THE LAWRENCE GALLERY 
 
 Bmtij (grtibitioii. 
 
 June, 1836. 
 
 A CATALOGUE 
 
 OF 
 
 <Dne &unirrib Original Bracings 
 
 BY 
 
 RAFFAELLE, 
 
 COLLECTED BY 
 
 SIR THOMAS LAWRENCE, 
 
 LA.TE PRESIDENT OF THE ROYAL ACADEMY. 
 
 THIS EXHIBITION IS A PORTION OF HIS SPLENDID COLLECTION OF THE WORKS 
 
 OF THE GREAT MASTERS OF THE ITALIAN, GERMAN, DUTCH, FRENCH, 
 AND FLEMISH SCHOOLS ; CONSISTING OF THE CHOICEST 
 
 
 SPECIMENS OF 
 
 
 RAFFAELLE 
 
 ANDREA DEL SARTO 
 
 THE THREE CARRACCI 
 
 M. ANGELO 
 
 FRA BARTOLOMEO 
 
 CLAUDE 
 
 L. DA VINCI 
 
 POLIDORE 
 
 REMBRANDT 
 
 COREGGIO 
 
 ZUCCHERO 
 
 RUBENS 
 
 PARMIGIAN 0 
 
 TITIAN 
 
 VANDYCK 
 
 P. DEL VAGA 
 
 JULIO ROMANO 
 
 POUSSIN 
 
 PRIMAT1CCIO 
 
 ALBERT DURER 
 
 &c. &c. 
 
 FORMING TEN EXHIBITIONS, OF WHICH THIS IS THE NINTH. 
 
 At Messrs. Woodbvrn's Gallery, 112, St. Martin's Lane, 
 Charing Cross. 
 
 Admittance to each Exhibition One Shilling ,— Catalogue Sixpence. 
 Tickets of Admission during each Exhibition, Five Shillings. 
 
 HOURS FROM TWELVE TILL SIX 
 
thentic works of bis own band, is an advantage which the 
 most zealous artist or amateur might have dreamt of, hut 
 could not expect to see realized. 
 
 It is needless to enlarge on their vital importance to a com¬ 
 mercial nation like England, whose manufactures, as far as 
 depend on perfection of machinery and beauty of execution, 
 already far surpass the efforts of every Continental nation. 
 Whatever can tend to raise a higher feeling for Art, to gene¬ 
 rate a purer taste, and enforce a more correct design, must 
 necessarily tend to a fuller development of our commercial 
 energies, by extending more widely a better and more artist- 
 ical character to our productions, and where can the elements 
 of such a desirable object be so surely sought for, as in these 
 pure, genuine, classical, uninjured outpourings of the most 
 consummate of draughtsmen—the elegant, divine Raffaelle ? 
 
 The Proprietors regret that the chronological order is not 
 so perfect as they could wish ; for, owing to the size of some 
 of the drawings, they were obliged to put them in places which 
 do not agree with the period of their execution. 
 
 The highly interesting draft of a sonnet, in the hand¬ 
 writing of the divine Raffaelle, is on the back of No. 57, and 
 the small Landscape, copied for this catalogue, is on the re¬ 
 verse of No. 15. The present exhibition of One Hundred 
 Drawings is a selection, and by no means contains all the 
 finest. The collection amounts to about one hundred and 
 eighty in number, and will be sold for Fifteen Thousand 
 Pounds, which is considerably less than they cost the late 
 President. 
 
Copy of a Letter from Lieutenant-General Sir Herbert. Taylor, 
 G.C.B. fy G.C.H., Secretary to His Majesty, fyc. fyc. Sjc. 
 
 Windsor Castle, June 10, 183-5. 
 
 Sir, 
 
 I regret .that the continued pressure of business 
 lias prevented me from acknowledging earlier the receipt of your 
 letter of the 25th ultimo, enclosing a “ Catalogue of the First Ex¬ 
 hibition of the Lawrence Gallery,” and acquainting you that Iliad 
 the honor to submit them to the King. 
 
 His Majesty has ordered me to assure you of the satisfaction 
 with which he notices the steps you have taken to render by this 
 Exhibition, accessible to the Public, and available to Artists for 
 the purpose of Study, the valuable and important Collection of 
 Drawings by the Ancient Masters, formed by the late Sir Thomas 
 Lawrence; and, as an encouragement to your undertaking, and 
 with a view to promote one of its most essential objects. His 
 Majesty has been pleased to order me to send you Fifty Guineas, 
 to he applied to the gratuitous Admission of such Students of the 
 Royal Academy as may he desirous of availing themselves of this 
 facility to the Ten Exhibitions. 
 
 I have the honor to be. Sir, 
 
 Your most obedient humble Servant, 
 
 H. TAYLOR. 
 
 Samuel Woodburn, Esq. 
 
 At a General Assembly of the Members of the Royal Academy, 
 held at their Apartments in Somerset House, on the 25th 
 day of February, 1831,— 
 
 “ Being fully impressed with the value and importance of the 
 Collection of Drawings formed with so much care and skill by our 
 late distinguished President, Sir Thomas Lawrence ; and consider¬ 
 ing that its dispersion into private hands, or its transmission to the 
 Cabinet of some foreign Sovereign, would be a severe loss to the 
 Arts of our country, and a discredit to our national taste; con¬ 
 ceiving, also, that it is a duty of a body constituted as the Royal 
 Academy has been, for the guardianship and promotion of the 
 
6 
 
 Arts, to use such means as may be in their power for the preven¬ 
 tion of a result so much to be deprecated; the President and the 
 Members of the Royal Academy have resolved : 
 
 “ That in the event of a subscription being formed to purchase 
 the entire Collection of Drawings of the late Sir Thomas Lawrence, 
 the Royal Academy will subscribe One Thousand Pounds in aid 
 thereof, on the following conditions : 
 
 “ First, that the Collection be placed in the British Museum or 
 National Gallery, corresponding in every respect with the Catalogue 
 submitted to the Committee of Academicians appointed to examine 
 the Drawings. 
 
 “ Secondly, that the Drawings be so disposed of in the British 
 Museum or National Gallery, as to he rendered axcessible at all 
 convenient times to the public, and available to artists for the pur¬ 
 poses of study. 
 
 “ The Treasurer of the Royal Academy will be authorized by 
 the President and Council to pay to the Executor of the late Sir 
 Thomas Lawrence the above-named sum of One Thousand pounds, 
 when it shall have been certified to them by the Committee of 
 Academicians who have examined the Collection, and also by the 
 Officer of the British Museum or National Gallery, in whose 
 care it shall have been placed, that the above conditions have been 
 complied with. 
 
