LIBER VERITATIS; 
 
 OR 
 
 A COLLECTION OF PRINTS, 
 
 AFTER THE 
 
 ORIGINAL DESIGNS 
 
 OF 
 
 CLAUDE LE LORRAIN; 
 
 IN THE 
 
 COLLECTION OF HIS GRACE THE DUKE OF DEVONSHIRE. 
 
 EXECUTED BY 
 
 RICHARD EARLOM, 
 
 IN THE MANNER AND TASTE OF THE DRAWINGS. 
 
 TO WHICH IS ADDED 
 
 A DESCRIPTIVE CATALOGUE OF EACH PRINT ; 
 
 TOGETHER WITH 
 
 THE NAMES OF THOSE FOR WHOM, AND THE PLACES FOR WHICH, THE ORIGINAL 
 PICTURES WERE FIRST PAINTED, 
 
 (Taken from the Hand-writing of Claude le Lorrain on tlie Back uf eacli Drawing-) 
 
 AND 
 
 OF THE PRESENT POSSESSORS OF MANY OF THE ORIGINAL PICTURES. 
 
 VOLUME THE FIRST. 
 
 LONDON : 
 
 PUBLISHED BY MESSRS. BOYDELL AND CO. CHEAPSIDE. 
 
 PRINTED BY W. BULMKR AND CO. CLEVEL.IND-HOU. 
 
TO 
 
 HIS GRACE 
 THE DUKE OF DEVONSHIRE. 
 
 My Lord Duke, 
 
 In the course of my early endeavours to encourag'e tlie Art of 
 Engraving- in this Kingdom, I made application to his Grace the 
 late Duke your noble Father, for leave to make Di-awings after 
 several of his Pictures, for the purpose of their being engraved. 
 No sooner was my intention made known to his Grace, than he 
 g enerously gave me unlimited permission to make choice out of his 
 Collection, both at Devonshire House and at Chiswick. His 
 Death prevented me from expressing my gratitude, my Two first 
 Volumes of Prints not being- then completed. 
 
 I beg leave in particular to express my Thanks to your Grace 
 tor intrustiug me upwards of three years with the valuable Book 
 of D rawings from whence the Prints in the present collection are 
 engraved. The Public have shown their Taste and Judament in 
 the universal approbation with which they have been received. 
 The Lovers of Virtiiin general cannot but be highly sensible, as 
 well as myself, how much they are indebted to your Grace, for 
 permitting so inestimable a Work to be copied. 
 
 I am, 
 My Lord Duke, 
 Your Grace's most oblig ed, and 
 
 most humble Servant, 
 
 JOHN BOYDELL. 
 
 London^ 1777. 
 
THE 
 
 LIFE 
 
 0 F 
 
 CLAUDE LE LORRAIN. 
 
 The cTiriositj', by which we are influenced to inquire into the lives of those 
 who have excelled in the Fine Arts, may perhaps be resolved into two principles. 
 
 We acknowledge ourselves indebted to those, who have contributed highly to 
 our amusement ; and we are willing to manifest our sense of the obligation, by 
 cherishing their memories. It is a natural object of curiosity also, to wish to learn 
 by what means they arrived at the degree of eminence which they have attained. 
 There is too, sometimes, a close connection between the Life of the Artist and 
 his Performances ; and the incidents of the one, however unimportant, may 
 serve to illustrate and explain the other. 
 
 It is not, indeed, from the exactness of the imitation alone, but from the 
 nature of the thing imitated also, that the pleasure, which the works of Painting 
 afibrd us, is derived. 
 
 And it seems often to be lamented, therefore, that much art of penciling, and 
 much brilliancy of colouring, have been bestowed on the representation of 
 objects which are familiar to our eyes, and which do not interest our imagina- 
 tion — on the imitation of the most common animals, of domestic utensils, 
 and Still Life. 
 
 We are, without doubt, far more obliged to those Artists, who set before us 
 such objects as our imagination cannot readily supjily ; who place the actions of 
 great men immediately in our view, and imitate even the various passions of the 
 mind ; or who transport the scenes of distant countries into our own, and exhibit 
 to us judicious combinations of the most beautiful objects of nature. 
 
 Among those whom we stand especially indebted to, in this latter respect, 
 none is more deservedly eminent (since no one ever lived in the midst of more 
 enchanting scenes, or used more diligence to avail himself of the opportunities 
 he enjoyed) than Claude Gelee, known more commonly, from the country 
 which gave him birth, by the name of Claude le Lohrain. 
 
 A long life, spent in continual imitation of the richest scenes of Nature, served 
 to produce those many distinguished works, which have justly placed the name 
 of Claude foremost in the Annals of Painting. 
 
 His life, although, from the nature of the emplojTncnts to which lie dedicated 
 it, pregnant witli no uncommon incidents, affords, however, some jiarticulars 
 worthy nt)tice, and will serve, in many instances, as the best comment upon liis 
 works. It exhibits, also, an useful proof of the liappy effects of unremitting 
 industry. 
 
 u 
 
6 
 
 THE LIFE OF CLAUDE LE LORRAIN. 
 
 Bom of low parents, in the year Sixteen hundred, his childhood was distin- 
 guished only by the dulncss of his natural talents. Having made no progress 
 at school, he was put apprentice to a Pastry-cook. 
 
 He appears soon after to have lost his parents, and to have been left destitute 
 of support. 
 
 When he had served his time, he set out for Eomc, in company with several 
 others of his countrymen of the same profession. It was at that time customary 
 for great numbers of his profession and country to establish themselves at Eome. 
 
 We gather this intelligence concerning the occasion of his going to Eome from 
 Sandrart, a contemporary Artist, and for some time his intimate companion 
 and friend.* On this account his authority, concerning the principal anecdotes 
 of Claude's life, will be chiefly followed in the course of these Memoirs. 
 
 If, however, it was Claude's first intention to follow his trade, he appears to 
 have changed his design soon afterwards. It is reported, indeed, by some of 
 his Biographers, that he had learned so little during his apprenticeship, as to 
 be incapable of exercising his profession. Be this as it may, it is certain that he 
 hired himself, in a short time after his arrival, as a menial servant to Agostino 
 Tassi, the Scholar of Paul Brill. His employment, at first, was that of 
 grinding his master's colonrs and cleaning his pencils. 
 
 The humanity of his master, however, soon led him to endeavour to be of 
 considerable service to him. He took pains to instruct him in the principles of 
 Painting ; and whether it was that his talents, however moderate, had now 
 found a fit object to exercise themselves upon, and began to emerge from the 
 long darkness in which they had been overwhelmed, or that his circumstances 
 urged him to labour incessantly in the pursuit of an employment which might 
 prove highly lucrative, his proficiency soon seconded his master's endeavours 
 in his favour. 
 
 When he was now become able, even in any sort, to copy the objects of 
 Nature, it is not, indeed, to be wondered at that he should have been eager 
 to make use of his pencil. A mind that had not been struck with the beauty 
 of Italian skies, and the magnificent remains of ancient Eome, must have been 
 more than ordinarily insensible. The influence of more attractive scenes 
 seems often to have been a principal source of the great excellence of Land- 
 scape painters, to have increased their powers of invention, and to have turned 
 their ideas into a new and happier channel. 
 
