia visiting the- \Shepherds, in search of \ TAJfCRED. The subject of this picture will be found in the sevent book of Tasso. 1 Erminia represented standing on th right, clothed in a dark blue cuirass, and a white mantle, one part of whiclf crosses fier body below the middle, whilst another parfy passing gracefully over her shoulders, floats like her tresslps in thei air. Her figure has great simplicity of attitude, and her head is very beautiful. She presses her right hand w her bosom, and appears ad- dressing herself to ^he oldj Shepherd, whom the poet describes as employed in basicet-makine:, and who, seated 15 ANGjERSTEIN COLLECTION. on a rocky bank,j listens, much affected by her tale. The three Children, rpentioned by Tasso, form a pretty group in the upper corner of the picture, on the left, behind the Shepherd. One pf them has a reed-pipe, another a flute and tabor all se^m delig'hted with the appearance of the stranger, welcoming her with smiles. Behind the figures is seen a flock of shdep, and beyond is a simple landscape, of which the most striking feature is a broad, winding river. This picture is (highly studied, thmgh painted v/ith great boldness 5 and, in addition to that purity of style in the drawing and expressions of the figures, which ever characterizes the productions of Domenichino, possesses great vigour of coljouring. /. 7* 4-10. XIII. nIiCCOLO POUSSIN. A Bacchanalian Scene. This picture is painted in Poussin’s most finished man- ner, and is happily exemp^ from that blackness in the shadows, which we observel in a large pro[X)rtion of Iris latter works. The composit^n, as a whole, is not strik- ing j but it contains many spirited figures, which are de- signed with even more thanj his accustomed correctness of outline. Particularly excellent in this resjiect is the young female satyr who has mayfully leaped on tiie back of a goat ; as are also the faunjseen in a back view, danc- ing 5 the other faun, behind \him, dancing, and at the same time playing on his flute ; and the figure of Silenus, to whose form the painter has given a sufficient share of corpulence, to distinguish himAwithoiit having’ recourse to those monstrous protuberanc^ which so often digust us in the works of artists of a less chastened style. In the btick-ground, on the left, is^a larg'e group of trees, whose numerous stems, apparentlV uiuhinned by the axe, and rising in some instances to \he top of the picture, form together a large mass of daiilc, which is greatly be- neficial to the effect of the pieeej From the B^irberini Palace, /n 4-8. wa 3-1. f XIV. GASPARO TO'USSIN. A Landscape, with Figures , representing Abraham AND Isaac journeying towards the Mount for the INTENDED SACRIFICE. Amongst the numerous \w)rks of painting wliich for- merly enriched tlie gallery oflth'e Prince Coioima at Rome, ir> NATIONAL GALLERY. lew were more highly prized than the landscape now be- fore us, which was generally considered to be, on the whole, the most jierfect ])roduction of the artist. In the foreground, on the right, the youthful Isaac is represented bearing the wood for the sacrihee, and fol- lowed by his father with a torch. They appear walking up a steep and unfrequented path, overshadowed by trees 3 having left behind them the two servants of Abra- ham, who are seen seated on the ground, at some dis- tance, near the centre of the picture. Tliese figures are not of so large a size as to be obtrusive 3 and being also painted by the pencil of Gasparo himself, (which unfortu- nately, is not always the case in his larger pictures,) aro in perfect harmony with the surixmnding lamlscape. The fore-ground and middle-ground are in a low tone of colouring, save here and there a partial gleam of sub- dued light 5 as on that part Where the figures of AbraCiam and Isaac are introduced 5 U|x)n the top of a waterfall, near the left extremity of the picture : and on part of the ruins of an ancient oity, in the middle (listance 3 it having been evidently the intention of the painter to con- fine his principal light to the sky over the horizon, and to til e extreme distance ; which exhibits an expensive fiat country, similar to thq Campagna of Rome, boundeil on the left by a ridge of mountains. The comjK)sition is perfect 5 and Gasparo has chosen for representation the appearance of a somewhat clouded sky 3 by which means he was enabled, in the flat dis- tance, to introduce long masses of accidental shadow, winch serve to throw back the illumined tracts of country beyond them wdth surprising effect. 6-6. 5 -S. XV. GASPARO POUSSIN. A ipANI>-STORM. The fore-ground represents the turn of a road, and by the side of it a large tredin full leaf, which has been that moment laid prostrate by the wind. A little way off, on the left, the road is bounded by a perpendicular bank, under the shelter of which are two shepherds with their sheep, who appear terror-struck by this sudden effect of the tempest. In the midklle distance another shepherd is seen driving his tlock p redip itately down a steep declivity. This last group, togethen with some buildings upon on eminence near the centra of the piece, and part of the extreme distance, are illuinined bv nartial arleamsof lis:ht; ANGERSTEl^l COLLECTION. 17 wLi h, together with the powerful light in the sky over the horizon, servejby contrast, todeepen the gloom which pervades every other part of the picture. The whole is ihieiy descriptive of the intended subject j but in no part h.as the artist evinied more consummate skill than inlhe fore-ground, whefie the appearance, produced upon the plants and other foliage by the violence of the gale is re- presented with surprising truth of imitation. From the collection of the first Laial Lansdown. /. 6. h. 4-11. XVI. CLAUDIO LORENESE. A;Sba-Pobt. This picture represents a Sea-Port view, a little before sunset in the autumn. | On the right are some large ves- sels lying at anchor, aijd on the left are various magnifi- cent buildings, on the fa(^ade of the most prominent of which the artist has iiitroduced a clock, with the hand {.'ointing to tlie hour of ^ve 3 ingeniously denoting thereby tlie tiaie lie intended 1 |o represent- The orb of day ap- pears near the horizop, surrounded by clouds, whose orange and intlamed hue, in addition to some darker clouds placed higher in ithe picture, seems to menace the appjjxich of bad weathe|*. In the offing is seen a watch- tower, or light- house, df great height, near which are mear ; and on the left is seen a l.erdsman reclining on the stem of a broken tree, which overhangs a river, whilst his cx>ws are cooling themselves in t)ie stream. A large group of trees, on the opposite b:\nk, fills the centre of the piece. In the middle distance, on the left, is a picturesque firidge — the water rushing ti;rough its arch and forming a cascade 5 and above is a rocky hill, surmounted by a castle and other buildings. On the right, the scene is ternpnated by an extensive flat countrj', with an arm of the ^ea and distant mountains. The composition of this landscape is very beautiful j and it may be conjectured, from the colouring, that the artist intended to describe the hoi|r of eight or nine in the inctTiing, at an advanced peripd of the summer. It bears the name of Claudio, with th^ date 1645. /. 4-5. h, 3-4. I XMII. CLAUDIO LORENESE. A Seaport V iew, with Figures representing the Em- barkation OF St. Ursula, and the Eleven Thousand Virgins. i The picture now before us is one of the most studied and higiily-wrought productions of the master. The sub- ject required the introduction of numerous figures, and it is well known that in these Claude was not generally successful j but here they are so unaffectedly varied in their attitudes and employments, and ivithal 'O perfectly in harmony with the surrounding scenery, as to augment, lather than diminish the beauty of the piece. On the left of the spectator, the virgins of St. Ursula, gracefully distributed in gTOups, are seen issuing from the portal of a magnificent temple, and descending its steps 5 while the Saint herself^ attended by five others of her train, stands superintending their embarkation. Two are already seated in a boat,', and at a distance, on the right, others are represented getting out of another boat and ascending by a ladder into one of the ships destined for their ultimate conveyance' Behind the temple just mentioned is a long row of fabrics, of varied form and dimensions, receding in just: perspective, and forming the boundary of the port on t|iis, the left side j and be- yond is seen a tall \vatch-tower. The skill displayed by Claude in this part of the picture is truly surprising ; the exact degree of distance bf each of these buildings 19 ANGERSTEIN COLLECTION. being; determined, by means cjf a nice distinction in the local tint, (aided by the correctness of the lineal perspec- tive,) with a perfectness of imitation which no other pain- ter of landscaj)e ever yet equalled, and which, it may safely be averred, no one will ever qxcel. In the centre of the picture, and towards the right,lare seen three of the ships ])repared for the transport of the damsels, and part of a massive wall, bounding the port on that side, whereon nu- merous persons appear assembled to witness their depar- ture. The extremity of the picture on this side is enriched bv a group of lofty trees, and at a distance appears a large castellated building. In this performance Claude jhas not defined the orb of the Sun ■ but its exact situatioln is rendered apparent, as well by the excess of brightness intone part of the sky, as by the projecting shadows thrown by the different ves- sels upon the gently-agitated wqter; especially the shadow, broad, and reaching to the foreground, which is occasioned by the large ship in the centre j and wliich is introduced in this place with the greatest po^ible advantage to the ge- neral effect of the piece. We shall only further remark of this beautiful picture, that the effect of the breeze upon the water and upon the treesj, and the freshness of the morning atmosphere, are expressed in it with a closeness of imitation bordering upon illusion. It hears the name of tlie artist, with the date 1646'. From the Barberini Palace. /. 