THE J. PAUL GETTY MUSEUM LIBRARY Digitized by the Internet Archive in 2016 with funding from Getty Research Institute https://archive.org/details/hoursinpicturegaOOthir . 3)ay& liable hihP to tke HOURS IN THE PICTURE GALLERY OF THIRLESTANE HOUSE, Cijeltenfjam : BEING A CATALOGUE, WITH CRITICAL AND DESCRIPTIVE NOTICES, OF SOME OF THE PRINCIPAL PAINTINGS IN LORD NORTHWICK’S COLLECTION. A NEW EDITION, REVISED. CHELTENHAM : PUBLISHED BY HENRY DAVIES. SOLD ALSO BY D. ALDER, J. LEE, J. LOVESY, T. SHIPTON, WIGHT AND BAILY, AND G. A. WILLIAMS ; AND BY LONGMAN & Co., LONDON. 1846. N H. DAVIES, MONTPELLIER LIBRARY, CHELTENHAM, ADVERTISEMENT. The following Catalogue of the Paintings in the Picture Galleries of Thirlestane House consists of a series of Critical Notices originally published in the Cheltenham Looker-On , amplified by additions made from time to time as the paintings have in- creased in number, or opportunities have occurred of introducing new matter, until what originally consisted of brief notes and memoranda only, has become enlarged into a descriptive Catalogue of the entire Collection. In preparing the present new and enlarged edition of the “ Hours,” the Editor has, among other aids, availed himself of the very excellent account of the Thirlestaine House Collection pub- lished in The Art Union , for September, 1 846 ; in two or three instances incorporating the judicious remarks contained in that account with the original text, but in such cases he has uniformly acknow- ledged his authority. For permission thus to make use of the article in question, he acknowledges him- self indebted to S. C. Hall, Esq., the Proprietor and Editor of the Journal in question. October 1, 1846. HOURS IN THE PICTURE GALLERY, INTRODUCTION. Of the many attractions of which Cheltenham has reason to be proud, there is none superior to that of Lord Northwick’s Picture Gallery. Though not like public exhibition rooms, a place of universal and indis- criminate resort, it is yet, through the kindness and liber- ality of its noble owner, so easy of access to every lover of the fine arts, that, for all the purposes of cultivated taste and intellectual gratification, it may be almost so consi- dered. Even during his Lordship’s residence on the pre- mises, it is rarely closed to a respectful application, while at other times it is permitted to be open daily, whenever the weather is such as to favour a view of the rich treasures of art there collected together ; and the beauty and value of which might provoke the envy of princes. Under these circumstances it has occurred to us that a catalogue with brief descriptive notices of some of the principal paintings contained in the gallery and rooms of Thirlestane House would prove acceptable to many of the residents and visitors of Cheltenham — the more so, inas- much as the Collection being strictly a private one, there 6 has not, hitherto, existed any catalogue to which parties visiting the Collection could refer, for the purpose of re- calling its contents to their minds, or of pointing out particular pictures to the attention of those friends who might be about to visit the gallery. In order to accom- plish the task we have thus undertaken, as fully and faithfully as may be compatible with the above design, we have devoted several hours to an examination of the many choice and brilliant works which adorn the walls of the different apartments; and the result of these hours of careful inspection are here presented to the public. The great number of pictures contained in the Collection renders it impossible to give any very elaborate or detailed criticism, even of many of the most important of them : our aim, therefore, will be to indicate the character and quality of a few of the choicest, or most remarkable, speci- mens, rather than to furnish a critical review of the whole ; leaving it to our readers to follow out our suggestions at some convenient season, by a personal visit to the gallery. The additions which Lord North wick is constantly making, and the changes of situation which the pictures from time to time undergo, may, in some of its minor details, occasionally affect the accuracy of the following catalogue, but as the attendant who usually accompanies the visitor through the different apartments will be always prepared to point out such additions and changes, no in- convenience it is apprehended can possibly result. Before we proceed to speak of the pictures, we must, however, say a few words on the premises in which they are de- posited. Thirlestane House, which was erected at a cost almost unparalleled, considering its size, is too well known to render any minute description of the edifice necessary ; 7 but as the present noble owner has made some important additions to the original building, it may be as well, briefly, to notice the arrangement which he has adopted for the display of his fine collection of Pictures. The Dining Room, Drawing Room, and Saloon, all open, en suite , with the small Circular Room and the Gallery ; forming together a vista of above two hundred and ten feet. The two latter apartments were erected by Lord Northwick— - the Gallery being of admirable proportions and particularly well lighted : it alone is upwards of eighty feet in length, by twenty-six wide and twenty-nine feet high. His Lord- ship has also recently added two other rooms, forming a western wing to the building, and which, though not entering into the vista above noticed, yet opens into the Dining Room and ranges with the general suite. The whole of the apartments are, with singular good taste, hung with a rich crimson-coloured flock paper, which throws out the pictures into fine relief, and materially contributes to heighten the effect ; the draperies and fur- niture being also in strict harmony. Besides the rooms just mentioned, which occupy the