 John Both of Utrecht, who, in his own country, had probably, never 
 adventured beyond the tame uniformity of Flemish scenery, by fixing his abode 
 in a country where Nature displays her choicest beauties and her fairest forms, 
 became no mean rival of Claude himself, and acquired the honourable appel- 
 lation of Both of Italy. 
 
 To continual diligence, to an eye daily rendered more accurate and observing, 
 to an increasing admiration of the most striking scenes and efl'ects of Natiu-e ; the 
 great excellence which Claude at length attained to, may certainly be attributed. 
 
 * In his Acadcmia Artis Pictoriffi. — From Sandrart's own Life, subjoined to tliis work, it appears that he left 
 England in 1627, and stopped at Frankfort, and at some of the cities of Italy, in his way to Rome, whieh he 
 quitted in 1635 ; we may suppose, therefore, that his intimacy with Claude at Rome, lasted for five or six years. 
 
THE LIFE OF CLAUDE LE LORRAIN. 
 
 7 
 
 To use the express words of Scandrart, " His laboriousness was indefatigable, 
 " and his perseverance invincible." In order to perfect himself by an incessant 
 examination of Nature, ho made it his daily custom to take long walks into the 
 country, without regarding the distance. And his eagerness to excel was such, 
 that he would often remain in the fields from day-break till the dusk of the 
 evening. Here he not only studied the more ordinary effects of sun-set and 
 suu-rise, but he marked also in his sketches, every curious tinge of light at other 
 times, with a similar colour, and perfected his Landscapes from them afterwards 
 at home. 
 
 His favourite spot was Tivoli, the ancient Tibur, at twenty miles distance 
 from Eome. The marks of this attachment appear in his continually introduc- 
 iug the celebrated Temple of the Sibyl into his compositions. 
 
 It was here that the first meeting between Sandrart and himself took place, 
 and their friendship commenced. The scene was well fitted for the meeting of 
 two Painters. According to Sandrart's relation of the interview, Claude found 
 him copying after Nature amidst the rugged rocks and noble cataracts of Tivoli ; 
 and was so pleased with the method he pursued, that he, in part adopted it. He 
 remarks, however, at the same time, the difference of their pursuits. The one, 
 seemingly of a bolder genius, sought out rocks of an uncommon form, prominent 
 stumps of trees, cataracts, buildings and ruins. The mild and patient turn of 
 Claude remained contented with the more distant and smaller objects. It was 
 his principal delight to mark the almost insensible gradations of objects towards 
 the horizon, and those delicate and fine tints of Nature which none but the most 
 diligent observer can imitate. 
 
 His industry, however, had not always been employed in the fields only. He 
 had for several years applied to the drawing of figures, both after living models 
 and statues, even with greater diligence than ho used in his studies after Na- 
 ture. His diligence, however, in this respect, was never crowned with success. 
 A like censure must be passed on his animals also, his goats only excepted. 
 Such figures as appear exempt from censure we must attribute, according to 
 common report, to the pencils of Philippo Laura and Borgognone ; and as we 
 sometimes meet with very elegant figures, even in his sketches, we seem in such 
 instances, necessarily led to draw the same conclusion. 
 
 Let it be added, however, as an amiable proof of his modesty, that he was 
 fully sensible of his deficiency in this respect. When he had not employed 
 other artists, he used to say to the purchasers of his Pictures, " I sell you the 
 " Landscape — I gkc you the Figures." 
 
 Towards the close of his life, at least, his great merit became duly noticed. 
 Sandrart speaks of his having accumulated great riches, even at an earlier period. 
 The authentic anecdotes that are preserved to us concerning his Pictures, show 
 that he must have been continually employed, and that he luimbored among his 
 patrons three several Popes, and many of the principal Nobility of Eome. His 
 constant residence alone, indeed, in some sort merited such protection. It is 
 said, and it may easily be believed, that ho once made the tour of Italy, that he 
 spent two years at Naples (according to some, ^^itll Gofl!"redi Wals, a Land- 
 scape ])ainter), and that he returned for one year to his native country. His 
 frequent representation of the beautiful Bay of Naples seems to mark, indeed. 
 
8 THE LIFE OF CLAUDE LE LORRAIN. 
 
 his acquaintance with the spot. But he appears to have spent, at least, upwards 
 of tifty years constantly at Home. 
 
 When he was now continually employed for many different, and even distant, 
 patrons (amongst whom some crowned heads are expressly mentioned), a just 
 regard to his fame determined him to follow a method which should make his 
 Drawings so many authentic warrants of his genuine Pictures. On the back of 
 the several Designs for his Pictures he wrote their true history, in respect of 
 the persons and places they were painted for. One of these valuable collections 
 of his original studies (for it is said he left in all six volumes behind him), is 
 that to which these Memoirs are prefixed. The object which he had in view, 
 gave rise to the particular name which it bears, of The Booh of Truth. This 
 inestimable treasure was happily purchased, to adorn England, by the grand- 
 father of the present Duke of Devonshire. D'Argenville,* who mentions his 
 having seen it himself at Eomc, in the possession of Claude's niece, and after- 
 wards at Paris, in the hands of a Jeweller, acquaints us that the book having 
 been entailed on Claude's nephews and nieces. Cardinal D'Estrees, Louis the 
 XlVth's Ambassador at Eome, tried in vain to purchase it for his master, 
 though it was afterwards sold when the entail was at an end. 
 
 We have hitherto spoken of Claude as a Painter only. His praise as a Man 
 ought by no means to be lost in the splendour of his works. His life was 
 placid, simple, and uniform ; he was benevolent and candid, addicted to no 
 irregular pursuits, and wholly devoted to the pleasure wdiich he received from 
 the exercise of his profession. A strong proof of this appears from the plan of 
 life which he followed after he had attained to a considerable degree of emi- 
 nence. Continuing a Batchelor, he invited one of his relations to take upon 
 him the care of his house, and to provide even his colours and pencils, that 
 he might be wholly at liberty to follow his favourite profession, without inter- 
 ruption. He considered this as a plan of mutual benefit; giving him the 
 expectation of being his heir, and enjoying himself, in return, that leisure 
 which he prized above all things. 
 
 Notwithstanding his temperate life, he is said to have been afflicted with the 
 gout for forty years ; he died of it in the year 1682, aged 82.f He was buried 
 in the chvirch of Trinita del Monte. 
 
 Our account of his life may properly be closed with a short review of his 
 works. 
 
 When we consider Claude's Pictures in point of composition, we cannot cer- 
 tainly attribute to him much praise of invention. Truth was the object he aimed 
 at uniformly ; but he attained to it only by the most laborious imitation. He is 
 said frequently to have spent many weeks about a single Picture, and to have 
 perfected his works only by continual correction. Nor does he seem, indeed, in 
 general, to have wished to assume to himself the acknowledged privilege of the 
 Pamter, in introducing those agreeable fictions which, if they do but approach 
 near to the truth, often atford more entertainment than the strict truth itself. 
 
 * Abreges ties Vies des Pientres. 
 
 De Piles has placed his death in 1678, others in 1682. — In one of his Drawings, copied in the very curious 
 collection published by Mr. Pond, the question is put out of doubt, it being dated in 1682. It is a composition 
 not unworthy his last hours ; the subject taken from the seyenth Book of Virgil's iEneid. 
 
THE LIFE OF CLAUDE LE LORRAIN. 
 
