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TRANSFERRED TO 
fM^ ARTS LIBRAB^ 




BOtGHT WITH 

THE GIFT OF 

OF BOSTOTf, MAiS, 
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MUSfiE 

DE 

PEINTURE Bt DE SCULPTURE. 

RECUEIL 
DES PRINCIPAUX TABLEAUX, 

STATUES ET BAS-RELIEFS 
DCS COLLECTIONS PUBLIQUES £T PARTIGUL|£R£S DE L'EUROPE. 

•ESSIlfi ET GRAVE A l'bAU jFORTI 

PAR RiVElL; 

ATEG BSS NOTICIS DESCRIPTIVES, CRITIQUES IT HISTORIQUES , 

PAR DUCHESNE AINE, 



VOLUME X, 



PARIS. 
AUDOT, EDITEUR, 

RUE DBS MA90NS«SQJ1801I5E, H*. fl. 
1831. 



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HARVARD FINE ARTS LIBRARY! 
FOGG MUSEUM 



PARIS. — IMPRIMEIUE ET FONDSRU D£ FAIN 
Rae Racine, n*. 4 > place d« TOdioa. 



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MUSEUM 



OP 

PAINTING AND SCULPTURE, 

OR 

COLLECTION 
OF THE PRINCIPAL PICTURES , 

STATUES AND BAS-RELIEFS 

IN THE PUBLIC AND PRIVATE GALLERIES OF EUROPE , 

OlAWir AND BTCHID 

, BY RAvEIL: 

WITH DBSc&iKnyi, camoiL, and historical moticu, 
Bt DUCHESNE SnrioR. 



VOLUME X. 



LONDON: 

TO BE HAD AT THE PRINCIPAL BOOKSELLERS 
AND PRINT8H0PS. 

1831. 



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PARIS. — PRINTED. B\ FAIN , 
Rue Racine y n*. 4 » place de I'Odeon. 



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AVIS 
sun L£STi.BL£S DC MUStit!. 



Kous ^avofis anBooc^ qae le nombre des Ihrrttsons 
dtt Mus^ etait &tf a i68, ou j4 voliune*. Left li- 
ivaisoiM 4tf ^ j«sqa'ia la i44''*» ootitieMlroBt 36 por- 
t»dts cles artistes du premier ordre , avec des NoAioei 
Ustonqu^ ^ cidtiqaes sar la vie et ies ouvrages de 
chacma 4'eux. Nous doniieroins seulement uiie coiute 
Notice biqgraphiq«e «ur toas les autres maitreft Soot 
left ouvn|g|9S fiODt ^^av^ dans Dotre Cc^leetion. Ges No- 
tices clevaiit neoossiter qiaelques Uvraisoas su|qpymem- 
tairesy aous avoasoherdaie adimintter, le plus possible, 
le nombre de ces tivraisoDs, et c'est pour parvenir a oe 
bat ^e nous avoos pris le parti de supprimer les 
tables alphabi^tiques 4es derniers volumes^, pour les 
remplacer par des Notices. , 

Nous pensoDs que Messieurs les souscriptetu^ nous 
sauront gr6 de cet arraogement , puisque c'est dans 
leur iuter^t que dous agissons. Le neuvieme volume 
cootient une table generale. Les tomes lo, ii, i3 
et i3 seront termines par une table du contenu 4e 
chaque livraison : aiusi les recherches seront Taciles. 
Ala fin de Touvragie, il sera donne une table des ar- 
tistes , par ordre d'ecoles , avec la liste de leurs ou- 
vrages , e€ une autre table alphabetique generale. 



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ADVERTISEMENT. 
TABLES OF THE MUSEUM. 



We liaire already infornied our subscribers that 
the number of Parts to complete the Museum was fixed 
at 168, forming i4 Volumes. The 6i>^ or double Parts, 
to the i44'**> will contain 36 Portraits of the first 
artists , with Historical and Critical Notices of the 
Lives and Works of each. A short Biographical No- 
tice only of the all other Mastei*Sy whose works 
have been engraved in our Collection , will be given. 
These Notices requiring a few supplementary Parts , 
we have sought to l^sen the number asi much as 
possible, and it is to accomplish this aim, that we 
have determined to suppress the Alphabetical Tables 
in the last Volumes, for the purpose of inserting No- 
tices in their ^ead. 

We hope our Subscribers will feel satisfied with 
this arrangement our, intention being to render our 
work as economical to them as circumstances "will 
permit. The ninth Volume contains a General Table. 
Volumes 10, II, 12 and i3, will each have an 
index to the contents of each Part : thus references 
will become ea§y. At the end of the Work a Table 
-will be added of the Artists, according to their respec- 
tive Schools , with a List of their Works. The whole 
to conclude with a General Alphabetical Table. 



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TIZIANO VEGELLI. 



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NOTICE 
HISTORIQUE ET CRITIQUE 

TIZIANO VECELU dit TITIEN. 



Gbef de F^cole y^itienne, le nom de 1111611 se troupe plac^ 
8iir la m^me ligne que ceux de Raphael , de Correge et de 
Leonard de Yinci ; 8*iln*est pas, ainsi qu'eux, cr^ateur d^^ole, 
comme evrx du moins il s^dera si haut qu'il effaga la gtoire de 
Crentil et Jean Bellini , ses mattres. Tiziano Yecelli naquit en 
1477, h. Piaye de Cadore , d'une famille noble. L'un de ses 
anc^tres, ^yeque d*Oderzo, a ^te canonist sous le nom de 
saint Tiziano. Des I'iige de dix ans, Titien fut envoye k Venise 
et plac^ chez Sebastien Zuccato , faiseur de mosaiques ; mais, 
Sentant bient6t la mediocrite de son maitre, il entra dans I'a- 
telier de Bellini. Le peu d*empressement qu*il mit alors a 
imifer la mauiere s^be de ses modeles , le fit mal juger par 
son maitre , qui lui declara que jamais il ne serait qu'un bar- 
bouilleur. Titien , sans ^tre ebranl^ par cette condamnation , 
Veloigna de F^cole de cellini , mais il continua k prendre des 
conseils de Giorgion , son condisciple. 11 ^tudia aussi les 
ouTrages de quelques peintres flamands, nouveilement arriy^ 
k Yenise, et dont les ouyrages se faisaient remarquer parun 
coloris vrai et brillant. Titien sans doute s etait d^ja fait con- 
naitre par quelques tableaux, lorsqu*en i5o5 il fut cbarg^ , 
«oncurremment avec Giorgion , de peindre k fresque I'exli- 
rieur du nouyeau magasin des Mlemands, La facade principale 
fut donn^e a Giorgion dej^ connu par p^usieurs fresques;, 

XXVIII 



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II ^ HOTICE HISTORIQUE BT CRITIQUE 

mais Titien, dans le Triompbe de Judith, se montra tellement 
tup^rieur a son compeiiieur , que^ des cet instant , sa reputa- 
tion prit un grand developpenaent. Immediatement apres ce 
travail, il peignit , pour Feglise de Saint - Nicolas - des - 
Freres a Venise , un grand tableau d'autel representant I'As- 
somptiou de la Vierge , ouvrage des plus remarquables, prin- 
cipalement sous le rapport de F^clatante lumiere qui y est re- 
pandue. Appele ensuite a Vicence et a Padoue, sa reputation 
s'accroissait toujours, et le senat venitien jeta leS yetix sur lui 
pour terminer les peintures commencees , dans la salle du 
, conseil , par Bellini. Si un incendie n'eut detruit ce batiment 
en 15^7 , on pourrait trouver , dans un de ces tableaux ,-de8 
portraits autbentiques de Ferdinand de Gordoue , de Bendbo ,. 
de Sannazar, de I'Arioste, de Navagero et de Joconde. 