 “Extracts from the Minutes, 
 
 Copy. “ (By Order) H. HOWARD, R.A. Sec.” 
 
 List of Masters not yet Sold. 
 
 Sir P. P. Rubens 
 N. Poussin 
 F. Parmigiano 
 A. Coreggio 
 F. Primaticcio 
 Leonardo da Vinci - 
 Pierino del Vaga - 
 Fra Bartolomeo de St. Marco 
 Titian Vecelli 
 T. F. Zucchero 
 Andrea del Sarto 
 Polidore Carravaggio 
 
 No. of Drawings. 
 
 150 “ - 
 
 £3000 
 
 74 
 
 800 
 
 - 175 
 
 1500 
 
 60 
 
 1000 
 
 50 
 
 600 
 
 75 
 
 1500 
 
 85 
 
 300 
 
 - 430 
 
 1200 
 
 60 
 
 600 
 
 80 
 
 400 
 
 30 
 
 300 
 
 30 
 
 250 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/catalogueofonehuOOunse 
 
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THE LIFE OF 
 
 RAFFAELLE SANZIO DI URBIMO. 
 
 This glorious artist was born at Urbino, in 1483, the son of Gio¬ 
 vanni Sanzio, who was a painter of considerable talent. In his 
 youth the young Raffaelle showed such abilities, that at the age of 
 fifteen he was able to assist his father in several works which he had 
 to execute in that city. 
 
 The fame of P. Perugino being spread over Italy, and Giovanni 
 discovering the surprising genius of his son, it was resolved to place 
 him under that master, whom he very soon surpassed. His desire 
 to arrive at perfection, induced him to draw diligently from the best 
 antique statues ; and even at this early period he was at the expense 
 of sending commissions to the best students of Rome and Naples, 
 to copy for him any of the choice remains of the Greek sculpture 
 which adorned those cities. By these means, and a careful inspec¬ 
 tion of and study from the works of Lionardo da Vinci and Michael 
 Angelo, which he visited Florence on purpose to inspect, and also 
 through his making the acquaintance of Fra Bartolomeo, he so 
 improved his style, that the only remains of his early practise was 
 a certain divine expression of character, which seems to have been 
 inseparable from him. Thus he formed a manner of art full of 
 grace, dignity, and ease, superior to all others of his time, and 
 which has never been equalled since. 
 
 It is very remarkable that the works of this illustrious master do 
 not make that impression of surprise, even upon the feelings of per¬ 
 sons of acknowledged taste, unless they are considered with great 
 attention. It is confessed by Sir Joshua Reynolds, that he felt dis¬ 
 appointment on his first visit to the Vatican ; but that great man, 
 in his excellent Discourses, afterwards renders ample justice to the 
 transcendent powers of Raffaelle. It is possible that the amazing- 
 excellence of this master may account for this circumstance ; for the 
 
8 
 
 compositions and attitudes of the figures in his works are always so 
 true to nature, that the art which a spectator expects to see, is lost, 
 and becomes of secondary importance. 
 
 Having gone to Rome, through the interest of his relative Bra- 
 man te, he was most fortunately for the arts employed by Clement VII. 
 and Leo X. in the glorious work in the Vatican, which will ever be 
 the admiration of the world as long as civilization exists. By his 
 means, the art of painting was raised to the highest rank it ever 
 attained; and the excellent artists formed under his instruction, 
 spread the art all over Italy. This illustrious master died at the 
 early age of 37, in 1520. 
 
 It would be useless to endeavour to enter into a detail of the 
 astonishing abilities of this great man ; his superior claim over all 
 other artists to the admiration of the world, has been acknowledged 
 by all nations. So justly indeed is his fame established, that those 
 who are not so fortunate as to possess a feeling for the sublime art 
 of the school of Italy, are nevertheless, obliged to profess their belief 
 in this creed. 
 
 That the late Sir Thomas Lawrence was one of his most enthu¬ 
 siastic worshippers, was naturally to be expected : nothing short of 
 of an almost idolatrous admiration, could have induced him to form 
 such a collection as the present, and it will for ever reflect the highest 
 honour on the British School, that a President of its Academy 
 should have brought together the most splendid collection of the 
 drawings by this master which has ever been made; for although 
 many Princes and Governments have endeavoured to collect his 
 works, yet there exists nothing to compete with the Lawrence Gal¬ 
 lery of Raffaelle, in Europe. 
 
A CATALOGUE, 
 
 ETC. ETC. 
 
 Ninth Exhibition. 
 
 RAFFAELLE. 
 
 1. Portrait of Raffaelle —in a cap, about the age of four¬ 
 teen ; on the reverse an anatomical study of the male figure, 
 carefully drawn with the pen, in his youth, probably about the 
 same period this highly interesting portrait was executed; which 
 is carefully finished, and delicately shadowed in black chalk in the 
 face, and the cap and drapery slightly marked in outline. This 
 invaluable drawing is engraved in the Italian School of Design. 
 
 Size, I2i inches by 7\ inches. From the Collection of 
 IV. Y. Ottley, Esq. 
 
 2. The Annunciation —a most elegant drawing for one of the 
 predellas now in the Vatican. This charming drawing has served 
 Raffaelle for the picture; it is pricked with a needle on the out¬ 
 line, to trace it on the pannel preparatory to painting it. He was 
 then aged 18. Most interesting and valuable. 
 
 Size, 16f inches by lli inches. From the Collection of 
 IV. Y. Ottley, Esq. 
 
 3. St. Martin on horseback —dividing his cloak ; a very 
 interesting and curious drawing, carefully finished with the pen, 
 in the style of P. Perugino, and probably one of the earliest works 
 after he had become his disciple ; on the reverse is a highly finished 
 drawing of the baptism of our Saviour, by P. Perugino. 
 
 Size, 11 inches by 8i inches. From the Collection of 
 Count Baylione, of Perugia. 
 
to 
 
 .A H< >ly Family— and adoration of the shepherds; the 
 Infant Christ is held by an angel on a saddle in the centre, and 
 the Virgin and St. Joseph kneel in adoration on each side. 
 Behind St. Joseph are two shepherds, and on the opposite side a 
 building, an ass, and a cow. This elegant composition is care¬ 
 fully drawn with the pen and bistre, and is the identical model 
 used by Raffaelle, in painting the picture now existing in the Gal¬ 
 lery of the Pope. It is also engraved in the Italian School of 
 Design. Of the highest interest. 
 
 Size, 10i inches bxj 7i inches. From the Collection of 
 IV. Y. Ottley, Esq. 
 