 9 
 
 But if he seems to have failed without doubt in point of invention, the elegance 
 of his materials, and his happy combination of them, fully compensate for his 
 defects. It must be acknowledged, indeed, that his combinations are mostly 
 arbitrary, that the unity of place is often violated, and that the parts of his Picture 
 do not always constitute a perfect whole. In his Sea-ports, however, he has often 
 given us real and entire views. And in his most arbitrary compositions, the 
 selection is always agreeable, is calculated to enhance the richness of the scene, 
 and is far superior to many Aiscoxdsmi pasticcios of later days, where Kuins and 
 Architecture are often heaped together, without even the appearance of con- 
 nection. 
 
 The same elegance of materials seems abundantly sufficient also to apologize 
 for another fault, which some have objected to him ; for his frequent repetition 
 of the same subjects, and for the similarity of his situations or prospects. If but 
 one country is usually seen in his Pictures, that country is Italy ; if we meet 
 with the same buildings continually repeated, they are those buildings which, 
 however repeatedly set before us, still claim our admiration. It were ungrateful 
 to complain of the Artist who calls on us to survey the grandeur of modern 
 Italian Palaces, or the august Euins of ancient Eome ; the magnificence of the 
 Coliseum, the striking remains of Triumphal Arches, or the elegant Temple of 
 the Tiburtine Sibyl. 
 
 And it ought seemingly to be deemed no small source of entertainment in the 
 compositions of Claude, that they afl'ord us, in many instances, the same informa- 
 tion as we derive from the writings of faithful travellers. Not only his boats are 
 of the peculiar construction of the country, and his buildings perfectly Italian, 
 but in his larger assemblages of figures, even the manners and customs of the 
 people are sometimes marked ; and the employments of his rural groups, repre- 
 sented continually as diverting themselves with music in the open air, serve to 
 mark both the mildness of the climate and the real turn of the inhabitants. 
 
 His compositions recommend themselves farther, also, by many elegant histo- 
 rical allusions. It must be confessed, that in the relation of his stories, they 
 arc often made too subservient to the landscape, are composed on too small 
 a scale, and want perhaps that dignity which the subject requires. He has not, 
 indeed, in any sort composed in that heroic style of Landscape, in which his 
 contemporary and friend Poussin so much excelled. His style is altogether 
 the rural style of Landscape. His Histories serve, however, to adorn and give 
 Ufe to his landscapes, and to prevent the solitariness of the scene ; and they are 
 derived from very pleasing sources, from the elegant inventions of the Heathen 
 Mythology, from the fictions of the Italian Poets, and sometimes from the 
 venerable narratives of the Scriptures themselves. 
 
 It is indeed somewhat singular, that he who is said, with much seeming' pro- 
 bability, to have been scarce able to write his own name, who was certainlv, at 
 least, possessed of no real learning, should have adorned his compositions with 
 a variety of histories, which give them even a classical air, and bespeak an ac- 
 quaintance with many celebrated authors, and witli different writers of antiquity. 
 We see probably, in these instances, so many marks of the friendship of his 
 several jjatrons, who, it may be conjectured, pointed out to liim such subjects 
 as tliey thdught wcU-adapted to form the onianients of his Landscapes. 
 
 c 
 
10 
 
 THE LIFE OF CLAUDE LE LORRAIN. 
 
 Thus mucli may justly be said of his Pictures, considered independently of 
 their colouring. In this branch of Painting, which forms always a prmcipal 
 part of the Artist's excellence, but which, in Landscape-painting, is in a manner 
 indispensable, his acknowledged merit needs not be particularly insisted on. 
 The warmth and clearness of his Skies, the brilliant effects of his rismg and 
 setting Suns, the luxuriant richness of his Trees, the delicacy of his distant 
 Tints, and his exact knowledge altogether of the aerial Perspective, have long 
 served to distinguish his Paintings as pecuUarly exceUent. There are a few 
 Pictures extant, painted by him with good effect, in a dark style of colouring ;* 
 but from the smallness of their number, as well as from other circumstances, we 
 may fairly infer that Claude practised this manner rather by way of trial, than 
 from being in any sort reahy attached to it. To account for his general excel- 
 lence, in those respects in which it is most commonly displayed, we need only 
 remark, that he had made himself acquainted with every true characteristic of 
 Nature, to a degree of minuteness and accuracy altogether singular. He had 
 not only made himself master of the more striking effects of Nature at morning 
 and evening, but he possessed, as it were, her genuine character at every hour 
 of the day, and knew how to mark the very moment that he wished to repre- 
 sent, by the tone and complexion of his Pictures. The facts that Sandrart 
 relates in these respects arc altogether astonishing. He attained even the 
 proper knowledge of a Philosopher, rather than a Painter, and could discourse 
 with as much exactness as if he had been well versed in physios, on the causes 
 of the differences of the same view, in point of its colouring at different times; 
 on the morning dews and evening vapours, and on the several various reflections 
 and refractions of light. 
 
 The general encomium that his friend has bestowed on his Pictures is, indeed, 
 by no means extravagant. They exhibit a perfect Model of Truth, and may 
 serve to show completely how the real disposition of the objects of Nature is to 
 be imitated, " how all things arc to be diminished towards the horizon, how 
 " the colours are to be tempered according to the proportions of the distances, 
 "how the hours of the day are to be distinctly marked, and the just harmony 
 " of every thing to be preserved." 
 
 The age in which Claude lived was pecuUarly favourable to Landscape- 
 painting. It boasted also of a Poussin, an Anniisal Carracci, and a Sal- 
 vatorEosa. The works of these several Artists succeeded immediately to 
 the dry, meagre compositions of Pavd Brill. It is evident, how much Claude 
 contributed to this quick reform of Landscape-painting ; and his own excellence 
 is farther seen in the works of his Scholar, the elegant and pensive Swanvelt ;t 
 
 * The admirers of Claude will recollect a few Pictures painted in this manner, in some celebrated Collections 
 in England. 
 
 t Surnamed, from his studious and retired manner of life, the Hermit of Italy. 
 
ADVERTISEMENT. 
 
 Claude le Lorrain having blciKlcd French with Italian, and appearing to 
 have neither written nor spelt with accuracy ; a Transcript of the Inscrip- 
 tions on the Backs of four or five of these Drawings may be sufficient Spe- 
 cimens of the whole Fumber : The others are given as they are understood 
 to have been intended. 
 
 No. 1. Audi 10. dagouto 1677. 
 
 a present I'an Aupartien a moy que ie f'aiot duraiit ma vie 
 Claudio Gillee dit lo loranc 
 A Roma ce 23 Aug. 1680. 
 " Drawn tlie 10th day of August 1677. the Picture from it 
 " liolongs to me at Rome tliis 23 of Aug*. 1680. 
 
 " Claudio Gillec called Le Lorrain." 
 No. 3. Claudio fecit 
 
 m V R*. * for inventor, Roma;, 
 
 faict pour 
 paris a Rome. 
 
 " Claude the Inventor at Rome made this Drawing ; and 
 " painted at Rome for Paris." 
 
 No. 5. il presente designe io lo fatto il quadro per 111". 
 
 Sig". francesco Mayer Consiglicr di S. A Ellettorale 
 di Bauiera. lano 1674. a Roma questo di 22 luglio. 
 
