CATALOGUE / 7 4 OF THE PAINTINGS, STATUARY IN MARBLE, CASTS IN PLASTER, BOOKS, PRINTS, ETC. THE PROPERTY OF THE PENNSYLVANIA ACADEMY OF THE FINE ARTS, PHILADELPHIA. 1 8 6 4. PHILADELPHIA: COLLINS, PRINTER, 705 JAYNE STREET. 1864. * OFFICERS OF THE PENNSYLVANIA ACADEMY PRESIDENT. CALEB COPE. DIRECTORS Jas. R. Lambdin, Geo. S. Pepper, Samuel Welsh, M. W. Baldwin, Joseph Harrison, Jr., Franklin Peale, \ Wm. Struthers, A. May Stevenson, John T. Lewis, John Sartain, James L. C lag horn, George Whitney. John T. Lewis, Recording Secretary. John Sartain, Corresponding Secretary. Wm. Struthers, Treasurer . COMMITTEE ON ACADEMY PROPERTY FOR 1864-’65. Franklin Peale, William Struthers, John Sartain. Joseph John, Curator. Clementina G. John, Janitress. Jonathan Miller, Messenger and Picture Hanger . ACADEMICIANS. Bailly, J. A. Moran, Thomas Bensell, George F. Neagle, John Broome, Isaac Richards, Wm. T. Brown, J. Henry Rothermel, Peter F. Conarroe, Geo. W. Sartain, John Furness, Jr., W. H. Sartain, Samuel Hamilton, James Schussele, Christian Lambdin, George C. Smith, Russell Lewis, Edmund D. Sully, Thomas Mason, W. Sanford Waugh, Samuel B. Moran, Edward Winner, W. E. ASSOCIATE MEMBERS, From among whom two additional Academicians are chosen annually. Bispham, II. C. Macneir, A. E. Blauvelt, Ch. F. Marchant, E. D. Boutelle, D. W. C. Moran, Peter Cresson, W. E. Otter, Thomas P. Downing, S. Boardman Tettit, George W. Fennimore, Thomas J. Reed, R. IIeber Ferris, Stephen J. Richards, F. De Berg Fowler, Trevor T. Richards, T. W. Fussell, Ciias. L. Roberts, Howard IIarnisch, Carl Rockey, A. B. Helmick, Howard Smith, T. Henry Hewitt, William K. Street, Robert Holmes, George W. Weber, Paul Howell, J. B. Wilcox, William II. John, Joseph Williams, Isaac L. Jones, Wm. F. Wilson, Jeremy Knight, Daniel R. Wood, Geo. B , Jr. Logue, J. J. Wylie, Robert. COUNCIL OF ACADEMICIANS. r C. Schussele, President. Com. on j J. Hamilton, Exhibition. 1 Trios. Moran, L Geo. F. Bensell. P. F. Roteiermel, J. Henry Brown, Samuel Sartain, Sec. Com. on Instruction. HONORARY MEMBERS Achenbach, Andreas, Dusseldorf. Baker, Geo. A., New York. Bonheur, Bosa, Paris. Bossuet, F., Brussels. Boutelle, D. W. C., Bethlehem. Brown, Henry K., New York. Butterfield, Wm., London. Church, Frederick E., New York. Cope, Ciias. W., R. A., London. Cornelius, H., Berlin. Cousins, Samuel, R. A., London. * Crawford, Thos. G., Rome. Cropsey, J. F., New York. Cummings, T. S., New York. *Delaroche, Paul, Paris. Doo, Geo. T., R. A., London. Durand, Asher B., New York. *Dyce, Wm., London. Edmonds, F. W., New York. Elliott, Charles, New York. *Fielding, Copley, London. Frith, Wm. Powell, R. A., London. Gallait, Louis, Brussels. Gray, H. Peters, New York. Hart, Joel T., Florence. Huntingdon, Daniel, New York. Kensett, J. F , New York. Landseer, Sir Edwin, R. A., London. Leighton, F., London. Leutze, Emanuel, New York. Maclise, Daniel, R. A., London. May, Edward II., Paris. Mount, W. S., New York. *Mulready, W., R. A., London. Palmer, E. D., Albany. Powell, W. II., New York. Powers, Hiram, Florence. Rinaldi, Rinaldo, Rome. Roberts, David, R. A., London. Ruskin, John, London. Stanfield, Clarkson, R. A., London. Stearns, J. B., New York. Steinhauser, Carl, Rome. Terry, Luther, Rome. *Vernet, Horace, Paris. W ittkamp, J. B., Antwerp. Sir Charles Eastlake, President Royal Academy, London. John P. Knight, Secretary Royal Academy, London. F. Y. Hurlstone, Pres. Soc’y of British Artists, London. T. Roberts, Sec. Soc’y of British Artists, London. Frederick Tayler, Pres. Soc’y of Painters in Water Color, London. Joseph J. Jenkins, Sec. Soc’y of Painters in Water Color, London. Henry Warren, Pres. Institute of Painters in Water Color, London. James Fahey, Sec. Institute of Painters in Water Color, London. The Marquis of Westminster, Pres. British Institution, London. George Nicol, Sec. British Institution, London. W. Tite, M. P. Pres. Institute of British Architects, London. F. C. Penrose, Perpetual Sec. Institute of British Architects, London. * Deceased. 4 George Godwin, lion. Sec. Art Union of London. Lewis Pocock, Hon. Sec. Art Union of London. Henry Cole, Sec. and Gen. Sup. Science and Art Dep’t S. Kens. Museum, London. Sir J. Watson Gordon, R. A., Pres. Royal Scottish Academy, Edinburgh. D. 0. Hill, Sec. Royal Scottish Academy, Edinburgh. J. A. Bell, Sec. Assoc, for the Promotion of the Fine Arts in Scotland, Edinburgh S. Catterson Smith, Pres. Royal Hibernian Academy, Dublin. Rev. C. Graves, D. I)., Sec. Royal Hibernian Academy, Dublin. M. le Comte de Nieuwerkerke, Director Gen. of the Imp. Museums, etc., Paris. M. Beule, Perpetual Sec. Academy of the Fine Arts, Paris. Albert Lenoir, Perpetual Pres, and Sec. Imperial Art School, Paris. Prof. Eugene Simonis-Orban, Director Royal Academy, Brussels. A. Henne, Sec. Royal Academy, Brussels. Nicaise Dekeyser, Director Royal Academy, Antwerp. Gustave Kempeneers, Sec. Royal Academy, Antwerp. F. Koelmann, Director Academy of the Fine Arts, The Hague. G. Keller, Sec. Academy of the Fine Arts, The Hague. H. F. C. ten Kate, Pres. Soc’y Arti et Amicitiae, Amsterdam. H. J. Scholten, Sec. Soc’y Arti et Amicitiae, Amsterdam. Prof. Edward Bendeman, Director Academy of the Fine Arts, Dusseldorf. Prof. Rudolf Wiegmann, Sec. Academy of the Fine Arts, Dusseldorf. Prof. Charles Dage, Director Royal Academy, Berlin. 0. F. Gruppe, Sec. Royal Academy, Berlin Baron d’Olfers, Director-General of Art Museums, Berlin. Prof. Julius Schnorr, Director Royal Academy, Dresden. Prof. Julius Hubner, Sec. Royal Academy, Dresden. Wilhelm von Kaulbach, Pres. Royal Academy, Munich. Moritz Carriere, Sec. Royal Academy, Munich. Commendatore Luigi Ferrari, Pres. Academy of the Fine Arts, Venice. Cavaliere Giacomo Benetti, Sec. Academy of the Fine Arts, Venice. Prof Aristodemo Costoli, Pres. Academy of the Fine Arts, Florence. Cavaliere Niccolo Antinori, Sec. Academy of the Fine Arts, Florence. Commendatore Antonio Sarti, Pres. Academy of St. Luke, Rome. Cavaliere Salvatore Betti, Perpetual Sec. Academy of St. Luke, Rome. Cavaliere Cesare Dalbono, Director Institute of the Fine Arts, Naples. Gaetano Sabatino, Sec. Institute of the Fine Arts, Naples. CATALOGUE NORTH GALLERY. PAINTINGS. NO. SUBJECTS. ARTISTS. PROPRIETOR. 1 View near Hartford, Conn., . Doughty. Academy. 2 Ganymede, Jove’s Cup Bearer, Guido. do. 3 Portrait of a Youth, Unknown. do. 4 Portrait of Angelica Kauffman, Ang. Kauffman. do. 5 Edward L. Carey, .... Thos. Sully. do. 6 Farnese Hercules, .... C. B. Leslie. do. T Judith and Holofernes, . E. Jacobs. do. “Then Judith, standing by his bed, said in her heart, 0 Lord God of all power, look at this present upon the work of mine hands for the exaltation of Jerusalem. For now is the time to help thine inheritance, and to execute mine enterprises, to the destruction of the enemies which are risen against us. “ Then she came to the pillar of the bed, which was at Holofernes’ head, and took down his falchion from thence, and approached to his bed, and took hold of the hair of his head and said, Strengthen me, 0 Lord God of Israel, this day. “And she smote twice upon his neck with all her might, and she took away his head from him .” — Book of Judith , chap, xiii., v. 4 — 8. 8, Dead Man restored to Life by touch- Wash. Allston. ing the bones of the Prophet Elisha, “ And the bands of the Moabites in- vaded the land at the coming in of the year. And it came to pass, as they were burying a man, that, be- hold, they spied a band of men; and they cast the man into the sepulchre of Elisha : and when the man was let I down, and touched the bones of Eli- | sha, he revived.” — 2 Kings , xiii. 20. 9 Death on the Pale Horse . . Benj. West. Academy. do. Revelations , Chapter VI. — 1. And I saw when the Lamb opened one of the Seals; and I heard, as it were the noise of thunder, one of the four Beasts saying, Come and see. 4 2. And I saw, and behold a White Horse; and he that sat on him had a bow; and a crown was given unto him ; and he went forth conquering, and to conquer. 3. And when he had opened the second seal, I heard the second Beast say, Come and see. 4. And there went out another horse that was Bed ; and power was given to him that sat thereon to take peace from the earth, and that they should kill one another ; and there was given unto him a great sword. 5. And when he had opened the third Seal, I heard the third Beast say, Come and see. And I beheld, and lo, a Black Horse ; and he that sat on him had a pair of balances in his hand. 6. And I heard a voice in the midst of the four Beasts say, A measure of wheat for a penny, and three measures of barley for a penny ; and see thou hurt not the oil and the wine. t. And when he had opened the fourth Seal, I heard the voice of the fourth Beast say, Come and see. 8. And I looked, and behold a Pale Horse ; and his name that sat on him w r as Death, and Hell followed with him : And power was given unto them over the fourth part of the earth, to kill with sword, and with hunger, and with death, and with the beasts of the earth. y. And when he had opened the fifth Seal, I saw under the altar the souls of them that were slain for the word of God, and for the testimony which they held : 10. And they cried with a loud voice, saying, How long, 0 Lord, holy and true, dost thou not judge and avenge our blood on them that dwell on the earth ? 