LETTER II.

The palace and gardens of the Thuilleries.—The Louvre.—The musée central des arts, or picture gallery.—Maria Cosway.—Gallery of antiquities.—Apollo Belvidere.—Laocoon.—List of pictures.

Paris, november the 6th, 1801 (15 brumaire, an 10.)

MY DEAR SIR,

Having in my last letter given the details of my journey, I shall proceed to speak in this of what I have already seen at Paris. The first objects of curiosity to which my steps were directed, were of course the Thuilleries and the Louvre. Of the garden of the former it is difficult to say any thing at this unfavourable season of the year. It appears, however, to have undergone but little alteration, and to have received the additional ornament of several statues, which are scattered about the grounds. The château or palace of the Thuilleries is also unchanged in that part of it which faces the garden, but the appearance of the great front, (I mean that towards the Carousel,) is much improved, and has become strikingly magnificent. It promises to be still more so, when the whole of the projected amendments are completed. When I last visited Paris, a number of small houses surrounded the palace, and seemed to conceal it from the profane eye of the vulgar. The greater part of these houses are already pulled down, and the gallery of the Louvre, no longer kept from view, forms a magnificent side to the spacious court by which the palace is approached, and in which the first consul reviews his troops, on the 15th of every month. This court is separated from the street, by a beautiful iron railing, the four gates of which are ornamented with the celebrated horses taken from Venice, and with the birds (I believe cocks) which, in imitation of the roman eagles, the french republic has adopted as her distinguishing symbol. The opening is already extended as far as la rue St. Nicaise. Houses are daily pulled down, and I understand it is the intention of the present government to clear away all the remaining obstacles, which separate the palace of the Louvre from that of the Thuilleries. When this great plan is fully executed, the residence of the first consul will greatly exceed in magnificence all the palaces of Europe.

In the Louvre is situated the museum or musée central des arts. This superb collection, without exception the finest in the world, occupies a room equally unrivalled, covering a space at least equal to a quarter of an english mile. The antichamber[2] to this vast gallery is at present filled with a modern exhibition of paintings, which, indifferent in themselves, become still more contemptible by an involuntary, though perhaps unfair, comparison, which one is led to make between the artists of our times, and those of our ancestors. An excellent likeness in full length of madame Bonaparte, and a beautiful miniature of a father and a son, by Isabey, were the only objects which attracted my attention. My impatience soon carried me forward. At length I found myself in the magnificent room, which I have before mentioned, the walls of which are covered as far as the eye can reach with the sublimest efforts of human art. Where the mind has long been promised a pleasure, when fancy has dressed it in all her choicest colours, how seldom does the reality approach the phantom of heated imagination! For once I was not disappointed. I expected it is true, a high gratification. I had formed to myself an exalted idea of the objects, which I was about to visit, yet the satisfaction I felt exceeded, far exceeded, what I supposed it possible for the power of sight to afford; nor did I believe that the hand of man was capable of attaining that degree of perfection, which I now beheld. For some time I was lost in wonder, I knew not where to fix my enraptured eye. A catalogue which was offered me, by one of the attendants, and which as I afterwards found, is drawn up with great clearness and precision, roused me from this pleasing reverie, and gave some order to the train of my thoughts. The arrangement of the collection is admirable.

After viewing the masterpieces of la Sueur, le Brun, Nicolas Poussin, and the three Van Loos, I supposed I had already seen the utmost efforts of the art, and even, under this supposition, was ready to allow that my highest ideas of the power of painting fell short of what these specimens presented. Think of my surprise, when, looking on my catalogue, I found that I had not yet passed the limits of the french school. Astonished and delighted I went on. The flemish, dutch, and german masters occupy the second division. Among them I beheld the exquisite works of Van Dyck, of Hans Holbein, of Paul Potter, of Rembrandt, of Teniers, and of Rubens. Sublime as were the first, objects that had claimed my admiration, even they were exceeded by the latter. Nor had I yet seen the acme of the art. Charmed with the fancy and execution of all the flemish painters, I was particularly pleased with the beautiful pasturage, by Paul Potter, every object of which seems alive on the canvass.