entire frontage of Thirlestane House, Lord North wick’s private Sitting Room and Library are, during his Lord- ship’s absence, equally accessible to the visitor, and con- tain a number of most beautiful paintings, mention of most of which will be found in the following pages. H. D. P. S . — In the following notes on the Pictures, technical phrases will be avoided as much as possible. And here it may not be amiss to observe, that the word colouring will be applied indifferently either to an arrangement of colours, or to a beautiful imitation of a particular object ; the word 8 tone is to be understood as expressing the general hue of the whole—the result of a particular kind of illumination ; and the word handling , not only to express skilful execu- tion with the brush, but a skilful application of touch to express peculiar forms. With these short explanations, we proceed at once to The Gallery, commencing our notices with its most con- spicuous picture, placed immediately facing the entrance. PICTURE GALLERY. [NOTE.— The figures prefixed to the different Paintings noticed in the following pages, have no references to any corresponding figures on the Pictures themselves, which are not hung according to numerical arrangement.] I. — The Marriage of the Virgin, Rubens. From its size and subject this forms a bold and imposing centre to the end of the apartment, surrounded, as it is, by a number of smaller compositions. It is most brilliant and harmonious, and the painter appears to have bestowed a great deal more care and labour in its execution than was usual with him. Connois- seurs differ in opinion considerably in their estimation of Eubens works, in this particular — some valuing so highly that lightness of hand for which he was so pre-eminent, as to prefer his less finished productions. It is not our intention to enter into these critical niceties, but to enjoy and to direct the attention of our readers to this fine work, which affords a striking example of the Master’s power of colouring. In addition to its beautiful effect, the picture is rendered more interesting from the principal heads being portraits of the painter, his father, and his three wives. The latter being painted with more elegance than usual. The Virgin is dressed in white satin ; but in the style of art which Eubens practised, proprieties of this kind are, unhesi- tatingly, sacrificed for pictorial effect. II. — The Lake of Nemi, Speculum Dianse III. — The Campagna di Roma, The works of Wilson, and one or two others of the British school, are quite enough to overthrow the theories of those who maintain that the art of colouring, as practised by the “Old B } Wilson. 10 Masters,” is lost. It is a matter of regret to us, that nobly as The Lake of Nemi , and its companion picture, The Campagna di Roma , by the same master, are, at present, bestowed, they are not hung in our National Gallery. The specimens which the nation possesses are not to be compared with either of these pictures, which are of the very highest order of merit. Those who fancy that all modern art is at an unapproachable distance of the “ Old Masters,” we would leave to the “ silent eloquence” of these two Landscapes, “ the aerial hints of which are of the utmost purity and truth, a delicious atmosphere pervading every part.” Of the two we think the Campagna di Roma the finest painting. It is an honor to the British School, and whether for its effect, its composition, its tone, or its masterly execution may challenge competition with any picture of its class we ever saw, and is unquestionably one of the most beautiful Landscapes Wilson ever painted. The “ story” of The Lake of Nemi is said to be Diana reproaching Calisto for her frailty: that of The Campagna tells the tale of Diana and Actseon. “ In both pictures,” says the Art Union , “ the figures and ruins introduced are of the most classical conception.” Some years ago, when The Cam- pagna di Roma was put up for public sale, it is said to have been bought in by its owner for £598. These pictures, it is believed, have never been engraved. IV. — "I Two Marine Views, with Shipping, V. — J E. W. Cooke. Compositions these of great merit, hung one on either side the Rubens and immediately over the Wilsons. The first represents Dutch Coasting Boats, at high water — admirably painted. The second may not unappropriately be named — A Stiff Breeze, and is scarcely, if at all, inferior to its companion. VI. — Portrait of the Doge Vendramini, Titian . VII. — Portrait of the Doge’s Wife, Titian. A smaller picture, and hung over No. VI , above the Fresco. 11 VIII. — Portrait of Peter the Great, Titian . A red cloak turned up with ermine, and looped across the cuirass, will point out this picture. IX. - — A Family Group, Vandyke. An infant on the lap of its granddame — the mother standing behind. This picture is, in the Art Union list, called “The Three Generations , said to be represented by an elderly and middle-age female and a child.” X. — Portrait of Cardinal Fleury, Mignard. A cheerful countenance, painted with much expression. XI. — Portrait of Duchess of Burgundy, Mignard . XII. — Portrait of Thomas Earl of Pembroke and Montgomery, Wissing. A whole length portrait of an active and distinguished nobleman, in the reign of King William, who employed him in offices of high trust. He is here painted in complete armour, said to be the costume of Lord High Admiral : hung in the centre, above the Fresco. XIII. — The Chevalier d’Urfe, Wissing. The Chevalier d’Urfe was one of the Knights of Malta, and author of the Roman de VAstree. EAST WALL. XIV. — V itellius, Titian . Believed to be one of the Twelve Caesars painted for Gonzaga Duke of Mantua, whose entire collection was purchased by Charles the First, but sold again by the Common-wealth and dispersed. This Portrait is considered to be that known