11. And white robes were given unto every one of them; and it was said unto them, that they should rest yet for a little season, until their fellow servants also and their brethren, that should be killed as they were, should be fulfilled. Description of the Picture. — Death on the Pale Horse (Rev., ch. vi. ver. 8) is re- presented destroying Man and all living things, in every direction. The Powers of llell follow on the clouds behind him. An image of the devouring mortality is seen in the sudden death of a young mother and her infant son. She is supported by her husband, who at the same time extends his arms, as it were, to stop the galloping of the Pale Horse. Her daughter, a beautiful child, in a pathetic attitude, endeavors to succor her. Everything shows this to be a family of rank. The destruction by wild beasts, is represented by a lion and lioness rushing upon a tumultuous group of men on horseback and on foot, who are endeavoring, in turn, to destroy their assailants. A wild bull is seen attacking the crowd behind, and tossing a youth in the air. The furions animal is himself assailed by the dogs. In the clouds, an eagle and heron are engaged in mortal combat ; and on the foreground, a dove lamenting over its dead mate. Near the bull, but somewhat further in the picture, a young man is struck dead by lightning, on the supposed day of his intended marriage ; his brother is supporting his lifeless body, and a young female, his intended bride, gazing wildly on him. A number of figures are seen in confusion, terror, and astonishmeut at this awful visitation. Over their heads the firmament is rent; the clouds are broken ; the thun- ders and lightnings let loose, and the heavens rolled together “as a scroll. ” (Rev., ch. vi. ver. 14.) The destruction by Famine is represented by a sallow, emaciated man, with a wrinkled visage and hollow eyes, on his knees, endeavoring to dig up some wild roots with his long nails, to appease the ravenous cravings of nature. His empty 5 cup lies beside him. Close to this, the destruction by Pestilence is figured by a woman with an expression of pain and malady in her wan countenance and crouching attitude. The destruction by War is represented by a figure in helmet and armor, mounted on a red horse, with his sword raised in the act of charging, and the clouds of battle rising before him. Near this scourge of the human race, a man mounted on a black horse, with the balances is seen. (Rev., ch. vi. ver. 5.) Christ, crowned, with a bow in one hand and a quiver at his shoulder, mounted on a white horse, is going forth “ conquer- ing and to conquer.” (Rev., ch. vi. ver. 2.) On the foreground beneath, the serpent lies with his head bruised, in fulfilment of the sacred word. The eyes of the Redeemer are fixed upon the souls of the martyrs, who are ascending in glory to heaven. (Rev., ch. vi. ver. 9.) This mysterious representation, which forms so beautiful a part of the picture, is introduced here as another emblem of the final accomplishment of the Christian dispensation at the last day. In the background, on this side of the picture, a Roman army appears on its march, loaded with the golden spoils of the Temple of Jerusalem, and driving along the Hebrew captives. On the still more remote sea-coast, a Christian fleet is seen, and the landing of the Crusaders to recapture the Holy City. The general effect proposed to be excited by this picture is the terrible sublime and its various modifications, until lost in the opposite extremes of pity and horror — a sen- timent which painting has so seldom attempted to awaken, that a particular description of the subject will probably be acceptable to the public. In poetry, the same effect is produced by a few abrupt and rapid gleanings of de- scription, touching, as it were, with fire, the features and edges of a general mass of awful obscurity ; but in painting, such indistinctness would be a defect, and imply that the artist wanted the power to portray the conceptions of his fancy. Mr. West was of opinion that, to delineate a physical form, which, in its moral impression, would approximate to that of the visionary Death of Milton, it was necessary to endow it, if possible, with the appearance of superhuman strength and energy : he has, therefore, exerted the utmost force and perspicuity of his pencil on the central figure. He has depicted the King of terrors with the physiognomy of the dead in a charnel-house, but animated almost to ignition with inextinguishable rage — placed on his head the kingly crown, and clothed the length of his limbs with a spacious robe of funereal sable. His uplifted right hand holds no sceptre, but is entwined with the Serpent, who first brought death into the world, and he launches his darts from both hands in all directions with a merciless impartiality. His horse rushes forward with the uni- versal wildness of a tempestuous element, breathing livid pestilence, and rearing and trampling with the vehemence of unbridled fury. Behind him is seen an insidious demon bearing the torch of Discord, with a monstrous progeny of the reptile World — “ All prodigious things, Abominable, unutterable, and worse Than fables yet have feigned, or fear conceiv’d, Gorgons, and Hydras, and Chimseras dire” — the Ministers of Hell, who had “power given to them over the fourth part of the earth, to kill with the sword, and with hunger, and with disease, and with the beasts of the earth.” The next character on the canvas, in point of consequence, is the Rider on the White Horse. As he is supposed to represent the Gospel, it was requisite that he should be invested with those exterior indications of purity, excellence, and dignity, which are associated in our minds with the name and office of the Messiah. But it 6 was not the Saviour, healing and comforting the afflicted, or “the meek and lowly Jesus,” bearing with resignation the scorn and hatred of the scoffing multitude, that was to be represented — it was the King of kings, going forth “conquering, and to conquer,” to bruise the head of the Serpent, and finally to put all things under his feet, lie is, therefore, painted with a solemn countenance, expressive of a mind filled with the thoughts of a great enterprise; and he advances onward in his sublime career with that serene majesty in which Divine Providence continues, through the storms and commotions of the temporal world, to execute its eternal purposes. He is armed with a bow and arrows, the force and arguments of Truth, and leaves behind him, as passing vapor, all those terrible tumults and phantoms which make up the auxiliaries and retinue of Death. At the first view, he seems to be only a secondary character ; but on considering the business of the scene, it will be obvious that he is the Great Leader, and that all the others but follow in his train, and carry into effect the inferior objects of his heavenly mission, as he goes toward that glorious region in which appear “the souls of them that were slain for the word of God, and for the testimony which they held.” The third of the apocalyptical characters is the Rider on the Red Horse. Mr. West has represented him simply as a warrior armed with “ the great sword.” He is advancing in the same direction as the Messiah, thereby intimating that those wars which have accompanied the progress of the Christian religion, and of which he is the type and emblem, are a part of the divine scheme for effectually diffusing it throughout the whole earth. It will be observed, that the horse in this instance is caparisoned as a war horse ; but those of Death aud the Messiah are without reins, being guided only by the will of their riders. The prophetic vista beyond this character shows, in one division, the Romans under Titus returning with the spoils of Jerusalem, and in the other, the Crusaders contending with Saracens. Behind the Messiah and the Warrior, the Rider on the Black Horse is seen coming forward. He is represented with the steady countenance of a man scrupulous in his estimate of things; stern in his decisions, and likely to require the execution of his adjudications with the unrelenting solemnity of a terrible judge. He bears those balances in his hands in which mankind are “ weighed and found wanting ;” and Pesti- lence and Famine are seen before him in the form of a wretched woman and an emaciated man, absorbed in the feelings of their own particular misery. He follows the two pre- ceding characters, and is supposed to typify the skeptical philosophy which affects to estimate Christianity by the temporary circumstances that have arisen in the course of its progress, while it is itself but a part of the great cloud of mysteries which envelop the present and future purposes of religion. The domestic group, in the foreground, represents a family belonging to that class of society who are supposed to be safe beyond the reach of the ordinary casualties of life, but who are still not further remote from the darts of Death. It is here that the painter has attempted to excite the strongest degree of pity which his subject admitted, and to contrast the surrounding horrors with images of tenderness and beauty. The mother, in the prime of life, is represented as having expired in the act of embracing her children, and the woe of sudden death is still more emphatically expressed in the lovely infant that has fallen from her breast. The husband deprecates the wrath of the hideous spectre that advances over them all, while the surviving daughter catches hold of her mother, sensible only of the loss which she has sustained by the death of so kind a parent. 7 In the other groups, which form the right hand division in the picture, the artist has shown the anarchy of the combats of men with the beasts of the earth. The chief of the human figures in this division, is the one in the act of launching his javelin at a lion, which has seized and brought down a man and his horse. In the character with the javelin, Mr. West has endeavored to delineate that species of courageous muscu- lar strength which enables some men to face, with an undaunted countenance, the rage of the most ferocious animals. The sedate bravery of his look affords a fine contrast to the alarm and terror of the man who is seized by the enraged lion, which he had wounded with his spear. Below them is a youth who has broken his lance in the combat, and received a fatal blow on the head ; behind them a horseman comes forward with an uplifted sword, in the act of striking at a lioness that is springing upon him and his horse. But the story of this group would have been incomplete had the lions not been shown conquerors, to a certain extent, by the two wounded men who are thrown down as overcome, beneath the hoofs of the horse of Death. The one with his back towards the spectator seems to regain his strength, and, by still holding his dagger, indicates a wish to renew the fight ; the other, irrevocably dashed out of the combat, and, having lost his weapon, grasps at the head of his horse with a useless exertion of bewildered sense. The pyramidal form of this large division is perfected by a furious bull torn by dogs, as he tosses on his horns the body of a youth. In this portion of the picture, the firmament is rent asunder by bursts of lightning and a distant group is seen startled by the death of a young man who has been struck by the thunderbolt, and whose friends support him in their arms. The interest of the episode is increased by the figure of a young woman flying from the scene of terror, but who is still induced to look back, as if constrained by affection for the victim. The principle of destruction is exemplified through every part of the subject. In the upper regions of the clouds, the audacious eagle is seen pouncing on the heron, and near the dead serpent in the foreground, the affectionate dove deplores its mate that has just expired. NO. j SUBJECTS. ARTISTS. PROPRIETOR. 10 j Paul and Barnabas, Benj. West. Academy. “Then all the multitude kept si- j lence, and gave audience to Barnabas and Paul, declaring what miracles and wonders God had wrought among the Gentiles by them.” — Acts xv. 12. 11 1 Portrait of Booth (the elder), as Ri- chard III., Thomas. do. 12 Portrait of James Ross, . . i T. Sully. do. 13 Fruit and Flowers, Campidoglio. do. I4j Landscape, ..... Salvator Rosa. do. 15 Cavalry Halt, .... Wonvermans. do. 16 Nymphs, ..... Polemberg. do. 17 Beatrice Cenci, . . . after Guido. do. 18 Portrait of C. W. Peale, C. W. Peale. do. 8 NO. SUBJECTS. ARTISTS. PROPRIETOR. 