Titien re^ut alors du senat un titre equivalent k celui de 
premier peintre , dont Tune des prerogatives etait de faire 
le portrait de cbaque nouveau doge , travail pour lequel il re- 
cevait huit ecus. Le due de Ferrare , Alphonse d*£st , ajant 
charge Titien de decorer une des pieces de son palais, il fit ces 
fameuses Bacchanales qui depuis passerent a Rome , ou elles 
furent admirees , etudiees et copiees par Poussin , Barocci , 
du Quesnoy, Albane et Rubens, et dont la perte causa tant 
de regrets au Dominiquin , lorsque le cardinal Ludovisi les 
vendit au roi d'Espagne. 

Tilien refusa successivement les offres de Leon X et de 
Francois I®*"., qui Tengageaient I'un et I'autre a quitter sa 
patrie , et continua a decorer difTerens monumens de Venise. 
G'est alors qu'il fit, pour I'eglise Saint-Roch, une Annonciation 
de la Vierge j pour celle de Saint-Nicolas, un saint Sebastien, 
maintenant au palais Quirinal a Rome ; pour celle de Saint- 
Jean et Saint-Paul , ce magnifique et celebre t&bleau de 
Saint-Pierre martyr, regarde avec raison comme Tun des chefs- 
d'oeuvre de la peinture. G'est aussi vers cette epoque qu'il 
fit Je tableau des pelerins d'Emmaiis , maintenant au Louvre. 
En 1529, Titien fut appele a Bologne pour faire le portrait 



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SUR TIUANO TECELLI. Ill 

de rempereur Gkarle» Y, qui posa trois foir pour lui et le 
combia d'honneurs. Dans ses promenades, rempereur lui 
laissait habituellement la droite , disant a ses courtisans : 
« Je puis bien faire un due, mais je ne saurais faire un peiutre 
comme Titien. » 

Cesi priDcipalement dans le genre du portrait que Titien 
s'est eleve au plus haut degr^ , et quil occupe la premiere 
place , ou du moins qu'il la partage ayee Van Djrck. Les 
portraits du peintre fiamand plaisent peut-^tre davantage , 
ceux du peintre yenitien ont quelque chose de plus impo- 
sant. La plupart de ces portraits representent des person- 
nages puissans ou c^lebres par leur genie. On doit citer 
principalement ceux des papes Jules II, Clement YIIv 
Alexandre YI et Paul III; des cardinaux de M^dicis et 
Pierre de Bembo; de Francois I«'., roi de France, et Phi- 
Iipl)e II, roi d'Espagne ; de Tempereur Soliman ; de Ferdinand 
d'Alyaro, due d'Aibe ; ceux des dues de Saxe , de Sayoie et de 
Milan ; ceux des doges Lando , Treyisano , Gritti , Griinani 
et Andre Doria ; les portraits d'Ignace de Lojola et de saint 
Louis deGonzague ; puis ceux de Bocace, Ar^tin et Lulher. II 
fitaussi beaucoup de portraits de femmes, et son talent y 
est encore plus remarquable et plus extraordinaire. 

En 1 545, Titien fit le voyage deRome, il j vit Micbel-Ange, 
mais Raphael n existait plus. Pendant Tannee qu'il r^sida 
danscette capitale des arts, il peignit cette celebre Danae, 
maintenant a Naples, et dont on a plusieurs repetitions. 
Ayant de retourner a Yenise, noire grand peintre voulut 
yisiter Florence ; mab il ne re^ut pas des Medicis Taccueil 
qu'il devait attendre d'une famille qui avait montre tant 
de gout pour les arts. 

Arriye a Fage de soixante-dix ans, Titien n'ayait rien 
perdu de son talent : il alia en i65o k Ausgbourg, oii le manda 
I'empereur, puis yint ayec lui k Inspruck. C'est la qu*il fit 
un tableau all^gorique du plus brillaut effet ; on j yoit la 
Yierge et les Saints priant la Trinite d'agr^er 1 es hommages- 



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lY irOTICE HiSrOA. ET GftlT. SUR TIZIANO. 

dc la famille imp<^iale qui occupe Ic bas^du tableau. L« senaf 
ck Venise Toalak aussi que Titien se char^t de prendre part 
aux embellissemens de la cbambre da conseil ; mais 3 sen 
excusa et fit agr^r a sa place Jacques Robust! , Paul Caliari 
et son fils Horace Vecelli. Quant a lui il peignit pour Tem- 
.pereur plnsreurs tableaux , parmi lesquels on doit remarquer 
Diane et Acteon , Pers^e et Andromede , Jason et Medee , 
Pan et SjrinT , V^nus et Adonis. Ces chefs-d'oeurrc font 
maintenant au palais de l^scurial. 

Des chagrins yinrent assaiHir Titien dans sa vieillesse : il 
Tit p^rir dans la* m^me annee Charles V, son protecteur ; 
FAretin, qu'il aimait; la fille d'un de ses amis, a qui il prenait 
I'inter^ le phis tendre; enfin il yit PomponiaB , Tun de ses 
fils , d^onorer son nom et son earactere sacerdotal par les 
debauches les plus horribles. Gherchant k se distraire en re- 
prenant le travail, il pe^it yers i56o le Martyre de saint 
Laurent , pour Venise ; la Flagellation de Jesus-Christ , main- 
tenant k Lisbonne ; une Madeleine , dont on connait trois re- 
petitions Il Venise, deux it Florence et une k TEscurial. II ter- 
mina aussi une Cene commence sept ann^ auparayant et 
que lui-m4me regarda comme son meilleur ouyrage. 

Titien, ag^ de plus de quatre - yingts ans, fut encore 
charge de peindre trois tableaux pour lli6tel -de - yille de 
Brescia , il continuait m^me a trayailler, lorsqu'cn 1676 une 
maladie contagieuse se d^lara a Venise et vint enleyer notre 
peintre ^ rage de quatre-yingt-dix-neuf ans. 

Cest principalement a Venise que sont les plus beaux ta- 
bleaux de Titien. 11 s'en trouve cependant aussi un grand 
nombre au Musee de Madrid et au palais de TEscurial. La 
plupart de ceux-ci sont peu connus , n'ajant jamais ^le gra- 
ves. On pent porter a plus de 460 le nombre des composi-^ 
tioBS ou portraits peints par cet artiste 



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N.'COLAS BEBGHEM. 



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NOTICE 
HISTORIQUE ET CRITIQUE 

NICOLAS DiT BERGHEM. 

' Si on Youlait aussi diviser les pajsages ei les pajsagistes en 
elassiques et en romantiques , on placerait sans doute Titien 
dans les premiers et Berghem dans les autres y puisque ses 
tableaux sont ordinairement une imitation exacte de la 
nature , sans avoir jamais eu de regies pour la^ choisir et 
sans y cbercher qoelques oppositions. 

A Fepoque ou yivait Berghem , led noms de families n'e- 
taient pas encore d'un usage absolument general en Hollande , 
et beaucoup de peintres ne sont connus que par le nom de 
leur ville natale , ou par un sobriquet que sourent on a cru 
etre leur yeritable nom. Cest ce qui est arrive a Nicolas , nd 
a Harlem en 1624. Son pere , Pierre, ne dans la meme 
ville , porta le nom de Pierre Van Harlem, Quant ^ lui , se 
trouvant un jour poursuivi par son pere , qui voulait le 
maltraiter, Van Gojren, son mailre, s'interposa entre eux et 
dit a d*autres eleves , berg-hem (cachez-Ie). De cet instant ces 
mots devinrent son nom qu'il garda toujours. 

Nicolas ^Bergbem avait regu d'abord les premieres le^ns 
de dessin de son pere , peintre de genre d*un talent fort 
mediocre. II re^ut ensuite des lemons de Jean Van Goyen , de 
Nicolas Moyart , de Pierre de Grebber et enfin de Jean-Bap« 
tise Woenix , peintre de talent. D'un caraclere doux et tran- 
quil^e , Bergbem , fort assidu au travail , acquit promptement 
de la refJutation ; ses ouvrages furent Ires-recherches ; il pei- 
^ait avec facility ) et Favarice de sa femme le for^ait encore 
k ne pas quitter le pinceau. 