 5. A group of four warriors —with halberts; a study for 
 part of one of the celebrated frescos which, in conjunction with 
 B. Pinturicchio, he executed in the Duomo of Sienna, admirably 
 sketched with a metal point, on a grey ground. This exquisite 
 study is copied in the School of Design. 
 
 Size, 9 inches by 8J inches. From the Collection of 
 W. V. Ottley, Esq. 
 
 6. A Saint on his knees —probably intended as a St. Stephen. 
 An admirable study, tastefully drawn with the metal point, on a 
 prepared ground ; full of character. Engraved, and described with 
 due encomium, in the Italian School of Design. 
 
 Size, 10j inches by 7 ± inches. From the Collection of 
 IV. Y. Ottley, Esq. 
 
 7. Portrait of the sister of Raffaelle —looking down¬ 
 wards ; probably in the character of the Virgin, for a Holy Family. 
 Tastefully executed with the metal point, on a prepared ground ; 
 on the reverse is an unfinished study of a youth. This admirable 
 drawing is engraved in the Italian School of Design. 
 
 Size, 101 inches by 7\ inches. From the Collection of 
 JV. Y. Ottley, Esq. 
 
11 
 
 8. Seven persons sitting at table —a very charming and 
 elegant design; skilfully sketched with the metal point, and height¬ 
 ened with white, on a prepared paper; full of expression. Capital. 
 
 Size, 13i inches by 9 inches. From the Collections of 
 Timoteo della Vite, and the Marquis Antaldi. 
 
 9. Portrait of his sister —half-length ; admirably drawn 
 with black chalk; probably before he had visited Rome. This 
 charming drawing is treated with the greatest simplicity and truth. 
 Highly interesting. 
 
 Size, 10i inches by 7£ inches. From the Collection of 
 W. Y. Ottley, Esq. 
 
 10. Portrait of the sister of Raffaelle— a most capital 
 drawing, executed in black chalk. Superb. 
 
 Size, 16 inches by 10 inches. From the Collection of 
 W. Y. Ottley, Esq. 
 
 11. Study —from the celebrated antique called the Torso of 
 Michael Angelo. This most admirable drawing is executed in red 
 chalk, and is one of the finest studies by this great master. Superb. 
 
 Size, 16| inches by 9| inches. From the Collection of 
 the Chevalier Vicar. 
 
 12. The Virgin and Child —treated with the utmost sublimity 
 and grace. This very interesting study is executed with the pen 
 and bistre, and apparently about the period he was breaking 
 through his first manner. The drapery is sketched with freedom 
 and' grandeur, and yet partakes of the Perugino style. A highly 
 interesting drawing. 
 
 Size, 8i inches by 5f inches. From the Collection of 
 W. Y. Ottley, Esq. 
 
 13. The Virgin and Child —seated on a throne, richly 
 adorned with architectural ornaments; on one side is an apostle, 
 with the Scripture in his hand. This admirable drawing is a 
 
model for an altar-piece, and is tastefully executed with the pen, 
 in the commencement of his second manner. Capital. 
 
 Size, inches by 6i inches. From the Collections of P. H. 
 
 Lankrinck, Esq. and Date son Turner, Esq. of Yarmouth. 
 
 14. Nymphs and Tritons —a very elegant design fora chased 
 silver dish ; admirably drawn with the pen, in his finest manner; 
 in perfect preservation. Superb. 
 
 Size, 14£ inches by 9 inches. From the Collection of 
 the Chevalier Vicar. 
 
 15. Two small landscapes —on the reverse of the bottom 
 one is another equally beautiful with those seen. They are most 
 tastefully touched with the pen, and are almost unique in point of 
 subject. They have frequently been copied; and Sir Thomas 
 Lawrence had purchased from Mr. Cosway’s Collection one of 
 these copies, despairing of obtaining the original,—which, however, 
 he afterwards acquired among those sent from Vienna, engraved in 
 the Cabinet du Roi. 
 
 Size, 6i inches by 2| inches. In the bottom ones, 8i inches by 2|. 
 From the Collections of Vasari, M. Crozat, <5f the Count de Fries. 
 
 16. Study of monks —with books in their hands, heads of 
 lions, &c. executed during his residence at Florence, and having 
 somewhat of the taste of L. da Vinci. This very interesting sketch 
 is drawn with the metal point, on a prepared paper, and is touched 
 with the utmost spirit and feeling. 
 
 Size, 101 inches by 8| inches. From the Collection of 
 the Chevalier Vicar, of Rome. 
 
 17. The Entombment of our Saviour —attended by the 
 three Maries, and other Saints; an admirable composition of eight 
 figures. The crosses may be seen in the distance. 
 
 This admirable design was executed soon after he had quitted 
 P. Perugino. The characters are replete with expression of grief. 
 It is drawn with the pen and bistre, heightened with white. 
 
14 
 
 the time he visited Florence. The head for the St. Joseph, which 
 is represented kneeling in the picture, has, in this study, a great 
 resemblance of his relative Bramante. It is also highly curious 
 and satisfactory to observe the slight outline behind the Virgin, to 
 mark the circle which he adhered to in painting it, although the 
 disposition of the figures all vary from the picture. Admirably 
 drawn with the metal point, on prepared paper. 
 
 Size, 9 inches by 6 inches. From the Collections of 
 the Marquis Legoy, and Thomas Dimsdale, Esq. 
 
 22. The Virgin and the Apostles —mourning over the 
 dead body of our Lord ; the three Maries and other figures attend¬ 
 ing. A fine composition of ten figures, admirably drawn with the 
 pen and bistre ; full of expression ; in the second time of this great 
 Master. Very fine. An idea for the celebrated Borghese Picture. 
 
 Size, 8i inches by 7i inches. From the Collection of 
 the Baron de Non, of Paris. 
 
 23. The Apostles bearing the dead body of our Lord 
 to the sepulchre —accompanied by the Maries, one of whom 
 is kissing the hand of the Saviour. A most admirable composition 
 of nine figures, beautifully drawn with the pen ; on the reverse is 
 a very careful model for the Abraham, in the composition of the 
 Offering his son Isaac. This splendid drawing is about the period 
 he painted the celebrated picture formerly at Perugia, and now in 
 the Borghese Palace at Rome. Superb. 
 
 Size, 12+ inches by 9J inches. From the Collections of 
 M. Crozat, the Marquis Legoy, and T. Dimsdale, Esq. 
 
 24. The Virgin fainting —supported by females; a study 
 for the splendid picture now in the Borghese Palace at Rome. 
 This fine group is freely drawn with the pen. 
 
 Size, 1 1 i inches by 8 inches. From the Collections of 
 T. della Vita, and the Marquis Antaldi, of Pesero. 
 