for- merly to have been in the Orleans collection. It is a fine colos- sal figure. b 2 12 XV. — L’Umana Fragilita, Salvator Rosa. A strange but wonderfully imaginative composition, painted in a masterly spirit, and with an elaboration of detail not usually met with in emblematical subjects, and the colouring of a full, deep, and mellow tone. This picture formerly adorned the walls of the Ghigi Palace, at Eome; and is thus described in Lady Morgan’s Life and Times of Salvator Rosa , where we are told the picture was purchased from Salvator Eosa by Don Maria Ghigi, brother to Pope Alexander VII. il VTJmana Fragilita represents a beautiful girl seated on a glass globe; her brow was crowded with flowers, the fairest and the frailest ; her arms were filled by a lone infant, which she appeared to caress, while its twin-brother, cradled at her feet, was occupied in blowing air-bubbles from a tube ; a child, somewhat older, was mis- chievously employed in setting fire to a wreath of flax twined round a spindle ; above this group of blooming youth and happy infancy, with wings outspread (spennachiate) and threatening aspect, hovered the grim figure of Death, dictating the fol- lowing sentence : — c Conceptio culpa, nasci poena, vita labor, necesse mori.’ The label affixed to this painted allegory, called the picture V TJmana Fragilita .” XVI. — II Condottiere, Guercino. A spirited half-length of a warrior, in complete armour, said to be intended for one of the leaders of the “Free Companies,” or “ Lances,” whose achievements occupy so prominent a place in the history of the Italian States during the middle-ages. It is brilliantly coloured, and was formerly in the gallery of Sir Simeon Clarke. XVII. — Virgin, Child, and St. John, with a fe- male figure presenting a cup or chalice, Titian. 13 XVIIL— A Holy Family, Raffaelle. A circular picture, painted in a superior manner. Its subject representing the Virgin holding the Saviour to St. John, who is offering worship. The head of the Virgin is eminently beauti- ful; so, indeed, is that of St. John, whose whole figure is exquisitely expressed. XIX. — Vespatian, Titian . A companion portrait to No. 14, and supposed to be from the same collection. The expression of the countenance savage and vulgar, and characteristic, as could well have been desired. XX. — A Musical Party, Giorgione. A very fine picture of the Venetian School : painted with a great deal of breadth, and with that “deep -toned brightness” for which the masters of this school were so famous. It is colored with great richness and brilliancy. The party is composed of a young man playing on a musical instrument, and two females, all seated on the ground, in a landscape adorned with buildings and a lake. If ever the perfect idea of the golden age were realized, it is in this charming production : the elegant repose, the lovely pastoral beauty of the females, the grace of the male figure, all imbued in the most magical tone of colour, contribute to the creation of an inspiration of Art, truly enchanting. This picture when last submitted to public sale was bought in at £ 1 , 000 . XXI. — Christ’s Charge to St. Peter, L. Carraci. A large and effective gallery picture, ranking among the best of Carracci’s works. Its subject represents the Saviour in the midst of three of His Disciples, pointing to the Cup of the Holy Eucharist, held forward by an Angel. The right hand figure is intended for St. John, and the prostrate one for St. Peter. In the back ground is a view of St. Peter. 14 XXIL — The Virgin, Child and St. John, Fra. Bartolomeu. A circular picture, St. John holding a cup. But these are a class of pictures which are so hacknied by the old painters, that unless there appears some extraordinary excellence indeed dis- played, we must dismiss them without particular notice. XXIII. — A Holy Family, Schedone . This is a small oval picture of high character : the infant Christ recumbent holding a cross. The brilliancy and silvery tone of the flesh is exceedingly beautiful. The hand of the Yirgin also strikes us as peculiarly fine. XXIV. — Sea View, with Shipping, Backhuysen . XXV. — Views of Ullswater Lake, Glover . Two large paintings hung high over the chimney piece. They are accurate delineations of the scenery represented, with its atmosphere of lights and shadows faithfully preserved — the treat- ment and manner quite in the style of this once popular artist. The view in the second picture appears to be taken from the end of the upper reach, opposite Place Fell, an abrupt hill shown on the left. XXVI. — Apollo and Daphne, N. Poussin. The artist appears to have chosen for representation the moment when Daphne, overtaken by Apollo, escapes his embrace by being changed into a laurel — the Metamorphosis having, seemingly, just commenced. The picture is highly esteemed, and was formerly in Lord Radstock’s collection. XXVII. — Portrait of the Duke d’Urbino, Raf- faelle. We are among those who think Sir Joshua Reynold’s criticism a sound one, when he said that Raffaelle was not the same man in 15 his easel pictures that he was in his larger works. There are many small pictures of Raffaelle’s which, had he painted nothing else, would have given him but an indifferent reputation. People are, however, so fascinated with a great name, that they affect to see that which they imagine they ought to see in all the works of this great painter. We are quite aware how easily the small picture of The Three Graces , in the possession of the late Earl Dudley, the pictures in the Louvre, and one or two others, might be quoted against this opinion ; but these form the exceptions to the mass of his smaller works, and to this list of exceptions, we must also add the Portrait of the Due TJJrbino. It is, in every way, worthy the great reputation of the great master, whose name it bears ; and is, undoubtedly, a