19 Portrait of Denon, Rem. Peale. Academy. 20 Judith with the Head of Holofernes, Lud. Carraci. do. 21 Portrait of Washington, G. Stuart. do. 22 Portrait of William Pitt, Hoppner, R. A. do. 23 Fishermen pushing out to Sea, | Lucatelli. do. 24 Datheen Preaching before the walls 1 of Ghent, Wittkamp. do. This picture represents the combatants engaged in the struggle for the independence of the Netherlands when that country was under the dominion of Spain, in the 16th century. Pierre Datheen was a Protestant minister, who had labored zealously to establish the Republic. Brave, impetuous and indefatigable, he preached in the churches, in private houses, in the open air, and amid the field of battle. In the above scene, Datheen is represented as being mounted on the carriage of a cannon, and inciting his companions to avenge one of their brethren-in-arms — the leader of one of the powerful corporations which had struggled so courageously against the tyranny of Philip II. The warriors are swearing to avenge their chief, at the moment the stru^- 25 26 27 28 29 30 31 32 33 34 35 36 to the left, is commencing. Landscape, ..... Salvator Rosa. Scene on the Susquehanna, T. Doughty. The Miracle at Cana, Unknown. Dutch Festival, .... do. Dying Brigand, .... E. II. May. “ Mortally wounded, he has fallen i bathed in blood. His carbine and his hat have fallen to his feet. His wife, devoutly believing that there is ! no crime so great but that repentance ; and baptism of tears can wash it away, drags the dying man to the foot of the wayside cross.” Banditti among Antique Ruins Pannini. Portrait of James Northcote, R. A. Rob. Sully. Banditti among Antique Ruins Pannini. 1 Musidora (after B. West), C. R. Leslie. “ Warm in her cheek the sultry season glow’d, And rob’d in loose drray, she came to bathe.” Thomson's Seasons. An Old Head, .... Salvator Rosa. Dog and Heron, .... I Snyders. 1 Flower Piece .... Boschaert. Academy. do. do. do. do. do. do. do. do. do. do. do. 9 NO. SUBJECTS. ARTISTS. 37 Shipwreck, (from the Bonaparte col- lection), ..... 1 Jos. Yernet. 38 Dead Game and Dog,' . Snyders. 39 Clown in state of Dejection, . T. Gonne. A man whose necessities compel him to play the clown for the amuse- ment of the “ groundlings, ” but pos- sessed of capacities and aspiration for some better occupation, grieves over his lot ; while his faithful dog, his only friend, sympathizes with his master in his sorrow. 40 Charles the First, .... Yan Dyke. 41 Portrait of Peter Paul Rubens, (after Rubens), ..... De Roos. 42 Dugald Stewart, (after Raeburn) . J. R. Lambdin 43 Boar Hunt, ..... ! Snyders. 44 The Cardinal and his Friends. Yiew of his Palace in the distance. (For- merly in the Bonaparte collection), Jos. Yernet. 45 Flower Piece, .... : Boschaert. u The Death of Athena, . Unknown. H Mrs. Wood, as Amina (a study), . j T. Sully. 48 St. Jerome, ..... 1 Yan Lint. 49 Landscape. Evening, . Paul Weber. 50 Miss Leslie, . T. Sully. 51 Sampson and Delilah, David. “And she made him sleep upon her knees; and she called for a man, and she caused him to shave off the seven locks of his head; and she be- gan to afflict him, and his strength went from him. And she said, The Philistines be upon thee, Sampson.” — Judges, chap. xvi. v. 18, 19. 52 Snow Scene, ..... Lucatelli. 53 Interior, Ostade. 54 Canal Scene, ..... Leukert. 55 Landscape, ..... T. Doughty. 56 Time and Truth Correcting Love, . Le Brun. 57! Portrait of Caleb Cope, Esq., Presi- dent of the Pa. Academy F. A., . II. Inman. PROPRIETOR. Academy. do. do. do. do. do do. do. do. do. do. do. do. do. do. do. do. do. do. do. do. 10 NO. SUBJECTS. ARTISTS. PROPRIETOR. 58 Fanny Kemble as Juliet, (a Study), . T. Sully. Academy. 59 Portrait of J. L. David, (the Artist), Rembrandt Peale. do. 60 Portrait of George Clymer (first President of the Penn. Academy of the Fine Arts), C. W. Peale. do. 61 Portrait of Houdon, Rembrandt Peale. do. 11 NORTII-WEST GALLERY. PAINTINGS— Continued. NO. SUBJECTS. ARTISTS. PROPRIETOR. 62 Rouget de Lisle, a French officer, singing for the first time the Mar- seillaise Hymn, of which he was the author, at the house of the Mayor of Strasburg, 1792, G. Guffens. Academy. Rouget de Lisle was a young officer of Engineers at Strasburg. He was born at Sons-le Salnier, in the Puza , a country of revery and energy, as mountains commonly are. He relieved the tediousness of a garrison-life by writing verses and indulging a love of music. He was a frequent visitor at the house of the Baron de Diedrich, a noble Alsacien of the constitutional party, the Mayor of Strasburg. The family loved the young officer, and gave new inspiration to his heart, in its attachment to music and poetry, and the ladies were in the habit of assisting, by their performances, the early conceptions of his genius. A famine prevailed at Strasburg in the winter of 1792. The house of Diedrich was rich at the beginning of the revolution, but had now become poor under the calamities and sacrifices of the time. Its frugal table had always a hospitable place for Rouget de Lisle. He was there morning and evening as a son and brother. One day, when only some slices of ham smoked upon the table, with a supply of camp bread, Diedrich said to De Lisle, in sad serenity, “ Plenty is not found at our meals. But no matter; enthusiasm is not wanting at our civic festivals, and our soldiers’ hearts are full of courage. We have one more bottle of Rhine wine in the cellar. Let us have it, and we’ll drink to liberty and the country. Strasburg will soon have a patriotic fete , and De Lisle must draw from these last drops one of his hymns, that will carry his own ardent feelings to the soul of the people.” The young ladies applauded the proposal. They brought the wine, and continued to fill the glasses of Diedrich and the young officer until the bottle was empty. The night was cold. De Lisle’s head and heart were warm. He found his way to his lodgings, entered his solitary chamber, and sought for inspiration at one moment in the palpitations of his citizen’s heart, and at another by touching, as an artist, the keys of his instrument, and striking out alternately portions of an air, and giving utterance to poetic thoughts. He did not himself know which came first ; it was impossible for him to separate the poetry from the music, or the sentiment from the words in which it was clothed. He sang altogether, and wrote nothing. In this state of lofty inspiration, he went to sleep with his head upon the instrument. The chants of the night came upon him in the morning like the faint impressions of a dream. He wrote down the words, made the notes of the music, and ran to Diedrich’s. He found him in the garden digging winter lettuces. The wife of the patriot mayor was not yet up. Diedrich awoke her. They called together some friends, who were, 12 like themselves, passionately fond of music, and able to execute the compositions of Be Lisle. One of the young ladies played, and Rouget sang. At the first stanza, the countenances of the company grew pale ; — at the second, tears flowed abundantly; — at the last, a delirium of enthusiasm broke forth. Diedrich, his wife, and the young officer cast themselves into each other’s arms. The hymn of the nation was found. Alas ! it was destined to become a hymn of terror. The unhappy Diedrich, a few months afterwards, marched to the scaffold at the sound of the notes first uttered at his hearth from the heart of his friend and the voice of his wife. The new song, executed some days afterwards publicly at Strasburg, flew from town to town through all the orchestras. Marseilles adopted it to be sung at the opening and adjournment of the clubs. Hence it took the name of the Marseillaise Hymn. The old mother of De Lisle, a loyalist and a religious person, alarmed at the reverbe- ration of her son's name, wrote to him — “ What is the meaning of this revolutionary hymn, sung by hordes of robbers who pass all over France, with which our name is mixed up?” De Lisle himself, proscribed as a Federalist, heard its re-echo upon his ears as a threat of death, as he fled among the paths of Jura. “ What is this song called ?” he inquired of his guide. “ The Marseillaise replied the peasant. It was with difficulty that he escaped. H SUBJECTS. ARTISTS. PROPRIETOR. 63 The Last Judgment, Dutch Angelo. Academy. 64 Robert Morris, .... C. W. Peale. do. 65 Martyrdom of St. Catharine, . Unknown. do. 66 Night Scene — Conflagration, . ITonthorst. do. 67 Flight into Egypt, Unknown. do. The Angel of the Lord appeared to Joseph in a dream saying, arise and take the young child and his mother, and flee into Egypt, and be thou there until I bring thee word. When he arose, he took the young 1 child and his mother by night, and departed into Egypt. — Matthew ii. 1 3. 68 River Scene, ..... Van Goyen. do. 69 i Portrait of Fanny Kemble, T. Sully. do. 70 l St. Mark writing his Gospel, . Unknown. do. 71 The Judgment of Silenus, . after Jordaens. do. 72 j Landscape, . . . De Groot. do. 73 1 Virtue directed by Prudence to avoid the Solicitations of Folly, . Ang. Kauffman. do. 74 1 Embarkation, .... II. C. Vroom. do. 75 1 The F6te Champeire, Olivier. do. 76 Gardeners, ..... Van Ash. do. 77 1 Cupid Musing, .... Schidone. do. 13 NO. SUBJECTS. ARTISTS. PROPRIETOR. 78 The Cherry Girl, .... Van Thol. Academy. 