15 
 
 25. A MOST INTERESTING STUDY FOR THE SAME GROUP — 
 the heads separately placed. This drawing is invaluable, as illus¬ 
 trating the process of the labours of this illustrious Master. The 
 Virgin and the other figures are represented as skeletons, in order 
 to make himself throroughly acquainted with the anatomy of the 
 figure. It is very probable that he did a third drawing of this 
 group, with the figures unclothed ; but the present is the only 
 example known of his beginning with the skeletons, which Vasari 
 and some other writers mention his having done, very possibly 
 from having seen this identical study. 
 
 Size, 12 inches by 8 inches. From the Collection of 
 the Marquis Antaldi, of Pesero. 
 
 26. The Maries lamenting over the dead body of our 
 Saviour —a most magnificent drawing, executed with the pen ; 
 full of expression, and of the first importance, consisting of eight 
 figures engraved by Agricola, when in the possession of the Count 
 de Fries. Superb. A design for the celebrated Borghese Picture. 
 
 Size, 151 inches by 13i inches. From the Collections of 
 Mariette, Zanetti, and the Count de Fries. 
 
 27. Study —of three figures for the celebrated drawing. No. 23, 
 representing the Saviour carried to his tomb. This study is most 
 interesting, as proving the care of this illustrious Master in pre¬ 
 paring for his pictures. The figures in the present drawing are 
 unclothed, in order to mark the anatomy with correctness; and 
 the situation of the body of our Lord is slightly indicated in red 
 chalk. This highly interesting drawing is executed with the pen 
 and bistre ; it is unfortunately damaged at the top. 
 
 Size, 1 li inches by 9f inches. From the Collections of 
 T. della Vite, and the Marquis Antaldi. 
 
 28. A sheet of studies —the Deposition of our Lord, the 
 splendid picture now in the Borghese Palace in Rome. At the 
 lower part are two of the apostles laying out the body, and above 
 are fcur heads and a hand, which form part of this magnificent 
 
work. The heads are full of expression, and the drawing is exe¬ 
 cuted entirely with the pen and bistre. A highly interesting and 
 capital study. 
 
 Size, 12 i inches by 8! inches. From the Collections of 
 T. della Vita, J\t. Bordage, Crozat, B. Constantine. 
 
 29. A female —with a vase on her shoulder, and another 
 assisting a man in lifting a weight on his shoulder; the subject 
 unknown. This admirable drawing is freely sketched with the pen 
 and bistre ; the figures are most correctly drawn, and are unclothed. 
 Capital. 
 
 Size, 11 inches by 8i inches. From the Collection of 
 Count Baglione of Perugia. 
 
 30. The death of Adonis —he is represented dead, and car¬ 
 ried by three men ; Venus is in the centre, lamenting over him. 
 Freely sketched with the pen; full of character. On the reverse 
 is the celebrated study of Adam, for the subject of the famous 
 engraving by M. Antonio Raimondi. Both these interesting draw¬ 
 ings are engraved in the Italian School of Design. 
 
 Size, 13 inches by IQi inches. From the Collections of 
 Crozat, Mariette, and H. Fuseli, Esq. 
 
 31. Three musicians —a female touching the harp, and two 
 men, one playing a small violin, the other blowing a sort of wind 
 instrument. It is singular that the harp and violin are hardly 
 indicated. This drawing is most admirably sketched with the pen, 
 and is full of elegance and feeling ; on the reverse is a study for 
 the Deposition of our Saviour. 
 
 Size, 9-f inches by 1\ inches. From the Collection of W. Y. 
 
 Ottley, Esq. and engraved in his Italian School of Design. 
 
 32. The Virgin, the Infant Christ, and St. John —a 
 most elegant study for a Holy Family ; the figures are unclothed, 
 and the St. John very slightly marked in. The Virgin is seated, 
 and the most finished of the three figures. Behind is a sketch, in 
 
17 
 
 red chalk, of the drapery he intended for the Virgin. This highly 
 interesting drawing is executed in bistre wash. 
 
 Size, Sir inches by 7 inches. From the Collection of 
 the Marquis Antaldi, of Pesero. 
 
 33. A sheet of studies— chiefly for the very splendid pic¬ 
 ture formerly in the Aldobrandine Palace, and now in the collection 
 of William Beckford, Esq. This most admirable and charming 
 study presents the head of the St. Catharine, highly finished with 
 the pen, and also some studies of angels. On the reverse are 
 three several studies of the St. Catharine, in different positions, 
 but all varying from the painting. It is executed with the pen, 
 and is highly interesting. 
 
 Size, 11 inches by 7 inches. From the Collections of 
 B. West, Esq. P.R.A. and T. Dimsdale, Esq. 
 
 34. The Virgin, our Lord, and St. John —a most elegant 
 and charming design for a Holy Family ; freely drawn with pen 
 and bistre. Capital. 
 
 Size, 13 inches by 9f inches From the Collection of 
 the Duke of Alva. 
 
 35. The Virgin, the Infant Saviour, and St. John— a 
 charming design for a Holy Family ; the Virgin holds a book in 
 her hand, which is regarded with attention by the Saviour. This 
 drawing is freely sketched with the pen ; and notwithstanding it is 
 very slight in execution, the characters, particularly of the Christ, 
 are wonderful. 
 
 Size, 9 inches by 6J inches. From the Collections of 
 T. della Vita, and the Marquis Antaldi. 
 
 36. Marine monsters —a noble sheet of studies, executed 
 with the pen; engraved in the Italian School of Design. Superb. 
 
 Size, 16 inches by 9£ inches. From the Collections of 
 the Chevalier Vicar, and W. Y. Ottley, Esq. 
 
 c 
 
18 
 
 37. The Virgin, Child, and an Angel —this charming 
 sketch, a mere outline, possesses so much beauty, that there is pro¬ 
 bably no drawing existing so slight, of equal interest. The expres¬ 
 sions are fully rendered with a single touch of the pen, and the 
 composition is perfect. Highly interesting. 
 
 Size, 10 inches hi / 8|. From the Collections of T. della Vite, 
 M. Crozat, M. Mariette, Marquis Legoy, T. Dimsdale, Esq. 
 
 38. The Ascension of our Lord from the tomb —a mag¬ 
 nificent composition of several figures; admirably sketched with 
 the pen, and particularly valuable, as no painting is known of this 
 grand work. Superb. 
 
 Size, 16 inches by 14 inches. From the Collection of 
 the Duke of Alva. 
 