much finer picture than the portrait of the Pope, by Raffaelle, now hanging in our Na- tional Gallery: and even if it did not possess the charm of Raffaelle’s name would be sure to attract attention. It has great expression, is beautifully painted, and finished so elaborately, and with such a minute attention to detail, as to be truly surprising. XXVIII. — A Triumphal Procession, A . Mantegna. Crowded with figures, but to what particular event referring, if any, we know not ; and for want of a key to the subject the picture loses much of its interest to the mere spectator. XXIX. — The Miseries of War, P . Wouvermans. Intended to depict the sufferings of the Low Countries during the troublesome times of Philip II., of Spain. It is unquestion- ably one of the finest specimens of the master — bringing the painful scene, which constitutes its subject, vividly before the mind, and painted with that careful attention to the details, always remarkable in the productions of this artist. This picture was so highly estimated in the Low Countries, where Lord Northwick met with it, that Leopold, on being informed who 16 had become its purchaser, is said to have interfered to prevent its leaving that country ; but its noble owner could not be per- suaded to relinquish his valuable prize. XXX. — Virgin, Child and St. John, Raffaelle. The colouring excellent. XXXI. — Virgin and Child, with Angel in the Clouds, Cornegliano . XXXII. — The Four Doctors of the Church, P. P. Rubens. A large gallery picture representing St. Jerome, St. Gregory, St. Ambrose, and St. Augustine. The colouring rich and gor- geous, with a great deal of elaboration throughout, particularly in the draperies. XXXIII. — The Holy Family, Garofalo. Mary and Joseph kneeling over the infant Jesus placed in a cradle between them. XXXIV. — Dead Christ, the Two Marys, and St. Francis, A. Caracci . The introduction of two cherubs at the Saviour’s feet in quite a different tone and colour to the other portions of this picture have a strange effect, heightening, by contrast, the livid expression of the principal figure. XXXV.— The Vision of St. Gregory, Master William , or Stephanus of Cologne. A highly-curious and interesting subject, and an admirable ex- ample of the state of the Tine Arts at the close of the fourteenth century. The Pope and his attendant priests are kneeling at the altar, where the miracle is exposed to view, and a crowd of 17 other figures, real and representative, throng the right and left hand side of the picture, backed by others having the glory round their heads, painted in gold, much after the missal or illuminated style of the age, the prevailing taste for which is also apparent in other portions of the composition. XXXVI. — Family Portraits, Gonzales . XXXVII. — Dance of Sylvan Nymphs, Gaspar de Grayer. The grouping of the figures and the harmonious colouring in this picture are excellent. Gasper de Crayer’s easel pictures are, we believe, rare. This was formerly in the Le Brun Gallery, and has been engraved. XXXVIII. — St. John, Guercino. We think highly of this picture : it is a most beautifully painted head, with a fine broad effect of light and shade. The hands, though rather large, are finely painted. XXXIX.— Bishop Blaise, St. John, and St. Augustin, Fra. Bartolomea. Three highly coloured whole length figures forming a large pic- ture, not in itself possessing much interest, but of considerable merit in an artistic point of view. The draperies are most elaborately wrought : upon those of the right-hand figure, espe- cially, great labour has been bestowed, the margin of his robe being crowded with subjects. XL.— Canal View, Venice, Canaletti. There is so great a similarity in the subjects of Canaletti’s pencil, that it becomes difficult to particularize individual pictures. The subject of this is one with which all persons, accustomed to visit collections of works of art must be quite familiar ; and there is nothing in the treatment or execution requiring particu- lar notice. c 18 XLI.“Portrait of a Gentleman, habited in black, A. Del Sarto . XLIL— St. Jerome awoke from his Meditations by an Angel, II Spagnoletto . The figure and attitude of the Saint are well conceived. Dis- turbed in his meditations he is in the act of turning towards the heavenly visitant, who is seen with outspread wings blowing a trumpet. This painting is in good preservation, and considered an excellent specimen of the master. XLIII. — The Triumph of Silenus, Jordeans. Painted much in the manner of Rubens, but more heavy. The jolly old demi-god is represented borne aloft by a troop of rois- tering bachanals, and attended by numerous satyrs, forming a procession, which is led by Bacchus, Ceres, and Flora. XLIV.— Landscape and Figures, Karl duJardin. A very pleasing picture indeed. The principal figures evince great artistic skill, and are admirably treated. XLV. — St. Jerome awakened by an Angel Sounding a Trumpet, Guercino. Displays a bold and masterly effect of light and shade, and is peculiarly rich in colour. This picture was in the Orleans Gal- lery, and has been engraved in that collection. It is a small cabinet gem hung low, and must not be mistaken by the visitor for the St. Jerome, No. XLIL, noticed above. XLVI. — Portrait of the Emperor Charles the Fifth, Rubens. A large half-length portrait of this celebrated Monarch, painted in the allegorical fashion of the artist’s time. 19 XLVII. — Venus and Cupid, Pordenone . XL VIII.