4-11. //. 3-8. XIX. CLAUDIO LORENESE. A Seaport View, with Figures representing the Queen oe Sheba embarking for the purpose of visiting Solomon. ' Tins pi( ture is, in the gen dissimilar from that of St. Uisula, viewed in a reverse di rection by means of a mirror larger, and as, at the same objects represented in it are’ is, that a greater degree of effect pervades the whole, less pencil of Claude has depi eral arrangement, not very The canvass, however, is ime, the figures and other ewer in number, the result irnplicity and grandeur of Here, moreover, the match- ted the glorious orb of dav, itself, rising in majesty, and dfispelling with its life-giving- rays, the vapours of the moiining. On the right of the spectijtor, the Queen is seen des- 20 N .*1 'r I ON A L G A L L K R . rcndiniz: the steps of her piilace, attended by her train, and n';out to ^et into tl.e boat, which is ready to receive her. d lie dispositi(m of *he objects on this side of the piece is eve eedingly beautiful. A large round tower, especially, which is built in the sea, but connec ted with the edilices upon the siiore by a bridge of a single arch, is most hap- ])il} introduced : it is all in shade, and casting a delicate tint of shadow upon the .steps and lower parts of the pa- lace, helps to confine the light to the central parts of the {)icture, and thus to rendef its focus the more resplendent* whilst through the arch of the bridge, and above it, ano- ther large building is ingeniously represented illumined, 'rhe left edge of the pictur^ is bounded by part of a trium- phal arch, whicli rises frpm the for ground to the top of the canvass j behind it ar^ seen part of two large vessels ; and beyond arc other ves of a pier, w'hich juts out els lying at anchor near the wall far into the sea. In this perfor- mance Claude has represdnted the sea under the influence of a swell, as if the previous day had been stormy; and, in consequence, the reflexicn of the sun upon the waves is interrupted at intervals.} It is almost needless to add, that he has imitated this |elTect of nhture to perfection. This picture bears the (name of Claudio, with the date, 1648, and v,ais painted fqr the Dul l de Bouillon, who was one of the artist’s earliest patrons. /. 6-7* 4-11. XX. CLAUDIO LORENE^E. The Marriage Festival of Isaac and Rebecca. This appears to be g repetition of a celebrated picture by Claude, in the collection of the Prince Doria at Rome, knowm under the title of ‘ la Molina,’ or ‘ the Mill.’ The amenity of the scenery is finely in unison wdth the subject represented by the figiires ; unless, indeed, it should be objected that the buildi|ngs are not those of patriarchal times. It may be observed of this perfoimance, that, though it contains a great variety of objects, still its lead- ing characteristic, both in composition and effect, is sim- jdicity : for, at a first viev, the broad eN pause of the river, the mill, the dancing fi ^»ures, and the two large groups of trees, strike the eye of the spectator as constituting, as it were, the whole picjture • and it is not until after- wards that he, by degrees, discovers the waterfalls and the city in the distance, and tlie other agreeable objects ANGERSTEIN COLLECTION. 21 with which the «TLrtist hasi throughout so judiciously en- riched the less prominent jparts ot' his work. Upon a stone on the right, w’e read : Claudio Gel. inv. Rome, 16‘48.” The picture is said to have been painted for the Duke de Bouillon. . /. G-7. 4-11 » A1 XXI. PETER PAUL RUBENS. The Holy Family, with St. George, and Two Fe- male Saints. This picture is piijinted in a chaste manner ; which, joined to the character of the subject, and the finely dis- posed landscape-background, renders it very agreeable, it is said to liave l>een ine of those pieces which remained in the possession of the widow of Ruliens after bis death. That he was } artial to the composition appears from his having causecl the principal part of it to be en- graved upon a large scsle in wood, by Christopher Jegher, after a drawing prepared by himself for the pur{)ose. /. 5-4. 4-1. / XXII. RUBENS. The Rape of the Sabines. The subjecjt was well calculated ^ to give scope to the exuberance of the painter’s genius ; ;md there can be no doubt that he felt a particular gratification in painting it. The composition, as a whole, is well conceived 5 though, perhaps, the large group on the left, in the second plane of the picture, would have bdbn productive of greater ef- fect had it been less complicated in its arrangement, and had the numerous figures cqm posing it been in some places better distinguished froha each other by the colours of the draperies, or by more Ijecided masses of shadow’. The horsemen and trumpeters l|n the distance are inimita- bly spirited ; and the vigour and def)th of tone which the artist has given to the figures in the foreground, especi- ally to that of the matron dressdd in black m tlie centre, separate those figures from theWore distant objects ip the picture with great truth of perspective. This picture, being entirely executed by the hand of Rubens himself, furnishes abundant evidence of the lightness and freedom of his pencil, and of the trans} gorgeous richness of his colouring. C 2 arency, harmony, and /. h. 5-G. NATION All GALLERY. XXIII. ANTHONY VANDYCK, The Emperor Theodosius stopped, after the JMassa- CKE OF ThESSALOXICA, IN THE PoRCII OF THE GREAT Church of Milan, by the Archbishop Ambrose j and refused admittance, save on the condition of submitting to perform Public Penance for ms ('rime. I This picture is a cofiy made by Vandyck, with varia- tions, after one by Rubens, now in the Imperial collection at Vienna ^ and, perhaps, it is the only copy in existence which may with trutli be termed equal, if not superior, to the original In some places he has improved the drawing of the limbs of the jigures. But the most im- portant alterations will be found in the characters and ex- pressions of the heads, (amopg which, with the affection of a grateful pupil, Vandycl^ has painted that of Rubens himself), and in the colouring j which is rich and power- ful, without partaking of th|it ill-suited gaiety of appear- ance, which the inordinate fondness of Rubens for beau- tiful combinations of colour,; occasioned him so constantly to seek after in his historicaj pictures ; however grave the subjects which they were intended to represent. From the collection of Lord Scarborough, h. 4-10. w 3-9« 1 i XXIV. VANDYCK. The Portrait |of Gevartius. It is related of Vandyck, that in the latter years of his short career, he was often rejproadied by his friends that tiie pictures he then executed were greatly inferior in merit to those which he had produced in his younger days, “ I know it well,” he would answer, “ and am nowise surprised at it : for formerly I laboured for fame, and now I work only for money.P The picture before us is painted in Vandyck’s most stidied and finished manner; and, though it presents only i head, is well deserving the liigh reputation it luis long held among jiersons conver- sant with the diflieulties of 1 he art ; the face being ad- mirably drawn, and full of diaracter ; the eyes having all the liquid lustre of reality^ ; and the carnations pos- sessing the softness, the transparency, and the animated glow of nature itself, j On wood. h. w, ‘3-^. ANGERbTEIN COLLECTION. 2S XXV. VANDYCK. The Portrait op Rubens. — {A half •length,') This portrait is paintfed in a very broad and grand man- ner ; and was bought its late proprietor at the sale of Sir Joshua Reynolds, |vho, it appears, had often expa- tiated upon the merits bf it to his friend Mr. Burke. At the conclusion of the sAle, that gentleman congratulated the purchaser upon poskessing what, he said. Sir Joshua termed his favourite jpicture.” height and width 3-9. XXVI. REMBRANDT. The Woman tak$n in Adultery. Rembrandt, it is well known, had little regard . for ,that part of the art which we term design or drawing. The proportions and forms of his figures are inelegant j he never sacrificed to the Graces. But in all other re- spects he was a genius of the first order.” He is never deficient in expression ; and, whatever the subject-matter of his canvass, he seldom faili to interest or caj)tivate by some novel combination or effect j or by the representa- tion of some transient, though,| perhaps, often recurring beauty in nature, vvliich, but f^r him, might even until now have passed disregarded. I The figure of Clirist in the principal group of this pic- ture ajipears too tall j St. Peter is still the poor fisherman ; the guilty female possesses no beauty by which to bespeak sympathy in ker behalf. But the countenance of the Sa- viour beams with compassion 3 the apostle is a man with- out guile j and the eyes of the prostrate adulteress stream with tears of contrition. In the variety of character and expression which Rembrandt has given to the other fi- gures of the grouj), he has evinced a sound judgment. The old man in black, who lifts up the veil of the woman, and is her immediate accuser, is strongly expressive of malevoicnce } and, it inav be inferred, is nowise indis- posed to execute upon her the d Jewish law : but the Rabbi behim, company, seem either intent only his words, or moved by curiosity scientious men, (which the event 1 really were,) to be rightly, instruct occasion : whilst thosol dier, aceustoiiied toobey implicitly c 3 eadful sentence