7y Portrait of Benjamin West, (after Leslie’s copy of Lawrence), T. Sully. do. 80 Roman Aqueduct and Moorish Ruins at Alcala, in Spain, Bossnet. do. 81 The Fete Champfetre, Olivier. do. 82 Fruiterers, Van Asch. do. 83 Cupid with a Vase, Schidone. do. 84 Landscape, . . . . . Unknown. do. 85 An Italian Sea Port, do. do- 86 The Recovery, .... Carl Hubner. do. 87 Marine View, .... Van Os. do. 88 River Scenery, .... Van Goyen. do. 89 Fruit, ...... (Unknown. do. 90 Portrait of Chas. Kemble, T. Sully. do. 91 Landscape, ..... (Unknown. do. 92 Apples and Fox Grapes, Raphael Peale. do. 93 Grapes and Peaches, do. do. 94 Deliverance of Leyden, . Wittkamp. do. In 1574, during the cruel wars carried on by Philip II., Leyden was besieged by the Spaniards under Valdez. The King of Spain, after a long course of barbarity conducted by the Duke of Alva, had offered by proclamation a free pardon to all, except the Prince of Orange, who should come in and sign an abjuration of their heresy. The provinces universally rejected the offer, and resolved on maintaining their liberties to the last. Although threats had been uttered against Leyden, and a fearful attack was expected, and the Prince of Orange had given the strictest orders for victualling and preparing the town, proper precautions were by some fatality neglected, and the inhabitants were exposed to the pressure of a thousand wants dur- ing the most obstinate and bloody siege the Netherlands had yet experienced. The Spaniards, by a strict blockade, reduced it to the last extremity. The Dutch could muster no force adequate to its relief. Despair and necessity were the cause of pro- digious endurance and efforts. The inhabitants lived on the carcasses of their fellow- citizens. Women lined the ramparts, and performed the duty of soldiers. Six thou- sand persons out of twenty thousand died of famine. When summoned to surrender, the survivors replied that they could not want subsistence so long as their left arms remained, on which they could feed, while with the right they defended the city. Van- derwerf, the Burgomaster — the central figure of the picture — was at the time solicited by some of the inhabitants to surrender. He said to them: “My friends, since I must die, it is of little importance whether I fall by you or by the enemy: cut me to pieces and divide the pieces among you ; I shall die satisfied if I can be in any way useful. ” 14 At the moment that has been described, th& magnanimous resolution was formed of breaking down the dikes, and letting the ocean overflow the Rhineland. Information was given to the besieged by their countrymen at a distance, by means of carrier pigeons, that the dikes of the Meuse and the Yssel had been opened. After some time, the sea, impelled by a violent southwest wind, rushed in and drove the inunda- tion with such fury against the besiegers, that Yaldez, fearing that his army would be swallowed up in the waves, was obliged to draw off his forces, and relinquish the en- terprise. The Admiral of Zealand, Louis Boissot, then advanced with his little fleet of flat-bottomed boats, which had been prepared for the relief of the brave citizens, sailed over the newly-formed expanse, and triumphantly entered the city. The Prince of Orange soon arrived among the gallant inhabitants. After reward- ing the Admiral and the commander of the town, Douza (or Does), and the officers and soldiers, he offered to the town the option of two benefits — an immunity from taxes for a certain period, or the foundation of a University in the city. The citizens crowned their former glory by choosing the latter part of the alternative. It is to this circumstance that the celebrated University of Leyden owes its existence. No. 1. Is the Burgomaster of the town, Pieter Adrianszoon Yanderwerf. He is raising his eyes towards heaven, as thanking the God of his country. No. 2. Pieter Corneleszoon Manalant , an Evangelical Preacher, apostle of the Protest- ant religion. No. 3. The Military Chief, Van der Does. No. 4. Gerard Van der Laan , Captain of Yolunteers, who has returned from the outside of the town, where he has protected BoissoPs boats. No. 5. The Poet, Pieter Janszoon Van der Morsch , wounded during the siege. No. 6. Is a portrait of the Painter, M. Wittkamp . The groups dispersed over the picture represent different classes of society. The deliverance of the town and the arrival of bread are the two sentiments that cause a thrill among the wretched inhabitants, who had been on the brink of the grave. At this moment the hero Vanderwerf is not forgotten. They who a little while before endeavored to shake his courage by their threats, now bless him as a protecting divinity. They have undergone sufferings, but they are now relieved. The people manifest their gratitude ; they bow down before the civic virtue and the sublime power of religion, which were certainly the great supporters of the courage of Leyden. 15 NO. 1 SUBJECTS. ARTISTS. PROPRIETOR. 95 Portrait of Sir Walter Raleigh, |Yanderpool. Academy. 96 Cavalry Charge, .... ,Yander Meulen. do. 97 Marine Yiew, (formerly in the Bona- parte Collection), Jos. Yernet. do. 98 Portrait of Nicholas Duval, . Nicholas Duval do. 99 The Israelites crossing the Red Sea, Unknown. do. 100 Landscape, ..... Russell Smith. do. 101 Fancy Head, .... Mrs. J. Sully Darley. do. 102 A Country School, Ilorremans. do. 103 A Wedding, Bishop W r hite offici- ating, ■Krimmel. do. 104 Battle Piece, ..... Yander Meulen. do. 105 Marine, (formerly in the Bonaparte Collection), .... Jos. Yernet. do. 106 Portrait of Martin Luther’s Wife, Catharine von Bora, . Yan Lint. do. 107 Dead Game, ..... Jan. Fytt. do. 108 Yiew of Niagara Falls, (in Enamel), Wm. Birch. do. 109 G. F. Cooke as Falstaff, (in Water Colors), . . - . C. R. Leslie. 110 A Group of Angels copied from Raphael’s Heliodorus, C. Yogel. do. 111 Dead Game, ..... Jan. Fytt. do. 112! G. F. Cooke as Richard III. (in Water Colors), .... C. R. Leslie. do. 113 G. F. Cooke as Othello, (in Water Colors), ..... do. do. 114 Spaniels, Ilademaker. do. 115 Rape of Europa, . . . after Poussin. do. 116 Sea Port in Holland, Storks. do. 117 A Horse Market, . Peter Yan Bloeman. do. 118 Homer Reciting his Poems in the City of Argos, . . . . r Yolozon. do. 119 Interior of a Dutch Kitchen, . Bertaux. do. 120 Dutch Courtship, . . . . < Grasbach. do. 121 Interior of a Cathedral by Torch- light, the Figures by Teniers, Peter Neefs. do. 122 Interior and Still Life, . A. Ostade. do. 123 Chew’s House, Germantown, . Russell Smith. do. 124 Moonlight, ..... Yan Goyen. do. 125 Landscape, with Cattle, (after Cooper), McMurtrie. do. 16 VO. SUBJECTS. ARTISTS. PROPRIETO 126 Infant Christ and St. John; (after Raphael), ..... Unknown. 1 Academy. 127 Barn Yard Fowls, .... Schonman. do. 128 The Music Party, .... Unknown. do. 129 Gentleman and his Yalet, Eckhont. do. 130 The Snow Shoveller, J. G. Brown. do. 131 Fourth of July in Centre Square, Krimmel. do. 132 Embarkation of Columbus, P. F. Rothermel. , do. “The squadron being ready to put to sea, a deep gloom was spread over the whole community of Palos, at their departure, for almost every one had some relative or friend on board the squadron. The spirits of the : seamen, already depressed by their own fears, were still more cast down at the affliction of those they left be- hind, who took leave of them with tears and lamentations, and dismal forebodings, as of men they were never to behold again.” — Irving's ! Life of Columbus. 133: St. Peter Delivered from Prison, . Domiuichino, 1605. do. And, behold, the angel of the Lord came upon him, and a light shone in the prison ; and he smote Peter on the ( ; side and raised him up, saying, Arise up quickly ; and his chains fell off from his hands. — Acts, xii. 7. 1 34 1 Lord Byron, ..... 135 Head of a Female Saint, . after 1361 Portrait of John Locke, . after W. E. West. do. Carlo Dolci. do. Kneller. i do. 17 ROTUNDA. PAINTINGS— Continued. NO. SUBJECTS. ARTISTS. PROPRIETORS. 137 David returning thanks for his tri- umph over Goliah, Schweminger. Academy. 138 The Murder of Rutland by Lord Clifford, C. R. Leslie, R. A. do. Rutland. Oh 1 let me pray before I take my death ; To thee I pray : sweet Clifford, pity me ! Clifford. Such pity as my rapier’s point affords. Rutland. I neverdid thee harm ; why wilt thou slay me? Clifford. Thy father slew my father; therefore die. Shakspeare , Henry VI. , Part 3, Act 1. 139 Baron Williams, .... Thomson, R. A. do. 140 Bonaparte Crossing the Alps, (after David), ..... C. B. Lawrence. do. U1 Gil Bias securing the Cook in the Robber’s Cave, .... John Opie, R. A. do. 142 Pat Lyon at his Forge, . J. Neagle. do. 143 Full length Portrait of G. F. Cooke, as Richard III., . T. Sully. do. 144 Adam and Eve, .... Carlo Lotti. do. “And when the woman saw that the tree was good for food, and that it was pleasant to the eyes, and a tree to be desired to make one wise, she took of the fruit thereof and did eat; and gave also unto her husband with her; and he did eat.” — Genesis, iii. 6. 145 Mercury deceiving Argus, Salvator Rosa. do 146 The Tribute Money, (after Rubens), T. Sully. do. “And when they were come, they say unto him, Master, we know that thou arttrueandcarestfor no man ; for thou regardest not the person of men, but teachest the way of God in truth. Is it lawful to give tribute to Caesar or not?” — Mark , xii. 14. 2 18 „0. i SUBJECTS. ARTISTS. PROPRIETORS. m The Evangelist St. Mark, Domenichino. Academy. 148 Adoration of the Magi, . Andrea Vicentino. do. “When they were come into the house they saw the young child with Mary, his mother, and fell down and worshipped him ; and when they had opened their treasures, they presented unto him gifts; gold, frankincense, and myrrh.” — Matthew , ii. 11. 149 Full length Portrait of Washington, G. Stuart. do. 150 Death of Abel, .... Carlo Lotti. do. “And Cain talked with Abel, his brother; and it came to pass when they were in the field, that Cain rose up against Abel, his brother, and slew him.” — Genesis , iv. 8. STAINED GLASS OVER THE FRONT DOOR. 151 Law, (after Van Ostade), J. and G. M. Gibson. do. 152; Washington, (after Stuart), do. do. 153 Christ Blessing Little Children, do. do. 154 The Transfiguration (after Raphael), do. do. 155 Physic, (after Van Ostade), . do. do. 156 , Benj. West, (after Sir T. Lawrence), do. do. Not on Exhibition. 157 i Portrait of Henry D. Gilpin, . J. R. Lambdin. do. 158 Still Life, (Fish and Lobsters, for- merly in the Bonaparte collection), do. 159 Portrait of a Gentleman, do. 160 Bishop White, do. 161 Interior of an Iron Foundry, . Bas Otis. do. 162 i Landscape — River Cascade, . do. 163 i Coast Scene — Storm, do. 19 SCULPTURE IN MARBLE. NO. SUBJECTS. ARTISTS. PROPRIETORS. 1 64 1 Statue of Penelope. Presented by J. Rhea Barton, Esq., Penelope, inspired by Minerva, having penetrated the disguise of Ulysses, as he sits among the suitors, determines to offer a trial of strength, in which she is sure of his triumph. She brings forth the bow and arrows of Ulysses, which she had carefully preserved during his absence, and bearing them majestically to the hall where the suitors are assembled, pauses at the threshold and an- nounces her plan. “Who first Ulysses’ wondrous bow shall bend, And through twelve ringlets the fleet arrow send, Him will I follow, and forsake my home, For him forsake this loved, this wealthy dome.” 165j Hero and Leander, Rinaldo Rinaldi. Academy. Steinhauser. do. Hero was a priestess of Yenus, at Sestos, on the coast of Thrace. The loves of Hero and Leander are related in a poem attributed to a Grecian bard who bears the name of Musaeus. Hero and Leander saw each other at a festival in honor of Yenus and Adonis, at Sestos, where he, among many of the people of Abydos, was present, and where they immediately became enamored of each other. Favored by the darkness of the approaching night, Leander stole into the temple, and confessed his love to the blushing maid. But the relations of Hero, and her sacred office, opposed the union of the lovers. No difficulties, however, could dis- courage Leander. He swam every night across the Hellespont to his mistress, guided by a torch which shone across the strait from the tower of Hero. Even the stormy season of winter could not deter the adventurous lover from his perilous visits; till at last, on one fatal occasion, his strength failed him, and the waves carried his lifeless body to the foot of the tower, where Hero anxiously awaited his accustomed arrival. Overcome with anguish at the sight, the love-distracted girl threw herself from its turret on the corpse of her lover, and perished there. 