XXIX 



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tV NOTICE HIST. ET CRit. SUtl IIIC. BERGHEM. 

li avait rhabitude de trav^iller en chantant , et Ton adsuri; 
que lorsque sa femme ne Tentendait plus, elle ficappait au 
plancher de son atelier, dans la crainte qu'il se fut endormi. 
On doit penser qu*avec une telle aprete pour Fargent , elle 
ayait soin de se faire remettre le prix de ses tableaux. Gepen- 
dant notre peintre tacbait quelquefois d*en retenir une 
partie, et il I'emplojait a acbeter des estampes , dont il etait 
fort curieux. Sa collection devint meme assez belle et fut 
vendue' fort cbere apres sa mort. II s'jr trouvait une epreuve 
du Massacre des Innocens , gray^e par Marc-Antoine , d'apres 
Raphael. Geite piece fut pajee par lui 60 florins , ce qui , a 
ceLle epocjue , etait un grand prix, 

Ber^bi^m bahH,i long-temps le cbateau de Benthein ; des 
f enetres de sod atelier il vojrait une belle campagne couyerte 
de Iroupeaux et Cr^quentee par leur conducteur. En ete, des 
fjualre heures du malin, il se mettait a I'ouvrage, et ne le quit- 
Ult que le solr, Cesl ainsi qu'il reussit a faire un si grand 
n ombre de loLleaux remplis de merite. Sa maniere est excel- 
lente ; heureux dans Bes compositions il sut les yarier a Fin- 
fini ; cependant ce qu*il a peint le plus , ce sont des marcbes 
de troupeaux. Souyent il les represente trayersant un' ruis- 
seau, pour regagner leurs paisibles babilations, a Fbeure oil le 
soleil , pret a quitter I'horizon , leur indique le moment d*al- 
ler cbercber le repos. Quelquefois la marcbe est suspendue 
pour une conyersation entre les patres et les bergeres. 

Ge n est pas seulement comme Labile peintre que Bergfaem 
s'est acquis une grande reputation. 11 a aussi graye a I'eau- 
forte des etudes qui representent des brebis et des cbeyres, 
ou des pajsages ayec quelques yacbes. Ges pieces sont grayees 
d'une pointe facile et pleine d'esprit , conduite par une main 
ferme et qui decele un dessinateur sayaht et exerce. Ges etudes 
sont au nombre de 53 , plusieurs d*entre elles sont rares ; 
quelqUes-unes U sont meme au plus haut degre. 

On ne connait pas les circonstances de sa mort, qui eut 
lieu le 18 janyier i683 , n'ayant pas atteint soixante ans. 



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CHAFLLES LE BRUN. 



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NOTICE 
HISTORIQUE ET CRITIQUE 

SDR 

CHARLES LE BRUN. 



Les grands siecles semblent faire eclore a la fois de grands 
geDies dans tons les genres, G'est ainsi que nous vojons appa- 
railre Apelle en mdme lemps qu* Alexandre, Raphael sous le 
pontifical de Leon X, et Le Brun sous le regne de Louis XIY. 
Ge grand peintre eut par la suite a retracer Fhistoire du heros 
de son siecle et il s*en acquitta d*une maniere tout-a-fait re- 
marquable. 

Charles Le Brun naquit.a Paris en 1619. Son pere ^tait 
sculpleur et sa mere etait la fijle de Lebe , celebre maitre d'i- 
criture. Des son plus jeune age Le Bl*un montra d^s disposi- 
tions pour le dessin ; ilavait a peine quatre ans qu*on le 
vojait prendre des cbarbons dans le fojer et -dessiner par 
terre les objets quiFavaitrus de fa^on a les faire reconnaitre 
des spectateurs. Son pere; prbfitant de dispositions si heu- 
reuses, lui mit fort jeune le crayon et T^bauchoir a la main; 
iLussi des Fage de neuf ans Charles Le Brun avait models des 
mascarons, des aigles, des griffons ; il sculpta m^me. un petit 
Bacchus en bois qui fut conserve et moule par la suite.' Le 
pere, charge de faire differefis ouyr^ges de sculpture dans Yh^* 



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II NOTICE HIST<HIIQUE ET CRITKJUE 

fel Seguicr, menait souveatsoQ fils avec lui. C'est ainsi que le 
cbancelier cut Foccasion d'apercevoir le genie precoce d'un 
enfaot doat la figure preyeuait en sa fayeur. 

Pour lui donner les mojens de se developper plus rapide- 
ment , il le pla^a dans Talelier de Youet , le peintre de 
cette epoque qui ayait le plus de reputation et les trayaux 
les plus import an s. Le Brun alia ensuite etudier ii Fontaine- 
Lleauoiise trouyaient alors les plus beaux tableaux du roi 
on dit mdme quil j fit, de la grande Sainte-Famille de Ra- 
phael , une petite copie tres-remarquable. A quinze ans il fit 
le portrait de son oncle , puis celui de son pcre , tenant dans 
la main une petite statue. 11 causa une nouyelle surprise 
lorsqu'a yingt-deux ans il fit yoir des. tableaux de sa com- 
position tels que Hercule assommant lescbeyaux de Diomede. 
Poussin predit alors que Tauteur illustrerait son siecle. 

L'academie royale de peinture n'existait pas encore, mais 
il y avait parmi les corps de metiers, une communaut^ des 
maitres-peintres sow* le nom d' Academic de Saint- Luc. Le- 
brun fit pour cette confr^rie le tableau de saint Jean pr^t a 
^tre plonge dans rhuilebouillante. C'est alors, en 164^, que 
le cbancelier Seguier, youlant donner plus d'essor au genie 
de son protege, lui fit une pension avec laquelle il put alter 
^tudier a Rome, et le recommanda fortement a Poussin et au 
cardinal Barb6rini,.neyeu du Pape. Les conseils que Le Bmn 
re^t du Poussin eurent une beureuse influence sur son* ta* 
lent. Quoiqu'il ne puisse etre considere comme eleye^cfi& 'ee 
peintre celebre , cependant il lui doit une parlie de sa gloii^, 
puisque -c'est d'apres son ayis qu'il etudia les monuments de 
I'antiquit^, les usages et les babillemens des anciens, leurs 
^xercices , leurs combats et leurs triomphes. II cxposa alors k 
Rome deux tableaux qui furent tree goutes, Mu tins See vola, 
et Horatiua Codes. 

Charles LeBnin rerintii Paris en 1 647, et n*jr trouya d^autre 
emule que le calibre Le Sueur. Pius actif et plus proteg^ que 



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SUK C&ARLES LE BKUK. Ill 

Jui, LeBrun fat charge par la commimaut^ des orf&yres de 

faire, pour la cath^drale de Paris, le tableau qu'ils offraieot 

ehaque aimee a cette ^glise et que Ton designe ordinaire- 

- meat, sous le nom de Mai de Notre^Dame. 

Cette m^me anuee fut aussi remarqnabfe po^ rhistoire 
des beaiix>art8, qu'eHe est honorable pour Je peintre Le Bnin, 
qui alors, avec rai>pui du 'chascelier Seguier, parvint a d^- 
moatrer la necessite d'etablirune Jcadimie de peinture. Elle 
fill en effetfondee par Je roi en Janvier 1648. Parmi les aca- 
demiciens, douze anciens devaient ^tre charges de professer : 
Tun d'eux naturellement devait etrc Charles LeBrun. Lors- 
qoil faliut leur assigner un rang enlre eux, par une siugu- 
larile fort remarquable , le sort designa ce peintre en pre- 
mier. 