 39. Hercules — Gaulois, or Eloquence. This superb and 
 splendid drawing is copied in the Cabinet du Roi, and was pro¬ 
 bably executed with an idea of engraving. It is highly finished in 
 bistre, heightened with white ; and is one of the most important 
 drawings existing by this great Master. 
 
 Size, 9| by 9£ inches, circular. From the Collections of 
 T. delta Vite, Marquis Antaldi, M. Crozat, Marquis 
 Legoy, and Thomas Dimsdale , Esq. 
 
 40. The Apotheosis of the Virgin —a superb composition 
 of upwards of fifty figures. She is represented dead on a bier, 
 surrounded by the twelve Apostles, kneeling in adoration ; and 
 above in the clouds, seated, and crowned by our Saviour. This 
 magnificent composition is of the utmost interest and value, as no 
 painting of it exists. Pen and bistre wash, heightened with white; 
 in perfect preservation. Superb. 
 
 Size, 15 inches by 1 Of inches, arched at top. From the 
 Borghese Palace at Rome. 
 
 41. An Evangelist —largely draped ; whole length, holding 
 the Scriptures in his hand ; executed with a broad pen. A study 
 at the time he was painting in the Church of the Pace. 
 
 Size, I O f inches by 5i inches. From the Collection of 
 the Marquis Vinde. 
 
19 
 
 42. A study of elephants —evidently drawn from nature. 
 Tliis most interesting model was used byRaffaelle for his celebrated 
 picture, called The Battle of the Elephants. Executed in red 
 chalk ; highly finished. 
 
 Size, 12i inches by 8J inches. From the Collection of 
 the Chevalier Vicar, of Rome. 
 
 43. A Holy Family —and Adoration of the Shepherds; a 
 most admirable and charming composition of twelve figures; 
 drawn with the pen, and touched with surprizing spirit and truth. 
 This splendid design is engraved, and forms one of the principal 
 ornaments, in the Italian School of Design. 
 
 Size, 15J inches by lOi inches. From the Collections of 
 the Chevalier Vicar, and W. Y. Ottley, Esq. 
 
 44. Head of a man— -of very great expression ; carefully exe¬ 
 cuted with red and white chalk. Very fine. 
 
 Size, 8 jr inches by 6i inches. From the Collection of 
 the Chevalier Vicar. 
 
 45. Architectural subject —a design for a building, treated 
 with the utmost simplicity and grandeur ; on the reverse are seve¬ 
 ral studies for the same model. This drawing is of the highest 
 interest, on account of its being signed with the autograph of this 
 illustrious artist. 
 
 Size, 14i inches by 10 inches. From the Collection of 
 the Count de Fries. 
 
 46. Our Lord crowning the Virgin —they are seated on a 
 throne, with apostles on each side. Finely executed with the pen ; 
 full of character. Capital. 
 
 Size, 13|- inches by lli inches. From the Collections of 
 Mariette, M. Bordage, and Lempereur. 
 
 47. The Pest —well known to the amateur from the celebrated 
 engraving from it by Marc Antonio. This most splendid and 
 
20 
 
 matchless model is of the highest interest; it is executed with the 
 utmost delicacy, on a grey paper, heightened with white ; and is 
 one of the finest drawings in the Collection. 
 
 Size, 10 inches by 7f inches. From the Collections of King 
 
 Charles the First, of England, and T. Dimsdale, Esq. 
 
 48. A Holy Family —the Virgin, our Lord, St. John, and St. 
 Joseph. This admirable and most beautiful drawing is full of 
 character and expression ; the Infant Christ lays on his hack, and 
 the Virgin is kneeling, and regarding him with motherly affection. 
 Perhaps one of the finest figures in this most charming drawing 
 is the St. John, which is, for expression and elegance, truly won¬ 
 derful. It is executed in bistre, heightened with white. Superb. 
 
 Size, 9f inches by 7f inches. From the Collections of 
 M. Revil and Thomas Dimsdale, Esq. 
 
 49. Study —for the celebrated Vierge de Foligno, which is 
 engraved by the Baron Desnoyers. This invaluable study is exe¬ 
 cuted in black chalk, tinged with white, on blue paper. Superb. 
 
 Size, 15J inches by 104 inches. From the Collection of 
 the Chevalier Vicar. 
 
 50. Portrait of J. F. Penni —called II Fattore; disciple and 
 housekeeper of Raffaelle, and one of his executors. A noble head, 
 in a cap ; admirably drawn in black chalk, on a brown paper. 
 Capital. 
 
 Size, 154 inches by 94 inches. From the Collection of 
 the Marquis Vinde. 
 
 51. First idea for the celebrated Massacre of the 
 Innocents —which is engraved by Marc Antonio. This splendid 
 drawing is highly interesting; the figures are all undraped; and 
 the infant which in the engraving is represented dead near the 
 foreground, has been torn away by Raffaelle, who has, at the top 
 of the drawing, carefully designed the head only of this part of the 
 subject. Executed with the pen, with wonderful spirit. Superb. 
 
 Size, 14i inches by 94 inches. From the Collection of 
 the Chevalier Vicar. 
 
21 
 
 52. Venus —in the celebrated fresco at the Farnesina, repre¬ 
 senting the feast of the Gods. This very capital drawing is exe¬ 
 cuted in red chalk, of his best time. Capital. 
 
 Size, 12 inches by 84 inches. From, the Collection of 
 the Marquis Antaldi, of Pesaro. 
 
 53. Portrait of Raffaelle’s sister— a model for the 
 famous fresco of the Galatea; finely drawn in black chalk. Very 
 fine. 
 
 Size, 12 inches by 9 inches. From the Collection of 
 Lady Bentinck. 
 
 54. Fighting figures —or probably a design for the Rape of 
 Helen ; admirably drawn with pen and bistre. This very capital 
 drawing is copied, in small, in Picart’s Impostures Innocents, fol. 
 
 Size, 16i inches by 10 inches. From the Collection of 
 M. Verstegh. 
 
 55. Mercury and IIerse— a very fine study for one of the 
 angles in the Palazzo Farnesina. This fine study is highly finished 
 in red chalk. Capital. 
 
 Size, 12J inches by 8 inches. From the Collection of 
 the Earl of Arundel. 
 
 56. The Almighty —with extended arms; being the upper 
 part of the celebrated picture called the Five Saints, now at 
 Parma, which is engraved by Marc Antonio Raimondi. This 
 highly interesting study is executed in black and white chalk, and 
 is in perfect preservation. 
 
 Size, 8 | inches by 7 inches. From the Collections of C. Ploos 
 Van Amstel, M. Verstegh, and T. Dimsdale, Esq. 
 