166 Bust of H. Cannon, H. Cannon. 167 Bust of Judge Hemphill, Trentanova, 168 Bust of Alexander Hamilton, Academy. do. do. 20 NO. SUBJECTS. ARTISTS. PROPRIETORS. 169 Bust of Henry Clay, H. Cannon. Academy. 170 Bust of Lafayette, H. Greenough. do. 171 Bust of Benjamin Franklin, . Cerrachi. do. 172 Yenus de Medici, .... After antique. do. 173 Antinous of the Capitol, do. do. 174 Bust of Emperor Commodus, . do. do. 175 Bust of Emperor Caracalla, . do. do. 176 Bust of Octavia, wife of Mark An- tony. (Presented by Mrs. Gibson), do. do. 177 Bust of Minerva, .... do. do. 178 Bust of a Son of Niobe, do. do. 179 Bust of a Daughter of Niobe, do. do. 180 Dancing Bacchante, C. M. Clodion. do. 181 Bacchante and Young Faun, do. do. 182 Colossal Foot of Minerva. (Pre- sented by Samuel Hazard, Esq.), . Antique. do. 183! Yase from the Buried City of Her- culaneum, ..... do. do. 184 Fighting Gladiator, (in Bronze), After antique. do. 185 Bust of Spring, .... Palmer. 186 The Sleeping Hermaphrodite. (Pre- sented by the Rev. Dr. Ducachet.) After antique. do. This work was so much esteemed by the ancients that many antique repetitions of it have already been found. The best is that known as the Borghese, which was dis- covered near the hot baths of Diocletian, early in the seventeenth century. The mattress is modern, and was executed by Bertin in his early youth. Bust of Proserpine. (Presented by John Livezy, Esq.), . Hiram Powers. Draped Female Figure, (mutilated), Antique. The colossal head in marble of Na- poleon Bonaparte, on one side of the front portico, was the gift of Mr. J. L. Moss, and is a copy of the head of the statue in the cortile of the Brera Palace at Milan, After Canova. Bust of Franklin on the opposite side of the Portico, .... After Cerrachi. Academy. do. do. 191. The mutilated antique marble statue, of colossal proportions, standing in front of the Academy building, represents the Goddess Ceres. It was brought from Me- gara, in Greece, by Commodore Patterson, and presented by him to the Pennsyl- vania Academy. 21 CASTS IN PLASTER. NO. SUBJECTS. ARTISTS. PROPRIETORS. 192 Impressions of 1886 Antique Gems from the Museums of Rome, Na- pies, and Florence, (21 cases), 1 Antique. Academy. 193 Medallion of Spring, ' Thorwaldsen. do. 194 Medallion of Summer, . do. do. 195 Medallion of Autumn, . do. do. 196 Medallion of Winter, do. do. 197 Medallion of Night, do. do. 198 Medallion of Hay, do. do. 199 Original Model for the Sculptured Decorations over the entrance to the General Post-Office at Wash- ington. ( Over the door of the S. W. gallery ), Butti. do. The keystone is a mask of Fidelity, marked by her usual emblems. In the spandrils are winged figures appropriately representing Steam and Electricity: the former, with a countenance indicating power and energy, applies his torch to the engine that hurls forward the railroad car; the latter, of bright and animated expression, holds in one hand the unfolded scroll, and from the other throws the lightning dart, indicative of the electric telegraph. 200j Napoleon I., (a Medallion imbedded in glass). Presented by Joseph Bonaparte to J. Breban, by whom it was presented to the Academy. 201 202 | 203, 204 205 206 Bust of Napoleon I., Talbot Hamilton, (Medallion in wax), Bust of Canova, .... Bust of Chief-Justice Gibson, Bust of Raphael, .... The East Gate of the Baptistery of St. John, at Florence, (a Cast from the original bronze), . At present concealed behind the Picture of Christ Rejected. Academy. do. Miller. do. Canova. do. Persico. do. do. Lorenzo Ghiberti. do. 11 Andreas di Pisano,’’ after a labor of twenty-two years, executed the first of the gates of the Baptistery of St. John, at Florence. It contained twenty-four panels. The bas-reliefs represent the life of St. John the Baptist, from his birth to his death. It was commenced in the year 1330. The second and third gates were made in the succeeding century, by Lorenzo Ghiberti. The second was divided into twenty-eight 22 panels. In the twenty upper ones are represented the principal histories of the New Testament, and on the eight lower ones are the four Evangelists and four doctors of the church. One of them is writing, another reading, another meditating, and all are distinguished by their attitude and costume. The third gate of the Baptistery of St. John, at Florence, a work of Lorenzo Ghiberti, is that from which this is a cast. It exhibits two parts, divided into ten panels, containing bas-reliefs, the subjects of which, taken from the Old Testamenti were selected by Leonardo Bruni d’Arezzo, Chancellor of the Florentine Republic. Yarchi calls this gate a marvellous work, and perhaps unique in all the world. IFAgincourt considers it one of the most precious monuments of modern art. Michael Angelo judged it worthy to be “the Gate of Paradise. ” 1. This first bas-relief represents the creation of Adam and Eve ; — also, when they ate the forbidden fruit ; and when the angel drove them from Paradise. 2. Represents Adam and Eve with their children still young. Cain offers his first- fruits, and Abel sacrifices the best and the fattest of his flock. Cain tills the ground. In the distance Abel takes care of his flock. Cain, under the influence of envy, kills his brother. God appears to Cain, and asks him what he has done with his brother Abel. 3. Noah is coming out of the Ark : himself, his wife and children, and everything that was there. lie offers a sacrifice. The rainbow appears as an eternal covenant between God and him. Noah is seen planting a vineyard, and, having taken of the juice of his fruit, he becomes drunken. In this condition he is scoffed at by 11am, but his two other sons cover him with a mantle. 4. Three angels appear to Abraham in the vale of Mamre. He is about to sacrifice his son Isaac. His servants go with him to the foot of the mountain, where he has commanded them to remain. An angel arrests the hand of Abraham, and shows him a ram for an offering in the place of his son. 5. Birth of Jacob and Esau. While Esau is at the chase, Jacob, assisted by Re- becca, his mother, receives the blessing of Isaac, by covering his hands and neck with the skin of a goat, in order that his father, who could not see, might believe, from his hairy hands, that it was Esau his brother. G. Ghiberti, desiring to exercise his talents in the most difficult things, and where the greatest art was required, exhibits here the principal incidents in the life of Joseph. He is put into a well by his brethren ; then, sold to Potiphar, he explains the dreams of Pharaoh ; he foretells the dreadful famine which threatens Egypt, and provides for it abundantly. Pharaoh admires his wisdom, and crowns him with honors. Jacob sends his sons to Egypt to buy corn ; Joseph recognizes his brethren, and gives them a great feast. Has the golden cup hid in the sack of Benjamin, and, after it has been found, Joseph makes himself knowm to his brethren. 7. Represents Moses on the top of Mount Sinai, receiving from God the tables of law. Lower down, and separately, Joshua is seen prostrate, and, at the foot of the mountain, the terrified Israelites awaiting the return of their Lawgiver. 8. While the Ark carried by the Levites is stopped in the middle of the Jordan, Joshua passes over, followed by the Israelites. Twelve men, chosen from the twelve tribes, take from the river each a stone to form the monument commemorative of this miraculous passage. Farther on are seen the twelve tents erected by the order of Joshua, and in the background the Holy Ark carried around the walls of Jericho, which the Jew's took in seven days, the walls having been thrown down by the sound of trumpets only. 9. David, the Conqueror of Goliah, defeats the Philistines, and returns in triumph, carrying the head of the giant in his hand. The people of God meet him singing, 11 Saul has killed his thousands, and David his tens of thousands.” 10. Represents the Queen of Sheba, with her vast retinue, visiting Solomon, and offering him rich presents. The fields or frames which surround the panels, exhibit little niches, with twenty small upright figures, representing sibyls and prophets; four figures recumbent, and twenty-four heads, among which is the portrait of the artist, Lorenzo Ghiberti, and that of his father and master Bartoluccio, who assisted him in the work. Near these busts is this inscription : — Laurentii Cionis de Ghibertis opus , mira arte fabricatum. The frame, also of bronze, is enriched with festoons of fruits and flowers, with birds and beasts. NO. SUBJECTS. ARTISTS. PROPRIETORS. 207 Bust of Judge Hopkinson, Cleavenger. Academy. CO o CM Bust of Washington Allston, . do. do. 209 Bust of Innocence, C. A. Fraiken. do. 210 Bust of Alexander Hamilton, do. 211 Bust of W. C. Bryant, . Brackett. do. 212 Bust of J. Frazee, .... Frazee. do. 213 1 Bust of Commodore Perry, do. 214 Bust of Dr. Benjamin Rush, . Wm. Rush. do. 215 Bust of Nicholas Biddle, do. 216 Bust of Judge Marshall, Frazee. do. 217 Bust of Raphael, (duplicate), do. 218 Bust of Commodore Bainbridge, Wm. Rush. do. 219 Statue of Mercury, John of Bologna. do. 220 Bust of Washington, Iloudon. do. 221 Bust of William Strickland, . Gevelot. do 222 Statue of Hebe, (Goddess of Health), Modern French. do. 223! Bust of Thomas Moore, do. 224 Bust of Robert Burns. (Presented by John Gibson), do. 226 | Bust of Bonaparte, (in early life), . do 227 Bust of J. Q. Adams, Hiram Powers. do. 228 Bust of Wm. Rush, (cast from the j bust carved out of a pine tree knot), , W. Rush. do. 229 Bust of Benjamin West, . . | Chantry, R. A. do. 230 Battle of the Centaurs and Lapithae. Original model, (in the centre of Rotunda), . . . . . | John Lough. do. 24 At the marriage of Pirithous , one of the Lapithae, with Hippodamia , the chiefs of the Lapithae were assembled to celebrate the nuptials. The Centaurs were also invited to the festivity. One of them, Eurytius, inflamed by wine, resolved to make the bride his prize, and, in his fury, seized her by the hair to carry her off. His companions followed liis example, and each, according to his fancy, fastened upon one of the female attendants of the bride. The Lapithae instantly resented this brutal outrage, and the fight became general. Many of the Centaurs were slain, and the rest compelled to retreat. This group, the work of Mr. Lough, a British Artist, is truly original, both in con- ception and execution. Though so many large figures, men and horses, are brought together, the whole is combined with an admirable harmony of design. The attitudes of the male figures exhibit strength and grace, and the females the beauty, delicacy, and alarm of their sex. Near the top of the pyramid the bride is seen, her dishevelled hair in the gripe of her ravisher. Theseus attacks the Centaur to rescue her, and Pirithous, on a magnificent horse, with a drawn sword, is flying to her assistance ; Hercules is also seen active in the conflict. One of the Centaurs, dressed in lions , skins, is thus described by Ovid: — “ E’en still, methinks, I see Phoeocomes ; Strange was his habit, and as odd his dress ; Six lions’ hides, with thongs together fast, His upper part defended to the waist, And when man ended the continued vest, Spread on his back the trappings of a beast.” The Academy formerly possessed a cast of the colossal statue of Milo by this Artist, probably his finest work, but it was destroyed in the fire of 1845. GALLERIES OF CASTS FROM THE ANTIQUE, ETC., IN THE LOWER STORY. NO. SUBJECTS. ARTISTS. PROPRIETORS. 