 Claudio Gillee fecit. 
 " From this Drawing I have made the Picture for the most 
 " illustrious Signore Francesco Mayer, Councellor of his 
 " Electoral Highness of Bavaria, at Rome this 22. of July 
 " in the Year 1674. 
 
 " Claudio Gillee." 
 
 On the back of No. 158, or rather 1.50, as it is numbered at one corner of it, 
 is this Memorandum. 
 
 Audj. 26. frebrare 1663. 
 
 a questo mio libro si ritrovano cento e cinquanto 
 
 tutte disegne di mano mio questo di sudetto 
 Claudio Gillee 
 
 Manuf". 
 
 in Roma. 
 
 " The 26"'. day of February 1663. are found in tliis my book 
 " one hundred and fifty— all drawings by my liand. 
 " Claudio Gillee 
 
 Manufacturer or Designer 
 in Rome." 
 
 No. 18.5. icy finij ce present livre ce jourduy 
 
 2.5. du mois de mars 167.5. 
 Roma. 
 
 " Here I liavc finished this present Book, this 25. day of 
 "March 1675, at Rome." 
 
L 13 ] 
 
 A CATALOGUE of One Hundred 
 PRINTS, contained in Volume 
 the First. 
 
 No. 
 
 1. _A. View in Rome, with three Columns 
 of the Temple of Jupiter Stator and the 
 Colosseum. 
 
 2 A View of a Sea Port at Sunrise. 
 A lofty Portico composed of three 
 columns only, is at the side, and beyond 
 it is a Ship at Anchor. 
 
 3. A Landscape, with Banditti attacking 
 Travellers on the Highway. 
 
 4 View of a Sea Port, with three Mer- 
 chants standing in a group on the fore- 
 ground. 
 
 5. View in the enyirons of Rome under 
 the appearance of a beautiful Sun-set. 
 A magnificent Roman Archway. 
 
 6. View of a Sea Port during Sun-set. 
 embellished with a Fountain and other 
 elegant Buildings, 
 
 7. View of a Mountainous Country, with 
 a herd of five goats, and a Peasant 
 with Mules passing a bridge. 
 
 8. A retired Woody scene with some 
 water in the foreground. Two Women 
 sitting on some logs of timber, and a 
 Man standing by them are at the side. 
 
 9. A Sea Port represented under the 
 effect of a refulgent Sun-set. A Mar- 
 ket on the Shore, consisting chiefly of 
 earthenware. 
 
 10. A View of the Forum or Campo Vac- 
 cino,at Rome, with the Arch of Septimus 
 Severus and the three columns of the 
 Temple of Jupiter Stator, 
 
 11. A Pastoral Scene, with a Water-mil 
 and a Herdsman tending Cattle, 
 
 12. View of a Hilly Country at Sun-rise. 
 A Lady and a Gentleman on the fore- 
 ground. 
 
 13. A Landscape, with Peasants dancing 
 to the Music of a bagpipe, flute, and 
 tamboriue. 
 
 14. A Sea Port represented under the 
 appearance of a glowing Sun-set. 
 (in)U[xs of Merchants and otliers in 
 the foreground. 
 
 15. A Landscajie, with a Herdsman play- 
 ing on a pi]x! and Cattle browsing. 
 
 16. A I^ndK-apo, with Tra\-cllcrs taking 
 their repast. 
 
 * It li iIm wriUr'f opinion that Ibe Dravlnip wm mi 
 dkic* od litt b«ck of Moic uf tlic Dnwing* ' ' 
 d until • MifaMqaenl jtmi. 
 
 For whom, or what Places, and when The late or present Possessors of the 
 
 thePicTUiiES from these Drawings 
 were painted.* 
 
 1. Claudio Gillce at Rome, 23rd August, 
 1680. Drawn 10th August, l(j77. 
 
 3. For a Gentleman at Parit 
 
 5. Klector of Bavaria, 2-2nd July, 1G7-1. 
 
 For a Gentleman at Paris 
 
 8. For a Gentle: 
 
 I in Paris in I65(i, 
 
 9. Monsieur de Betlume, Ambassador of 
 France at Rome. 
 
 11, A Gentleman of Liege at Rome. 
 
 Naple- 
 
 13. Pope Urban VlII, 1669. 
 
 Monsig. Koapigliosi at Rome. 
 Mr. Perochat at Paris. 
 
 l^icTURES ; with the Sizes, and the 
 Prices for which they have at 
 various times heen Sold or Valued, 
 and the Names of their Engravers. 
 No. 
 
 1. Lord Cathcart. A Duplicate was for- 
 merly in the possession of Mr, Hickey, 
 
 2. Lord Palmerston at Broadlands, near 
 Romsey, Hampshire. Size about 2 feet 
 6 inches high, 3 feet 2 inches wide. 
 A duplicate was formerly in the posses- 
 sion of Dr. Newton, Bishop of Bristol, 
 and is now in the collection of Peter 
 Miles, Esq. of Leigh-court, Bristol. 
 This differs from the Print in the dis- 
 position of the Figures. 
 
 4. Etched by himself. 
 
 . In the Royal Gallery at Munich, 2 feet 
 
 5 inches high by 3 feet wide. A Du- 
 plicate was formerly in the possession of 
 Sir Robert Walpole, Earl of Orford, 
 Houghton, Norfolk, which was sold in 
 the Houghton Collection in 1779 to the 
 Empress Catherine of Russia, and then 
 valued at £1200. Now in the Hermitage 
 Gallery, St. Petersburgh. Size 3 feet 
 3 inches high by 4 feet 4 inches wide. 
 Engraved by Canot. 
 
 1, Sold in the Collection of Mons. Blon- 
 del de Gagny, 1776, £57. Chevalier 
 Erard, 1832, £244. Mr, Nieuwen- 
 huys, 1833, 390 guineas, Archibald 
 M'Lellan, Esq. Glasgow. Size 2 feet 
 
 6 inches high by 3 feet 2y inches wide. 
 
 8. Dr, Mead, Engraved by Vivares, 
 1741, Size 2 feet 1 inch high by 3 feet 
 2|- inches wide. 
 
 9. In the Louvre, valued by the Experts 
 duMusee, 1816, 40,000 francs. Etched 
 by the Artist, and Engraved in the 
 
 ■ PouUain Gallery, and in the Musce 
 Francois. Size 1 foot 8 inches high by 
 2 feet 4 inches wide. 
 
 10. In the Louvre. This Picture was sold 
 with the preceding in the collections of 
 the Countess de Verrue, 1737, 3350 
 francs; again, Mons. Blondel de Gagny, 
 1776, 11,096 francs; and Mons. dePoul- 
 lain, 1780, 11,003 francs. Size 1 foot 
 3^ inches high by 2 feet 3 inches wide. 
 
 1 1. Mr, D'Argenville, Secretaire du Roi ii 
 Paris, Sold in the Collection of Ben- 
 jamin West, P.R.A. 1831, 91 guineas. 
 Samuel Rogers, Es(j. Size 1 foot high 
 by 1 foot 6 inches wide. Octagon, 
 
 12. 
 
 13. In the Louvre, valued by the Experts 
 du M ust-e, 1 8 1 6, 1 00 ,000 francs. Size .1 
 feet 8 inches high by 4 feet 6 inches wide. 
 Engraved by Parboni, Willson, Ex)wry, 
 Chatalan, Vivares, and Haldewang. 
 