A few steps would bring me in view of the wonders of Italy, to see which so many of my countrymen had crossed the Alps; yet so enraptured was I with the objects already before me, that it required all the importunity of my companions, to persuade me to proceed. I was soon rewarded for this temporary sacrifice, and in contemplating the almost supernatural works of Corregio, of Caravaggio, of the Carracci, of Dominichino, of Guido, of Leonardo da Vinci, of Paul Veronese, of Raphael and of Titian. I discovered, that what I had seen before were only so many links in the great chain of perfection, which was now complete. If among those models of the art, you wish me to name some particular picture, I should give the preference to the communion of St. Jerome, by Dominichino, which in expression, colouring, feeling, and variety, seems to me to possess every beauty united.

Before I quit a subject so interesting in every respect, I ought to mention, that this assemblage of the chefs-d’œuvres of former times, begins already to hold out the promise of improving the taste of modern painters. I saw artists of both sexes, occupied in taking copies of the most celebrated subjects; and as curiosity led me to observe some of these unfinished attempts, I discovered, with infinite pleasure, that the figures, and even the countenances of the most striking objects, were in several instances successfully imitated. It is indeed, almost impossible, that the study of such unrivalled works should be pursued, without considerable benefit to the individual, and improvement to the art. To me it appears highly probable, that, assisted by the great facilities and advantages which this gallery affords, painting will, in the course of twenty years, recover all its former splendour.

An English lady[3], who has long very deservedly enjoyed a considerable portion of public praise, is now employed in copying the principal pictures in the museum; and from her designs, prints are to be published, the proposals for which are already circulated at Paris. If she should execute her plan as well as one has reason to expect from her known talents, the collection will become highly valuable and interesting, not only to those who have seen the originals, but likewise to such as have not had that advantage.

The musée, like every other establishment of the kind in this town, is conducted on principles of liberality, truly honourable to the government and the nation. The gallery is open to foreigners and artists, every day of the year; but to the public, only once or twice in each week. No fee or recompense is either required, expected, or received by any of the attendants; and the exquisite pleasure of contemplating these sublime pictures, for which indeed it would be difficult to fix any adequate price, is enjoyed gratuitously[4].

The gallery of antiquities, containing statues, busts, and basso-relievoes, is immediately under the gallery of pictures. It is divided into la salle des saisons, la salle des hommes illustres, la salle des Romains, la salle de Laocoon, la salle de l’Apollon, et la salle des Muses.

Were I to attempt an account of all these statues, my letter would never end. I shall therefore only mention those by which the rest, however excellent, are rendered petty, and contemptible, in comparison with them. I mean the Apollo Belvidere, and the Laocoon[5]. These masterpieces of human ingenuity are also so well known, and have been so well described, that I shall confine my remarks to their present state and present situation. The Apollo seems to have received no injury from the journey, and has as just claims as ever to the preeminence which, for so many centuries, has been allowed it. Did I not fear to appear presumptuous in hinting at any defect in a statue, esteemed so perfect, I should say, that the ancles were rather too thick, in proportion to the rest of the leg, and to the general lightness of the figure. I should have concealed my criticism, if a friend, on whose judgment and knowledge I can rely, had not assured me, that the objection was not novel, and that many connoisseurs have suspected that the legs are modern.

Not having had the happiness of seeing this wonderful statue in Italy, I cannot draw a comparison between the spot where it formerly stood, and that which it at present occupies. I certainly think, that it is not now seen to the greatest advantage. The room is not either high or large enough for the purpose, and too many statues are crowded together.—The Apollo Belvidere stands between the Venus d’Arles and another female figure, within a railed space of no great dimensions. The catalogue gives the following history:

“No. 145. APOLLON PYTHIEN,
DIT APOLLON DU BELVIDERE.

(After describing the statue and the subject).

“Cette statue la plus sublime de celles que le tems nous ait conservées, a été trouvée, vers la fin du quinzième siècle, à Capo d’Anzo, à douze lieues de Rome, sur le rivage de la mer, dans les ruines de l’antique Antium, cité célébré et par son temple de la Fortune, et par les maisons de plaisance, que les empereurs y avaient élevées à l’envi, et embellies de plus rares chefs-d’œuvres de l’art. Julius II, n’étant encore que cardinal, fit l’acquisition de cette statue, et la fit placer d’abord dans le palais qu’il habitait près l’église de Santi Apostoli. Mais bientôt après étant parvenu au pontificat, il la fit transporter au Belvidere du Vatican, où depuis trois siècles elle faisait l’admiration de l’univers, lorsqu’un héros, guidé par la victoire est venu l’en tirer, pour la conduire et la fixer à jamais sur les rives de la Seine....