 57. Various studies —for the celebrated School of Athens; 
 executed with the metal point, on a grey prepared paper. This 
 most valuable and curious drawing has, on the reverse side, a 
 
22 
 
 study for a sonnet, in the handwriting of this divine Master; a 
 fac-simile of which is added to the present Catalogue. 
 
 Size, Hi inches by 8i inches. From the Collection of 
 the Marquis Ant aid i, of Pesaro. 
 
 58. Two OF THE prophets— accompanied by angels, unfolding 
 the Scriptures. This magnificent drawing is executed with a broad 
 pen, evidently after Raffaelle had obtained, by means of Bramantc, 
 a sight of the frescos of Michael Angelo. Splendid. It is painted 
 in the Church of the Pace. 
 
 Size, 14i inches by 8 inches. From the Collection of 
 the Marquis Legoy. 
 
 59. Noah and his family— returning thanks to the Almighty 
 after the Deluge. They are kneeling in adoration, at the moment 
 when the Almighty points out the rainbow, whose sudden appear¬ 
 ance evidently engages the attention of Noah and the figure 
 behind him. A corner of the ark is seen, which completes the 
 composition of a subject of the grandest order of art, and which 
 may be esteemed perfect. 
 
 Size, 12| inches by 5.f inches. From the Collection of 
 M. Revil, of Paris. 
 
 60. One of the Sybils —in the Church of the Pace; a most 
 splendid and elegant figure, executed in red chalk, in the best time 
 of this illustrious Master. Superb. 
 
 Size, 144 inches by 7i inches. From the Collection of 
 Sir Joshua Reynolds. 
 
 61. A magnificent study of a female figure in the 
 Heliodorus —this admirable drawing is executed in black chalk, 
 and on the reverse is an equally important study for the same 
 picture; both these splendid designs are engraved in the Italian 
 School of Design. Superb. 
 
 Size, 16 inches by 11 inches. From the Collections of 
 Sir Joshua Reynolds and T. Dimsdale, Esq. 
 
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23 
 
 62. Alexander depositing the Iliad of Homer —a mag¬ 
 nificent design of sixteen figures, well known to the amateur from 
 the fine engraving from it by Marc Antonio Raimondi. Executed 
 in red chalk; in perfect preservation, and of his finest time. 
 Superb. 
 
 Size, 16f inches by 10 inches. From the Collections of 
 Sir Joshua Reynolds and M. Randon de Boisset. 
 
 63. The marriage of Alexander and Queen Roxana— this 
 most superb and splendid drawing is the original, which is copied 
 in the Cabinet du Roi: a painting in fresco exists in the Villa of 
 Raffaelle, near Rome. It is perfectly in the style of the antique, and 
 is executed with bistre, heightened with white ; carefully finished, 
 and one of the finest and most important drawings in existence by 
 this illustrious Master, described by L. Dolce, and then in the pos¬ 
 session of Count Malvasia. 
 
 Size, 13| inches by 9| inches. From the Collections of T. della 
 
 Vite, M. Crozat, the Marquis Legoy, and T. Dimsdale, Esq. 
 
 64. Study— for a great part of the School of Athens ; a most 
 valuable drawing, the figures undraped. Executed with a pen, and 
 highly finished; in fine preservation. This splendid drawing is 
 engraved in the Cabinet du Roi. Highly interesting. 
 
 Size, 16i inches by 11 inches. From the Collections of Crozat, 
 Mariette, Marquis Legoy, and Thomas Dimsdale, Esq. 
 
 65. Fighting men— a design for the victory over the Saracens 
 at Ostia. This splendid drawing is highly interesting ; the figures 
 are unclothed, and it differs from the fresco in many particulars. 
 It is executed with the pen, with surprizing truth and spirit; and 
 is engraved in the School of Design. 
 
 Size, 164 inches by 11 inches. From the Collections of 
 the Marquis Antaldi, and W. Y. Ottley, Esq. 
 
66. The Muse Melpomene —a study of one of the figures in 
 the Mount Parnassus. Admirably drawn with the pen, and 
 engraved in the Italian School of Design. 
 
 Size, 13f inches by 10 inches. From the Collection of 
 IV. Y. Ottley, Esq. 
 
 67. A noble sheet of studies —a draped figure, various 
 hands, and the portrait of Bramante, which is the most finished of 
 the whole. This splendid study is executed with the metal point, 
 on prepared paper; and the head of Bramante has a few touches 
 with the pen, which gives surprizing life and spirit to it. Superb . 
 
 Size, 161 inches by 11 inches. From the Collections of 
 the Chevalier Vicar, and IV. Y. Ottley, Esq. 
 
 68. The arrival of the Cardinal de’ Medici (Leo X.) 
 at Rome —attended by other dignitaries of the Church. He 
 is represented on a mule, and is received by a female crowned by 
 laurel, and also some senators in Roman dresses: the rivers Tiber 
 and Arno are symbolically represented. This splendid draw¬ 
 ing is most carefully executed with a delicate pen, washed with 
 bistre, and heightened with white. It is one of his finest draw¬ 
 ings, and was painted in fresco in the Vatican. Superb. 
 
 Size, 11 inches by 9i inches. From the Collections of 
 M. Zanetti, and the Baron De Non. 
 
 69. Sampson breaking the jaws of the lion —a most 
 bold and vigorous study with the pen ; full of expression, and in 
 surprizing preservation. 
 
 Size, 10{ inches by 101 inches. From the Collection of 
 Prince Borghese, at Rome. 
 
 70. Study —for two of the figures which are on the steps in the 
 celebrated School of Athens ; also the head of Medusa, introduced 
 on the shield of Minerva, in the same grand work. This very fine 
 study is carefully drawn with the metal point, heightened with 
 white, on a prepared paper. Capital. Engraved in the School of 
 Design. 
 
 Size, 1li inches by 8 inches. From the Collections of 
 the Chevalier Vicar, and W. Y. Ottley, Esq. 
 
25 
 
 71. Charity— a most charming and elegant design; a female 
 and three infants. This very capital design is executed in black 
 chalk, and most tastefully composed, at the best time of this illus¬ 
 trious master ; it is engraved. Capital. 
 
 Size, 12i inches oy 6 inches. From the Collections of 
 M. de Rover, and M. Revil. 
 
 72. Study —for the female carrying two vases with water, in the 
 celebrated Incendi del Borgo. This capital model is evidently 
 from the life ; she is unclothed, and in the art of stepping down a 
 stair. It is carefully drawn with the pen and bistre, heightened 
 with white ; and is engraved in the work called Pond's Imitations. 
 Capital. 
 