Ne pouvant. faire la recapitulation de tons les ouvrages de 
Le Brun, nous nous contenterons de donner les plus remar- 
quables , et nous citerons d'abord le serpent d*airain , qu'il 
fit alors pour lesreligieux de Picpus; saint Jean ecrivant FA- 
pocaljpse, pour le college Beauvais, et mainlenant au Musee; 
JesSaintes Families ditesle-Be/ieJ/c/feetlesilence.Cellederniere 
a 6ie publiee sous le n°. 5 1 5. 11 fit pour le convent du Val-de- 
Grice, cette c^lebre Magdeleine penitente, dans laquelle on 
a Toulu voir les traits de madame de La Valliere, ce qui nest 
pas exact, ainsi que nousravonsdeja dit, lorsque nous avons 
parf^ de ce tableau sous le n°. 287 j puis le repas de Jesus- 
Christ cbez Simon le pharisien , tableau qui en 181 5 fut li- 
vre anx commissaires des puissances etrangeres, en echange 
du magnifique tableau des noces de Cana par Paul Veronese. 
Le Brun fit aussi des portraits parmi lesquels on remarque 
ceux du president de Bellievre et du celebre amateur Ja- 
bacH. 

Apr^s avoir fait un grand nombre de tableaux de chevalet, 
Le Bnm devait desirer de s*exercer dans ces vastes composi- 
tions nommees en Italie grandes-machines. II en trouva Foc- 



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iv HOTICE HISTORIQUE ET CRITIQUE 

casion au seminaire de Saint -Sulpice ou il peignit daas la 
YOuie le couronnement de la Vierge , et a I'lidtel du president 
Lambert, ou la galerie contient Thistoire d'Hercule dont 
nous ayons donn^ dfss fragmens sous les n^*. 635 et 689. 

Appele |asuite a Vaux-le-Vicomte par le surintendant Fou- 
quet , il J laissa de nombreiises traces de son talent et re^ut 
en recompense, indepeudamment du prix deses travaux, une 
pension dedouze mille francs, qu'il perdit a la disgrace de ce 
ministre, mais qui lui fut rendue plus tard , par le Roi, 
lors<|u*il eut etc charg^ par Colbert d'embellir la chapelle de 
Sceaux et le pavilion des Bains. 

La Cour ajant eu occasion de juger des talens de Le Brun 
dans les f^tes brillanfes qu'il dirigea a Vaux-Ie-Vicomte , le 
cardinal Mazarinlefitappelerpar lareineAnned'Autriche, et^ 
d'apres le recit d'un songe qu'elle avail eu, il fit pour elle un 
tableau designe sous le nom de Christ aux anges , et connu 
par la belle gravure d'Edelinck. 

En 1 66 1 le roi etant a Fontainebleau dit a LeBrun que, 
Youlant avoir un tableau de lui , il lui laissait le c^oix du 
sujet. II le fit dans le chateau meme, et peignit, souvent sous 
les yeux du roi , le tableau de la famille de Darius. C'est de 
ce moment que date la plus grande gloire du peintre. La vue 
de ce beau tableau acheva de determiner le Koi deja prevenu 
en sa faveur.Le monarque le regarda des lors comme I'homme 
le plus capable de conduire les vastes projels qu il avait con^us , 
pour Fembellissement des maisons rojales. 11 lui accorda des 
lettres de noblesse , lui donna son portrait enrichi de dia> 
mans, puis en 1662 le nomma son premier peintre. Colbert 
^tant alors surintendant des batimens, c'est a LeBrun qu'il 
donna la conduUe de tons les ouvrages de peinture et de 
sculpture , la direction de la manufacture des Gobelins, oii 
Ton faisait alors non-seulement des tapisseries, mais encore 
de belles pieces d'orfevrerie, des yases , des candelabres et de 
beaux meubles. 



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SOB CKA&LES LE SBUlf. T 

Le Rot allant en Flandre en iG6s , il voulut qae L^ ^o 
i4lt 4« "vojige afin de Toir 1«6 entries tnompbantes de la 
Bchie dans I«s Tilles coaqnues. A son reloar H eut la 
dtMclion dn brillaot carrousel, donn^ dans la grande 
place ^1 en a comerr^ le nom. II acfaera avssi de tratter 
rkitleire d' Alexandre dans ces grandet et sublimes composi- 
tions que nous avons donn^ sons les n^. 47S, 484, 491 , 
496 et 5o3, et qui ontet^ si bten grar^ par C^ard Audran. 
En i€64) Le Brun ftit charge des peiotures et decorations 
da grand escalier des appartemens de ¥ersaifles , de celles 
det Tttileries , de la galerie d'ApoIIon an LouTre, Les x>eio- 
lores de cette To6te ne furent pas termini, mais on en 
comnaH les compositions par les grarures de Saint-Andre. 

En 1667 Colbert Tint k TAcad^mie de peinture faire la 
premiere distribution des priz fond^ par le Roi. II engagea 
I'Acad^mie k aroir des conferences sur Fart. Le Drun fut le 
premier k les onyrir par denx discours Tun sur le Saint-Micbel 
de Rapba^ , Tavtre sur laManne du Poussin. Il lot aussi des 
dissertations sur le colons ^ sur le rapport entre la pbjrsiono- 
mie de rbomme et celle des animanx , et enfin sur les pas- 
sions. Ges deux demiers ourrages ^taieot accompagnes de 
dessins qui ont ^te graves. 

Le cbancelier S^ier ^tant mort en 1672 , FAcad^nie , 
dont il avait H4 le protecteur et le fondaleur^ Tnulnt donner 
an tteoignage public de sa douleur en faisant faire nn ser- 
Tice solennel dans T^glise de TOratoire; Le Brun, voulant 
auasf ac^itter la dette de sa reconnaissance personnelle, 
se ebargea de diriger celte Ute fund!>re, dont les magniUqoes 
decorations occupaient T^lise entiere et dans loBqudles se 
troovaient plac^ quatorze tableaux ou Le Brun reira^ les 
prineipoux laits de la Tie de Tillustre d^funt. 

IjC Brun , d^^ si celeBre , acquit une nouvdle reoomm^ 
par la peinture de la grande gaier'.e de Yersailles, oil il re- 
prdKnta Thistoire de Louis XIY depuis i6ii jasqu'en 1678. 



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Yl HOTIGB HISTOaiQUB BT CRITIQUE 

Ge grand et Leau trayail fut justemeDt admire. Gependant 
il trouva aussi des critiques, qui preteodirent qu'il avail eu 
tort de trailer d'une maniere allegorique Tliisloire du roi , 
ou au moins qu'il aurail du j meltre plus de clarte^ Ces 
peinlures etaient, selon eux, si peu iatelligibles, que Ton avait 
^te force pour les faire comprendre de placer des inscrip* 
tions au bas de chaque sujel. 

Ces obserTalioQS, presentees sans importance, acquirent 
i}Q degre de mechancet^ , lorsqu'apres la mort de Colbert 
on crut que le premier peintre, n ajant plus de protecleur 
aupres du roi, deyiendrait plus facile ii allaquer. On ne peut 
m^me se dispenser de dire que ces sarcasmes, repetes par 
les amis de Mignard , pouraient bien ayoir la jalousie pour 
base. 

De semblables critiques n^empdclierent pas Le Brun d'etre 
estim^ dans toute TEurope ; il re^ut un temoignage bien flat- 
teur de F Academic de Saint-Luc a Rome, qui en 1676 le nom- 
ma son Prince, d^rogeant ainsili ses statuts, qui exigeaient la * 
r^idence k Rome, du chef de Facademie. 

Charles Le |3run etait en possession de donner les id^s de 
tout ce qui se faisait dans les arts. C*est k lui que Colbert de- 
manda le dessin de la chaire de Saint -EusUche. A la mort 
de cet illuslre ministre il donna la composition de son tom- 
beau , execute par Coiseyox et Tuby. C'est lui aussi qui com- 
posa le tombeau, qu'il fit eleyer k sa m^re, dans I'eglise Saint- 
Nicolas-du-Chardonnais . 