of tiie hull, andothersof the upon catching Jesus in or. desirous, like con- fterwards sliewed they id .how. to act U[)on the 24 NATIONAL GALLERY. the orders of others, awaits with calm indifference the ultimate determination respecting her. The chief figures in this group very pro{)erlyi receive the principal light j especially that of the femal^, which, alone entirely illu- mined, appears the focus of the picture. After having sufficiently viewed these, the eye of the spectator roams to other parts of the performance j and he perceives, in the back-ground, on the right, the high altar rising ma- jestically, its gold and silver ornaments sparkling through the deep gloom of the edifice.! By degrees, as if in dark- ness visible,” lie descries nuiherous personages upon its ste})s, occupied in acts of of ( ^ ' ' * gination he further attempts the venerable structure, forge Such were the powers of Reml resistless magic of his clair-ol This ])icture is executed in which Rembrandt practised in and is said to have been painted by him for his friend and patron the Burgomaster Six. XXVII evotion. Perhaps in iina- to explore the recesses of ful of the painted illusion ! randt’s genius ; such is the scure. he highly finished manner the early part of his life j On wood A. 2 - 9 , REMBRANDT. The Adoratiok of the Shepherds. Like Coreggio, in the celebrated notte, Rembrandt has made the chief light of his picture proceed from the divine infant ; whose figure, imperfectly defined in respect of outline, appears absorbed in its own brightness The bril- liancy of this light is further augmented by having im- mediately opposed to it the\ powerfully-shaded figure of the Shepherd kneeling in tr^e foreground : so that the eye of the spectator is at onc4 irresistibly attracted to this the focus of the picture. On fi^e left the Madonna, seated in an inclining posture upon k bench, watches over her charge j behind her stands Joseph ; and beyond, near the centre of the piece, are seen the heads of two women. Here, also, may be perceived thefigureof alittlechild who, resting with both arms upon a\wooden partition, gazes with an expression of angelic delight upon the resplendent babe j as if the painter had called\to mind the declaration, that of such is tlie kingdom of\heaven 3 ” and intended to denote that the purity and perfect innocency of the infantine spectator tjualified it, belter than all others pre- sent, to recognize in the newly-born child its beneficent Lord and Saviour, All these figurejs are strongly illumin- ANGERSTEI?^ COLLECTION. ^40 ed by the light which proceeds from the infant ; as is also that of a shepherd, who is represented kneeling behind the one already mentioned, A little further to the right is a third shepherd, who appears ^o have just entered the apartment, and advances with cautious steps to join his devout companions j bearing in his left hand a lantern, the uncertain light of which is thrown upon the ground, and upon a boy who is introduce^!, holding a dog, near the right extremity of the piece, i The figures of another peasant and two women, one of M^hom has a child, are seen at a little distance, behind the man with the lantern : these, wdth the interior of the stable, complete the pic- ture, which is painted in Kembr^ ndt’s boldest manner, and, for justness of expression, and truth of effect, merits the highest praise. y5. 2-1. w. IVIO. XXVIII. ALBERT CUYP. A Landscape withV Cattle and Figures. The rise which Ims Uik^n place in the estimation of this artist’s pictures within \the hist fifty years,— during which period they have, perhaps, more than quadrupled their value,^ — may be recrkoned among the best proofs of the advancement of the pubMc taste in this country j at least so far as respects the Dutch school of painting. De- spising the elaborate finishing! which constitutes the chief merit of so many painters of t!|iat community, it was the aim of Cuyp to represent the b|eauties of nature by a pro- cess wherein the powers of hi^ intellect, rather than the labour of his hand, should be c^pparent j and the student may learn from his works, whihh consist in a great mea- sure of cattle-pieces, that, eve^n in the humbler depart- ments of painting, grandeur style in drawing, and breadth of manner in executionjj may be employed with advantage. His choice of scenery is always agreeable 3 and in resjjectof colouring, ins finest landscapes are infe- rior, perhaps, only to those of Cjaude 3 the varied effects produced by the cheering influence of the solar rays, upon the misty atmosphere of the country he inhabited, being often imitated in his j}ictures, wifh the same truth of re- semblance wliich we admire in tl^e Italian artist’s repre- sentations of the appearances of nature in his own more favoured clime. He was well skilled in comjK)sition, and in the [)rinciples of clair-obscure 5 he often introduces in his background a large piece of lyater, which, illumined by the reflexion of the warm sky, serves in the hapi)iest NAT10>JAL GALLERY. 2T) manner to unite the upper with the lower parts of liis pic- ture } and he seldom fails so to group his sheep and cows as that they should naturally receive and conduct the masses of light in a way benelicial to the general economy of his piece. Tlie above observa|;ions, though made with reference to the productions of /this artist generally, will be found sufhciently applicable' to the picture now before us; which is a good specimen his talents. From the collection of Sir Lawrence Di^ndas. /. 6-6. h. 4-4. XXIX. DON dIeGO VELASQUEZ. Two Portraits, said to be those of Ferdinand of Medicis, Luke Of Tuscany, and his Consort. This picture is painted with great boldness of pencil and breadth of manner ; though in u colder tone of colouring than that jlvhich we commonly observe in the works of Velasquez, j /. 4-8 A. 4 2. XXX. WILLIAM HOGARTH. \ His Own Portrait. The head, wliich is full of character, is jiainted so as to imitate an oval jiicture before it is placed in its frame ; the real shape of Hie performance being a square. The oval is supported mion the volumes of Hogarth’^s favourite authors, Shakespear, Swift, and Milton; on the left, upon his palette, is drawn fhe line of beauty, and on the right is his favourite dog. , A. ‘2-11. la. 2-3. XXXI — XXXVI. HOGARTH. Marriage a la MoAe Series &f Six Pictures ) The pictures of thislseries are so well known by prints, that it would appear aWork of supererogation, were we to describe them in detail ^ and we shall therefore give only a rapid sketch of tiieir general plan> accompanied by brief remarks on the tD^its of Hbgarth-as an artist. The First Picture is admirable for the invention : we here see various worthless persons met together, and.about to act in an important atfair from bad motives> The proud and gouty nobleman has deeply involved his estate by mortgage, for money advanced to liim by the heiut- •less citizen ; and lie receives back the deed, as the stipu- lated price oi^ his consent to the marriage ^f the young 27 ANGERSTKIN jcOLLECTION. lord, his son, with the money-lender’s daughter. The inclinations of the young persons have not been consult- ed. Tlie girl shews by her countenance that, at the best, a sullen consent has been wrung from her, by the pro- mise of fine clothes, a title, and an equipage j and the young man evinces his utter pontempt for his bride, and his admiration of himself, by turning his head from her, to view his own features in a mirror. It would be too much to insist, that the catastrophe, which makes the subject of the latter pictures of the series, may be infer- red from the figure of the young lawyer, who is seen whispering in the ear of the bride. The importance of the introduction of his figure in this place appears after- wards. But the picture, singly considered, tells its story, and is complete without it. We perceive that the mar- riage about to be solemnized, is entered into from un- worthy considerations, and without affection on either side j and we foresee clearly that it will entail misery upon the parties. The total absence of affection between the man and his wife, is further made apparer^t in the -Second Picture ; where the figure of the young libertine, who, on his return home from his debaucheries, after day -break, has thrown himself sullenly into n chair, is so admirable for its attitude, expression, drawing, and colouring, as alone utterly to refute the assertion of Lord Or ford, that Ho- garth, however great as an author or inventor, possessed, as a painter, but slender mprit.’’ In the Third Picture we hav^^ further evidence of the profligacy of the husband. In the Fourth we are introduced into his lady’s dres- sing-room ; where, surrounded by musicians and flat- terers, she sits at her toilette, listening with complacency to the pretty things of Silverfon^ue, the lawyer before mentioned, who presents her with a ticket for the next masquerade. Tiie appointment to meet af the masquerade has been kept, and from thence the guilty couple have repaired to some wretched place of inti igi^e whither the husband, learning the circumstance, has followed them, accom- ]>anied by watchmen and constables, in order to break into tlieir apartment, and to prevent their escape. In this, the Fivth Picture, which is alike admirable for expression and etfe$sess this great advantage over the higliiy finished performances of many of the painters of the Dutch school, that whilst the latter fre- quently present us w'ith nothing further than a beauti- fully executed imitation of tiiat which in itself has neither beauty nor interest, lus pictures, in consequence of the judgment exercised by him in the choice of their subjects, are the vehicles of sentiment and expression. On wood. /. 4-^2. //. 