“On ignore entierement le nom de l’auteur de cet inimitable chef-d’œuvre. L’avant-bras droit et la main gauche qui manquaient out été restaurés par Giovanni Angelo da Montorsoli, sculpteur élève de Michael Ange.”

TRANSLATION.

“THE PYTHIAN APOLLO.

CALLED
“THE APOLLO BELVIDERE.

“This statue, the most sublime of those which time has preserved, was found, towards the conclusion of the fifteenth century, at Capo d’Anzo, twelve leagues from Rome, on the sea shore, near the ruins of the ancient Antium, a city no less celebrated for its temple of Fortune, than for the elegant seats, which the different emperors, emulous of each other, had built there, and ornamented with all the rarest works of art. Julius II, while yet but a cardinal, bought this statue, and placed it first in the palace where he resided, near the church of the Holy Apostles. When he became sovereign pontiff, he ordered it to be conveyed to the Belvidere of the Vatican, where for three centuries it excited the admiration of the universe. A hero, guided by victory, drew it from the Vatican; and, transporting it to the banks of the Seine, has fixed it there for ever....

“The name of the artist, who made this inimitable chef-d’œuvre, is unknown. The right arm, and the left hand, which were wanting, were restored by the sculptor, Giovanni Angelo da Montorsoli, pupil of Michael Angelo.”

I hope, my friend, you admire the modesty with which it is declared, that the Apollo is for ever fixed on the banks of the Seine!—After the singular fate which this statue has experienced, it required all that happy confidence, with which the french determine the most difficult questions in their own favour, to make so bold an assertion. The Apollo lay two thousand years under the ruins of Antium, and yet preserved its beauty. It was drawn thence, placed in the Vatican, and after receiving there, for three centuries, the applauses of mankind, is carried over the Alps, and seen at Paris in all its original symmetry. If it be the destiny of this matchless figure to follow the tide of fortune, and to change its residence with the changes of empire, and the casualties of human affairs, who shall decide where it may next be found? If Julius II, when he placed the Apollo in the Vatican, had been told, that, three hundred years afterward, a french warrior would attach it to his car of victory, in entering the city of Paris, would even the pope himself have had faith enough to believe such a prophecy? After this, no conjecture becomes improbable. Who knows, that this celebrated statue may not, some centuries hence, be discovered on the frozen plains of Siberia, or in the burning sands of Egypt?

The subject of the Laocoon is so pathetic, and the execution so admirable, that the group which it presents, is, as the catalogue well observes, a specimen, at once, of composition, art, and feeling. The following is the historical account of this statue:

“Il a été trouvé en 1506, sous le pontificat de Julius II, à Rome sur le mont Esquilin, dans les ruines du palais de Titus, contigu à ses thermes. Pline qui en a parlé avec admiration, l’avait vu dans ce même endroit. C’est à cet écrivain que nous devons la connoissance des trois habiles sculpteurs Rhodiens qui l’ont exécuté, ils s’appellaient Agésandre, Polydore, et Athenodore. Agésandre étoit probablement le père des deux autres, ils florissaient au premier siècle de l’ere vulgaire. La groupe est composé de cinq blocs si artistement réunis, que Pline l’a cru d’un seul. Le bras droit du père et deux bras des enfans manquent. Sans doute un jour on les exécutera en marbre. Mais provisionnellement on les a suppliés par des bras moulés sur la groupe en plâtre, restauré par Gerardon, qui se voit dans la salle de l’école de peinture.”

TRANSLATION.

“It was found in 1506, under the pontificate of Julius II, at Rome, on the Esquiline mount, in the ruins of the palace of Titus, near his thermæ, or hot baths. Pliny, who speaks of this statue with admiration, had seen it in the same place. It is to this writer we are indebted for the knowledge of the three able sculptors of Rhodes, who executed this masterpiece. Their names were, Agesander, Polydorus, and Athenodorus. It is probable, that the first of these was the father of the other two. They flourished during the first century of the common era. The group consists of five pieces of marble, joined in so workmanlike a manner, that Pliny thought the whole was of one. The right arm of the father, and two of the arms of the children, are wanting. They will, no doubt, be executed hereafter in marble; in the mean time, the deficiency is supplied by arms moulded on the group in plaister of Paris, the work of Gerardon, which is to be seen in the hall of the school of painting.”