Ajant te/mine les peinlures de la grande galerie de Ver- 
saille$ , il ne quilta pas encore le piuceau et fit pour le ro 
plusieurs tableaux. En i685 il pr^nta au Roi son portement 
de croix , el Moise defendant les filles de Jelhro. Ces mor- 
ceaux furent trouyes admirables; on les yantait Ji Fegal de 
ceux du Poussip.Le Roi, pour honorer la memoire du peintre 
mort vingt ans auparayant, dit que les bons tableaux sem- 
blaienl encore acquerir du prix apr^ la mort de leur auteur, 



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Sl]& CHARLES LE BRUIT. Tif - 

f}fM se toumant vert Le Brun, il ajoula : « PouriaDt ne toos 
pressez pas de mourir, je tous estime des a present antaat 
que pourra le faire la post^rite. > 

Ayant de terminer sa carriere, Le Bran fit encore un Cal- 
Taire et Fentree de Jesns-Cliriftt dans Jerusalem , puis une Na- 
tiTite qu'il yenait a peine de finir, lorsqu'il fut surpris par la 
maladie donl.il mourut le 12 feyrier 1690. 
. Nous ne pouyons mieux terminer celte notice, qu en rap- 
portant I'opinion emise par Taillasson , sur le talent de Le 
Bran :< Rapide comme les armees de Turenne et de Conde, sa 
noble imagiiialion acouyert les you les des palais de Louis XIY 
des representations pompeuses de ses conqudtes. Par Tabon- 
dance des pensees, par des allegories pleioes d'esprit, de 
clarle ^t de noblesse , il a moutre dans ces immenses trayaux 
toute I'etendue et toute la ricbesse de son genie. Gette abon- 
dance et cette ricbesse sont les principaux carac teres de son 
originality. 11 fut dans sa jeunesse jete par les destinees au 
milieu des palais des rois ; et son esprit , exalte par I'eclat 
d'une cour fastueuse , en prit de bonne beure Forgueillejise 
pbysiouomie qui , empreinle dans tous ses ouyrages y. Jait 
encore un de ses caracleres distinctifs. Ses ordonnances sont 
grandes etfacxles; jamais des lignes desagreables n y faliguent 
les jeux, mais on n j trouye jamais celte interes^ante sim-i 
plicite qui toucbe : elles excitent Tadmiralion , Felonnement, 
et cetle sorte de plaisir que Ton eprouye en yo/ant de grands 
spectacles , des cboses extraordinaires , des ceremonies ma- 
gnifiques, des marches triomphales. II semble qu*il se plai- 
•ait particulierement k peindre tout ce que Louis XIY aimait 
k yoir. Ses groupes sont disposes aisement , noblemenl ; ils 
pnisenlent toujours de belles lignes et de grands efiets ; ses 
figures sont bien ajusl^es; il ne se piquait pas d*unescrapu- 
leuse exactitude dans le costume , mais il ne Tignorait pas , 
et il n'en pren^it que ce qui conyenait k son gout. Quoiquil 
J ait un peu de lourdeur dans I'execution de ses draperies , 



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nil NOTICE BIST. ST caiT. SUR CHARLES LE BAUN. 
et dans letm agencemeot , elles sont toajours jotees d*uiie 
maniere grande, ric&e et tout-li-fait k tui. Sod desBiQ est m*- 
yant , il a de la correction , de rortgiaalit^ ; les formes en 
sont nobles; mats on lenr reproclie ayec raison d*Mre un 
pen lonrdes , et elles n'ont pas tout I'iiitMt et toute la ya* 
tHU de la nature. Sans doule oecnp^ de tant d'ouvrages k 
la fois , il n*ayait pts le temps de la consnlter assez. Sem- 
blable anx cooqn^rans qn'il a peints, son gfoie an^tienxet 
inCatigable ronlait enyabir ions les tniTaiix ; n'en troavanl 
pas encore assez de ceux dent il ^tait ^cbarg^ , et dont tont 
autre ehi iU accabl^. Sa conlevr n*est pas ee qni ft^ sa e^^ 
l^rite, elle est cependant savTsnt tr^4)elle, tonjoars ti- 
gourense et harmonieuse. • 

Lea tableauz de liC Bran sont si nombrenz que Ton ne pour-^ 
rait en donner ezactement le nombre; cependant on pent 
dire qulls passent le nombre de qnaire cent et qne phisienrs 
sont dlmmenses compositions. H a gra^ k I'ean •forte trois 
pi^es qni n'offi*ent pas nn grand int^r^* 

Parmi ses ^^es on remarqne principalement , Verdier , 
Honasset Lefebyrey^Yirien , La Fosse et Claade Andran , ne^ 
yen du calibre grayeur G<irard Andran. 

Les pi^es gray^ d^apr^ Le Bran passent le netnbre de 
800 pi^es. Les principauz grayeurs qui ont tratailk^ d*aprfs 
lui, sont Gerard, Benottet Jean Andran, Edelinck, Poillj, 
Pieart, Leclerc, Boulanger, Cbauyeau, Lenfant, Saint-An- 
dr^, Snrague et Desplaces. 



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HISTORICAL AND CRITICAL 
NOTICE 

OF 

TIZIANO VEGELLI, called TITIAN. 



As cliief of the Venetian School, Titian's name ranks pa- 
rallel with those of Raphael , of Coreggio , and of Leonardo 
Da Vinci. If like them, he is not the founder of a School, 
he has at least risen so high as to outstrip the fame ef his 
masters, Gentili and Giovanni Bellini. Tiziano Vecelli was 
horn , in 14771 at Piave in Cadore , of a noble family. One 
of his ancestors , the Bishop of Oderzo, was canonized, under 
the name of S*. Tiziano. At the early age of ten jears , Titian 
was sent to Venice, and put under Sebastiano Zuccati, a 
worker in mosaics; but soon perceiving his master's medio- 
crity , he became a pupil in Bellini's atelier. The little eager- 
ness he then displayed in imitating the dry manner of his 
models, induced his master to judge of him erroneously, 
declaring to him that he never would be but a dauber. Ti- 
tian without being dismayed at this condemnation , left 
Bellini's School , but continued taking advice from Giorgione, 
a fellow student. He also studied the works of some of the 
Flemish Painters , lately arrived at Venice , and whose style 
was remarkable for a faithful and brilliant colouring. No 
doubt Titian was previously known by some of his pictures, 
when, in i5o5, he was commissioned, jointly with Gior- 
gione , to paint , in fresco , the exterior of the New Buit- 
^^f^S 9f ^^ Germans. The principal front was allotted to 

xxvm 



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II HISTOBICAL AirO CRITICAL HOTICE 

Gioi^ione, already in repute hy several frescoes. But Titian, 
in the Triumph of Judith, showed himself so superior to his 
competitor, that, from that moment, his. fame extended afar. 
Immediately after that performance , h^ painted for the 
Church of San NicoIo-dei-Frati at Venice, a grand altar- 
piece representing the Virgin's Assumption a most remark- 
able performance, principally with respect to the brilliant 
light spread over it. Being afterwards invited to Vicenzaand 
Padua, his fame continued to increase, and the Venetian 
Senate chose him to finish the paintings began bj 3ellini, in 
the Council Hall. Had not a conflagration destroyed the 
building, in 1577, we should find in one of those pictures, 
authentic, portraits of Ferdinando di Cordova , of Bembo , 
of Sannazaro, of Ariosto, of Navagero, and of Giocondo. 

The Senate then conferred on Titian a title equivalent to 
that of First Painter, one of whose prerogatives was to paint 
the portrait of every new Doge, a work for which he was 
paid eight scudi. The Duke of Ferrara, Alfonso d'Este, hav- 
ing conomissioned Titian to decorate one of the apartments 
of his Palace , he executed the famous Bacchanalia , which 
afterwards went to Rome, where they were admired, stu- 
died, and copied, by Poussin, Baroccio, Du Quesnoy, 
Albani , and Rubens ; and the loss of which occasioned Domi- 
nichino so much regret , when the Cardinal Ludovisi sold 
them to the King of Spain. 

Titian refused the offers of Leo X, and of Francis 1., who 
both wished him to leave hb native country, and he conti- 
nued to adorn the various public buildings of Venice. He 
did, for the church of San Rocco, an Annunciation of 
the Virgin , for that of San Nicolo , a S». Sebastian , now in 
the Quirinal Palace at Rome ; for that of San Giovanni e San 
Paolo , the magnificent picture ofS*. Peter the Martyr , justly 
looked upon as one of the masterpieces of Painting. It was 
also about this time that he did the picture of the Pilgrims of 
Emmaus , now in the Louvre. 