3-1. i\ATIOi\AL GALLERY. PART II. THE COLLECTIOjN Presented to the Nation by SIR GEORGE BEAUMONT, BART. The Gentleman, to whose patriotism the Public is mdebted for the present important addition to the National Picture Gallery, is well known to have been himself an artist, thonr^h not a pro- fessor. The circumstance of his having more especially applii d himself to the study of Landscape-Painting, will account for his collection’s containing a large proportion of works of that descrip- tion, as also for the taste and judgment displayed in the choice of them. No. I. NICCOLO POUSSIN. A Landscape and Figures. Poussin, we think, intended this picture to represent a pleasant place of resortlon the skirts of an ancient Greek town. The object tha|; first strikes the eye is a grove of evergreen oaks, situated at the junction of two roads, one of which leads by the ibanks of a river to a city, which is seen in the distanced at the foot of a range of moun- tains whose summits at'e lost in clouds. One of the trees, of larger dimensions t|ian the rest, has its stem liung round wdth votive mepiorialsj* a small image of the guardian deity of the place also is attached to it j and on the ground beneath is an aged man in a recumbent pos- ture, who seems absorbed in meditation. Nearer to the eye of the spectator is a graceful female, clad in light drapery, carrying a basket of fruit on her head, and * A majestic oak, thus adorned, is finely described by Ovid in the 8th book of his Metamorphoses : Stabat in bis ingens annoso robore qnerens | Una nemus: vittae mediam, memoresque tabellae, Partaque cingebant ; voti argumenta potentis, &e. SIR GEORGE BE.\UMONT S COLLECTION. another in her left han^ • and by the side of the road on which she is walking is a milestone. In the foreground, on the right, a man and a woman are represented seated in conversation at the foot of a monumental building ; and, on the left, is a man in a light-coloured habit, a figure of great excellence, who is washing his feet at a./ountain. The grove above-mentioned being all of one colour, is a f ircumstance which 4 might be su])posed would give to this landscape an air of nionotony prejudicial to its beauty. But Niccolo has so judiciously varied the tints of the ground, of the masonify of the fountain and the monu- mental structure opposite to it, as well as the colours of the dresses, that there is, altogether, no want of va- riety in the colouring oil the picture • whilst, at the same time, great solemnity otl effect is 09 casioned in it by the trees, vigorous and full ^f leaf, being represented all of the same dark hue. In the arrangement of the masses of light and shadow, the artist has given great proofs of his skill 3 esfiecially in the foreground on th^ left, where a small touch of light upon the water, at the edge of the basin of the fountain, and another up|pn the rim of the basin itself, are introduced with happy effect, The last-mentioned touch is placed immediately over the head of the man who is washing his feet, and thus serves to carry on the light from the white, or nearly white dress of that figure, (which, being almost entirely surrounded iiy dark tints, might otherwise have ap}ieared too much like a spot,) and to connect it, very dtjlicately, with the other lights of the picture. This classical landscape is painted in a very finished manner. /. 3-4. h. '2-5. II. CLAUDIO LoRENESE. A Landscape, with the Figures of Hagar and the Angel. A broad river, with cattlp drinking, and a small boat, a bridge of a single arch, a village situated on a rockv eminence, some distant hils, and a group of thi'ee trees •in the foreground, conslitute the present landscape 3 in which Claude has jiainted that passage in the story of Hagar where, u[)on her first Myiug from the habitation of Ahraham, to avoid the severity of her mistress, she is ordered by an angel to retiirn home. Hagar is seated under /a bush, and, with her hands joined together, looks up /at the angel, who, [lointing tu / ^ KATIO/MAJi GALLERY. the village above-mentioned, the abode of Abraham, ap- pears urging her to place herself once more under bis roof- and so far the st^ry is told. But the landscape has not that character of remote antiquity which this subject retpiired j and it canno^ be denied, that a group of shep- herds and shepherdessejs would have been better adapted to its foreground. j In itself, however, ilj' is beautiful ; being finely expres- sive of sunshine, painjted in the artist’s most finished manner, and in perfect preservation. From ]\Ir. Buane’s collection, 1 - 8 . ec. (i-4|^. III. CLAUDIQ LORENESE. A Study of T|rees from Nature. This picture was doubtless painted from nature on the skirts of a wood, and repr'esents a group of trees, through the openings between whiich are perceived the upper por- tion of a distant blue hili breaks in one place into and parts of a rivulet which a small cascade. In the fore- ground is a goat-herd, a very good figure, represented in a back view and in great part naked, who, seated on the ground, is playing upon }ris pipe 5 whilst his goats are seen, some reposing in the shade, some sporting, and others browzing, or descending the bank which leads to the channel of the brook J A few light-coloured flitting clouds add to the beauty of the blue sky ■ and on the right, is introduced a piece of distant country. This admirable study was formerly in the collection of Lord Londonderry. A. l‘-S. to. l-4f. IV. CLAUDIO LORENESE. A Landscape, with Figures representing the Story OF Narcissus and Echo. The left side of this picture exhibits a retired spot, with a clear pool, or well-spring, ‘bounded iA great part by rocks and shadowy trees, some of which rise to the top of the canvass. The nymph of the fountain, her left arm stretched over her head, and her right resting on her urn, is represented asleep in the foreground, in allusion to the stillness of the water, j At a small distance. Narcissus is seen bending, self-enaihoured, over the glassy surface, as yet undisturbed by his tears 5 whilst the hapless Echo, leaning upon one of t^e trees above, watches him, and with lier left hand raised to her mouth, seems to waft SIR CEOPJ eaum^)Nt’s collection. 33 back bis sighs. Bebiocl th^ figure of Echo is that of another nymplg who is also |,-azmg upon Narcissus—for the 3 /outh had many lovers— -and beyond her is seen a deer, feeding. The large group of trees, which occupies great part of this side of the picture, is ski tirely free from any appearanj ;e of artifice in its arrange- ment. A large pine, with a nished top, shoots out from tl a very agreeable form to the fully composed, tliough en- rooked stem and well fur e rest of the group, giving mass of dark, which would an- middle-ground is a ruined iiience, and represented en- beains of the sun shining: othervrise have appeared to tjerminate too abruptly • be- sides that the dark tint of this tree, being boldjy opposed to that part of the sky in which the orb of the sun is placed, produces in that luminous ] tart a great increase o parent lustre. The principal object in th castle situated on a rocky eiT tirely in shadovr 5 the warn through its portal and windows. Nearer the eye of tue spectator are a small waterfall, and a wooden bridge, over which a peasant appears driving bis cattle 3 and in the distance, on tlie right, is a beautiful bay of the sea, with a town situated on its margin, and some vessels lying at at anchor. The effect of this very fine picture is that of a sultry afternoon in autumA. It is No. 77, in the L^der P^erkatis, and was formerly in the collection of Peter Delme, Esq. /. 3-11. /^. 3-1. V. CLAUDK^ LORENESE. A Landscape and Figuk|es. The Death of Procris. The most striking beauty of this little picture is a pas- sage on the left, where a deer is represented descending a hillock, and the sun appears setting behind a cloud. The hint was doubtless taken f|-om nature. /. 1-7'. 1-3. VI. ANTONid CANALETTO. A View in Venice. This view represents a church, with a tower, situated upon the borders of fi canal which traverses the middle of the ]ncture, and n»on which are several gondolas. On the right, in the foreground, are some brick houses 5 and underneath them are certain wooden hovels, the dwellings of stone-masons, wlio are seen working upon various blocks of stone or marble which lie scattered before their D 34 NATIONAL GALLERY. doors. The view does not appear to have been chosen with any regard to the picturesque j and, as almost all the shadows are conlined to the central parts of the picture, the effect of it, as a whole, is not very agreeable • though every part is painted with the artist’s accustomed bold- ness and decision of pencil. /. 