— Portrait of Clement XI., C. Maratti. XLIX. — Portrait of a Gentleman in Univer- sity Robes, P. Veronese . L. — Portrait of Pope Innocent X., Velasquez. This has great vigour of character, and is painted with a bold masterly touch. The Duke of Wellington has also a portrait of Innocent the Tenth , painted by the same artist. LI. — LIL— } Fruit and Flower Pieces, Van Os . Exquisitely painted, and affording beautiful examples of a class of composition, in the execution of which this artist ranks still unrivalled. LIIL— Portrait of Dr. Harvey, Gerard Dow . One of the most exquisitely finished heads we ever saw ; and executed with all the delicacy of a miniature ; for such as delight in this style of art this picture offers the greatest attractions. SOUTH WALL. LIV. — The Judgment of Paris, P. P. Rubens. It is hung too high up to admit of careful artistic examination ; but its subject is not one which, in the present day, excites much interest with the public. LV.— The Penitent Magdalen, Guido. There is an expression of devout pathos in this picture, which also merits particular notice for the harmonious arrangement of its lights and shadows. “This painting was formerly in the Caprara Palace at Bologna.” c 2 20 LVL— Cardinal Borromeo, Guido . The attitude, expression, and colouring of this picture are entitled to especial notice. LVIX. — Full Length Portraits of Pierre Both, First Governor of Batavier, and his Wife, with an attendant holding an umbrella over their heads, is an extraordi- nary painting, by Cuyp. The landscape in this picture is a mere accessory ; and the work derives its chief interest from the un- usual nature of the subject for this painter, and from circum- stances connected with its history, recording as it does a remarkable instance of Dutch enterprise ; allusive to which we have the Dutch Fleet at anchor in the distance. LVIII. — Portrait of Baldazar Castiglione, Parmegiano. LIX. — Warrior after a Combat, Georgione. LX. — Portrait of Madlle. Ludens, P. P. Rubens . LXI. — Rural Felicity, N. Berghem. A truly beautiful picture, harmonious and brilliant in effect, and painted with great care and freedom. The scene depicted is truly arcadian, and the flocks and dancing shepherds are exqui- sitely grouped. This splendid work is not, at present, well hung : it requires a stronger light to render its beauties fully manifest. NORTH SIDE. LXII. — Don John of Austria, Son of Philip IV, Velasquez . An admirable full-length, the colouring brilliant, and the whole figure highly effective and imposing. Its noble subject took an active part in quelling the Massaniello insurrection, and in other wars of his time. 21 LXIIX. — The Quarrel between Buckingham and Cardinal Wolsey, Hart , This picture must be fresh in the recollection of all who are in the habit of visiting the exhibition of the Royal Academy. It is full of talent, and contributed in no small degree, to raise the reputation of the artist, who has not long been elected an associate of the academy. The company in which it is now hung is a very severe test of its merits ; yet it suffers but little, if at all, from the comparison. LXIV.— Lucretia, Guido. Very sweetly and delicately painted. The pearly hue of the flesh has a charming effect in comparison with some of the rich and deep-toned works by which it is surrounded. LXV. — Christ and the Woman of Samaria, Guercino. Companion to the Samson and the Honycomb , XCY ; possessing the same fine qualities, and altogether a most excellent picture. LXVI. — St. John, Carlo Dolce. The surprising beauty of this admirable work, whether for colouring, breadth of effect, or exquisite finish, renders all eulogy superfluous. The most accomplished connoisseur, and the most superficial lover of the art, would be alike attracted by it. The Apostle is represented as in the act of writing the Apocalypse. It was purchased by Lord Northwick at the great sale of the collection of Sir Simon Clarke. LXVII. — The Storming of St. Stephen, Gorafalo. A large historical picture well worthy attention, A vision of the Saviour and the Father surrounded by Angels, appears in the clouds. 22 LXVIIL— Girl with the Horn Book, Schedone. A picture so well known from the number of engravings which have been taken of it that it needs no description here. “ It was formerly in the Royal Palace of Capo de Monte, at Naples.” LXIX.— The Adoration of the Three Kings, H. and J. Van Eycke . The portraits of the painters are seen through the casement win- dows. Philip the Good is represented as the principal Magi, and it is probable the other figures are also portraits. The picture is finished with care, and its colouring mellow. LXX.— Raffaelle and Fornarina, S. delPiombo. Esteemed a picture of high value and interesting, as well from its subject as its merits. LXXI. — Lot and his Daughters, Velasquez. A large gallery picture, boldly and vigoursly treated, but an un- pleasant subject. There is a fine expression of mingled wonder and alarm in the countenance of the daughter, who appears pointing to some object in the distant landscape. LXXII. — A Holy Family, Andrea del Sarto . A charming picture of the Virgin Child and St. John, though rather deep in its tone. There is a joyousness of expression in the countenances, not usual in similar compositions. LXXIII. — A Cavalier on a White Horse, N. Berghem. A cabinet picture of great merit. The Cavalier, richly capari- soned, seems halting at a wretched hut, propped up against a tree. 23 LXXIV— Cows and Woman Returning from Milking, P. Potter . A small painting, but of considerable merit, and in which a truthful fidelity to nature is most observable. LXXV.