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Ot TIZIANO TEGELLI. Ill 

la i52<), Titian was iavited to Bol^^a to paint the por- 
^trait of the Emperor Charles Y, who sat three times to him « 
and loaded him with marks of distinction. In their walks 
together he was usually on the right hand the Emperor, who 
eibseryed to his courtiers, « I can make a Duke, but I cannot 
■lake a Painter like Titian. » 

It is ehiefiy in portrait painting that Titian rises to the 
highest decree , and tliat he occupies the first rank , or di^ 
Tides it only with Van Dyck. Th# portraits of the Flemish 
painter perhaps please most; those of the Venetian have 
something more 'commanding. The greater part of these por- 
traits repi^sent high personages , or individuals famous for 
their genius. We must principally mention the portraits of 
the Popes, Julius II, Clement VII, Alexander VI, and 
Panl ni; these of the Cardinals di Medici, and Pietro di 
Bembo ; those of Francis I, King of France , and Philip II , 
King of Spain ; the Emperor l^liman ; Ferdinando di Al" 
taro, Duke of Alba ; those of the Dukes of Saxony , of Savoy, 
and of Milan ; those of the Doges Lando , Trevisano , Gritti , 
Grimani , and Anckrea Doria ; the portraits of Ignatius Loyola, 
and of San Ludovico di Gonzalvo; those of Boccaccio, Are- 
trno and Luther. He also executed several portraits of wo^ 
men , and there his talent is still more remarkable and more 
extraordinary. 

In 1645, he peHbrmed the journey to 'Home and saw Mi' 
chael Angelo; but Raphael was no longer in existence. Dur- 
ing the year that he resided in that Capital of the Arts, he 
painted the famous Danae, now at Naples, and of which 
tkere are several repetitions. Previous to returning to Venice, 
tbis great painter wished to visit Florence; but he did not 
receive from the Medici that reception he had a right to ex- 
pect from a family who had displayed so much taste for the 
Arts.* 

When seventy years old, Titian had lost nothing of his 
talent) in iSSo, he went to Ausburgh, whither he was or'* 



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IV QIST. AND GRIT. NOTICE OF TIZIANO VECELLI. 

dered hj ihe Emperor, with whom he thence went to los- 
.pnick. It was there he did an allegorical picture of the most 
brilliant effect : the Virgin and Saints are seen prajing the 
Trinitj to accept the homages of the imperial familj, occu^ 
pjing the lower part of the picture. The senate of Venice 
wished also that Titian should take upon himself part of the 
embellishments of the council chamber, but he declined, and 
caused Giacomo Robusti , Paul Gagliari , and his son Orazio 
• Vecelli, to be accepted 4n his stead. As to himself he painted 
several pictures for the Elmperor , amongst which must be 
particularized, Diana and Actaeon, Perseu? and Andromeda , 
Jason and Medsea, Pan and Sjrinx, Venus and Adonis. These 
masterpieces are now in the Escurial Palace. 

Titian was assailed bjr misfortunes in his old age , he saw 
perish in the same jear , his patron , Charles V ; Aretino , to 
whom he was yerj partial ; the daughter of one of his friends, 
in whose welfare he took the warmest interest; Pomponius, 
one of his sons , disgraced his name and the sacerdotal dig- 
nilj, by the most horrible debaucheries. Seeking to ayoid 
pondering on these afflictions , he resumed his pencil , and 
about the jear i56o, painted for Venice, the Martyrdom of 
S*. Lawrence, the Scourging of Jesus Christ, now at Lisbon, 
»a Magdalene three repetitions of which are known at Venice, 
two at Florence, and one in the Escurial. He also finished a 
I^st Supper, begun seven jears before, and which he hin^self 
considered as his best performance. 

Titian although eighty year old^ was commissioned, in 

1 565 , to paint three pictures for the Hotel-de-Ville of Bres- 

. cia : Le continued working at it, when in 1576, a contagious 

disorder broke out at Venice, and carried him off in his 

eighty-ninth year. 

Titian's finest pictures are mostly iu Venice. There arc 
however a great many in the Museum of Madrid , and In the 
Palace of (he Escurial. The greater part of these are but little 
known, never having been engraved. The number of com- 
positions , or portraits, painted by this artist, may be put 
down at more than 45o. 

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HISTORICAL ABB CRITICAL. 
NOTICE 

OF 

JVIGHOLAS, CALLED BERGHEM. 

Should any one wish to divide Landscapes, and Landscape 
Painters, into Classicists and Romanticists ^ no doubt Ti- 
tian would be ranked among the former, and Berghem 
among the la Iter, as this artist's pictures are usually an 
exact imitation of Nature , without his ever following any 
rules in his choice , or seeking a few contrasts. 

In Berghem*s time, family names were not strictly in 
general use , in Holland ; and many painters are known only 
hj the names of their native cities , or by a cognomen , often 
supposed their true appellation. This has occurred to Nicho- 
las, who was born at Haerlem, in 162A. His father Peter 
was born in the same town , and bore the name of Petec 
F'an Haerlem, As to our hero, being one day pursued by his 
father, who wished to chastise him, Van Goyen, his mas- 
ter got between them , crying to the other pupils , berg-hem 
( hide him)* From that, moment those words became his 
name , which he always kept. 

Nicholas Berghem received his first lessons in drawing 
from his father, a painler of still life, of very mean abili- 
ties. He afterwards had lessons from John Van Goyen , 
Nicholas Mojaart, Peter Van Grebber, and finally from 
John Baptist Weenix , a painter possessing talent. Berghem 
being of a mild and tjuiet disposition, very assiduous at 
his work , soon got into repute. His works were much sought 
after; he wrought with facility, and his wife's covetuousness 
also forced him to never let his pencil rest. 

He was in the habit of singing, whilst at work, and 

XXIX 



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II HIST. AND GRIT. ITOTICE OF NICHOLAS BERGHEM 
it is asserted that when his wife did not hear him , she used 
to rap against the floor of his painting room , fearing he , lest 
should fall asleep. It must be supjiosed that with such an 
eagerness for mone^ she took care to have in her own pos- 
session Ihe price of the pictures. Nevertheless our paint- 
er sometimes sought to keep back a part which he em- 
ployed in the purchase of prints, in which he was yery 
curious.' His Collection even became very beautiful, and 
after his death was sold very dear, A proof of the Massacres 
of the Innocents engraved hy Marc Autonio , from Raphael, 
was found in it : he had paid it 60 florins, which at that 
time was considered a high price. 

Bei^hem inhabited for a long time the castle of Benthem j 
from the windows of his atelier he cou{d see a beautiful 
country covered with cattle and their keepers. In summer, 
he set to work at four o'clock in the morning and only 
left off at night. Thus it was, that he succeeded in executing 
so many pictures full of merit. His manner is excellent; 
felicitous in hia compositions, he knew how to vary them to 
infinity ; yet what he has most painted , is Cattle Travelling. 
He often represents them crossing a brook, to return to 
their peaceable dwellings, at the hour, when the sun, on 
the point of sinking below the horizon, indicates to them 
the moment of seeking their rest. Sometimes their course is 
arrested, whilst a conversation takes place between the 
herdsmen and the shepherdesses. 

It is not only as a skilful painter that Berghem acquired 
a great reputation , he has also etched some studies repre- 
senting sheep and goats, and landscapes with cows. These 
are engraved with a light and spirited touch, displaying a 
firm hand, as also a good and practised draftsman. These 
studies amount to 53 in number; several of them are scarce ; 
and some exceedingly so. 

No particulars are known of his death, which happened,^ 
January 18, 16 83; ere he had reached his sixtieth year. 



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HISTORICAL AND CRITICAL 
NOTICE 

CHARLES LE BRUN. 