5-4. h, 4. VII. RUBENS. A Landscape and Figures. The idea of this landsjcape was probably taken by the artist from a real scene iin Flanders, It exhibits a rich grazing district, such aslin nature one would style any thing but picturesque ; a; vast tract of flat, or nearly flat country, interspersed in tme distance with numerous vil- lages and farm-houses, and divided irregularly into en- closures by rows of pollailds, or intersected by ditches j with here and there a patch of wood, or a small clump of trees. Rubens saw in all this the materials for a truly characteristic picture^ and pas judiciously represented this land of ' milk and honey,'! of fat cattle, cheese, poultry, and other good cheer, unaer the exhilarating influence of a fine, sunshiny, sumnier’s morning. His intention was’to paint a scene of gaiety and joy j and he has been careful to make every object in his picture perform its part towards the attainment of the purposed end. In the middle ground, at the left extremity of the piece, is a chateau, partly hidden by a row' of trees, under the shadow of which is seeii the lord of the domain in company with two ladies, cine of whom is seated on a bank with a child between i her knees. The mansion, from its retired situation andjthe low tone of its colour- ing, might for some time escape notice, were it not for the solar rays, which the artist has represented here and there sparkling upon its windows. The entrance is by a bridge, traversing a moat, whereon a man is repre- sented amusing himself with fisliing. Nearer the eye of the spectator, and somewhat nearer the centre of the picture, is a group of five trees, one of them well furnished with leayes, the others very scantily, which rise to the top of tfle picture j intersecting in some places with their stemjs the line of the horizon, and shewing in the openings; between them part of the distant country. The introduction of these trees in this place is in every respect highly conducive to the beauty of the whole Without therp, the lines of the composi- tion would have been deficient in variety 3 the masses of shadow would neither have been sufficient in extent^ nor agreeable in their forms ;| and the foreground and middle- ground of the picture wobld altogether liave wanted such a just proportion of rich, dark, brown tint, as was ne- cessary to enable the pointer to throw off the extensive verdant landscape in the distance with proper effect. The foreground is admirable, and replete with incident. In the middle of it, the: fantastic root and part of the trunk of an old tree, recently blown down, form a pro- minent object. Its steip is covered in great part with brambles, which it ha^ carried with it in its fall, and reaches to the right extremity of the picture 5 where a motley assemblage of small birds of various plumage is seen, sporting among .its branches. But the pastime of the songsters is on the point of being interrupted j for a covey of well-fed partridges, \yhich unconscious ol danger have seated themselves under a neighbouring bush, have just been diiscovered by a fowler, who crouch ing beneath the said tij'unk with his pointer by his side has cocked his gun an^ is just about to fire at them. Somewhat to the lef| of the fowler, and a little further from the eye of the sp^etator, is seen a peasant with his waggon drawn by t'vvcj horses, on one of which he is mounted j a pretty yqung woman, dressed in a scarlet jerkin and a dark blue petticoat, is seated in the waggon j which also contains a f|ne calf, tied by its legs, which he is taking, with other produce of his farm, to the market of a neighbouring town. 'I he road is here partially overflowed by a winding rivulet j a circumstance ad- mirably conceived, since it has enabled Rubens to en- liven this dark part of his picture by a few touches of light upon the water, under the wheels of the waggon, and at the feet of the iu)rses ; which, without interfering with the general plan jof the chiaro-scuro, serve to dis- engage those objects ifrom the dark ground which sur- rounds them, and thus to render their forms the more easily distinguishableJ But to proceed : a turn of the rivulet in question is seen behind the root qnd trunk of the fallen tree, before- mentioned. The shaded side of tliis root a})pears the darkest ])art of the pjeture 5 and here, immediately be- hind this powerfully dark object, the ])ainter has intro- duced broad touches of white upon the ri})pling water j at the same time giving to the fluid the sj)arkle of reality, and producing in this central part of the composition a focus of light and yigourof contrast, which give a zest i> 3 NATIONAL GALLERY. ’]6 to the whole performance, and greatly assist in throwing hack the various less strongly- shaded objects in the middle gound and back-ground,! each to its proper distance. Of the skill displayed |by Rubens in many of the other details of this extraordinvary performance, especially those in the distance, it is perhaps not possible by words to convey any just idea. | We cannot, however, omit to notice a passage, near a !triangular field, with cattle feed- ing and a woman milking a cow, on the right of the picture 3 where he has rcjpresented a long row of pollards in bold perspective, shotting far into the flat landscape, and in one part traversing a piece of marshy ground, with a truth of effect be rdering on illusion. The sky is that of a fine day in summer, or the be- ginning of autumn, an^ has many light-colou red flitting clouds 3 which, at the top of the picture, on the right, as they approach the region of tlie sun, assume the mottled ap|>earance thai is commonly supposed to denote fair weather. These clouds give increased lustre to the sky, and at the same time account for the numerous ac- cidental shadows, varying in force, which the painter has judiciously employed m different parts of the picture, vrhich is painted throughout with prodigious power of ]>encil, and brilliancy of colouring. From the Balbi Palace at Genoa. /. 7-9. h. 4-6i vin. IMBRANDT. , The Portrai^t of a Jew-Merchant. This striking portrait represents a man somewhat advanced in years, and of an austere countenance, rest- ing with both hands; upon his staff 3 and we may con- jecture, from the tot^l absence of affectation, both in the attitude of tlie figure and the arrangement of the dress, that Rembrandt painted him just as he appeared, when, after Iiis morning walk of business through Am- sterdam, he first seated himself in the artist’s study. The effect of the picture is admirable : not the less so, in consequence of |Rembrandt’s having admitted into it a somewhat larget proportion of light than was his usual custom, h. 4-d. w. 3-4. IX. REMBRANDT. Christ taken down Wrom the Cross — A Sketch in Ch] aro-scuro. The masterly performance now before us represents the dead body of Christ lying at the foot of the cross, in the lap of his mother, who, overcome by the intense- ness of her grief, has fallen into a swoon, and is assisted by the women her companions, and other disciples. Meanwhile the penitent malefactor, who, with his as- sociate in guilt, still remains on Ins cross, looks down with reverential gratitude upon the crucified Saviour, full of the promise recently made to him of future hap- piness, and unmindful of ' present sufiering, The whole is admirable for the eifecjt, finely composed, and full of expression ; leaving us onjly to regret, what, alas ! is too generally to be lamentedj in the scri}>tural pieces of this great genius, that Ilembrandt should have descended so very low in the scale off humanity, wiien seeking for models to assist him in representing the figures of Christ and of his virgin mother. Tlie j)ortentous appearances which the artist has introduced in the sky, over the de- voted city in the back-ground, are sublimely conceived, and add greatly to the dignity of the picture. Purchased at the sale of bir Joshua Reynolds. On wood. A. 1 - 1 . w, 10 | inches. / X. JAN BOTH. A Landscape and Figures. Morning. Tins picture represents a road, winding among rocks and broken ground upon the borders of a lake. Jn that part of it which is nearest the eye of the spectator, are seen a peasant driving before him his loaded horse, a woman riding on an ass, and a muleteer with his two loaded mules 5 ami in a more distant part of the road, on the right, is another man seateii on an ass, A mountain torrent, issuing from a cleft between two large rocks, forms a fine fore-ground on this side ■ the rocks, and a tree which grows from among them, rising to the top of the canvass. Upon an eminence in the middle- ground, on the left, is seen a small village ; and beyond the lake the horizon is bounded by distant mountains. This landscape is exceedingly picturesque in its ar- rangement, the masses ^f light and shadow are well managed, and the picture altogether produces a very agreeable effect 5 having !in it a more just proportion of cool tint than the immoderate fondness of Both for warm sunshiny hues generally nermitted him to introduce into his pictures. /. 5-3. A. XI. SEBASTIEN BOURDON. A Landscape and Figures — The Return of the Akk. The subject represented by the figures in this j)icture is detailed in the Gth cljupter of the 1st Book of i^amuel. 38 NATIONAL GALLERY. Our present observations will be chiefly confined to the landscape. In the distance on the right is a city, finely situated on a broad river, whose depth and clearness are shewn by the reflexions of the buildings upon its surface. This city is entirely built of white stone or marble, and its edifices have that strength and simplicity of appearance which are characteristic of very ancient times. Beyond it, in the extreme distance, are ridges of lofty mountains. In the middleground, in the centre of the picture and on the left, are immense rocks 3 and below are various buildings, picturesque in their forms, and apparently con- structed of wood, from the foot of which a rapid stream rushes through sluices, breaking in its descent into a cascade. On the left, in the foreground, is a stone bridge, over which the Ark has just passed, drawn by two heifers and attended by ^ party of the Philistines. This landscape is full t^f fancy, and has great wildness, joined to a certain grandfeur of character, in some parts approaching to sublimity j but its coiouring is not calcu- lated to captivate the eye. The foreground, though some- what enlivened by the white tint of one of the heifers, the blue drapery of one of the figures, and the scarlet dress of another, partake^ very much of brown 5 and the same colour also predoininates in the middle-ground. There is little light in the j|icture j except on the distant city and on part of the {nountains beyond it, on the upper part of the lofty ropk in the centre, and in the perturbed sky 3 it having been evidently the object of the painter to give to his performance a certain impres- sive gloom of effect, suited to the solemn character of his scenery, rather tlian to produce what is commonly termed an agreeable