— Soldiers Casting Lots for the Gar- ments of Christ, Salvator Rosa . Painted with “ a gloomy austerity of character.” In the fore- ground are two soldiers earnestly engaged in casting dice, and in the distance a wild mountaineous country, surrounding a tur- retted city on the margin of a lake. LXXVL— Calm, Vandervelde. This pretty little picture was exhibited in the British Institution in 1837. LXXVIL— Jacob placing the Speckled Wands before the Sheep of Laban, Murillo. This is a very extraordinary picture in regard to its treatment. The size of the canvass is so large in comparison to the size of the figures, that it might almost be considered as a landscape ; but there is such a concentration of effect on the figure of Jacob, as shows at once that this was not the intention of the painter. The Figures and the Sheep are most beautifully painted ; and the whole picture has that harmony in the colouring, and that peculiar tone, for which Murillo is so justly celebrated. The Landscape portion of this picture is considered by judges, emi- nently qualified to form correct opinions, to have been painted by Iriarte, the elder, a contemporary of Murillo, and known to have frequently assisted him in his Landscapes. This painting was formerly in the St, Jago Palace, at Madrid, where it formed one of a celebrated series ; another, from the same series, is said to be in the possession of the Marquis of Westminster. 24 LXXVIIL— The Convalescent, Mulready. In addition to its own merits, has become an object of peculiar interest, from the circumstance of the Metropolitan Society of the Art Union having awarded a thousand pounds for the pur- pose of having it engraved by Mr. Doo, the first line engraver of the day ; for which purpose a London artist has lately taken a copy of the picture — for which copy he was to receive two hun- dred guineas. The Convalescent belongs to a class of pictures which Dr. Waagen, in his Work on the Dine Arts of this country, asserts, form the peculiar character of the British school. In sentiment and feeling its merits are of the highest order. The want of tone in Webster’s picture, No. LXXX, will be at once apparent, by a comparison with this, the tone of which is indeed excellent. The sickly attenuated features of the invalid soldier, the position of the hand, and the general state of relaxation and debility, evident throughout his frame, are all finely conceived and executed. Seated by his side, is a female, in whose counte- nance are depicted anxiety and care, and who seems affectionately watching the progress of her husband’s decease. In the fore- ground are two youngsters wrestling, not less admirable in artistic excellence than the principal figures; while the little figure, apart from the general composition, is, in itself, a perfect gem. The visitor cannot too narrowly examine, or too much admire this picture, for it is one of which the British school will have reason to be proud. LXXIX. — Interior of a Chemist’s, or Alche- mist’s Laboratory, Teniers. Beautiful in tone, and admirable in execution. The handling of the various utensils, and other objects with which this picture is filled, cannot be too strongly commended: it is perfect. A A young painter could not possibly have a better study than this for the acquirement of this portion of his art. “ The Chemist, the principal figure is standing near a sand-heat on the right- 25 hand in front, where numerous alembics and utensils are distri- buted ; a spaniel reposing near them is very spiritedly touched ; three assistants are employed at a furnace behind, and a boor is looking from a window above. This noble cabinet picture was formerly in the collection of the King of Spain, and is cited by Cumberland. It was brought from Spain by Prince Joseph Bonaparte, and was subsequently in the possession of the late Admiral Lord Badstock.” — Christie's Catalogue , 1838. LXXX. — The Breakfast— or as it has been equally appropriately named, — The Dunce Punished, Webster. A picture this full of homely nature, painted with great truth and power of imitation. The character and expression of the various persons introduced are very good. The effect of this picture will much improve by time : at present it is too raw. LXXXI.“ — Jacob blessing Manasseh & Ephraim, the two sons of Joseph, Guercino. A noble gallery picture, in a broad and vigorous style. The boy on the left kneeling, with his hands crossed on his bosom, is exquisite both in sentiment and effect. LXXXII. — Hermit in Devotion, 8. Rosa . LXXXIII. — Cows in a Landscape, Vandervelde. LXXXIV. — Horses held by a Youth, A. Guyp. LXXXV. — Holy Family and St. Francis. The infant Saviour laying hold of the Cross. It seems to be a matter of doubt who painted this picture; and as we are not among those who first turn to the catalogue to ascertain who is the painter, before we make up our mind whether the picture is to be regarded with admiration or not, we are not disposed to become its godfathers. It is enough for us that it is a fine pic- D 26 ture. The figure of the Christ is of extraordinary merit — beautifully drawn and beautifully coloured ; and in its character and expression excellent. LXXXVI. — The Nativity, Bassan. A small picture crowded with figures, highly finished— a group of Angels above. LXXXVIL — An Equestrian Portrait of Don Louis de Haro, Velasquez. Don Louis de Haro, Marchese del Carpio, Minister to Philip IV, at the treaty of the Pyrenees, 1658. One of the finest equestrian portraits, and certainly the best painted head from the hand of Velasquez we ever saw. Vandyke himself, great as he was in portraiture, never exceeded this. In all its arrangements, in its colour, its light and shade, and in its tone, it displays the most consummate skill. If it has a fault, it is that the shadows about the horse are a little too brown ; but for this the harmony would be perfect. “ The painting is imposing in design, and masterly in execution, and there are few equestriau portraits of this magnitude and importance by Velasquez, even in Spain, to com- pete with this.” LXXXVIII. — Penitent Magdalen, L . da Vinci. A beautiful figure, beautifully painted with all the delicate and careful finish, and the exquisite transparency of colouring for which this early master has ever been most highly esteemed. Before the Magdalen is a broken coronet, and at the top of the picture is the inscription — Melius est sperare in Jehova quam confidere in principibus. LXXXIX. — David with the Head of Goliah, Caravaggio. This picture has a remarkably fine broad effect of light and shade, and appears to be admirably painted. 