231 Dying Gladiator, (erroneously so called), ..... Antique. Academy. This statue is justly esteemed one of the very finest in the world, most remarkable for truth and simplicity. The original marble is at Rome, in the Capitol, where it was placed by Pope Clement XII., previous to which it had been at the Villa Ludovisi. It is now considered to represent a Gaul mortally wounded on the battle-field, which is strewn with instruments of warfare. The false name will no doubt alwajs attach to it, and Byron’s immortal stanza describiug it under that appellation will also remain an enduring association. “ I see before me the Gladiator lie : He leans upon his hand — his manly brow Consents to death, but conquers agony, And his droop’d head sinks gradually low — And through his side the last drops ebbing flow From the red gash, fall heavy, one by one, Like the first of a thunder-shower; and now The arena swims around him — he is gone, Ere ceased the inhuman shout which hail’d The wretch who won.” — Byron . L 25 NO. SUBJECTS. ARTISTS. PROPRIETORS. 232 Venus of Arles, .... Antique. Academy. The original is in the Louvre. It is said to be a copy from that of Praxiteles which was in bronze. It was found in the Roman theatre at Arles, in France. 233 Antinous of the Vatican, do. do. This statue is now known to represent Mercury, and not Antinous. The original is of Pentelic marble of the finest quality, and was found at Rome on Mount Esqui- line, near the hot baths of Titus, during the pontificate of Paul III., who deemed it worthy of being placed in the Vatican Belvidere, near the Apollo and Laocoon. Nicolo Poussin drew from this figure, in preference to all others, his proportions of the human form. 234| Germanicus. . . . . . | Antique. | Academy. Son of Drusus and Antonia, niece of Augustus. He was adopted by his uncle, Tiberius, and raised to the most important offices of the State, but the success of Germanicus in the East was looked upon with an envious eye by Tiberius, and he was secretly poisoned at Daphne, near Antioch, A. D. 19, in the 34th year of his age. This admirable statue is no longer believed to represent Germanicus, for whom it is too old, but Mercury ; except that, in the shape, and with the attributes of the God of Eloquence, the ingenious artist has offered us the features of a Roman orator. The original is in the Louvre. It is attributed to Cleomenes, a Grecian sculptor, son of the Athenian of that name, and was found at the villa Negroni, near Rome. It is of Parian marble. 235| Antinous of the Capitol, . . | Antique. | Academy. Antinous was a beautiful youth for whom the Roman Emperor Hadrian entertained a strong affection, and many sculptors were employed to make statues of him, some- times as Apollo, but more frequently simple portrait statues, like the one before us. The grace and modelling of this figure are such that it can only be praised in super- latives ; it is not only beautiful, but beauty itself, “ Elysian beauty, melancholy grace. ” After having belonged to the collection of Cardinal Alexander Albani, it was removed to the Museum of the Capitol, where it now remains. 236| Dancing Faun, . . . : l Antique. | Academy. One of the rural deities, inhabiting for the most part the fields, and having the human figure, but with pointed ears and with the tail of a goat. They formed always part of the train of Bacchus, together with the Sylvania and Satyrs. The original is in the Tribune at Florence, and is regarded as one of the most admirable statues of antiquity. With his right foot he plays on a musical wind instrument resembling an accordeon. When found, this statue was in fragments, and its restoration by Michael Angelo has always been regarded as a work of extraordinary skill. 23TI Head and Trunk of the Venus Milo, | Antique. | Academy. 26 NO. SUBJECTS. ARTISTS. PROPRIETORS. 238 239 240 241 242 243 244 245 246 247 A Boy Wrestling with a Goose, The original of this, in Pentelic marble, was found at Roma Yecchia, about a league and a half from Rome, and is a duplicate of a bronze men- tioned by Pliny. The head of the boy is a restoration. Bcethus, of Carthage. Psyche, of Naples — a fragment. The original in the Museo Borbo- nico at Naples. It is the upper part of a lovely female figure. It was found in the Amphitheatre of Capua. Antique. Boy extracting a Thorn from his Foot, The original is in the Capitol at Rome, and an antique duplicate in bronze is in the Louvre, and antique marble in the Uffizi, Florence. do. Aristides, ..... A celebrated Athenian, son of Ly- simachus, whose great temperance and virtue procured him the surname of Just. He was rival to Themisto- cles, by whose influence he was ban- ished for ten years, 484 B. C. ; but before six years of his exile had elapsed he was recalled by his fellow citizens. He died so poor that the expenses of his funeral had to be de- frayed at the public charge. do. Diana of Gabii, The original is in the Louvre The goddess is in the act of adjusting her mantle. She walks along “in maiden meditation, fancy free.” It was found in the forum of Hadrian at Gabii, near Rome. do. Atlas, ...... do. Cupid, called Genius of the Vatican, do. Torso of a Dancing Faun, do. Boy extracting a Thorn, (duplicate), Venus de’ Medici ; or, Venus Aphro- do. dite, Cleomenes, of Athens. Academy. do. do. \ do. do do. do. do. do. do. She was the Goddess of Beauty, Mother of Love, Mistress of the Graces and of Pleasures. The original is in the Tribune of the Uffizi at Florence. It is one of the most perfect statues of antique sculpture, and all critics admire its loveliness. The site of its discovery is uncertain. In the 16th century it adorned the Villa Medici, at Rome, and was transferred to Florence in 1680. 27 SUBJECTS. ARTISTS. PROPRIETORS. 248 Torso of Hercules, (called Michael Angelo’s torso, who studied this more than any other model, and declared that he derived from it his principles of composition), some- times called the Trunk of the Bel- videre, ..... Apollonius. Academy. This inimitable fragment was found at Rome in the fifteenth century, near Pom- pey’s theatre, and was placed by Julius II. in the garden of the Vatican, where it was diligently studied by the great artists of his period, who raised their profession to so elevated a position in the estimation of men. No veins are represented on the hero’s body, although he has passed his youth — hence Winckelmann inferred that it repre- sented the Apotheosis of Hercules. It is of Pentelic marble, and an inscription on the rock says that Apollonius, son of Nestor the Athenian, executed it. Nothing was known of a higher style of art until the works of Phidias (the Elgin marbles) were brought to light early in the present century. 249 - - J r - ... n vw •... w .. V-W | Academy. 250 251 Discobolus, preparing to throw the Quoit, . . . A • 1 Antique. The young athleta seems measur- ing with his eye the distance to which he will cast the discus. This fine figure was found at a place called Colombaro, about three leagues from Rome, on the Appian Way, where it is thought the Emperor Gallienus had a palace. It is of Pentelic mar- ble, and adorns the Vatican, where it was placed by Pius VI. Venus Victrix, called Venus of Milo, do. The original is in the Louvre. It is unsurpassed, among the works of antiquity, for grandeur of form united with feminine beauty. It was found in the island of Milo, the ancient Melos, about the year 1822. Cephissus (formerly called Ilissus), from the Elgin marbles, Phidias. do. do. This statue and that of Theseus (No. 253) are among the very finest works that have come down to these times from the great sculptors of antiquity. They decorated the Temple of Minerva at Athens, and are undoubtedly the work of Phidias. The horse’s head (No. 261) is a wonderful production of the same master hand. They were placed in the pediment of the Parthenon four hundred and forty years before the birth of Christ, and remained in that situation until removed to London by Lord Elgin in 1808. The British Government purchased from him the whole collection of frag- ments from that building for the sum of $175,000, an amount altogether inadequate, considering the expense attending their removal and the actual intrinsic value of these works as models for the study of artists. NO. SUBJECTS. ARTISTS. PROPRIETORS. 252 i Laocoon and his Sons, . . . | Agesander, &c. | Academy. This group is the joint production of three famous sculptors of ancient Greece, Aga- sander, Polydorus, and Stheuodorus. It is now in the Belvidere of the Vatican along with the most famous of the statues of Apollo. Laocoon, Priest of Apollo, was commissioned by the Trojans to offer sacrifice to Neptune to render him propitious to their cause. During the sacrifice two serpents issued from the sea and attacked Laocoon’s two sons who stood near the altar. The father immediately attempted to defend them, but the serpents falling upon him also, crushed him in their complicated folds till he expired in the greatest agony. This group is the most powerful in expression amongst all the antique works of art. It was found in the palace of Titus at Rome, in 1506. 253 Theseus, (from the Elgin marbles), . Phidias. 254 Apollo Belvidere, .... Antique. Academy. do. Son of Jupiter and Latona, and father of AEsculapius. When Apollo was grown up he went to Pytho or Delphi, where he killed the enormous serpent Python, which infested the surrounding country. He here built a magnificent temple, and Delphi became celebrated for its Oracle. The original is in the Belvidere of the Vatican. It is the work of a Grecian sculptor, and among the most celebrated statues of antiquity. It was found in the palace of Nero, at Antium, not far from Rome. 255 Fighting Gladiator, The author of this well-known mar- ble statue was Agasias, a sculptor of Ephesus, the son of Dositheus. He probably flourished about 450 B. C. The original statue now in the Louvre was found among the ruins of a pa- lace of the Roman Emperors, at Capo d’Anzo, the Ancient Antium. It re- presents one of those Gladiators who fought upon the Arena for the amuse- ment of the Romans. Agasias. 