landscape. From the collection of Sir Joshua Reynolds. L 4^6. h 3-5. XII. RICHARD WILSON. ^ The Villa of Maecenas, at Tivoli. This classical view was painted at Rome about the year 1753, for the then Earl of Thanet 3 who, going one day with Wilson to Tivoli, in company with Lord North, was so much struck by the beauty of the spot tliat he commissioned the artist to paint it for him 5 suggesting, at the same time, that the celebrated Blandusian foun- tain, if transported by his magic pencil from the vicinity* of Horace’s Villa, and placeq, as it is, in the foreground, would, by association, increase the interest of the picture. SIR GEORGE BEAUMONTS COLLECTION. The point of view is finely chosen j and, with his usual correctness-of taste, Wilson has avoided the introduction of all such objects or effects as might disturb the stillness of the scene j admitting into his picture, on this account, but a small proportion of light j and the figures only of two girls who are drawing water at the fountain, and of a peasant, who is indistinctly seen at some distance, driving a flock of sheep over a bridge. It is to be regretted, that the large masses of shadow in this landscape appear to have lost somewhat of that clearness and transparency which, without doubt, they originally possessed 5 a circumstance which, perhaps, ought chiefly to be attribu|ted to a destructive brown earth, with which, in the time of Wilson, and long before, the colon rmen of Rome were accustomed to prime the can- vasses intended for artists to paint upon. /. 5-6. 3-10. XIII. WILSON, A Landscape, with Figures representing the Story I OF Nigbe. This picture is ver|y? perfect in the arrangement of its lines and masses j apd the objects and incidents which it presents, independently of the figures, are such as could not fail to constitute ft striking landscape. The cataract on thd right is a noble feature; and Wilson has represented it, lashing the rocks, under the influence of a violent storm of wind ; thus giving to it increased grandeur. The whife foam, powerfully contrasted as it is by the dark tints of the rock on this side of it, imme- diately strikes the spectator as the focus of the picture ; the mass of light being afterwards carried on by a large opening in the sky, where the clouds appear to have been rent asunder by the tempest. Parts of the foreground and of the figures are also in light, though of a more subdued tone ; whilst the distant landscape, on the left, and most other parts of the picture, are represented as overshadowed by clouds. The figures in this picture are skilfully grouped and disposed, and are executed in a very masterly manner, in a tone of colouring perfectly in accord with the landscape. The artist merits great praise, also, for the boldness with which he has introduced the large cloud whereon are the figures of Apollo and Diana ; as by bringing down the lower part of that cloud, almost to a level with the fore- ground, he has been enabled to give to those figures a greater appearance of reality than they could otherwise 40 N|AT TONAL GALLERY. have had j and the same time to connect them, ef- fectually, with the lov/er parts of the composition. With all this, the subject is, \vc think, of too high a class to be introduced, subserviently, in a landscape. /. 5-6. h. 4. XIV. SIR JOSHUA REA^NOLHS. A |Man’s Head. — Profile. Tins head, which is full of character, is a study from the same model v/ho sat to bir Joshua for his Count Ugolino. h. i-11. IV. i-6. XV. BENJAIHIN WEST. Pylades and Orestes. This picture, whichlis an early work of the artist, re- presents that passage in the ^ Iphigenia in Taiiris,’ where Pylades and Orestes are brought bound into the temple of Diana and presenter^ to Ipisigenia, tlje priestess, in order that they should He offered in sacrifice. 'I’he two naked figures of the youths posse.ss great excellence, especially that on the itigh.t, which is represented in profile, and is drawn andWioted in a very pure, and at the same time grand manper. /. 4-2. h. 3-4. XVI. DAVIB WILKIE. The Blind Fiddler. This picture was painted by Mr, Wilkie in 1806, when it much contributed to gain for him that large share of public favour which he has ever since possessed. It is universally considered to be one of his most perfect works j and is so well known by the fine print done by Burnet, as to render description unnecessary. The figure of the ciiikl, who, with her left hand up to her mouth, gazes with rivetted attention upon the old musician,— forgetful of the little cart which she has iaeen dragging about with a string — is admirable for its truth of expression. From the uplifted toe of the fiddler, we learn that he is a good timeist j whilst the man snapping his fingers, informs us that he is playing a lively tune, /. 2-7* 4.1-10. NATIONAL GALLERY. PART III. PICTURES PRESENTED TO THE GALLERY BY INDIVIDUALS, OR RECENTLY PURCHASED FOR IT BY N HIS MAJESTY’S GOVERNMENT. No. L BARTHOLoSffi ESTEBAN MERILLO. A Spanish Beasant-Boy. A Head. This })icture is painted with great lightness of pencil 5 and was presented to the gallery by M. M. Zachary, Esq. h, I-iO. w, 1-4. II. SIR JOsduA REYNOLDS. A Head— The Banished LorDo There is a print after tjhis head, bearing the above title; which was probably givqn to it on account of the raelan- choly cast of the countenance. It is painted with a very bold pencil, and possesses great richness and vigour of colouring. Presented by the Rev. William Long, /l ‘ 2 - 5 . vj, ‘ 2 . IIL ANTONIO DA COREGGIO. The Holy Family. This beautiful performance is spoken of by Mengs, in an account which he wrote ^f the finest paintings existing, m his time, in the royal collection at Madrid ; to which it then belonged. | The madonna is eraploydd in dressing the divine infant, wlio, represented as a fla?ien-haired boy, two or three years old, is seated, full of play, upon her lap; while .foscph is seen at hisVarpOnter’s bench in the distance, nlanin.o^ a bnnrfl. She ha.'^ iimf sncpopdcd in iiut.tiiur his 42 NATIONAL GALLERY. right arm through the sleeve of his little coat, and is endeavouring by gentle stratagem to do the same with the left ; nowise disconcerted by the constant changes of jx»sture with which he seems to elude her attempts 5 — for her countenance bcajms with an expression of inward de- light, joined to a certain innocent girlish pride, arising from a consciousness of the perfections of the infant en- trusted to her, which, perhaps, no painter except Coreggio ever conceived 3 and which, notwithstanding the superior excellence of the wbrk in other respects, constitutes, we think, the greatest dharm of the picture. This picture was mine years ago brought to England from Spain by Mr. \/allis, an English landscape-painter, who not then finding a purchaser for it here, took it to the Continent; since which period it has passed through various hands. On vood. A, 13 inches, zv. 9^. IV. TIZlANO VECELLIO. Bacchus! and Ariadne. This is one of three pi lures, of great celebrity, which Titian painted about the \ ear 1514, for Alfonso L, Duke of Ferrara, as decorations for a small room in his palace. In process of time, Ferrara falli’ng into the hands of the j';ope, tliey were carried t® Rome 3 where two of tliem, representing “ A Bacchanalian Scene,” and a number of Cupids Sporting,” remained for some years in the Villa Lodovisi 3 until at length tjhey were sent by a cardinal of that name, as a present tej the king of Spain, in whose }>alace at Aladrid, they havp been preserved, we believe, ever since. | This picture is one of thje finest sjiecimens existing of that gorgeous style of colouring which was commonly practised by Titian in the early part of his career, as it had been by Giorgione 3 apd we may add, in the present instance, that the st^le was! well adapted to the gay cha- racter of the subject. \ *Of its merit in composition and drawing we cannot speak in the same high term's, The Ariadne, though fine for the attitude, is heavy in i^s forms 3 and though the fi- gure of Bacchus throwing hjimself out of his chariot is exceedingly bold in the conception, the head is soiiiewba! too large, and the rest of the fiigure is not very well drawn. Besides this, it may be epiestiioned how far it was judi- cious in the artist to represeiit that figure suspended, as it ajipears to be, in air, midway between the top ol tlie ADDITIONiiL PICTURES. 43 chariot and the ground j and that, not from any apparent lightness inherent in the |igure itself, or other power of supporting itself, as that jbf flying 3 but merely because the instant of time winch intervenes between his quitting the toj) of the chariot aiicl his reaching the ground is not supposed to be yet compjeted. Titian, indeed, appears to have been in some decree aware of this last objection, (which is similar in its filature to that which prevents a }jainter from attempting to represent an apple falling from a tree,) and therefore to have added the large man- tle floating over this flgijire of Bacchus, in oder to help, to sustain it. Among the other figures, that of tlie in- fant satyr dragging the head of a calf, in the foreground, and that of a Bacchante with a tambourine, at some dis- tance, behind the chariot of the God, are deservedly ad- mired j to which w& may add, that the landscape, throughout, is exquisitely beautiful. From the Villa Al- dobrandini. /. 