27 XC. — Woman taken in Adultery, Georgione. A very richly toned and carefully finished picture. XCI. — Mary Magdalen, Titian. Could this picture have been seen in the same state as when it left the easel of the painter, it would, doubtless, be considered one of this master’s most capital works. Its colouring is exceed- ingly brilliant. Yet it appears to us to have suffered at some time or other from injudicious cleaning, or from the practices of ignorant or unprincipled dealers. It was formerly in the famous Orleans collection. XCII. — St. John, L. da Vinci. Comparing this with The Penitent Magdalen , No. LXXXVIII., there can be no doubt as to the master. The two form an ad- mirable pair. CXIII. — Portrait of Count d’Egmont, A. Cuyp. A full-length portrait dressed in black. CXIV. — Tobit and the Angel, Rembrandt. An exceedingly fine specimen of the style of Eembrandt — a painter who sometimes carried his passion for painting a power- ful effect of light to such a degree, that every part of his picture was sacrificed for one particular spot of light. In this of Tobit and the Angel , however, all the parts can be seen distinctly. It has a wonderful effect of light and shade, and is most beautifully toned ; and there is a richness and brilliancy of effect throughout, which will be sure to commend it to the attention of every one. XCV. — Samson and the Honeycomb, Guercino. The whole of this picture is finely painted ; and while that grand or general idea of nature, so essential to compositions of this high class, is admirably represented, yet individual nature in the detail of the various parts, has not been lost sight of. For our own tastes there appears rather too great a preponderance of cold d 2 28 colour, or, perhaps, we should rather say, not quite enough of what painters call balance in the arrangement of the colours ; but this is, after all, a minor consideration. The figure of Samson is truly beautiful, and the draperies with which he is clothed are equally good. This chef d* oeuvre of Guercino once adorned the grand saloon of the Colonna Palace at Rome, forming the com- panion to The Return of the Prodigal Son, by the same master. The foregoing pictures are all hung on the walls ; but in addition to these the Gallery contains many works of rare merit, placed upon screens in different parts of the room : they are, indeed, among the most attractive in Lord Northwick’s collection, and as richly entitled to distinct notice as any of those already enumerated. These we shall number according as they are at present arranged. SCREEN No. 1. XCVI. — Milton Dictating Paradise Lost, J. Nash. A water-colour drawing of the Poet and his two daughters, very beautifully executed, and telling its story most affectingly. SCREEN No. 2. XCVII. — Portrait of Mrs. Barrington, Sir J. Reynolds. Painted with great delicacy and quite in Sir Joshua’s style. XCVIII. — Antiques, Van der Doez . There is some good colouring in these examples of the early arts. What the subjects are we know not. Originally they most pro- bably formed volets or wings to some larger picture. XC1X. — Peasant Boy with Basket, Murillo . Painted with considerable vigour — a sketch which may be war- ranted from nature. 29 SCREEN No. 3. C.— The Descent from the Cross, or, perhaps, more properly, The Preparation for the En- tombment, Sebastian del Piombo. A glorious composition this, breathing throughout a sentiment of poetic grandeur, such as distinguished the works of some of the old masters when handling subjects of a religious character. The figures are all beautifully drawn, the grouping is admirable, the colouring perfectly brilliant, and the general tone of the pic- ture exceedingly rich. In the left-hand compartment which seems to represent the Appearing of Christ after his resurrection, the full-length figure of the Saviour is a masterly eflort. The companion wing seems to be the Betrayal. CT. — "1 Two Holy Families, one a Virgin and CTI. — j Child, by Corregio. CIII. and CIV. — Wild Fowl, Teniers . Subjects which will be sure to elicit the admiration of every naturalist, so admirably true are they in the forms, attitudes, and actions of the birds to their respective originals. CV. — St. John Meditating in the Wilderness. Apparently a very beautiful picture, but in its present situation impossible to be seen. It has a glass before it and is placed at the back of the S. del Piombo, No. C. SCREEN No. 4. CVI.— Portrait, life size, Salvator Rosa. Painted in a bold slap-dash style, very characteristic of the master. CVII. — Portrait of Paul IV, Titian. CVIII. — Portrait of the Doge Venieri, Tinto- retto. 30 SCREEN No. 5. CIX.— Madonna and Child, Francia. CX.— Holy Family, with Partridges, Bellini . CXI.— Madonna and Child, L. da Vinci. The head of the Virgin seems beautifully painted, and has a very sweet expression. The last three Nos. are on panel, and being placed on the same screen, form a group well worthy the careful attention and study of the young painter. SCREEN No. 6. CXII. — Apollo, A. Caracci. The god just alighting on the earth ; exquisitely painted, and the wind-borne draperies flowing and graceful. CXIII. — Virgin Child and St. John, L. Caracci. The infant Saint has his shepherd staff, labelled with the inscrip- tion, Ecce Agnus Dei. SCREEN No. 7. CXIV. — A Landscape, G. Poussin. This picture was purchased by Lord Northwick at the recent sale of the collection of Horace Walpole, at Strawberry Hill. It is replete with that grace, and almost solemn feeling in its tone, which seems a kind of scenic twilight, remarkable, as contribut- ing to that air of grandeur so peculiar to the landscapes of Gaspar Poussin. CXV. — A Portrait of Himself, A. Vandervelde. A well-painted and carefully finished head, with a good deal of individuality about it. The draperies are excellent. 