In taking leave of the gallery of statues, I ought, perhaps, in answer to several inquiries, which have been made me in letters from England, to mention, that the Hercules Farnese, and the Venus de Medici, are not in the collection. A british officer, lately returned from Egypt by way of Italy, tells me, that both these statues are at present in the island of Sicily. They are in the possession of the king of Naples, who keeps them locked up in cases, and refuses permission, even to his greatest favourites, to see them.

Adieu.

POSTSCRIPT.

I add, for the sake of gratifying the curiosity of such of your friends as are connoisseurs, and wish to know where their favourite pictures may be found, a list of those of the most celebrated masters, now in the Louvre.

FRENCH SCHOOL.
CHARLES LE BRUN.
No. 9. The Courage of Mutius Scævola.
10. The Death of Cato.
11. Portrait of Charles le Brun, taken in his youth, by himself.
12. St. Stephen stoned.
13. The Magdalen at the Pharisee’s.
14. Jesus asleep, or Silence.
15. The Benedicite.
16. The Cross surrounded with Angels.
17. The Defeat of Porus.
18. The Tent of Darius.
19. The Entry of Alexander into Babylon.
20. The Death of Meleager, king of Calydon.
21. The Conquest of Franche-Compté.—(The sketch from which le Brun drew the celebrated picture, in the great gallery at Versailles.)
22. The Nativity.
NICHOLAS POUSSIN.
No. 67. The Martyrdom of St. Erasmus, the Bishop.
68. The Philistines attacked with the Plague.
69. The Rape of the Sabines.
70. The Fall of Manna in the Desert.
71. Time makes Truth triumph.
72. The Last Supper.
73. St. Francis Xavier in India.
74. St. John Baptising in the river Jordan.
75. Rebecca and Eliezer.
76. Diogenes throwing away his Cup.
77. The Judgment of Solomon.
78. The Blind Men of Jericho.
79. Portrait of Poussin, taken by himself.
80. The Adultress.
81. The Death of Sapphira.
82. Winter, or the Deluge.
83. The Death of Eurydice.
84. The Holy Family.
85. The Assumption of the Virgin.
RESTOUT.
No. 88. Alpheus and Arethusa.
LE SUEUR (EUSTACHE.)
No. 98. The Preaching of St. Paul at Ephesus.
99. The Descent from the Cross.
100. The Celebration of Mass by St. Martir.
101. St. Gervais and St. Protais.
102. Clio, the Muse of History.
Euterpe, the Muse of Music.
Thalia, the Muse of Comedy.
103. Calliope, the Muse of Epic Poetry.
104. Urania, the Muse of Astronomy.
105. Terpsichore, the Muse of Dancing.
106. Melpomene, the Muse of Tragedy.
Erato, the Muse of Lyric Poetry.
Polyhymnia, the Muse of Eloquence.
VAN LOO (CARLO.)
No. 115. Æneas and Anchises.
116. The Marriage of the Virgin.
VAN LOO (JOHN BAPTISTE.)
No. 117. Diana and Endymion.
VAN LOO (LOUIS MICHAEL.)
No. 118. The Picture of Carlo van Loo, the historical painter.
DUTCH, FLEMISH, AND GERMAN SCHOOL.
CHAMPAGNE (PHILIP OF.)
No. 212. The Archbishop of Milan, St. Ambrose.
213. The carrying the Bodies of St. Gervais and St. Protais, from the spot where they were found, to the cathedral of Milan, by order of the Archbishop.
214. A dead Christ extended on the Bier.
215. The Supper.
216. The Nuns.
217. Philip of Champagne, painted by himself, in 1668, at the age of 66 years.
CLAISSENS (ANTONY.)
No. 218. The Judgment of Cambyses.
219. Cambyses orders an unjust Judge to be flayed alive, directing his skin to be turned into a cover for the bench of his successor.
DURER (ALBERT)
No. 249. The Portrait of a Geometrician.
250. The Portrait of a Musician.
251. A Crucifix.
DYCK (ANTONY VAN.)
No. 252. Christ lying dead in the Arms of the Virgin: near him are St. Magdalen and St. John.
253. St. Augustin in a Swoon.
254. Charles the First, king of England.—(A delightful picture.)
255. The Mother of Pity.