 14. In the Louvre, valued bv the Experts 
 du Musi:e, 1816, 1 20,000' francs. Size 
 3 feet 2 inches high by 4 feet 1 inch 
 wide. Engraved by Le Bas, 
 
 15. 
 
 rlnip mm iDMle from tbe PictoKv, tUhet daring tbt prosma or painting thttn, or ktXer thry wen c 
 buns P'*"' ^ Umm <m the Pktan, maj have uiMo fnND an error of tlic Artut, or tlic fkiura roaj 
 
 lh*7 were coinpleM. Tli« 
 
 r.1 1,^,^ 
 
[ 1-i ] 
 
 A Catalog'ue of One Hundred Prints contained 
 in Volume tJie First. 
 
 No. 
 
 17. A Sea Port, with Sailors occupied with 
 bales of Merchandize. 
 
 18. A Landscape, with Peasants driving 
 Cattle. 
 
 19. A View of a Sea Port during a bright 
 settingSun; three Men are on the shore, 
 one of whom carries a trunk. 
 
 20. A Landscape, with three Women driv- 
 ing a Herd of Cattle along a road, 
 
 21. A River Scene, with Men splitting 
 wood and loading a Boat. 
 
 22. View of a Perry, with a Peasant milk- 
 ing a Goat. 
 
 23. View of a River, with the Portico of 
 an antient Temple on its banks. A 
 Peasant playing on a Pipe sits on a 
 hillock in the middle of the foreground. 
 
 24. View of an Open Countrj', with a Cas- 
 cade and a bridge, Sportsmen shooting, 
 and the Artist seated drawing. 
 
 25. View of a Mountainous and richly 
 Wooded Country, with Peasants playing 
 on instruments of Music, and Goats 
 browsing. 
 
 26. A Sea Port during- a brilliant Sun-set. 
 In the foreground are Men busy with 
 casks and other merchandize, 
 
 27. Peasants driving Cattle. A Conflict 
 on a Bridge, and a distant View of the 
 Sea. 
 
 28. A Sea Port at Sun-set. Numerous 
 Persons are in the foreground. 
 
 29. View of a Sea Port, with the Portico 
 of a Temple on the left, and three Men 
 busy with Packages in the foreground. 
 
 30. A Sea Port, with two Ships of War 
 riding at anchor. Three Men in con- 
 versation in the foreground, 
 
 31. A Sea Port seen under the effect of a 
 brilliant Sun-set. In the foreground are 
 four Men raising logs of timber. The 
 Temple of the Sibyl on a distant Hill. 
 
 32. The Temptation of Saint Anthony. 
 The scene represents a ruined Building 
 and the Saint is looking fixedly at a 
 bright Light which breaks from above, 
 
 33. A Sea View during a Storm. A Ves- 
 sel wrecked on some Cliffs surmounted 
 by a Castle. 
 
 34. Peasants with Cattle attacked by Ban- 
 ditti on a road, traversed by a Bridge 
 and skirted by a Wood. 
 
 35. A Landscape, with a distant View of 
 the Lake of Albano and the Castle of 
 Gandolfo. In the foreground is a Youth 
 instructing a Girl to play on the pipe. 
 
 36. A rich Pastoral Scene with a Herd of 
 Oxen and Goats in the foreground. A 
 party of nine Villagers under the shade 
 of some Trees, 
 
 37. A Hunting Party passing along the 
 foreground of a Landscape, among them 
 are two Ladies and a Gentleman on 
 horseback. 
 
 38. A Reposo of the Holy Family, repre- 
 sented in a beautiful Landscape, The 
 Virgin holding the Infant sits on the 
 bank of a river and an Angel is minis- 
 tering to him. 
 
 Fox whom, or what Places, and when the Pic- 
 tures from these Drawings were painted. 
 
 No. 
 
 17. Paris. 
 
 18. Paris. 
 
 10. Mr. Perchat at Paris. 
 
 20. Paris. 
 
 21. Naples. 
 
 22. Ditto. 
 
 23. Mr. Guefc. 
 
 24. Naples. 
 
 25. Mr. Guefe. 
 
 26. Paris. 
 
 27. Le Secretaire du Marquis Queuse. 
 
 28. Cardinal dc Medici. 
 
 29. Turin. 
 30. 
 
 01. Cardinal Giorio. 
 
 32. King of Spain, 
 
 33. Duke of Bracciani. 
 
 34. Cardinal Rospigliosi. 
 
 35. Pope Urban VIIL 
 36. 
 
 37, 
 
 38, Cardinal Giorio. 
 
 The late, or present Possessors of the Pictures ; 
 with the Sizes, and the Prices for which they 
 have at various times hecn sold, or valued, and 
 the names of their Enghavebs. 
 
 No. 
 
 ]7. 
 
 18. Duke of Portland. Size 1 foot high 
 
 by 2 feet wide, 
 19, 
 
 20. Etched by the Artist. Sold in the 
 Collection of Willett Willett, Esq. 
 1813. 221 Guineas. 
 
 21. Monsieur Danoot, Brussels. Sold in 
 that Gentleman's Collection, 1828, for 
 700 florins. 
 
 22. 
 
 23. Mr. Dunois, Secretary of the King at 
 Paris, now in the Collection of the Earl 
 of Leitrim, in Ireland. 
 
 24. 
 
 25. Paul Methuen, Esq. Sold with the 
 Companion, No. 78, in 1843, to Henry 
 Ilolford, Esq. for 363,000. Engraved 
 by Peake. Size 3 feet 1 inch high by 4 
 feet 3i inches wide. 
 
 26. 
 
 27. Charies Oldfield Bowles, Esq., in 
 1834, for sale at ^700. Size 2 feet 4 
 inches high by 3 feet 2^ inches wide. 
 
 28. In the Palazzo Pitti, at Florence, 
 worth £3000, Size 3 feet 4 inches 
 high by 4 feet 4 inches wide, 
 
 29. 
 
 30. 
 
 31. Marquis of Bute, Size 2 feet 2^ inchi 
 high by 3 feet 2 inches wide. 
 
 32. Encurial Palace, 
 
 33. Etched by the Artist with variations 
 
 34. Sold in the Collection of the Earl of 
 Mulgrave in 1832 for 350 guineas. Size 
 2 feet 5^ inches high by 3 feet 3 inches 
 wide. Engraved by Volpato, omitting 
 the Assassin and his Victim. 
 
 35. The Barbarino Palace at Rome. 
 
 36. 
 
 37. 
 
 38. At Rome. A Duplicate was formerly 
 in the possession of Dr. Bragg. En- 
 graved by Volpato from a picture then 
 in the Doria Palace at Rome, see Nos. 
 88—154—187. 1 foot high by 1 foot 
 24 inches wide, Oval, 
 
A Cstalog;ite of One Hundred Prints contained 
 in Volume the Tiret. 
 
 No. 
 
 39. A Sequestered Seene traversed by a 
 River. A Herdsman sits at the foot of a 
 Tree playing on a bagpipe, while his 
 Goats browse near him. 
 
 40. A Landscape, with Sportsmen resting 
 in the shade of some lofty Trees and a 
 Peasant driving a Herd of Oxen and 
 Goats, (fee, i!tc. 
 