256 Son of Niobe, The original is in the Uffizi Gallery at Florence. It is one of the figures of the group of Niobe and her child- ren. He kneels and looks up, seek- ing to avert the anger of Apollo. The group was found beyond the garte of S. Giovanni at Rome. Antique. 257 Suppliant Youth, do. 258i Head and Trunk of Cupid, called the Genius of the Vatican, (duplicate), I do. Academy. do. do. do. 29 NO. SUBJECTS. ARTISTS. PROPRIETORS. 259 Morning and Evening, . Michael Angelo. Academy. Two figures at the base of the monu- ment to Lorenzo de’ Medici in the sacristy of the Church of S. Lorenzo at Florence. Michael Angelo was born at Florence in 1474, and died in 1563. 260 Day and Night, .... do. do. Two figures forming part of the monument to Giuliano de’ Medici in the sacristy of the Church of S. Lo- renzo at Florence. 261 Head of the Horse of Night, . Phidias. do. The original marble of this wonderfully fine head is in the British Museum, among the collection of sculptures, by Phidias, brought, by the Earl of Elgin, from the Temple of Minerva, at Athens, and hence called the Elgin marbles. It occupied an angle in the pediment, and projected over the cornice, thus breaking the line which might otherwise seem too rigidly to confine the composition of the frontispiece. The chariot of night sinks into the ocean as the sun rises in the east. This head is esteemed superior beyond comparison to anything else of the kind extant. It was sculptured four hundred and forty years before Christ. 262 Yenus Genetrix, .... Antique. 263 Colossal Feet of theFarnese Hercules, do. 264 Life-sized Anatomical Figure, (mod’n) Houdon. 265 Cupid Sleeping in a Shell, supported by Dolphins, .... Modern. 266 Yenus of the Bath, Antique. 267 Small Crouching Yenus, . Modern. 268 Milo of Crotona, .... Puget. Academy. do. do. do. do. do. do. This cast presents only a portion of Puget’s statue, as seen in the sculpture gallery of the Louvre. This celebrated athlete was early accustomed to carry the greatest burdens, and became by degrees a monster of strength. Wonderful stories are re- lated of his performances while in the flower of his vigor. But in the decline of life he undertook to tear up a large tree by the roots, and rend it into fragments. While thus engaged, his strength being partly exhausted, his hand became inextricably fast- ened in a cleft of the wood which had sprung back forcibly, and there being no assist- ance near, he was devoured by wild beasts of the forest. 269 Castor and Pollux, Twin brothers, sons of Leda, wife of Trendarus, King of Sparta. The brothers cleared the Hellespont and the neighboring seas from pirates, from which circumstance they have always been deemed the friends of navigation. Antique. Academy. 30 NO. SUBJECTS. ARTISTS. PROPRIETORS. 27o| Silenus holding the Infant Bacchus, | Antique. I Academy. Silenus, a demigod, who became the nurse, the preceptor and attendant of the God Bacchus. He was, as some supposed, the son of Pan. Malea, in Lesbos, was the place of his birth. After death he received divine honors, and had a Temple in Elis. Bacchus was son of Jupiter and Semele, daughter of Cadmus. The original is in the Louvre. It was found at Rome on the site of the Portico of Octavia. Antique duplicates of this, as of many of the ancient statues, are met with in other collections of old marbles. 271 The Townley Venus, . . . I Antique. The original of this beautiful figure , adorns the British Museum. It de- , rives its distinguishing name from its ! former owner, whose entire collection | of antique marbles was purchased by the British Government as a nucleus j of a national museum of ancient sculpture. 272 Jason, (usually called Cincinnatus), do. Academy. do. The original is in the Louvre at Paris, is of Pentelic marble, and was for some time in the apartments at Versailles, previous to which it was at the Villa Montalto or Negroni. The left arm, the hand, and part of the right leg are modern. The plough- share, feet, sandal, and all that belong to the plinth are antique. In order to calm the suspicious inquietude of his uncle Peleus, King of Thessaly, this warrior led a rural life, and was cultivating his fields, when a messenger from the king came to invite him to sacrifices in honor of Neptune. Jason has just left his occupation, which is indicated by the ploughshare at his feet; he is in the attitude of tying his sandal on his right foot, but we see that he is listening to the messenger. One can readily surmise that the other foot is to remain bare, and that the hero will show in his person, to Peleus, the man with one sandal announced by the oracle as his murderer. Thus the figure, although alone, has all the charm of a group, and recalls to the mind an entire history. 273 274 TheKnifeGrinder, or Listening Slave, One of the five famous marbles in the Tribune of the Uffizi, Florence. Colossal Head of Jupiter, Antique. Antique. Academy. do. This is the grandest and most sublime of all ancient monuments representing the image of the master of gods and men. Serenity, mildness, and majesty are imprinted on the features of this incomparable head, and perfectly express the idea of the epithet mansuetus, which the ancients attribute to Jupiter. This bust, of the marble of Luni, is in the Vatican Museum, where Pius VI. placed it. It was found in the ruins of La Colonia Otriculana, now called Otricoli, seventeen leagues from Rome, on the Flaminian Road. Probably it is part of a collossal statue. 31 NO. SUBJECTS. ARTISTS. PROPRIETORS. 275 Bust of Menelaus, Antique. Academy. 276 Bust of a Gladiator, do. do. 277 Bust of Minerva, .... do. do. 278 Bust of Ariadne, .... do. do. The beloved of Bacchus appears in all her beauty. This superb head of Pentelic marble is in the Museum of the Capitol at Rome. 279 Bust of Apollo, .... do. do. 280 Bust of Romulus, .... do. do. 281 Bust of a Female, .... do. do. 282 Half Figure of Marsyas being flayed, do. do. 283 Bust of Castor, .... do. do. 284 Bust of Niobe, (the original at Flo- rence), ..... do. do. 285 Bust of Alexander, do. do. The original, in Pentelic marble, is now in the museum of the Louvre, and is the only authentic likeness known to be extant, except those on medals. It was found at Tivoli (the ancient Tibur) in 1779. 286 Bust of Antisthenes, do. do. He was founder of the sect of the Cynics, by whose means Melitus was put to death and Anytus banished for their persecution of Socrates. 287 Bust of Caracalla, .... do. do. 288 Bust of Euripides, do. do. 289 Bust of Minerva, .... do. do. 290 Bust of Diana, .... do. do. This cast is made from the famous statue in the Louvre; acknowledged to be the finest of all the Dianas that have been preserved to modern times. It was formerly at Versailles, and has been in France ever since the time of Henry IV. 291 Male Head, ..... do. do. 292 Bacchus of the Vatican, do. do. 293 Bust of Achilles, .... do. do. 294 Bust of Pollux, .... do. do. 32 NO. SUBJECTS. ARTISTS. 1 PROPRIETORS. 295 Bust of a Laughing Faun, Antique. Academy. 296 Bust of Genius of the Vatican, do. do. 291 Bust of Xenophon, do. do. 298 Bust of Phocion, .... do. do. 299 Bust of Augustus Caesar, do. do. This excellent Bust, the best and most perfect of those that trace the features of this Prince, is of Parian marble, and was formerly in the ca- binet of the Bevilaquo family, at Ve- rona. It is now at Vienna. 300 Bust of Socrates, .... do. do. 301 Bust of Son of Niobe, (from the ori- ginal at Florence), do. do. NORTHWEST ROOM— LOWER STORY. 303 304 Frieze of the Parthenon, Phidias. The originals of these beautiful bas reliefs are among the Elgin marbles in the British Museum. They are a series of sculptures, designed by Phi- dias, executed by him and his pupils, and attached along the upper part of the outside of the cella of the Par- thenon under the colonnade. They represent the whole of the solemn procession to the great temple of Minerva during the Panathenaic Fes- tival. The Frieze of the Temple of Phigalia, Ictinus. The originals of these bas reliefs are among the Phigalian marbles in the British Museum. They are a series of sculptures designed by Ictinus, the contemporary of Phidias, and carried along tlie interior of the cella of the temple of Apollo near Phigalia. They were found in the ruins of that temple. Singing School (alto relievo), . Luca della Robbia. The original marble of this admir- able group is in the Uflizi Gallery at Florence, and that city abounds with works by him and his school. Academy. do. do. 33 NO. SUBJECTS. ARTISTS. PROPRIETORS. 305 Venus Anodyomene, called de’ Me- | dici, (cast without arms, a duplicate) Cleomenes. Academy. In the original marble statue at Florence, as seen in the cast in the adjoining gal- lery, the whole right arm and part of the left forearm are modern, having been added by a Florentine artist in the latter end of the seventeenth century. The air of affecta- tion apparent in the action of the restored work is absent from this one. The artist to whom the statue is attributed lived about two hundred years before Christ — was the son of Apollodorus, and father of that other Cleomenes who sculptured the Mercury, miscalled Germanicus. He was famous for his skill in representing female beauty, and Pliny relates that a Roman knight became enamoured of a statue by him of a Thespiade transported from Greece to Rome by L. Mummius. This work is of Parian marble of an unusually fine grain. At a time when money was of much greater value than now, Cosmo III., Grand Duke of Tuscany, was offered one hundred thou- sand livres for this statue ; but of course it was declined. It is believed to have been found at Hadrian’s Villa, near Tivoli ; but about this there appears some uncertainty. 306 Head of Son of Laocoon, Agesander of Rhodes. Academy. 307 Do. do. do. do. 308 Bust of a Girl with Phrygian Cap, . Antique. do. 309 Head of Julius Caesar, . do. do. 310 Head of a Muse, .... do. do. 311 Passion, a female head, . do. do. 312 Bust of Euripides, (terminal duplicate) do. do. 313 1 Bust of Alcibiades, do. do. 314 Bust of Antisthenes, (duplicate), do. do. 315 Bust of Hercules, (middle life), do. do. 316 Bust of Euripides, do. do. 31T; Bust of a Cynic, .... do. do. 318 Do. (duplicate), do. do. 3191 Bust of Daughter of Niobe, . do. do. 320 Do. do. do. do. 321 Bust of a Vestal, .... do. do. 322 Bust of Xenophon, (duplicate), do. do. 323 Bust of Homer, (the original in the Louvre), ..... do. do. 324 Bust of Seneca, .... do. do. 325 Bust of Cicero, .... do. do. 326> Bust of Titus, .... do. do. 327 Bust of Sappho, .... do. do. 328' Bust of Omphale, .... do. do. 3 34 NO. SUBJECTS. ARTISTS. PROPRIETORS. 329 Bust of Apollo, (duplicate), . Antique. Academy. 