256. Francis of Moncade, Marquis d’Aylonne, governor of the Netherlands for Philip the Fourth.—This man was both a warrior and an historian.
257. St. Martin cutting his Cloak, in order to give half of it to a poor Man.—(This is one of the most interesting pictures in the whole collection.)
258. Antony van Dyck.
259. Comte de Luck, holding an orange in his hand.
260. Half-length Picture of a Man, with his hand on his breast.
261. The Picture of a Man in Black.
262. The Ex-voto and the Virgin.
263. Jesus carrying his Cross.
264. The Portraits of Charles the First, Elector Palatine, and Prince Robert his Brother, both in military dresses.
265. The Portrait of a Man on Foot, holding his daughter, who is on horseback, by the hand.
266. The Portrait of a Lady and her Son.
267. The half-length Portrait of a Man of 37, having a glove on his left hand.
268. Half-length Portrait of a young Woman, with a fan of feathers in her hand.
269. John Richardot (president of the privy council of the Netherlands), one of the negotiators sent by the king of Spain to Vervins—died in 1609.
270. Portrait, in the shape of a bust, of a Man in a black Cloak.
271. Venus soliciting from Vulcan Arms for Æneas.
272. The taking down from the Cross, a sketch.
DYCK (PHILIP VAN) CALLED THE LITTLE VAN DYCK, PUPIL OF ARNOLD BOONEN.
No. 270. B. Sarah presenting Agar to Abraham.
271. B. Agar repudiated by Abraham, at the instigation of Sarah.
272. B. Judith giving to her Maid the Head of Holophernes.
273. A Woman at her Toilet.
274. A young Woman playing on the Guitar.
GYZEN (PETER.)
No. 295. A Village Holiday.—(A very laughable picture.)
HOLBEIN (HANS OR JOHN) PUPIL OF JOHN HOLBEIN, HIS FATHER.
No. 313. The Portrait of a Man, with a black Cat.
314. Thomas Moore (lord chancellor of England) beheaded by order of Henry VIII.
315. The Portrait of a young Man carrying a Hawk.
316. The Sacrifice of Abraham.
317. A young Woman in a Necklace of Pearls, and a red Jacket.
318. Erasmus.
319. A young Woman with a yellow Veil.
320. Robert Cheeseman, at the age of 48, with a Hawk.
321. Master Nicholas Kratzer, astronomer of Henry VIII of England.
322. The Archbishop of Canterbury, painted in 1528, at the age of 70.
323. Ann of Cleves, wife of Henry VIII of England.—(Henry the eighth married her on seeing this picture, but repudiated her six months after, finding that her beauty by no means equalled that which had been given her by the painter.)
324. The Portrait, in miniature, of Erasmus.
PAUL POTTER.
No. 446. Landscape, with Cattle.—(This is the picture in which I particularly admired the exact and wonderful imitation of Nature.)
447. A Meadow.
448. A Meadow watered by a River, in which animals are drinking and men bathing.—(This is a charming picture.)
449. Oxen and Pigs in a Pasture, near a cottage.
450. Two Horses at a Trough, near the door of a public house. A man brings them water.
451. A Field.—In the front, three cows are standing under an oak; and, on the left, an ox with white and black spots.
REMBRANDT (VAN RYN PAUL.)
No. 455. The Head of a Man, with a hat ornamented with black feathers.
456. Portrait of Rembrandt in his youth, taken by himself.
457. The Head of a Woman, dressed in long ear-rings, and a fur cloak.
458. The good Samaritan.
459. The Head of an old Man with a long beard, who is also bald.
460. A Jewish Bride.
461. The Head of a young Man with a black cap, and a golden chain round his neck.
462. The meditating Philosopher.
463. The contemplating Philosopher.
464. Small Head of a Man, dressed in a straw bonnet.
465. The Family of a Joiner.
466. Tobias and Family prostrate before the angel Raphael, who disappears from their sight, after making himself known.
467. Susannah at the Bath.
468. The Pilgrims of Emans, and the breaking of Bread.