31 CXVI.— A Rocky Sea Shore, S . Rosa . A composition supposed to represent the “ scenery in the en= virons of La Cava, near the Bay of Salerno, where Salvator Rosa passed his early days.” In the foreground are three figures standing out in fine relief on a mass of broken stone ; and on the right, a wild and picturesque succession of rocks, stretching out far into the bay. The colouring is very unlike that of the gene- rality of Salvator’s pictures. Charmed by its rich and truly captivating treasures, we have already spent more hours in The Gallery than we had originally intended, though we have left many admirable works altogether un- noticed, and have passed by others with a bare “ nod of recog- nition.” Having, however, completed our survey, we now quit, for a time, this witching apartment, and enter the small CIRCULAR ANTI-ROOM, which connects the new building with the old. This little cabinet contains many choice gems of great interest and value to the virtuoso and the archaeologist; but as our immediate business at present is with the productions of the easel, we must pass by those of the lapidary and the sculptor, taking the paintings in the order of their present arrangement. CXVII. — Portrait of Henry VIII., Holbien. CXVIII. — Rembrant in his Study, Fraser. An exceedingly clever sketch, with a very good arrangement of light and shade, CXIX. — Cattle Piece, Van der Bosch. A landscape, with figures of cattle and a woman milking, very rich in colour. CXX. — Portrait of Dante. CXXL—Portrait of Madlle. Ludens, Rubens. Possesses a very pleasing countenance, and the flesh is painted with great clearness and brilliancy. CXXII. — 'V iew of the Town of Nimeguen, Vander Heyden. A picture formerly in possession of Van Lanker. “ So rich in in its details and imitations, that it is a matter of astonishment that any eye could direct the execution, or any patience endure the completion of so elaborate a performance .” — Fan Lanker' s Catalogue. CXXIII. — Portrait of Mary Queen of Scots. CXXIV. — Landscape, with a large Building in the distance, G. Poussin. CXXV. — Perseus and Andromeda, Dominichino. The figure of Andromeda is beautifully finished, but the op- position of light and shade throughout the whole picture, strikes us as being a little too violent. CXXVI. — Man in a Black Cap, A. Caracci. CXXVII. — A Youth in a Fancy Dress, with a Hat and Feather on his head. We know not who was the painter of this picture, and had not at the moment we were observing it, an opportunity of enquiring. It is, however, remarkably good, both for colour and effect. The Art Union says " It has been attributed to Carlo Dolce.” CXXVIII. — Head of Gaston de Foix, Georgione. CXXIX. — Marine View with Timber Waggon, Bonnington. Affords an excellent specimen of this artist’s clear and trans- parent style. 33 CXXXe — Curious old profile of a Female Head. Said to have been an ancient fresco painting, removed by Prince Poniatowski from the ruins of Titus’ Baths at Rome. Interest- ing, as showing the state of the fine arts at the period of its execution. CXXXI. — Portrait of Gentleman wearing a ruff. CXXXIL— Woody Scene and Landscape, Percy . CXXXIII, — Portrait of Justus Souterman, Vandyke . This is a very fine portrait, and appears to be painted with great freedom ; but it is placed too high for minute examination as to its execution. The general effect is excellent. Justus Souterman was the early friend and fellow-pupil of Vandyke, and was him- self an artist of considerable talent. CXXXIV. — Baptism of the Infant Saviour, Baroccio . A very clever little sketch, spiritedly touched, as if a study for some larger work. CXXXV. — Landscape, Cattle going to Water, J. Both. CXXXVL— Portrait of a Dutch Burgomaster, J. Cu yp. CXXXVII. — Mary Magdalen ’midst the Pleasures of the World, L. de Leyden . A quaint old painting — the figures in the costume of the time : interesting as illustrating the state of the arts in Holland, in the early part of the 16 th century, and valuable on account of the rarity of the easel pictures of this artist. E 34 CXXXVIII. — Woody Landscape, Ruysdael. CXXXIX. — Antique Female Head. An ancient fresco from the Titus 5 Baths : a companion to No. cxxx. CXL. — Portrait of Antonius de Flavius, A . Caracci. An admirable profile, excellently painted. The fur tippet also deserves notice for its very elaborate finish, which will bear mi- croscopic examination. CXLI.— Landscape, with herd of Cattle, Berghem. A masterly composition, painted with a fine broad effect of light and shade, the colour peculiarly rich. CXLII. — Portrait of a Lady, in a ruff, J. Cuyp. Apparently painted from the same model as a similar portrait, by the same artist, in the upper room. CXLIII. — Mount Parnassus, Julio Romano . A fanciful composition, in which Apollo and the Muses, accom- panied by a number of other figures, said to be intended for immortalised Poets, are introduced. The Castalian fountain is seen flowing down the mount in front. CXLIV. — Landscape, G. Poussin. One of the sweetest compositions in the collection. Two figures in a foreground of marvellous beauty; but a stronger light is required to bring out the exquisite details of this picture than it obtains in its present situation. CXLV. — Portrait of Queen Elizabeth, Hoi - Mens. Painted apparently when the Virgin Queen was young. CXLVI.— Triumph of Galatea, P. Lauri. 35 CXLVII.— Landscape, with the Flight into Egypt, Claude . A beautiful little composition. CXLVIII. — Portrait of a Gentleman, in a lace frill. CXLIX. — Portrait of a Youth, Greuze. Very sweetly painted, and with a softness and delicacy of expres- sion rarely surpassed. CL.— Sketch of the Head of a Female, in Raf- faelle’s “ Incendio del Borgeo,” Sir J. Reynolds.