1st Gallery.—
2. Holy Family in glory, and two Franciscan Saints adoring: Garofalo.
3. Magdalen: Annibale Caracci.
8. Two Heads: Quentin Matsys.
9. Holy Family: Sassoferrato.
10. Story of the conversion of S. Eustachio (see the description of his church): School of Albert Durer.
14. A Portrait: Titian.
15. Holy Family: Andrea del Sarto.
20. The Three Ages of Man: Titian.*
21. Return of the Prodigal Son: Guercino.
25. Landscape with the Flight into Egypt: Claude Lorraine.
26. The meeting of Mary and Elizabeth: Garofalo.
38. Copy of the "Nozze Aldobrandini:" Poussin.
45. Madonna: Guido Reni.
50. Holy Family: Giulio Romano, from Raphael.
2nd Gallery.—
6. Madonna: Fran. Francia.
14. "Bartolo and Baldo:" Raphael.*
17. Portrait: Titian.
21. Portrait of a Widow: Vandyke.
24. Three Heads, called Calvin, Luther, and Catherine: Giorgione.
26. Sacrifice of Isaac: Titian.
33. Portrait of a Pamfili: Vandyke.
40. Herodias with the Head of John the Baptist: Pordenone. A grand bust of Andrew Doria.
50. "The Confessor:" Rubens.
53. Joanna of Arragon: School of Leonardo da Vinci.*
56. Magdalene: School of Titian.
61. Adoration of the Infant Jesus: Gio. Batt. Benvenuti ('l'Ortolano').
66. Holy Family: Garofalo.
69. Glory crowning Virtue (a sketch): Correggio.
80. Portrait of Titian and his Wife: Titian. Also a number of pictures of the Creation: Breughel.
3rd Gallery.—
1, 6, 28, 34. Landscapes (with figures introduced): Ann. Caracci.
5. Landscape, with Mercury stealing cattle: Claude Lorraine.
10. Titian's Wife: Titian.
11. "Niccolaus Macchiavellus Historiar. Scriptor:" Bronzino.
12. "The Mill:" Claude Lorraine.*
"The foreground of the picture of 'the Mill' is a piece of very lovely and perfect forest scenery, with a dance of peasants by a brook-side; quite enough subject to form, in the hands of a master, an impressive and complete picture. On the other side of the brook, however, we have a piece of pastoral life; a man with some bulls and goats tumbling head foremost into the water, owing to some sudden paralytic affection of all their legs. Even this group is one too many; the shepherd had no business to drive his flock so near the dancers, and the dancers will certainly frighten the cattle. But when we look farther into the picture, our feelings receive a sudden and violent shock, by the unexpected appearance, amidst things pastoral and musical, of the military; a number of Roman soldiers riding in on hobby-horses, with a leader on foot, apparently encouraging them to make an immediate and decisive charge on the musicians. Beyond the soldiers is a circular temple, in exceedingly bad repair; and close beside it, built against its very walls, a neat water-mill in full work; by the mill flows a large river with a weir across it.... At an inconvenient distance from the water-side stands a city, composed of twenty-five round towers and a pyramid. Beyond the city is a handsome bridge; beyond the bridge, part of the Campagna, with fragments of aqueducts; beyond the Campagna the chain of the Alps; on the left, the cascades of Tivoli.
"This is a fair example of what is commonly called an 'ideal' landscape; i.e. a group of the artist's studies from nature, individually spoiled, selected with such opposition of character as may insure their neutralizing each other's effect, and united with sufficient unnaturalness and violence of association to insure their producing a general sensation of the impossible."—Ruskin's Modern Painters.
"Many painters take a particular spot, and sketch it to perfection; but Claude was convinced that taking nature as he found it, seldom produced beauty. Neither did he like exhibiting in his pictures accidents of nature. He professed to pourtray the style of general nature, and so his pictures were a composition of the various draughts which he had previously made from beautiful scenes and prospects."—Sir J. Reynolds.
18. Pietà: Ann. Caracci.
23. Landscape, with the Temple of Apollo: Claude Lorraine.
26. Portrait: Mazzolino.
27. Portrait: Giorgione.
33. Landscape, with Diana hunting: Claude Lorraine.
At the end of this gallery is a small cabinet, containing the gems of the collection:—
1. Portrait of a "Letterato:" Lucas V. Leyden?*
2. Portrait of Andrea Doria: Sebastian del Piombo.*
3. Portrait of Giannetto Doria: Bronzino.*
4. Portrait of S. Filippo Neri, as a boy: Barocci.
5. Portrait of Innocent X.; Gio. Battista Pamfili (1644—55): Velasquez.*
6. Entombment: John Emelingk.*
Here, also, is the bust of the late beloved Princess Doria (Lady Mary Talbot), which has always been veiled in crape since her death.