469. The Presentation of Jesus in the Temple.
470. St. Matthew, the Evangelist.
471. The Portrait of Rembrandt, in a more advanced period of life than that of 456.
472. Venus and Cupid.
473. An old Man at his Meditations.
RUBENS (PETER PAUL.)
No. 479. The Education of Mary of Medici.
480. The Lying in of Mary of Medici.
His celebrated picture of the Assumption has lately been put up in the Musée.
481. The Happiness of Peace.
508. Adriana de Perès, wife of Nicholas Rockox, married in 1589, died in 1619.
509. The Crucifixion of St. Peter.
510. Christ on the Cross, between the two Thieves, at the moment when the centurion wounds him in the side.
511. The Last Supper.
512. The Adoration of the Kings, larger than life.
513. St. Roch interceding for the Persons afflicted with the Plague.
514. St. Roch fed by his Dog.
N. B. I particularly recommend these last six pictures to your attention. They are more than commonly beautiful.
515. St. Roch cured of the Plague by an Angel.
516. Christ dead in the Arms of his Father.
517. The Adoration of the Wise Men.—(An admirable picture.)
518. The Beheading of St. John the Baptist.
519. St. John the Evangelist thrown into a Copper of boiling Oil.
520. The Portrait of a Woman, dressed in a hat, and, holding a bunch of roses in her hand.
521. Another Portrait of a Woman in black, her head uncovered, and her hands crossed.
522. The Nativity of our Saviour, a sketch.
523. The Resurrection of Christ, a sketch.
524. Lot and his Family leaving Sodom, led by an Angel.
525. The Virgin and the Infant Jesus, surrounded with Innocents. This is called the Virgin and the Angels.
526. The Kernesse, or Village Holiday.—(A very curious picture.)
527. The Descent from the Cross.
528. The Miraculous Draught of Fishes.
529. The Apostles finding in the Mouth of a Fish, the Piece of Money necessary for the Payment of the Tribute.
530. The Angel, making the Young Tobias angle for the Fish, the gall of which was to restore his Father’s sight.
531. The Portrait of a Princess, who appears to be Elizabeth of Bourbon, Daughter of Henry the IVth, and Wife of Philip, King of Spain.
532. The Triumph of Pomona.
533. Venus and Adonis.
534. A View of Malines.
535. A View of Cadiz.
TENIERS (THE YOUNGER DAVID.)
No. 575. The Smoker.
576. The Grinder.
577. Country people dancing to the sound of the Bagpipe.
578. The Works of Charity.
579. The Village Wedding.
580. The Preparations for a Repast.
581. Peter’s Denial of our Saviour.
582. A Landscape.
583. The inside of an Ale-house, with Persons playing at Cards.
584. The Prodigal Son at Table, with his Mistresses.—(In this picture Teniers is supposed to have drawn himself and his Family.)
585. Hern shooting.
586. The Alchymist in his Laboratory.
587. An old Man’s Head in a Fur Dress and Bonnet.
588. The inside of an Ale-house.
TENIERS (THE ELDER DAVID.)
No. 589. A Man playing on a Bagpipe.
ITALIAN SCHOOL.
GIO BENEDETTO CASTIGLIONE (CALLED AT GENOA, IL GRECHETTO, AND IN FRANCE, THE BENDETTE.)
No. 689. The Nativity.
690. The Money-sellers driven from the Temple.
691. Melchisedec, King of Salem, offering Bread and Wine to Abraham.
692. A Woman carrying a Vase on her head, an old Man, and an African with a Turban on his head holding a copper plate.
693. In the middle of a Court a Woman carrying a Copper Vessel, and an Ass loaded with Kitchen Furniture.
694. Jacob leaves Mesopotamia, in order to see his Father in Canaan.
695. Bacchanalians and Satyrs resting, and playing on different Instruments.
ALBANI (FRANCESCO.)
No. 660. The Birth of the Virgin.
661. Mystic Vision of the Cross.
662. Diana and Acteon.
663. The Holy Family.
664. The Rest in Egypt.
665. The Rest in Egypt.