RemarkaLle ages seem to bring I'ortli at the same time re- 
markable geniuses in every department. Thus we see an 
Apelles appear with an Alexander ; a Raphael under the Pon- 
tificate of a Leo X , and a Le Brun under the reign of a 
Lewis XIV. This greafr painter subsequently had to delineate 
the history of the hero of the age, and hi! acquitted himself of 
bis task in a yerpr peculiar manner. 

Charles Le Brun was born at Paris, in 1619. His father was 
a sculptor, and his mother was the daughter of Lebe, a fa- 
mous writing master. From his earliest infancy, Le Brun dis« 
played an inclination for Drawing : be was scarcely four years 
old that he was seen to take charcoal from the hearth and to 
draw on the floor the various objects he had seen , so as to 
be recognized by the beholder. His fattier, taking advantage 
of such happy iuclioations, soon put a pencil and a chisel 
iato his hands , and Charles Le Brun., when nine years old 
had already modelled Masks ^ Eagles, and Griffins ': he even 
sculptured in wood a small Bacchus which was preserved and 
afterwards cast. His father being commissioned to execute 



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II HISTORICAL A9D CRITICAL HOTICE 

several works in sculpture, for tbe Hotel Seguier, often look 
his son there. It w^ thus the Chancellor had the opportunity 
of perceiviDg the precocious genius of a child whose rerj 
couutenance spoke in his favour. 

To give him the means of more fpiicklj developing his 
talent, he placed him in Vouet*8 Atelier, the painter, at that 
period, most in vogue , and who conducted the most impor- 
tant works. Le Brun afterwards w«nt to studjr at Fontainebleau 
where then were the King's finest pictures : it is even said 
that he did there a most remarkable copy from Raphael's great 
Holy Family. When fifteen years old, he did bis uncle's por- 
trait , and his father's, holding a small statue in his hand. 
He excited fresh surprise when, at the age of twenty-two, he 
showed some pictures of his composition , such as Hercules 
felling Diomedes' horses : Poussin then predicted that ibis 
youthful artist would be an ornament to the age. 

The Royal Academy of Painting was not yet in existence; 
but there was amongst the Companies of handicraftsmen, a 
Society of Master Painters, under the name of the Academy 
of St. Luke. Le Brun executed for this Company a St. John on 
the point of being plunged in boiling oil. It was then, in 1642, 
that the Chancellor Seguier willing to give more expanse 
to his protege's genius , settled an income on him , to enable 
him to go to !Rome to study, and strongly recommended him 
to Poussin, and to Cardii^al Barbarini, the Pope's nephew^. 
The counsels Le Brun received from Poussin had the happiest 
influence over his talent. Although he cannot be considered 
as a pupil of that celebrated paintef, yet he is indebted to 
him for A part of his glory, as it was by his advice that he 
studied the Monuments of Antiquity, the customs and dresses 
of the ancients, their exercises, their combats, and theii 
triumphs. He then exhibited in Rome two pictures which 
were much admired, Mutius Scaevola, and Horatius Codes. 

Charles Le Brun returned to Paris, in 1647, and found 



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or CHARLES LEBRU5. Ill 

ibere uo other oompetilor than the celebrated Le Sueur. More 
active and better protected than the latter, Le Brun was com- 
missioned hj th^ Company of Goldsmiths to execute, for the 
Paris Cathedral , the picture which they annually presented 
to that Church , and usually called the Mai de Notre-Dame. 

The same year was also as remarkable for the History of 
the Fine Arts , as it was honorable for the painter Le Brun , 
who , now supported by the Chancellor Seguier, succeeded in 
proving the necessity of establishing an Academy of Painting. 
It was therefore founded by the King« in January 1648* 
Amongst the Academicians twelve Elders were to lecture; 
and of course Charles Le Brun was to be one of them. When 
theiF res(>ective places were to be assigned to them , by a 
lingular coincidence , chance named this painter the first. 

As we eaonot enumerate all Le Bruns. works, we must 
content ourselves by mentioning the most famous : we shall 
name the Brazen Serpent which he did for the Monks of 
Picpus ; St. J<^n writing the Apocalypse, for the College of 
Beauvais, now in the Museum; the Holy Family, called 
Benedkite, and Silence, published iu this work under n<*.5j5; 
be did for the Convent of the Val-de-Grace, his celebrated 
Penitent Magdalene, which some persons have persuaded 
themselves resembled Madame de la Yalliere, this how- 
ever is an error, as we have already stated , when speaking of 
that picture under n°. 287; the Repast of Jesus -Christ at 
Simon's, the Pharisee; Ibis last picture was,io i8i5, given 
up to the Allied Powers, in exchange for the magnificent 
picture of the Marriage at Cana« by Paul Veronese. 

Le Brun also did some portraits, amongst which are distin- 
guished those of th^ President Bellievre and of the famous 
amateur Jabach. 

Having now executed a great number of easel pictures, 
Le Brun naturally wished to exercise himself in those vast 
compositions , named in Italy, grand machinery. An oppoc- 



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IV HISTORICAL AND CEIf ICAL VOTICE 

tunitj soon presented itself to bim , aB lie was commissioned 
to paint for the vaulted celling of the Seminary of S*. Sul- 
pice , the Crowning of th^ Holy Virgi i ; and, in the Pre- 
sident Lambert's hotel, the Story of Hercules, frag- 
ments of which w« have given under n®". 635' and 689. 

Being afterwards invited hy the Superintendant Fouquet 
to Vaux-le-Vicomtc , he left there numerous marks of his ia- 
lent , and received , as a reward , independently of the price 
of his works, an annual income of twelve thousand franks 
( L. 5oo ), which he last, when the Minister fell into disgrace : 
but later it was restored to him by the King, when commis- 
sioned by Colbert ta embellish the Chapel of Sceaux , and 
the Pavilion of the Bkths. 

The Court havcng had a specimen of Le Brun's talents in 
the splendid F^tes which he directed at Vaux-le-Vicomte , 
Cardinal Mazarin caused him to be presented to Queen Anne 
of Austria , and having heard the particulars of a dream that 
she had had , he did for her a picture designated under the 
name of the Christ aux jfnges, and known by Edelinck's 
beautiful engraving of it. 

£n 1 66 1 , the King said to Le Bnin, that wishing to have one 
of his pictures, he left hinr the choice of the subject. He chose 
the Family of Darius : it was executed, even in the Palace , 
Le Brun often working at it in the King's presence. The 
painter s zenith dates from this instant : the sight of that 
beautiful picture completely determined the King in his 
favour, who was already greatly taken with him. The mo- 
narch from that time considered him as the man best ca- 
pable to direct the vast projects he had conceived for the 
embellishment of the Royal Residences. Colbert being Supers 
inlendant of the Public Buildings gave Le Brun the direction 
of the Manufactory of the Cobelins , where, not only tapistries 
were wi^ught , but also beautiful specimens of jewellery, 
vases, candelabras , and magnificent household furniture. 



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OF C&ARLES LS HUXSir. V 

The Kittg going into Flanders, in i66j, wislied Le 
JBrun to accompany him , that he might see the triumphal 
entries of the Queen in the conquered towns. On his re- 
turn to Paris he had the direction of the brilliant Joust 
given in the Great Square, which has preserved the French 
appellation. Carrousel, (o the present day. He also completed 
the history of Alexander in those grand and sublime com- 
positions which we hare ^iven under n®". 478, 484, 491, 
4g6 and 5o8, and so cleverly engraved by Gerard Audran. 

In 1664* Le Brun was charged with the painting and 
decorations of the Grand Staircase of the apartments at Ver- 
sailles, and with those of the Tuileries, and of the Apollo 
Gallery in the Louvre. The paintings of the last vaulted 
ceiling were not finbhed, but tbe compositions are known 
by Saint-Andre s engravings. 

In 1667 Colbert visited the Academy of Painting, to make 
the first distribution of the Prizes , founded by the King : 
he invited the Academy to hold conferences on Art. Le Brun 
was the first 16 open them by two discourses, one on the 
S«. Michael of Raphael, the other on the Manna of 
Poussin, He also read Dissertations on Colouring, on the 
analogy between the countenance of Man and that of Ani- 
mals, and on the Passions. These two last works were ac- 
companied with designs which have been engraved. 