330 Bust of Junius Brutus, . do. do. 331 Bust or Nero, .... do. do. 332 Bust of Diana, (duplicate), do. do. 333 Small Torso of a Venus, do. do. 334 Small Head of Apollo, . do. do. 335 Laughing Faun, .... do. do. 336 Bust of Demosthenes, (terminal), . do. do. 337 Head of a Muse. .... do. , do. 338 Small Female Torso, do. do. 339 Bust of a Muse, .... do. do. 340 Bust of Hippocrates, (terminal), do. do. 341 Bust of Octavia, .... do. do. 342 Bust of a Muse, .... do. do. 343 Small Head of Jupiter, . . . ! do. do. 344 Head of Daughter of Niobe, . do. do. 345! Head of Isis, .... do. do 346 Mask of a Daughter of Niobe, do. do. 347 Mask of Juno, . . . . 1 do. do. 348 Mask of Silenus, . . . . 1 do. do. 349 Mask of St. Jerome, do. 350 Mask of Dying Ajax, . . . Michael Angelo. do. 351 Mask of Marcus Aurelius, Cast from antique. do. 352! Mask of Jupiter, (colossal), . do. do. 353 Mask of Dying Alexander, do. do. 354* Mask of Mercury, .... do. do. 355 A large Mask of a Female, (unknown) do. do. 356 A small Male Torso, do. do. 357 Four Legs of a Hound, . Cast from nature. do. 358 Head of a Greyhound, . do. do. 359 Female Hand, (spread), . Cast from statue. do. 360 Male Hand, (on scroll), . . . j do. do. 361 Male Hand, (spread), Cast from nature. do. 362 Male Foot, (showing sole), do. do. 363 Pair of Mouths, (colossal), Cast from statue. do. 364 Pair of Ears, (colossal), . . . | do. do. 35 NO. SUBJECTS. ARTISTS. 1 PROPRIETORS. 365 Pair of Female Hands, (in supplica- tion), ..... Cast from statue. Academy. 366 Open Male Hand, (bent back), Cast from nature. do. 367 Open Male Colossal Hand, (bent for- ward), ..... Cast from statue. do. 368 Male Left Hand, (open), Cast from nature. do. 369 Female Right Hand, (resting), Cast from statue. do. 370 Pairs of Eyes (right and left) and Noses, do. do. 371 Female Hand holding a Rose, do. do. O! ir- CO Child’s Forearm and Hand, Cast from nature. do. CO 1— CO Female Right Hand and Wrist, (not resting), ..... Cast from statue. do. 374 Child’s Foot, .... | Cast from nature. do. 375 376 Female Left Hand, (resting), . Female Hand with Ruffle, (resting Cast from statue. do. on cushion), .... do. do. 377 378 Female Hand, (resting on block), . Female Right Hand, (resting on do. do. palm), ..... do. do. 379 Male Left Hand, (resting on side), . Cast from nature. do. 380 Pair of Male Right Feet, (resting on do. 381 toes), ..... do. do. Female Left Foot, .... Cast from nature. do. 382 Pair of Eyes, Cast from statue. do. 383 Right Knee, Cast from nature. do. 384 Male Right Foot, .... Cast from statue. do. 385 Infant’s Foot, .... Cast from nature. do. 386 ! Pair of Female Feet, (crossed), Cast from statue. do. 387 Anatomical Foot, .... do. do. 388 Female’s Right Foot, (deformed), . Cast from nature. do. 389 Foot of Apollo, .... Cast from statue. 390 Foot of Venus de’ Medici, do. do. 391 Hand clenching Stick, . Cast from nature. do. 392 Hand resting on Fingers, (with band- ed wrist), Cast from statue. 393 Pair of Clasped Hands, (resting on cushion), 1 do. do. 394 Right Hand suspended by the Wrist, do. with scroll, . . . . I do. do. k 36 NO. SUBJECTS. ARTISTS. i PROPRIETORS. 395 Pair of small Female Hands, (left one resting on cushion), Cast from statue. Academy. 396 Fragment of a Colossal Ear, . do. do. 397 Captive Cupid, (a statuette), . C. A. Fraiken. do. 398 Do. do. (duplicate), do. do. 399 Lioness, do. 400 Bull, do. 401 Cow and Calf, do. 402 Head — an Egyptian caryatide, Cast from statue. do. 403 Nine Skulls in Plaster, . Cast from nature. 404 John the Baptist Decapitated, (sta- do. tuette), Paul Duggan. do. 405 Leg of a Female, (resting on block), ' Cast from statue. do. 406 Anatomical Leg, . Cast from nature. do. 407 Female Arm with Hand, Cast from statue. 408 Yenus and Bird, (statuette), . C. A. Fraiken. do. 409 Legs and Head of Napoleon’s Horse, (presented by T. Sully), do. Cast from nature. do. 410 Head of a Newfoundland Dog, do. do. 4111 Head of a Bloodhound, . do. do. 412 Head of Innocence, (duplicate), C. A. Fraiken. do. 413 Male Arm, ..... Cast^from nature. Cast from statue. do. 414 Male Hand Pointing with Stick, do. 415 Male Forearm Grasping, do. do. 416 Do. do. do. * do. 417 Bas-Relief, Agriculture, . Modern. do. 418 Bas-Relief, Commerce, . do. do. 419 ! Bas-Relief, Arts, .... do. do. 420 | Bas-Relief, Literature, . do. do. 421 Torso — showing Back, . Cast from nature. do. 422 Torso — showing Breast, . do. do. 423 Flexed Male Arm, .... do. do. 424 1 Front of Male Foot, From nature. do. 425 j Pile of Books, do. do. 426 Bust of a Gentleman, (unknown), . do. 427 Grapes and Leaves, Cast from nature. do. 428 A Gymnast, , Antique. do. 429 Small Statuette of Pericles, . . j do. do. 37 1 NO. | SUBJECTS. ARTISTS. PROPRIETORS. 430 Small Statuette of Jupiter, Cast from the antique. Academy. 431 Small Bust of a Crying Child, do. do. 432 Portrait Bust of a Lady, (unknown), Modern. do. 433 Small Lioness, .... Antique. do. 434 Male Mask, ..... do. 435 Do do. 436 Bas-Relief, Instrumental Music, Modern. do. 437 Bas-Relief, Vocal Music, do. do. 438 Bas-Relief, Feast of Bacchus, . Antique. do. 439 Bas-Relief, of a Wreath, do. do. 440 Bas-Relief, Laurel Wreath, do. do. 441 Bas-Relief, Sacrificial, do. do. 442 Six Bas-Reliefs of Pagan Deities — Jupiter, Juno, Minerva, Diana, Mars, and Mercury, . do. do. 443 Bas-Relief of Charlotte Corday, Modern. do. 444 Child at Play, (statuette), do. do. 445 Cynic, (duplicate), Antique. do. 446 Laughing Faun, (duplicate), . do. do. 447 Prometheus, ..... Prof. S. F. B. Morse. do. 448 Diana. (Presented by Mrs. Hopkin- do. son), ...... Houdon. do. 449: Male Torso, ..... Antique. do. 450 Do do. 451 Cupid and Psyche, Copied from antique. do. 452 Milo Devoured by Wild Beasts Prof. S F. B. Morse. do. 453 Bust of Duke of Wellington, . Chantry. do. 454 Bust of Paul Jones, Wm. Rush. do. 455 Bust of Dr. Wistar, do. 456 Bust of Gen. Moultrie, . J. S. Cogdell. do. 457 Bust of Lord Nelson, do. 458 Bust of Wm. Darlington, M. D. do. 459 Bust of Washington, 1 From Canova’s statue do. 460 Bust of Henry Clay, do. 461 Bust of Paul Weber, do. 462 ! Bust, (Unknown) do. 463 Do. .... do. 461 Passion, a Female Head, (duplicate). do. 3 * 38 NO. SUBJECTS. ARTISTS. PROPRIETORS. 465 Head of Socrates, (mutilated), Cast from antique. Academy. 466 Head of Laughing Child, do. 467 Four Colossal Feet of Hercules, (duplicate), .... do. do. 468 Bust of Washington, W. Rush. do. 469 Head and Arm of Venus, (mutilated), i Antique. do. 470 1 Bust of Venus. The original marble in the Pitti Palace, Florence, From Canova’s statue. do. 471 Two Colossal Hands, (mutilated), . Antique. do. 472 Anatomical Arm, (flexed), . . , Modern. do. FRAMED PRINTS AND DRAWINGS IN DIRECTORS’ ROOM. NOT ON EXHIBITION. 473 The Lord’s Supper, (Raphael Morg- hen), ' [ci.l After Leonardo de Vin- Academy. 474 The Sortie at Gibraltar, (William Sharp), ..... After Trumbull. do. 475 Charles Carroll of Carrollton, i C. Harding. do. 476 The Destroying Angel, (original en- graving) John Martin. do. 477; The Deluge, (original engraving), . do. do. 478 Belshazzar’s Feast, “ do. do. 479 Joshua Commanding the Sun to Stand Still, (original engraving), . do. do. 480 Napoleon le Grand, (A. B. Des- noyers), After Gerard. do. 481 Portrait of Washington, (original lithograph), .... Rembrandt Peale. do. 482 Madonna della Seggiola, (Raphael Morghen), ..... After Raphael. do. 483 Jos. Hopkinson, late Pres. P. A , (John Sartain), .... 1 After T. Sully. do. 484 Hon. H. D. Gilpin, late Pres. P. A., (John Sartain), .... After pho’ph by Ulke do. 485 Photograph of the Lady Students of the Academy making the Aca- demy’s U. S. Flag, 486, Bishop White, (by Wagstaff), after picture Henry Inman. do. 39 NO. SUBJECTS. ARTISTS. 487 Scene from “Taming of the Shrew, ” (Charles Rolls), .... After C. R. Leslie. 488 Greek Fugitives, (J. Goodyear), . ! After Sir Chas. East- lake. 489 The Death of the Earl of Cha- tham, (Bartolozzi), After Copley. 490 Lot and his Two Daughters, (Ra- phael Morghen), . . . After Guercino. 491 Faust and Margaret, (daguerreotype), Langenheim. 492 Noureddin and the Fair Persian, (daguerreotype), do. 493 Daguerreotype of Steinliauser’s Hero and Leander, .... 494 Architectural Design for Stores in Front of the Academy Building, . Carver & Hall. 495 Lithographic Drawing of the Na- tional Monument at Washington, C. Fendrick. 496 Greek Fugitives, (water color), After E. P. StephonofT. PROPRIETORS. Academy. do. do. do. do. do. do. do. 40 PAINTINGS AND SCULPTURE ON EXHIBITION NOT THE PROPERTY OF THE ACADEMY. NO. SUBJECTS. ARTISTS. PROPRIETORS. 497 Life-size Model, Paradise Lost, Jos. Bailly. [Artist. 4 98 Life-size Model, The First Prayer, . do. do. 499 Solitude, (a statuette), . J. L awl or. Wm. II. Fennev. * 500 The Freedman, (a statuette), . J. Q. A. Ward. Artist. 501 Bust of Gen. Grant, Jos. Bailly. do. 502 Bust of Clement B. Barclay, (marble), J. Broome. C. B. Barclay. 503 Bust of Rev. Albert l3arnes, D. D., (marble), . S. B. Downing. Artist. 504 Bust of Bishop Potter, (marble), J. Broome. do. 505 Bust of Nicholas Biddle, (marble), . 506 Bust of Mrs. Com. Hull, (marble), . Mrs. Com. Hull. 507 Spirit of the Rhine — Lurlie, (marble), Sch wan thaler. Mrs. II. Farnum. 508 Girl at a Fountain, (in Bronze), . 1 Pradier. Gen. II. Tyndale. 509 Bust of Maria Louisa, (marble), Canova. J. L. Hodge. 510 Reflecting Love, (statue in marble), J. II. Haseltine. The Artist. 511 Full length of Queen Victoria, (the original from life), T. Sully. [eiety. St. George’s So- 512 The Holy Family, (the original in the , Louvre), . After Raphael. J. II. Powell. 513 Penn’s Treaty with the Indians, Benj. West. Jos. Harrison, Jr. 514 Christ Rejected, do. do. 515 The Virgin and Dead Christ, . do. Mrs. Seguin. 516 j Scene from Pericles, Prince of Tyre, i do. do. 517 Apollo and Hyacinthus, . f do. do. 518 i The Presentation in the Temple, do. do. 519 ; Prodigal Son’s Return, . do. do. 520 i Triumph of Love, .... do. do. 521 i Full length Portrait of Benj. West, Attributed to G. H. Harlowe. do. 41 NO. SUBJECTS. ARTISTS. 1 PROPRIETORS. 522 Carvings in Wood, by a prisoner in the Bastile, .... Auber Parent. E. J. Dutilh. 523 Group of four Figures in Freestone, Franklin Insti- illustrative of Burns’ Tam O’Shanter, James Thom. tute. ‘ Ae market night, Tam had got planted unco right, Fast by an ingle bleezing finely, Wi» reaming swats, that drank divinely ; And at his elbow Souter Johnny, Ilis ancient, trusty, drouthy crony. Tara lo’ed him like a vera brither, They had been fou’ for weeks thegither. The night drave on wi’ sangs an’ clatter, And a’ the ale was growing better : The landlady and Tam grew gracious, Wi’ favors secret, sweet, and precious ; The souter tauld his queerest stories ; The landlord’s laugh was ready chorus ; The storm without might rail’ and rustle, Tam did na mind the storm a whistle.” 524 Bas-Relief — a Female Head, (marble)! J. Brown. 525 Frederick the Great of Prussia (eques- trian statue), .... Prof Kiss. Mrs. F. Peters. 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