666. St. Francis praying before a Crucifix.
667. God the Father in his Glory.
668. Adam and Eve.
669. The Annunciation of the Virgin.
670. The Annunciation of the Virgin.
671. Our Saviour appearing to Mary Magdalen.
672. The Baptism of Jesus in the Waters of Jordan.
673. The preaching of St. John in the Desert.
674. Apollo at the House of Admetus, King of Thessaly.
675. The Triumph of Cybele.
676. Fire.
677. Air.
678. Water.
679. Earth.
680. } The Loves and Graces at the Toilet of Venus.
681.
682.
683.
684. Apollo and Daphne.
685. Salmacis and Hermaphroditus.
THE CARRACCI.
The four Elements by the three Carracci, that is to say,
No. 703. Earth, by Lodovico Carracci.
704. Water, by Lodovico Carracci.
705. Fire, by Agostino Carracci,
706. Air, by Annibale Carracci.
CARRACCI (AGOSTINO.)
No. 707. The Assumption of the Virgin.
708. St. Cæcilia and St. Marguerite.
709. The Communion of St. Jerom.
710. Hercules in his Cradle, strangling the Serpents.
CARRACCI (LODOVICO.)
No. 711. The Virgin, St. Francis, and St. Joseph.
712. St. Hyacinth, to whom the Virgin appears.
713. The vocation of St. Matthew.
714. St. John baptizing Christ.
715. The Annunciation of the Virgin.
716. The Nativity of Jesus Christ.
717. The Virgin and the Infant Jesus.
CARRACCI (ANTONIO, NATURAL SON OF AGOSTINO CARRACCI.)
No. 718. The Deluge.
CARRACCI (ANNIBALE.)
No. 719. The Mother of Pity.
720. St. Luke, St. Catherine, and the Virgin.
721. Christ lying dead on the Knees of the Virgin.
722. The Birth of the Virgin.
723. The Resurrection of Jesus Christ.
724. The Resurrection of Jesus Christ,
725. Jesus asleep. This picture is commonly called, the Silence of Carracci.
726. Fishing.
727. Hunting.
728. The Nativity of Jesus Christ.
729. The Nativity of Jesus Christ.
730. Christ laid in his Tomb.
731. The Portrait of a learned Man.
732. The Annunciation of the Virgin.
733. Diana and Calisto.
734. The Martyrdom of St. Stephen.
735. The Martyrdom of St. Stephen.
736. A Concert on the Water.
737. The Preaching of St. John in the Desert.
738. The Annunciation of the Virgin.
739. The Assumption of the Virgin.
740. A Hermit meditating.
741. The Sacrifice of Abraham. A Landscape.
742. The Death of Absalom. A Landscape.
CARAVAGGIO (MICHAEL ANGELO AMERIGI, CALLED THE CARAVAGGE.)
No. 743. The Death of the Virgin.
744. Christ carried to the Grave.
745. Adolphus and Vignacourt.
746. A young Gipsy telling a young Man’s Fortune.
747. St. John the Baptist.
748. Wandering Musicians singing at the close of Evening, and at the Corner of the Street, an Anthem to the Virgin.
N.B. It is doubtful whether this was the work of Caravaggio, or of one of his pupils.
CAVEDONE (JAMES.)
No. 749. St. Eloi and St. Petronius.
750. St. Cæcilia singing the praises of the Lord.
CORREGIO (ANTONY ALLEGRI, CALLED THE CORREGE.)
No. 753. The Virgin, the Infant Jesus, the Magdalen, and St. Jerom.
754. The Rest in Egypt.
755. Antiope asleep.
756. The Marriage of St. Catherine.
757. The taking down from the Cross.
758. The Martyrdom of St. Placidus and St. Flavia.
759. The Infant St. John.
760. A Head of Christ crowned with Thorns.
DOMENICHINO (DOMENICO ZAMPIEN, CALLED IN FRANCE THE DOMENIQUEZ.)
No. 763. The Communion of St. Jerom.—(N.B. This admirable picture appears to me the best in the collection.)
764. The Rosary protected by the Virgin.
765. The Martyrdom of St. Agnes.
766. David playing on the Harp.
767. Rinaldo and Armida.
768. Æneas saving his Father Anchises from the Ruins of Troy.
769. St. Cæcilia.
770. The Concert.
771. The Virgin and St. Antony of Padua.
772. The Virgin taking Water from a River with a Shell.
773. Timoclea before Alexander.
774. A Landscape.
775. A Landscape.
776. A Landscape.
777. God cursing Adam and Eve.