 41. A richly Wooded Landscape, with a' 
 group of three Herdsmen, a Herd of 
 goats and two oxen in the foreground, 
 &c. &c, 
 
 42. A Landscape traversed by a River, ' 
 beyond which is a Temple on a rising 
 ground. A Shepherdess listening to 
 the music of a pipe played by a Herds- 
 man is in the foreground. 
 
 43. View of a Sea Port, under the appear- 
 ance of a sultry afternoon. Magnificent 
 buildings adorn the left of the scene. In 
 the foreground are a Man and Woman 
 seated on some logs of Timber. 
 
 44. A Landscape, with a distant View of a 
 Sea Port, and a fortified Town, At the 
 foot of a bridge in the foreground is the 
 Artist (accompanied by two men) seated 
 drawing. 
 
 45. The Punishment of Marsyas, The 
 Scene represents a shady Grove occupy- 
 ing some rising ground on the right, 
 where the Mythological Subject is intro- 
 duced. 
 
 46. View on the Sea Coast, with a Build- 
 ing adorned with a high Tower in the 
 centre, and a Sporting Party on the 
 foreground. 
 
 47. A River Scene, embellished with the 
 subject of the Finding of Moses. In the 
 distance is seen a fenced City. 
 
 48. View of the Environs of Rome, em- 
 bracing the Colosseum and other noted 
 ruined Buildings. In the foreground are 
 four AYomen depositing a Body in a 
 Sarcophagus. 
 
 49. A Sea Port, adorned with elegant 
 Buildings and illuminated by the bril- 
 liancy of a fine Summer's Morning. St. 
 Paula with her Attendants is seen em- 
 barking, &c. 
 
 50. A Landscape, intersected by a noble 
 River, on the Banks of which is repre- 
 sented the story of Tobias and the 
 Angel. 
 
 51. Tnterior of a large Prison with the 
 subject of the Angel delivering St. 
 Peter. 
 
 5'2. A Hilly Countrj', intersected by Rivers. 
 In the foreground arc Herdsmen and 
 Cattle. 
 
 53. A beautiful Landscape, on the fore- 
 round of which are two Men and a 
 Voman playiiigoti Instruments of Music. 
 
 Goats mid Sheep browse in the sur- 
 routitling meadows. 
 
 54. Tlie Kmbarkation of St. Ursula and 
 her numerwuB Virgins. 'ITie Scene 
 exhibits a Sea Port, adorned with mag- 
 nificent Buildings, illuminated by a 
 brilliant Summer's Moruing. 
 
 [ 15 ] 
 
 For whom, or what Places, and when the Pictures 
 from these Drawings were painted. 
 
 No. 
 
 39. Nicolo Larche. 
 
 40. Mr. Dabij of Grenoble. 
 
 4L Naples. 
 
 42. Paris. 
 
 43. Cardinal Giorio ; dated 1644. 
 
 44. Mr. Porochet. 
 
 45. Mr. Perochet. 
 
 46. Pope Urban VTII. 
 
 47. King of Spain. 
 
 48. King of Spain. 
 
 49. King of Spain. 
 
 50. King of Spain. 
 
 5L Cardinal Giorio. 
 
 52. Cardinal Giorio. 
 
 53. Pielro Pcscatore. 
 
 04. On the back of the Drawing are 
 wntten Cardinal Paiili and Cardinal 
 Barberini. I'ainled in 1046. 
 
 Tile late, or present Possessors of the Picturea; 
 with the Sizes, and the Prices for which they 
 have at various times been sold, or valued, and 
 the names of their Engravers. 
 
 No. 
 
 39. 
 
 40. Sold in the Collection of Mons. Proley, 
 Paris, 1787, for 10,000 francs. Size 
 about 3 feet 3 inches high by 4 feet 4 
 inches wide. 
 
 41. 
 
 42. 
 
 43. Sold by Mr. Pannt; in 1800, and then 
 valued at £.5000. Purchased in 1823 of 
 the Executoi-3 of John Juhus Angerstein, 
 Esq. together with his entire Collection, 
 for the National Gallery, Size 3 feet 
 3 inches high by 4 feet 3 inches wide. 
 Engraved by E. Goodall. 
 
 44. Earlof Exeter at Burleigh. Etched by 
 the Artist. A Duplicate was put up at 
 sale by Mr. Christie in 1807, and knocked 
 down for £1995. 
 
 45. In the Palace of the Hermitage, St. 
 Petersburgh, 3 feet 3 inches high by 4 
 feet 4 inches wide. See also No. 95. 
 
 46. 
 
 47. A Picture representing the same view, 
 in which is introduced a reposo of the 
 Holy Family, corresponding with that 
 in No. 88, is in the possession of Lord 
 George Cavendish. 
 
 48. In the Royal Museum at Madrid. 
 
 49. In the Royal Museum at Madrid. Size 
 7 feet 51 inches high by 5 feet wide. 
 Spanish measure. 
 
 50. In the Royal Museum at Madrid. 
 See Nos. 65 and 160. 
 
 51. 
 
 52. Put up at sale in the Collection of 
 Prince Lucien Buonaparte, 1816, and 
 bought in at 410 guineas. Now in the 
 collection of Lord Ashburton. Size 2 feet 
 2 inches high by 2 feet )0 inches wide. 
 Etched by Claude and in the Lucien 
 Galler)-. 
 
 53. Marquis of Tavistock, 
 
 34. This Cbef-d*ccuvre of Claude, was suc- 
 ressivclv the property of John Locke, 
 iiati. Mr. Noel De'soiifans, and John 
 Julius Angerstein, Ks^. and now in the 
 National (mllerj-. Size 3 feet 8 inches 
 high by 4 feet I'l inches wide. Ltchtxl 
 by Dom Barriere, and Engraved by 
 FitUer. 
 
[ Ifi ] 
 
 A Catalogue of One Hundred Prints contained 
 in Volume the First. 
 
 No. 
 
 55. A Nymph and a Satyr, dancing to the 
 music of a pipe, and atamborine. 'Ihe 
 Subject is introduced in the foreground 
 of a Landscape, adorned with a beauti- 
 ful Temple. - 
 
 56. A Hilly Country, with a River in the 
 middle distance ; in the foreground are 
 three Females in conversation with a 
 a Herdsman and a Boy. 
 
 57. Tlie story of Diana and Actjeon. A 
 Mountainous Country, with a Cascade 
 streaming into a River. The Temple of 
 the Goddess on a distant hill. 
 
 58. The Vintage Gatherers. The Scene 
 represents a Hilly Country, with a lofty 
 entrance to a Temple at the side, part 
 of which is concealed by Trees. 
 
 59. A Landscape by Moonlight. Six Tra- 
 vellers with two Mules are in the 
 foreground, and two of the Men arc 
 seated by a blazing Fire. 
 
 60. The Flight into Egypt. A Landscape 
 with a River, traversed by a Bridge, near 
 which is a Herdsman looking at a Fisher- 
 man in the water. 
 
 6L A Sea Port, adorned with magnificent 
 Edifices. A Lady with two Attendants 
 and two Gentlemen are landing from a 
 boat. 
 
 62. Peasants driving Cattle over a Bridge. 
 The Scene exhibits a hilly Country with 
 rich clusters of Trees, beyond which are 
 Buildings on the summit of Rocks ; one 
 of them is the Temple of the Sybil. 
 