6-2, h, 5 - 8 . V. ANNIBALE CARACCI. The Appearance of Christ to St. Peter, shortly de- pore his Martyrdom 3 fcOMMONLY CALLED DoMINE, OUO VADIS I I The particular appeararjee of Clirist to St, Peter, after his resurrection, is twice j mentioned in the New Testa- ment 3 but this is not th^ subject of the picture before us 3 which is as follows ; | Peter, says the Romani' Catholic tradition, had escap- ed from Rome, to save hijmself from impending martyr- dom, and v.as journeying on the ,^ppia, when he was met by his master bearing the cross. Lord, where goest tium V' Uomine, quo vndis P") he said 5 to which the Saviour replied that, (finding his disciples were unwilling to attest jthe truth of his religion with their blood,) he was, himself, repairing to Rome, to be again crucified ’’ 1 This ])icture is one ofj the most studied and highly finished performances of 1 Annibale 3 and is especially admirable for the consummate skill displayed by him in the foreshortened figure of Christ 3 which has been long considered as one of the ^ost perfect specimens of the kind, and almost seems to walk. out of the canvass, an I'tfect which is not more t,be result of the correctness of that figure in respect of outlitie and lineal jjerspective, than of the judicious arrang(-'ment of its lights and sha- dows. The hgurie of St. Peter is not of equal merit. Tlie landscape in tihe huekground is beauti.^uL From tlie apartjment of the Prince Aldobrandini, in the Boighese Palaiie. On wood, h, 2-6‘. u\ 1-10. VL NICCOLO POUSSIN. A BACCIIA^^ALIAN DaNCE. It is probable that thisj picture is one of four or five pieces painted by Niccoloj shortly before tine year 1640, for tlie Cardinal lliclielieul and of wliich his biographers Sj)cuk with high commendAtion. It represents a company of Fauns and Pacdiante, inet together to celebrate the season of Vintage, and a SMyr, an inhabitant of the ad- joining wood, wiio, suddenly seizing one of tiie nymphs, interrupts the regularity of aheir dance. The plan of the picture ss finely conceived, and the composition, on the whole, k one of the most perfect of the kind that Poussin ever produced. The figure of the nymph on the left, who, whilei dancing, squeezes a bunch of grapes, the juice of which is so eagerly desired by the two little urchins, who, with lopen mouths, attend her steps, is full of spirit. It has all that lightness and purity of form wliich we admire in the ancient bassi-reiievi ; and might almost challenge (iriticisin, were it not for certain touches of vermilion upon her features, unbe- coming the complexion of so young a female. The naked figure of the faun, who passes under the uplifted arms of this nymph and of the other faun in the centre, which is also a well drawn and energetic figure — is not less ad- mirable for the anatomic intelligence displayed in the limbs, and the sprightliness of its action,. Tliese three are the most prominent figure^ of the group ; and the artist has bestowed upon them lall his skill. Behind the figure last-mentioned is seen part of that of a second fe- male, the leader of the daiieq, whose legs and feet are defective in outline. Tiie saijie objection, we are glad to say, does not apply to tiie remaining figure.^ in the picture j of which those of a' little child who is repre- sented with its head and shoulders hidden within fhe rim Uind of the satyr with the down, are excellent. This and in fine preservation. of a large vase or wine-vat, ijynrph whom he has thrown picture is clear in its colourin Fiom the collection of Monsiieur de Calonne. h. 3-3. L 4- ' 5 - 45 \DDITrOjNAL PICTURES. VII. FRANCESCO FARMII MAZZUOLI, called IL GIANINO. The Madonna and TiiE Infant Saviour, with Sr. Jerome and St. John the Baptist. This Altar-piece was painted at Rome, in 152G-15'27, for a church at Citta di Gastello ; and is perhaps a work of more genius, and in ’a greater style, than any that the artist afterwards produced. The figure of the Mailonna, seated upon the crescent, supported by clouds, and encircled with splendour, is sublimely conceived ; a.^ is also that of the Saviour, who, standing between her kWes, shows by his dignified de- [Xjutrnent his heavenly origin. Tfie two figures below, as well as the landscape, are jiuiiciously kept in a low tone of colouring, with! great advantage to the group above. Presented to thelGallery by the Governors of the British Institution, On wood. h. about 12 feet. w/. 4-11. vm. PAOIX) CALIARlI, called PAOLO A^ERONESE. St. Nicholas conseicrated Bishop of Myra. This fine picture furnishes evidence that Paolo Vero- nese could, when he chos^ it, treat a grave subject with becoming sobriety of manner. The colouring is unos- tentatious, the chiaro-scuro broad, and the composition simple and dignified. The kneeling figure of the saint is finely expressive of de’itotion ; and the two ecclesiastics, wJio, standing on either kide of him, are about to assist at his investiture, are grXd figures. Tlie foreshortened figure of the angel in thle sky, bringing the mitre and crcfzier, explains the subject. From the church of S, Niccolo de Frari, at Vefiice. Presented by the Gover- nors of the British Institi|tion. about S-10. 5-8. IX. VfEST. Christ Healing the Sick. This jncture is so fully known by the fine print en- graved from it, as well a> from the circumstance of its having beca jOng exhibite 1 at tlie British Institution, that it is unnecessary to descri )e the numerous figures it con- tains, or to say any thin|^’ upon its merits as a work of art. If we mistake not; it was the last work of impor- [Q KATIUNAL GALLERY. tance which Mr. West pdinted j excepting the two very Icirge and admired pictures, representing Christ reject- ed by the Jews,” and ^‘iDeath upon the Pale Horse,’’ which until lately were toj be seen, with nunierous other works of this distinguished artist, at his late residence in Newman Street. This picture was presented to the National Gallery by the Governors of the British Institution. /. 14 feet, h 9. X. T. GAlilSBOROUGH. The Watering Place. Tins picture is renaarkable for its force of effect and richness of colouring. ; 1 he composition also is strikinghv beautiful, although it presents only a few cows drinking, and a group of peasant ipinldren, loitering beneath a rocky bank overshadowed by drees. Such is the art which en- ables a great painter, like a poet, to give im})ortance to triiies. Presented by Lord P'arnborough. L 5-1 i. /l4-10. XI. ^ WEST. ClE 03IBR0TUS ^iNISHED BY LeONIDAS. The figures are caremlly drawn and agreeably dis- posed in groups j the masses of light and shadow are well thrown ; and the colouring, though of a sober tone, is sufficiently varied and hnrmooious. In other respects this ])icture does not ineiit equal commendation. The actions and expressions o' some of the figures appear equivocal. The pathetic aidress of Cbelonida to Leoni- das, stating her resolve nov'’ to share the adverse fortunes of her husband, as she h father, forms the most int d recently done those of her resting feature in the story : and this could not be painted. Hence ^w'e should say \ Mr. West has not evinced his choice of Il:S subject. Pre^ /. 6 feet. h. 4-6. that in the present instance usual discrimination in the rented by Win. Wilkins, Epq. XU. kuiIens. Peace ^ AND War. It was the common custjim of Rubens to confide much of the execution of his lamer works to his scholars. To tiiis rule however, he sometimes made an exception 5 as ADDITIONAL PICTURES. 47 in the picture before us 31 which, ample in its dimen- sions, and replete with variety of object, appears to have been done entirely with his own hand 3 and therefore claims a high rank, as an example of his rich and har- monious colouring, and of, the freedom and versatility of iiis pencil. In other respects, it is not without interest 3 though the heterogeneous mixture of allegory with por- trait, in which, as upon some other occasions, the painter has here indulged, is less calculated to act upon our sym- path}', or approve itself to the understanding, than to amuse the eye. This picture originally belonged to King Charles the First. In one part of the Catalogue of that monarch’s collection, it is termed Peace and Plenty,” and in another ‘‘ an Emblem of Peace an 4 War, which Sir Peter Paul Rubens, when he was here in England, did paint, and presented it himself to the King 3” and we may conjecture, from the subject, that he intended it to be emblematic of what he fondly trusted would be the future character of his patron’s reign. In the background, Minerva, the Goddess of Wisdom and the protectress of the Arts, is seen driving away War and Discord 3 and this part of the picture is kept in a very low tone of colouring, in order the better to throw out the princijxal group, in which is represented the gentle empire of Peuce. The countenance of the last mentioned personage possesses ineffable sweetness of expression, and is suppose^ to be the portrait of the wife of Rubens, his children being introduced below 3 and his own head in the background, under the character of Mars. Among the other beauties of this performance, the spectator will not fail to notice the good-humoured ^ce of the satyr, who presents his cornucopia full of fruit to the children, an^ the playfulness of the tiger, whose claws perforate the! vine-leaves without rending them, ' After the Death of Chajrles the First, his CollectioMi was dispersed 3 and this picture found its way to Genoa, where it was known in the Balbi Palace, under the titk of ** the Family of Rubelns 5” until some years ago, when it was brought to Ertgland by Mr. Irwine and Mr. Buchanan, from whom it ^as purchased by its late noble possessor. Presented by the Marquis of Stafford. Oa canvass. /< 9-8. A. 6-5. / / 48 NATIONxlL GALLERY. XIII. SIR GEORGE BEAUMONT, Bart. A Landscape ; in which is represented, Jacques con- templating the wounded Stag j from Shakespeare’s As You Like it.” h. 2-6. w 3-4. XIV. SIR GEORGE BEAUMONT, Bart. A Landscape, on wood. ^.7^ iv, 9|. These two pieces were presented by the Dowager Lady Beaumont. f XV. W^ST. The La^t Supper. Take, eat, this is my lidy.” Our Saviour has just broken the bread, and appears addressing these words to his disciples. The traitoi* Judas is seen on the right, about to steal away from t^e company. The composi- tion of this picture is bettfer than the colouring j the etfect of lamp-light was intended, but is very imper- fectly expressed. /. 