 Size, loi inches by 6,f inches. From the Collections of 
 Dr. Mead, A. Pond, Esq. and T. Dimsdale, Esq. 
 
 73. St. Cecilia and other Saints —the model for the cele¬ 
 brated picture executed by Raffaelle for the city of Bologna. This 
 superb and splendid drawing differs from the painting, and was 
 drawn by Raffaelle, to be engraved by Marc Antonio Raimondi. 
 The engraving is one of the best by this justly celebrated engraver, 
 but falls infinitely short of the beauty and elegance of the divine 
 original. It is one of the finest specimens existing by this Master, 
 and has more than once been sold for five hundred pounds ; highly 
 finished in bistre, heightened with white. Superb. 
 
 Size, 10f inches by inches. From the Collections of Count 
 Malvasia, Marquis Vinde, and T. Dimsdale, Esq. 
 
 74. Head of the horse of Hei.iodorus —this admirable car¬ 
 toon is inestimable. Mr. Ottley, in the School of Design, thus de¬ 
 scribes it :—“ The head of the horse, which was formerly preserved 
 in the Albani Palace at Rome, and is of such marvellous perfection, 
 that it can only be compared to the finest remains of ancient Greek 
 art.” Splendid. 
 
 Size, 27 inches by 21 inches. From the Collections of 
 the Cardinal Albani and IV. Y. Ottley, Esq. 
 
 D 
 
75. Portrait of Timoteo della Vite —a most superb car¬ 
 toon, tbe size of life. This magnificent drawing is probably the 
 finest specimen existing in portrait, and is very interesting, as it 
 never had been out of tbe family of this artist, who was the friend 
 and executor of Raffaelle. 
 
 Size, 2Of indies by 15 indies. From the Collection of 
 the Marquis Antaldi. 
 
 76. The suspended man —endeavouring to escape from the 
 fire; a superb model, evidently from the life, for the celebrated 
 Incendo del Borgo in the Vatican. This splendid study is exe¬ 
 cuted with a bold pencil and bistre, heightened with white. Very 
 capital. 
 
 Size, 16i inches by 9i inches. From the Collection of 
 the Baron de Non. 
 
 77. The Madonna with the fish— a study for the celebrated 
 picture now in the possession of the Crown in Spain. This superb 
 and splendid drawing is the original from which the print was 
 engraved ; and a comparison with this engraving will give ample 
 testimony ol the transcendent abilities of this illustrious artist. 
 It is drawn with bistre, and heightened with white. Superb. 
 
 Size, 10i inches by inches. From the Collection of 
 the Count Gelosi, of Turin. 
 
 78. The Saracens at Ostia —this most splendid study repre¬ 
 sents on each side of a sheet of paper groups of fighting men un¬ 
 draped; sketched with wonderful energy and freedom with the pen. 
 It is engraved in the Cabinet du Roi, and is one of the most 
 capital drawings existing by this great Master. 
 
 Size, I5i indies by I Of inches. From the Collections of T. della 
 Vite , Crozat, Mariette, and Brunet. 
 
 79. A warrior striding over a fallen foe— this magni¬ 
 ficent drawing is executed with a freedom and grandeur equal to 
 Titian or Michael Angelo. It is drawn with wonderful energy, 
 
27 
 
 in black chalk; and is a study for part of the celebrated fresco in 
 tbe Vatican, of the Victory over the Saracens at Ostia. Superb. 
 
 Size, 15i inches by 10| inches. From the Collection of 
 M. Daryenville. 
 
 80. Minerva and other figures —represented as statues ; 
 in compartments, arched at top. This study is highly finished 
 with the metal point, on a prepared paper, and heightened with 
 white. It was executed in the Vatican, being a study for part of 
 the ornaments in the School of Athens. Superb. 
 
 Size, 10-ii inches by 8 inches. From the Collections of 
 the Chevalier Vicar, and W. Y. Ottley, Esq. 
 
 81. Zoroaster and other figures —a fine study for the 
 School of Athens; executed in red chalk : full of character and 
 expression. 
 
 Size, 15i inches by 9-J inches. From the Collection of 
 J. Richardson, Esq. 
 
 82. One of the Apostles —in the dispute of the Sacrament; 
 a most superb study, with other sketches on the sheet. Executed 
 in black chalk, heightened with white. Most capital. 
 
 Size, 1-51 inches by 10g inches. From the Collections of 
 the Duke of Alva, and F. J. Duroveray, Esq. 
 
 83. Lot and his daughters departing from Sodom— 
 one of the designs for the Loggio. This superb drawing is care¬ 
 fully executed with the pen and bistre, heightened with white. 
 Capital. 
 
 Size, 11 inches by 8f. From the Collections of Christina, Queen 
 of Sweden, P. Crozat, Mariette, R. Willett, Esq. F. J. 
 
 Duroveray, Esq. and T. Dirnsdals, Esq. 
 
 84. A noble study of Bramante —evidently from life, with 
 various alterations for the body and legs ; most carefully drawn 
 with the metal point, on a red prepared paper. This splendid 
 
28 
 
 drawing is doubly interesting, as proving the interest which Bra- 
 mante took in the progress of the improvement of his illustrious 
 relative; and it forms one of the finest figures in the celebrated 
 School of Athens in the Vatican. Superb. 
 
 Size, Hi inches by 9i inches. From the Collections of 
 the Chevalier Vicar, and W. Y. Ottley, Esq. 
 
 85. Jacob’s dream —this surprizing drawing is one of the 
 finest in the Collection. Nothing can exceed the grandeur and 
 simplicity with which it is treated ; no figure that the art has 
 ever produced, represents with such nature and truth a sleeping 
 figure, as the Jacob ; he sleeps to the very end of his fingers. 
 The solitary bit of landscape, and the cloud on the other side, give 
 a splendid effect to the angels mounting the ladder; and they are 
 treated with such profound skill, that they truly represent aetherial 
 beings. It was executed in the Vatican. Superb. 
 
 Size, !0j inches by 7f inches. From the Collections of 
 Crozat, the Marquis Legoy, and T. Dims dale, Esq. 
 
 86. Joseph telling his dream —a most admirable and inte¬ 
 resting composition, one of the subjects executed in the Loggio of 
 the Vatican. This charming design is drawn with the pen, lightly 
 washed with bistre, on a red ground, heightened with white ; and 
 is full of expression. Superb. 
 
 Size, 10 inches by 8t inches. From the Collections of 
 the Chevalier Vicar, and T. Dimsdale, Esq. 
 