 63. The Landing of Cleopatra. The 
 Scene exhibits a noble Sea Port, into 
 which the splendid Galleys of the Queen 
 of Egypt have just entered, and she 
 has debarked with six Females and other 
 Attendants. 
 
 64, The Arcadian Shepherds. A Land- 
 scape adorned with beautiful Ruins, and 
 in the distance is seen a spacious Bay, 
 with Vessels riding at anchor, 
 
 65, Tobias and the Angel, The Scene is 
 distinguished by a River through which 
 a herdsman is driving his Cattle. 
 
 66. The Flight into Egypt. A hilly 
 Country with fine clusters of Trees, 
 beyond which are the Ruins of aTemple; 
 a square Euildiog with an archway is at 
 the aide. 
 
 67. A Peasant watering Cattle, and a 
 Sportsman passing a Bridge. View in 
 the environs of Tivoli, with the Temple 
 of the Sibyl, and other Buildings crown- 
 ing its heights. 
 
 68. Fishermen. A Landscape with abroad 
 River in the foreground, in which Fisher- 
 men are hauling their Nets. 
 
 69. Samuel anointing David King of 
 Israel, The Subject is composed of 
 many Figures assembled under the 
 Portal of a Temple. 
 
 For whom, or what Places, and wlien_ the^ Pic- 
 tures irom. these Drawings were 
 
 No. 
 
 A Gentleman at Venice. 
 
 57. Mr. Tardiffe, at Paris. 
 
 GO. Mr. Tardifi'e, Paris. 
 
 61. Mons. de Louchaine. 
 
 62. Mons. de Louchaim 
 
 G3. Cardinal Giorio. 
 
 66. Amsterdam. 
 
 07. Robert Gayer. 
 
 63. Monsr. de Louchaine. 
 69, Cardinal Giorio, 
 
 70. Herse and Aglauriis. The Scene 70. Monsig. Rospigliosi. 1668. 
 represents a Sea Port, with the Ruins 
 of a Temple among a cluster of Trees, 
 beyond which are the Remains of a 
 Colosseum. 
 
 71. The Trojan Women firing the Grecian 
 Fleet. The View exhibits a spacious 
 Bay, in which the burning Fleet is an- 
 chored, and on the distant Hills may be 
 perceived the Grecian Army. 
 
 71. Sig. Gieronimo Farnei 
 
 The late, or present Possessors of the Pictures; 
 with the Sizes, and the Prices for which they 
 have at various times heen sold, or valued, and 
 the names of their Eso ravers. 
 
 No. 
 
 6], A Picture representing the same View 
 with the subject of the Embarkation of 
 St.Paulo,is in the Collection of the Duke 
 of Wellington. Size about 1 foot 6 
 inches higli by 1 foot 3 inches wide. A 
 Duplicate is in the Dulwich Gallery. 
 
 63. The King of France, and now in the 
 Louvre. \'alued by the Experts du 
 Musee, 1816, 120,000 francs. Size about 
 4 feet 6 inches high, by 6 feet 6 inches 
 wide. Engraved in the Musee Francais. 
 
 64. Subsequently in the Collectionsof Lord 
 Scarborough, William Smith Esq. M.P. 
 now in the Collection of Count Pourtales, 
 Paris. Size 3 feet 3 inches high by 4 
 feet 3^ inches wide. 
 
 65. Subsequently in the Collections of the 
 Countess de Verrue, and Mons. Blondel 
 de Gagny. Sold in 1776, for 4030francs. 
 Size 1 foot 4 inches high by 1 foot 7^ 
 inches wide. 
 
 &). See Nos. 60—104—158. 
 
 69. The King of France. Now in the 
 Louvre : valued by the Experts du 
 Musee, 1816, 70,000,francs. Engraved in 
 the Musee Francais. Size about 4 
 feet 6 inches highby5 feetO incheswide. 
 
 70. Etched by Dom Barriere. 
 
 7L Subsequently in the Collection of Lord 
 Radstock; now in that of Abm.Robarts, 
 Esq. Size,3feet5inches high by 5 feet 
 wide. 
 
[ 17 ] 
 
 A Catalogue of One Hundred Prints contaiiiod in 
 Volume the First, 
 
 No. 
 
 72. A Storm, and Shipwreck on a bold 
 rocky Coast; many are engaged saving 
 the drowning Sailors. 
 
 73. St. George combating the Dragon. 
 The story is introduced on the fore- 
 ground of a hilly and densely wooded 
 Landscape. 
 
 74. A Sea View, during the prevalence 
 a Gale. 
 
 75. A Pastoral Scene, with Herds of 
 Cattle and two Herdsmen ; one of whom 
 is leaning on a staff and playing on a 
 pipe. 
 
 76. Jupiter under the form of Diana, 
 tempting Calisto. The subject is in- 
 troduced on some rising ground adjacent 
 to a grove. 
 
 77. Narcissus- and Echo. An Arcadian 
 Scene with a castellated Building in the 
 distance, beyond which is seen the 
 Ocean . 
 
 78. Priests offering Sacrifices within a 
 Temple embosomed with Trees, and 
 Herdsmen driving Cattle along the fore- 
 ground of the Scene. Sunset. 
 
 79. View in the Environs of Tivoli, with 
 the Temple of the Sybil on the acclivity 
 of a Hill. A Shepherd playing on a 
 pipe, and a Shepherdess listening to the 
 music. 
 
 80. Ulysses restoring Chryseis to the Priest 
 of Apollo. A Sea Port with a range of 
 magnificent Buildings on one side, and 
 a noble Palace on the other. A brilliant 
 Sunset. 
 
 81. A Landscape with Peasants and Cattle 
 passing a Ford. 
 
 82. A beautiful Landscape interspersed 
 with various celebrated Roman rains. 
 In the foreground are two Women hold- 
 ing a restive Goat in a Stream, and a 
 Herdsman sitting on a Bank. Glowing 
 Sunset. This very splendid Picture is 
 known under the appellation of the 
 Decline of the Roman Empire. 
 
 83. A Landscape with Peasants driving 
 
 Cattle through a River. 
 84 A View of a mountainous and rocky 
 
 Countrj' with a River flowing along the 
 
 foreground. 
 
 85. A Herdsman with four Oxen preparing 
 to ford a river. 
 
 86. Argus and lo. A Landscape adonied 
 with the remains of a temple and other 
 buildings and divided by a river. 
 
 87. A Shepherd and Shepherdess tending 
 Cattle, aiid Horsemeu galloping over a 
 distant bridge. 
 
 88. A Landscape with a reposo of the 
 Holy Family. 
 
 For wliom, or what PLicea, and when tlie Pic- 
 tures from these Drawings were painted. 
 
 No. 
 72. 
 
 73. Cardinal Pauli. 
 74. 
 
 75. Antwerp, 
 7G. Rome. 
 
 77. England. 
 
 78. England. 
 
 79. M. Pasari. 
 
 80. Prince de Liancourt. 
 
 81. Paris. 
 
 82. The name of Le Brun apparently 
 written by himself at the back of the 
 drawing. 
 
 83. Signor Gabriel Rensi. 
 84. 
 
 85. Rome. 
 
 86. Monseigneur di Massi. 
 
 87. Signor Terence. Rome. 
 68. Count Crescensi. 
 
 The Intc, or present PoaseHSors of the Pictures ; 
 with the Sizes, and the Prices for which thoy 
 hiwc at various times been sold, or valued, and 
 the N;iiuea of their Enoravbrs, 
 
 No. 
 