9 feet, 6 feet. Presented by his Majesty, XVI. COPLEY. The Death of Lord Chatham. A performance of great interest, from the subject it represents, and tiie numerous portraits of eminent pub- lic characters which it contains. It is but just to add, that it is painted with a firm pencil, and that it possesses, on the whole, very considerable merit as a work of art. The print of this picture is so well known, as to render any remarks on the composition unnecessary. /. 10 ft.; ft. 6 inches. Presented by the Earl of Liverpool. ! XVII. SIR JOSHUA REYNOLDS. The Holy Family. 1 . This picture presents q pretty, tranquil group, with an agreeable background^ and is well engraved by ADDITIp^SAL PICTURES^ 49 Sharp. The figures of the Madonna and the two infants are richly coloured j but the head and the hands of ,Jo» seph appear to be somewhat faded; a misfortupe too often to be lamented in the works of this great paipter^ in. consequence of his having sometimes used vehicfes with his colours, the chemical properties of which he was not fully a\\are of. ‘h. 6-5 j w, 5-9^. Presented by the Governors of the British Institution. / XVni. GAINSBOROUGH. The Market Cart., This is one of Gainsborough’s gayest pictures j the subject, two girls seated on a cart loaded with turnips, carrots, and other vegetables, and two little boys walk- ing beside it. On the left, in the foreground, are a aiari tmd a woman seated j and on the right, a lad is seen issuing from a thicket, with a bundle of sticks. The pic- ture. is richly and harmoniously coloured, and has other- wise great beauties j but on respect of execution, it is not, we think, exempt fi^ra the vice of manner, k. 6-1^. w. 5 feet. Presented! by the Governors of the Bri- tish Institution. XIX. NICCOLe foreground on the left ; he extends his left arm, and seems addressing the destroyers of Stephen ; but whether in approval of their conduct, or otherwise, might, from the expression of the figure and countenance, seem doubtful, did we not know fnom scripture that “ Saul was consenting to his death.’ ,From the collection of Lucien Bonaparte, h. 2-1. ic. 1-y. XXV. FRANCESfco-^BARBIERI, CALLED GUERCINO. The ^ead Christ with Angels. This is a fine cabinet specimen of Guercino. The naked figure of oiir Saviour is easy and natural in the atti- tude, and drawn with great boldness of outline : the two weeping angels are good figures ; and the group, as a whole, is alike admirable for the arrangement of its lines, and the distributicn of its broad and powerful masses of light and shade. /From the Borghese Palac^. On copper, lA-bl, A. 1-2L / XXVI. FRANCESCO MOLA. \ St. John preaching in the WilderVssss. There is nothing in the invention or composition of this picture that calls for observation, unless that the Baptist has but few auditors ; perhaps, indeed, it ought to be con- REV. W. H. CARR’s collection. 63 sidered only as a study for some more extensive work. It is painted in a very broad manner, has a fine mellow tone of colouring, and, as far as it goes, is a fair speci- men of the artist’s abilities. From the collection of Mons. Robet, Paris, 1. 2-2, h. 1-8|. XXVII. CLAUDIO LORENESE. A Landscape, with the Story of Sinon brought DEFORCE Priam, The drawing for this picture will be found No. 145 in the ‘ Liber Veritatis,’ where it is said to have been painted in 1658, for the Prince Don Agostino (Ghigi, we suppose.) It was unfortunately a maxim with this admirable artist, that, when called upon to employ his pencil upon a land- scape of a larger size than\ usual, it became incumbent upon him, nay necessary td\ the dignity of the picture, to people it with gods, patri^chs, saints or heroes; and in not a few instances he acted upon this principle in his smaller pictures ; though many of these escaped with a figure or two from Ovid, nod^perhaps unappropriate to the scene in which they were placed. With ^1 this, he was a bad painter of figures, or rather, no figure-painter at all ; and was very deficient in that classic taste and erudition which enabled Nicolo Poussin, when he chose toamuse himself with landscape, to produce works of this mixed class, which we mi,y term epic, or historical landscapes, of the most captivating excellen) Having said this, we need/ scarcely add, tha twe wish the stiff* tall figures of Sinon, and Priam with his attendants, on the right of this picture,/ were away ; and that their place in the foreground wereloccupied by a shepherd with his flock, a rustic dance, or aVgroup of nymphs at a foun- tain. Nay, even the steep perib rated rock, which rises to the top of the picture on this/ side, might, we think, have been better. AW the rest is very beautiful. In the middle-ground, on the left, is seen part of a city- Troy we suppose — situated on a rocky eminenae : the gate to it being ap- proaclied by a long flight of stone steps, on which are numerous figures ascending a/nd descending. The vvhole of this is in shadow ; upon a plain below, which is repre- sented in a light middle-tint. We other small figures, some of them collected in groups,/ variously employed ; and at the corner, at bottom, are seen the tops of two or three tents, and a standard. Nearer the centre is a group of 64 NATIONAL GALLERY. it ( two trees, the one full of dark green foliage, the other scantily supplied with ueaves of a yellowish hue, which rises from the foreground to near the top of the picture; finel}^ contrasting the oflier lines of the composition, and by its depth of colour, throwing back the extensive and, varied scenery in the distance, with great truth of effect. To this picture Claude flas given a somewhat cloudy sky ; which afforded him a legitimate opportunity of availing himself as much as he pleased of accidental shadows ; and this, we think, is the se ;ret of the effect: for, upon the supposition of intervening clouds, the various tracts of country, wood, plain, wa;er or rising ground, represented in it, from the foreground to the extreme distance, are in- geniously made to recede behind each other, by being thrown, alternately, intol light, middle-tint, or shadow. This picture, which is jrom the Ghigi Palace, is finely preserved. 1. 6-2i h, 3k9. XXVIll. GASPARO POUSSIN. A ViEvy OF L’Artiicia. The foreground represents a winding road, with a group of tliree figures in conveilsation ; two\of them, with a dog, being seated on the ground, and the'other standing. A steep bank rises on the left, partly covered by brush-wood ; and at top of it is another road, protected by a wall, leading to the gate of the village, the Wildings of which occupy all this side, and part of the mimle of the picture. A light tree rises from the fore-ground, W the right, and beyond it are distant mouptains. The vv\iole is very pic- turesque, and painted in Gasparo’s best Wnner. From the Corsini Palace, Rome, 1. 2-2. h. 1-7. \ XXIX. GASPARO POUSSIN. A Landscape, with a Shepherd and A Flock of ( Sheep. " \ This landscape, whicH was painted asacompapion to the last described, represents a road, bounded on tl^ie left by a steep bank, partially covered by foliage, vvluch over- shadows great part of it; and on the right, by a th^ck wood. A shepherd is seen advancing out of the gloom, followed by his flock, and addressing himself, in passing, to two per- sons, who are reposing under tlie shade of the bank ; and REV. W. H. gA?!{R S COLLECTIOX. (jS in the disUtnce is a mountain. But, though the picture contains only these few objects, the distribution of them is so judicious, the attitudes ef the figures, especially that ot the shepherd, are so well chosen, easy, and natural, and the broad light and shadovr is so admirably managed, that as a whole, we have always considered it one of Caspar’s most beautiful performances : — such are tlie charms of sim- plicity! From the Corsini! Palace, 1.2-2. h. 1-7. XXX. GASPARO POUSSIN. A Landscape, with ^NEAS THE Story of Dido and THE 'Storm. IN' This has undoubtedly been one of Gaspar’s capital performances ; but, except in the sky and figures, has become so universally dark, in consequence perhaps of the destructive nature of \the earth used in priming the canvass, and the small body of colour employed in paint- ing it, that little idea canlnow be formed of its pristine beauty. The figures appear to be the work of two other distinct artists ; the group! of Venus with Hymen nnd other personages in the &ky,|having much of the character of Albano ; whilst Pie cupids hovering over the cave, or holding the horse of ^neas,\ have more of the manner of Mola. Even were the picture in the most perfect state of preservation, ve should still lament that any but Gasparo himself Lad been permitted to paint the figures. From the Falconieri Palace. I 1. 7-4. h. 4-10. XXXI. RUIfENS. St. Bavon. A VERY magnifice it composition, which Rubens pro- bably intended to paint in large, as an altar-piece ; though, as far as we know, h<4 never did so. In the centre of the picture, an Emperor is seen ascending a flight of steps, at the top of which a Bishop stands ready to receive him. On the riglit, and below, are the suite of the monarch on foot and on horseback, and other spectators; on the left is a group of ladies! standing on an elevated platform, and below is a varied assemblage of cripples, poor women with children, and other, beggars, to whom an old man is distributing alms. It isjpossible that this fine study may have been painted by Rubens during his stay at Genoa. 66 NATIONAL GALLERY. The whole is executed i. rom the Conega 6-6. h 5-2i. with great spirit and intelligence. Palace, Genoa. On board. XXXII rp:mbrandt. A Woman Bathing. Marvellously painted had a better subject. On b We wish the Artist had )ard, h. 2. to. i-6^. THE 1/ THCG£TTVC£m£R 4 .