778. The Ecstacy of St. Paul.
779. The Triumph of Love.
FERRARI (GANDERTIO.)
No. 784. St. Paul the Apostle.
785. The Nativity of Jesus Christ.
GUIDO (RENI, CALLED IN FRANCE THE GUIDE.)
No. 797. The Crucifixion of St. Peter.
798. Christ giving the Keys to St. Peter.
799. St. Jerom, St. Thomas, and the Virgin.
800. Fortune.
801. David holding the Head of the Giant Goliah.
802. The Virgin, the Infant Jesus, and St. John kissing his Feet.
803. The Virgin holding the Infant Jesus asleep on her Knees.
804. The Union of Design and Colouring.
805. St. John the Baptist in the Desert.
806. The Magdalen.
807. The Magdalen.
808. St. Sebastian.
809. The Samaritan Woman.
810. Christ in the Garden of Olives.
811. Christ on the Cross, and the Magdalen.
812. A Head of Christ crowned with Thorns.
813. Hercules killing the Hydra.
814. The Battle of Hercules and Achelöus.
815. The taking away of Dejanira by Nessus.
816. Hercules on the Funeral Pile.
817. The Mother of Pity, with the Saints who protected the City of Bologna.
818. St. Roch in his Prison.
819. The Massacre of the Innocents.
820. The Angelic Salutation.
821. The Purification of the Virgin.
822. The Sleep of the Infant Jesus.
823. The eternal Father.
824. St. John in the Wilderness.
825. The Rest in Egypt.
826. St. John.
827. The carrying away of Helen.
GUERCINO (GIO FRANCESCO BARBIERI, CALLED THE GUERCHIN.)
No. 829. The Picture of Guerchini, painted by himself.
830. The Magician Circe.
831. Jesus Christ giving the Keys to St. Peter.
832. The Martyrdom of St. Peter the Apostle.
833. The Resurrection of Lazarus.
834. The Infant Jesus, holding the Hand of his Mother, gives his benediction.
835. The Incredulity of St. Thomas.
836. The Vision of St. Jerom.
837. Amnon and Thamar.
838. St. Theresa and Jesus Christ.
839. The Circumcision of Christ.
840. The beheading of St. John and St. Paul, under the Reign of the Emperor Julian, called the Apostate.
841. The Vision of St. Bruno.
842. The Saints Protectors of the Town of Modena.
843. The Virgin appearing to St. Jerom.
844. St. Peter at his Prayers.
845. St. Paul holding the Sword with which he is about to be put to Death.
846. St. Francis and St. Benoit.
847. St. William and St. Felix.
848. The Marriage of St. Catherine.
849. Herod’s Daughter receiving the Head of St. John the Baptist.
850. Christ appearing to the Virgin.
851. Conclusion of the Battle between the Romans and Sabines.
LANFRANCO (GIOVANNI LANFRANCO, CALLED THE LANFRANC.)
No. 854. Agar in the Desert.
855. The parting of St. Peter and St. Paul.
856. St. Bartholomew the Apostle.
857. St. Peter imploring the Pardon of his Master.
857. B. St. Peter deploring his Faults.
858. The crowning of the Virgin.
THE FOLLOWING ARE FROM THE ROMAN, FLORENTINE, AND VENETIAN SCHOOLS.
ALEXANDER VERONESE.
No. 910. The Adultress.
LEONARDO DA VINCI.
No. 921. The holy family accompanied by St. Michael, St. Elizabeth, and St. John holding a Sheep.
922. The Virgin holding the Infant Jesus.
923. The Picture of Madame Lise.
924. The Picture of a Woman in black.
PAUL VERONESE.
No. 927. The Marriage of St. Catherine.
RAPHAEL.
No. 931. The Infant Jesus caressing St. John.
932. St. Michael subduing the Devil.
933. St. Michael combating Monsters. An allegorical painting.
934. St. George.
935. The Virgin, St. John, and the Infant Jesus asleep. (Commonly called the Silence of the Virgin.)
936. The Vision of Ezekiel.
937. A young Man reflecting.
938. A young Man about fifteen or sixteen Years old.
To which pictures of Raphael has lately been added his celebrated one of the Holy Family.
TITIAN (TIZIANO VECELLI.)
No. 940. The crowning with Thorns.
941. Christ carried to the Tomb.
942. Portrait of a Man in black.
943. Portrait of a Man in black.