 72. 
 
 73, Subsequently in the possession of 
 Cardinal Antonio Barberini, Mons. de 
 Calonne, Edmund Antrobus, and the 
 late William Beckford, Esqs. from whom 
 it passed some years since. 
 
 74. 
 
 75„ 
 
 76. 
 
 77. Engraved, by F. Vivares, 1743, at 
 which time it was in the possession of 
 Mr. Delmi^. -Presented by Sir George 
 Beaumont, Bart, in 1825, with many 
 other fine pictures to the National 
 Gallery. Size 3 feet 1 inch high by 3 
 feet 11 inches wide. 
 
 78. Paul Methuen, Esq. Sold with the 
 Companion, No. 25. 1843, to Henry 
 Holford, Esq. for the reported sum of 
 £3000. Engraved by William Byrne, 
 1769. Size 3 feet 1 inch high by 4 
 feet 3 inches wide, 
 
 79. The King of France. 
 
 80. In the Louvre. Valued by the Experts 
 du Mus6e, 1816, at 80,000. frs. Etched 
 by Dom Barriere, 1664. Engraved in 
 the Musc'e Francais. Size about 4 
 feet 6 inches high by 6 feet 6 inches wide, 
 
 81. 
 
 82. Countess de Verrue. Sold with a 
 Companion, No. 122, by public auction 
 in 1736, for 8000 frs. or £320. This 
 picture alone would now be estimated 
 at £4000. Earl of Radnor, Longford 
 Castle, Size 3 feet 5 inches, by 4 
 feet 6 inches. Engraved by William 
 Woollett, 1772, Naudet has also 
 Engraved a Print, with the omission 
 of the Herdsman and other variations, 
 A duplicate differing in some of the 
 minor details, and of a smaller size, 
 was sold by Mr, Agar, to the Marquis 
 of Westminster. See No. 153. Size 
 2 feet 7 inches, by 3 feet 6 inches. 
 
 83. Engraved by Newton, 1777. 
 
 84. Duke of Marlborough at Blenheim. 
 
 85. 
 
 86. Humphrey Edwin, Esq, and now in 
 the collection of Lord Leicester at 
 Holkham. Engraved by T. Wood, 1746. 
 Size 3 feet 3 inches, by 4 feet 1 
 inch. 
 
 87. Duke of Kent. Now in the collection 
 of Lord Grantham. Size 3 feet by 4 
 feet 4 inches. 
 
 88. Sir William Lowther. See Nos. 
 38. 154. 187. 
 
[ 18 ] 
 
 A Catalogue of One Hundred Prints eontamcd 
 ill Volume the First. 
 
 No. 
 
 89. A Sportsman in conversation with a 
 Herdsman. View over a wide extent of 
 hilly country after sunset. 
 
 90 . The piping Herdsman, and his dancing . 
 Dog. A beautiful pastoral scene, divided 
 by a noble river traversed by a bridge. 
 
 91. Cephalus and Procris, The story is 
 introduced in the foreground of a rich 
 and admirably varied landscape. 
 
 92. Mercury driving away the Herds of 
 Admetus. A Landscape divided by a 
 river, and adorned with clumps of trees, 
 
 93- A Herdsman instructing a Shepherdess 
 to play on a pipe. This delightful 
 pastoral scene exhibits on the right some 
 high clifFs, surmounted by a castle. 
 
 94. The Judgment of Paris. The story 
 is introduced in the foreground of a 
 beautiful Arcadian scene. 
 
 95. The Punishment of Marsyas. The 
 story is introduced in the foreground 
 of a landscape, adjacent to a grove. 
 
 96. Two Warriors looking attentively at 
 a person in a Boat. The scene repre- 
 sents a Sea Port adorned with buildings. 
 Sunset. 
 
 97. St. John with a staff in his hand re- 
 clining under the shade of a clump of 
 trees. 
 
 98. A Herdsman watering his Cattle in 
 a stream bounded by a cluster of trees 
 and bushes. 
 
 99. Apollo and the CumEcan Sybil. The 
 latter sits on a fragment of a building 
 in the foreground of a beautiful land- 
 scape in which is perceived a distant 
 view of the Sea. 
 
 100. Cephalus and Procris. The lover 
 stands in agony over the wounded 
 Nymph, in the foreground of woody 
 landscape. 
 
 For whom, or what Places, and when the Pic- 
 tures from theae Drawings were painted. 
 
 No. 
 
 89. M. Passari. 
 
 90. Paris. 
 
 91. Paris. 1645. 
 
 92. Prince Panfillio. 
 
 93. Mr. Fontenay. 164.5. 
 
 94. Mr. Fontcnay. 1045. 
 
 95. L'Abbr JoHJ 
 
 96. Paris, dated 1646. 
 
 97. Mr. Gainar. 
 
 98. Sig. Giov. Lelio. 
 
 99. Monsig. de Massimo. 
 100. 
 
 The kte, or present Possessors of the Pictures ; 
 with the Sizes, and the Prices for which they 
 have at various times been sold, or valued, and 
 the Names of their Engravers. 
 
 No. 
 
 89. In the Royal Collection. Size 3 
 feet 1 inch, by 4 feet 3 inches. 
 
 90. Subsequently in the possession of 
 Richard Dingley, Esq. and now in 
 the collection of Lord Ashbumham, 
 at Battle. Engraved by J. Major, 1753. 
 Size 2 feet 4^ inches, by 3 feet 1 inch. 
 
 91. Purchased in 1823, of the Executors 
 of the late John Jidius Angerstein, Esq. 
 for the National Gallery. Size 3 feet 
 4 inches, by 4 feet 5 inches. 
 
 92. In the Doria Palace, Rome. Engra- 
 ved by Volpato. See Nos. 35 and 
 192. 
 
 93. Subsequently in the possession of 
 Thomas Walker, Esq, Sir Eliab Harvey, 
 and now in the possession of William 
 Lloyd, Esq. Engraved by Vivares. 
 Size 3 feet 3^ inches by 4 feet 4^ inches. 
 
 94. Monsr. Le Danois, and Monsr, Le 
 Viscount Fonspertius, 1745. 
 
 95. Subsequently in the possession of 
 Mr. Haye, Mr. Passart, Sir Thomas 
 Coke, and now in the collection of 
 Lord Leicester at Holkhara. Engraved 
 by J. S. Miiller. Size 3 feet II inches 
 by 5 feet 2| inches. 
 
 96. In the Louvre. Valued by the 
 Experts du Musce in 1816, frs. 
 100,000. Etched by Dom Barriere, 
 1660. Size 4 feet 6 inches by 6 feet 
 6 inches. 
 
 97. 
 
 9a 
 
 99. Earl of Orford, at Houghton. Sold 
 with the entire Collection to ihe 
 Empress Catherine of Russia, and now 
 in the Hermitage Palace. Engraved 
 in the Houghton Gallery. Size 3 feet 
 3 inches, by 4 feet ^ inch. 
 
 100. Presented by Sir George Beaumont, 
 Bart, with many other fine Pictures to 
 the National Gaileiy. Size 1 foot 
 3 niches, by I foot 7 inches. See Nos. 
 91 and 163. 
 
i. 
 
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