 87. The finding of Moses —a most beautiful and elegant 
 design, which was executed in the Vatican. This admirable draw¬ 
 ing possesses, in a high degree, the essence of the genius of its 
 illustrious author. Nothing can exceed the simple grandeur of 
 the composition ; the surprize and interest expressed, with a few 
 lines of the pen, in the group of the females, at the sight of the 
 infant Moses, could alone have been achieved by the hand and 
 mind of the divine Raffaelle. 
 
 Size, 1 If inches by 9i inches. 
 
 On the back is the following curious document: “ Queslo dissigno di 
 Raffaelle dcllc. Loggie Vaticaue donatomi dal Sig. Dottor Mead il 
 
29 
 
 giorno della mia partenza di Londra, li 13 Ottobre, 1721,—cui conser- 
 veio per tutto il corso di mia vita ; se al tempo di mia morte vive in 
 Rotterdam il celebre et eruditissimo Sig. Nicolo Ant. Flinck, famosa 
 dilletante de dessigni, intendo et obligo miei Fratelli o heredi forgli 
 travere snbito tale dessigni il quale prego ricceverlo per picciola rnemo- 
 ria, e convassegno della stima infinita che li proffesso e tale a la volunta 
 
 “ ANTONIO MARIA ZANETTI. 
 
 “ Rotterdam, di 5 Nov. 1721 . 
 
 “ Testimonio a quanto di sopra Giacomo Guyon.” 
 
 88. David and Bethsheba —one of the designs for the Log- 
 gio of the Vatican. This noble drawing is executed with the pen 
 and bistre, heightened with white, and is chequed to paint from. 
 Capital. 
 
 Size, 1Of inches by 8f inches. From the Collections of 
 R. Willett, Esq. and F. J. Duroveray, Esq. 
 
 89. The Israelites passing the Red Sea— one of the 
 designs for the Loggia of the Vatican. This highly important and 
 capital drawing is executed with the pen and bistre wash, height¬ 
 ened with white ; and is in perfect preservation. 
 
 Size, 1U inches by 8 inches. From the Collections of Crozat, 
 Willet, Esq. F.J. Duroveray, Esq. and T. Dimsdale, Esq. 
 
 90. Sporting boys —and other designs. This most charming 
 drawing is executed by Raffaelle, at the time he was employed in 
 the Arabesque ornaments of the Vatican. Nothing can exceed the 
 expression and taste of this very capital studv, which is executed 
 with the pen, and is engraved in the School of Design, together 
 with a very elegant figure at whole length, on the reverse side. 
 
 Size, 11 inches by 8 inches. From the Collection of 
 W. Y. Ottley, Esq. 
 
 91. Warriors fighting —a group of five figures, admirably 
 sketched in red chalk ; full of energy and spirit. This magnificent 
 drawing is a study for one of the basso relievos in the School of 
 Athens, and is engraved in the School of Design. Superb. 
 
 Size, 15 inches by 11 inches. From the Collections of 
 the Chevalier Vicar, and W. Y. Ottley, Esq. 
 
30 
 
 92. Leo the Tenth —the drapery for his celebrated portrait; 
 a drawing of the highest interest, admirably executed in black 
 chalk, on blue paper, lightly heightened with white ; in fine pre¬ 
 servation. 
 
 Size, 16i inches by 10f inches. From the Collection of 
 the Chevalier Vicar. 
 
 93. The upper part oe the celebrated Dispute of the 
 Sacrament —consisting of thirteen figures ; admirably drawn with 
 bistre, heightened with white. Capital. 
 
 Size, 16 inches by 9| inches. From the Collections of 
 Mariette, Marquis Legoy, and T. Dimsdale, Esq. 
 
 94. The Almighty —surrounded by angels ; a design for the 
 subject of the Burning Bush. This superb drawing is treated 
 with the grandeur of Michael Angelo, and is most boldly sketched 
 with the pen; in the finest preservation. On the reverse is a study 
 from the antique, of a female, largely draped. Superb. Engraved 
 in the School of Design. 
 
 Size, 16i inches by 11 inches. From the Collections of 
 the Chevalier Vicar, and IF. Y. Ottley, Esq. 
 
 95. Attila —a subject of one of the celebrated fresco executed 
 in the Vatican. 
 
 This drawing is particularly interesting and valuable, as it differs 
 materially from the subject he painted : it is probably his first idea. 
 
 This important drawing is executed with bistre, heightened with 
 white. Capital. 
 
 Size, 14i inches by 8| inches. From the Collection of 
 Dawson Turner, Esq. 
 
 96. The head of St. Peter —a most magnificent study from 
 nature, for one of the principal figures in the celebrated Transfigu¬ 
 ration. It varies from the picture, as this model is represented 
 bald ; but Xlaffaelle has slightly sketched the curled locks which he 
 introduced in the finished picture. This splendid drawing is exe- 
 
31 
 
 cuted in the boldest manner, with black clialk, and is of the highest 
 interest. 
 
 Size, 15| inches by 13| inches. 
 
 A present from His Grace the Duke of Devonshire to the late Pre¬ 
 sident. On the back is written : “ From the Duke of Devonshire to 
 Sir Thomas Lawrence. June, 1828.” 
 
 97. The Defeat of the Saracens at Ostia —amostsplen- 
 did and highly interesting model for one of the celebrated frescos 
 he executed in the Vatican. 
 
 This capital drawing is particularly valuable, as it differs mate¬ 
 rially from the treatment of the subject he painted ; it is very care¬ 
 fully drawn with the pen and bistre, heightened with white. 
 Superb. 
 
 Size, 25 inches by 16i inches. From the celebrated Collection 
 of Count Malvasia. 
 
 98. Two swimming figures —for the celebrated Battle 
 of Constantine; executed in black and white chalk, on brown 
 paper; highly interesting. As Raffaelle did not live to finish this 
 work, it was painted after his death by his scholars, from his Car¬ 
 toons. 
 
 Size, 14i inches by 10J inches. From the Collection of 
 the Duke of Alva. 
 
 99. A noble Study —of the head of one of the Apostles in the 
 centre of the Transfiguration. This fine drawing is full of cha¬ 
 racter, and is executed in black chalk. Capital. 
 
 Size , 10| inches by 8 inches. From the Collection of 
 M. de Rover, of Rotterdam. 
 
 100. Study —of the upper part of the kneeling female, in the 
 foreground of the Transfiguration. This splendid and very inte¬ 
 resting study is executed with black chalk, in a careful manner, and 
 is heightened with white. Superb. 
 
 Size, 13 inches by 9i inches. From the celebrated Collection 
 of M. Flink. 
 
 On the back is written: “ From the Duke of Devonshire to Sir 
 Thomas J_,awrence. June, 1828.” 
 

 
 
 
 
 
 
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