The Cbaucellor'Seguier being dead, in 1672 , the Academy, 
of which he had been the patron and' founder, wishe<l 
to give a public testimony of their grief, by having a' solemn 
service performed in the church of the Oratoire. Le Brun 
wishing also to acquit himself of his debt of personal grati- 
tude, undertook to direct this funereal ceremony, whose 
magnificent decorations occupied the whole church, and 
amongst which were fourteen pictures, wherein Le Bmn had 
depicted the principal features of the life of the illustrious 
personage deceased. 



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YI HISTOaiCiLL AND CRITICAL NOTICE 

Le Brun, alreadj so reaowned, acquired fresh fame hj 
painiiog the Grand Gallerj at Versailles , in which he re- 
presented the history of Lewis XIV, from 1661 to 1678. 
This extensive and beautiful work was justlj admired. Nevei^ 
theless there were critics who pretended that he was wrong 
to treat the history of the King allegoricaHj^ or that he ought 
at least to have rendered the subjects clearer. According 
to them the pictures were so little intelligible,. that it had 
been from necessity, in order to have them understood , 
that inscriptions had been placed below each. 

These observations, offfered cursorily, acipiired a d^ee 
of bitterness , when , after Colbert's death , it was thought 
the first painter no longer having a patron near the King's 
person, might the more easily bje assailed. It cannot even 
be denied that these sarcasms repeated by Mignard*s friends , 
might be founded in jealousy. 

Such criticisms dit not however prevent Le Brun from 
beiog admired throughout Europe. He received a very 
flattering testimony from the Academy of S*. Luke, at 
Rome, who, in 1676, named him their Prince, thus deviating 
from their statutes, which required the chief of the Aca- 
demy to reside there. 

Charles Le Brun was able to give ideas on all that was to 
be done in the Arts. Colbert applied to him for a design 
of the pulpit of S*. Eustache. After the death of that illustrious 
Minister, he gave the composition of his tomb, executed 
by Coisevox and Tuby. It was he also who invented the 
tomb that he raised to his mother, in the church of S^ Ki- 
colas-du-Ghardonnais. 

Having finished the paintings of the Grabd Gallery of 
Versailles, he did not put his pencil aside, but painted 
several other pictures. In i685 he presented the King with 
his Bearing of the Cross, and Moses defending the Daugh- 
(^ of Jethro. These performances were declared adinl- 



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OF GHARLBS LE BRUIf. Vlt 

rablef, and were proclaimed equal to Poussin's. The King, 
praising this painter^ who had been dead twentjr years, 
said that good pictures seemed to acquire a greater yalue 
after the death of their authors, and turning towards Lt 
Brun , added : « Yet do not hurry yourself to die , 1 esteem 
you quite as much as posterity ever will be able. » 

Before endiog his career , Le Brun executed a Galrary, 
and Christ's Entry into Jerusalem, also a Nativity, which 
he had scarcely fiuished, when he was overtaken by the 
disorder of which he died , February 1 1 , 1690. 

We cannot better terminate this Notice than hj transcrib- 
ing faillasson's opinion on Le Bruu's talent : « Rapid as 
the armies of Turenne and of Gonde , his nob^e imagination 
has covered ihe vaulted ceilings of the Palaces of Lewis XIV, 
with r<;presentations glorious as the conquests. By the abun- 
dance of hb thoughts, by his allegories full of mind, of 
perspicuify, and of grandeur, he has displayed in those 
immense performances, all the extent and richness of his 
genius. This abundance and richness are the principal cha- 
racteristics of his originality. In his youth be was thrown 
by fate amidst the Palaces of Kings , and his mind, excited 
by the splendour of a stately court , early imbibed its lof- 
tiness, which , imprinted in all his works, constitutes also 
one of his distinguishing characteristics. His compositions are 
grand and easy; no disagreeable lines ever weary the eye; 
but that interesting simplicity which excites the feelings, is 
never found in them : they excite admiration, astonishment, 
and that kind of pleasure felt when viewing pageants, 
extraordinary objects , magnificent ceremonies , or trium- 
phal inarches. It appears that he particulai-ly delighted in 
painting all that Lewis, XIV was fond of seeing. His groups 
are disposed with ease, with grandeur; they alwavs present 
fine lines and grand effects; his figures are well arranged; 
he did not care about scrupulously following costumes , and 



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Tin HIST. AND CRIT. KOTICE OF CBAHLES LE BRUV. 
he was uot ignorant ^f, it only atiendlng to them as 
far ;as suited his taste. Although there 4s a little heaTiness 
in the execution of his draperies and in their arrangement, 
sti{i they are always cast in a grand and rich manner, pe- 
culiarly his own. His drawing is learned , correct , and 
original ; his forms are noble, but they are justly reproached 
with being rather heavy, and they have not all the interest 
and variety of Nature. No doubt, taken up with so many 
works together, he had not sufficient time to consult her. 
Similar to the conquerors whom he has delineated , his 
ambitious and indefatigable genius wished to embrace all 
kinds of wofks; not satisfied with those he had, and which 
would have overwhelmed any other individual. His colour^- 
ing is not what has established his celebrity, yet it oftea 
is very beautiful, and is always strong and harmonious. » 

Le Brain's pictures are so numerous that the number 
cannot be exactly stated : yet it may be asserted that thej 
exceed four hundred, several are immense compositions. He 
has etched three subjects , but they offer little interest. 

Amongst his pupils are principally distinguished, Verdier, 
Houasse, Lefebvre, Vivien, Latbsse, and Claude Audran , a 
nephew of the famous engraver Gerard Audran. 

The subjects engraved after Le Brun exceed 800 in number. 
The principal engravers who have worked after him are 
Gerard, Benoit, and Jean Audran ; Edelinck; Poillj; Picart, 
Leclerc ; Boulanger ; Chauveau ; Lenfant ; Saiut-Andre; Suru- 
gne, .;ind Desp'aces. 



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NOTICE 

BARTH£L£MI DE SAINT-MARC. 

Bath<^emi de Saint-Marc , est d^sign^ en Kalie sous le nom 
de Fra-Bartholomeo ^ parce qu*il fiit religieuz de Fordre de 
SainUDominique. 11 naquit a SaYignano pres de Florence , en 
1469. Eleve de Gosmd Roselli , il se forma surtout en etudiant 
ies ouTraget de L^hard de Vinci. Intimement li^ avec le^ce- 
lebre Jer6me Sa^vonarole , et frapp^ des declamations de ce 
pnklicateur rigoriste , ik Jivra aux flammes tous ceux de set 
detsins et de ses tableaux qui offraient quelques nudites. Se 
Irouvant au courent des Dominiquins lorsqu*on Tint arr^ter 
son ami Sayonarole, et voyant le eombat qukse lirrait entre 
Ies moines et Ies archers, il fit yeeu depreodve Fhabit monas- 
tique s*il ^cbappait au danger de Faciion. En effel il entra 
dans Fordre en i&oo, et j passa qnatre »nnees sans s*oceUper 
de son art , si ce u'est seulement pour faire Its portraits de 
quelques-uns de ses freres.. 

Un TOjrage k Rome , ou il vit Ies travaux de Micbel-Ange et 
de Ra]^ael , r^hauffa son imagination } a sod retour k Flo- 
rence, il fit quelques tableaux. Consultant toujours la nature, 
il ne peignait jamais une figure sans avoir fait un carton , ou 
il iStudiait bien Ies formes, Ies luQiieres et Ies ombres; ^ssur^ 
de son dessin, il navait plus ensuite en peignant, qo*ii s*occu- 
perde la couleur; aussi ses tabfeauxsont-ils fort remarquables 
pour la gr&ce, la purete du dessin et la vigueur du colorb« 

Cest a Fra-Bartolomeo que Fon doit Finvention du manne- 
quin; par ce moyen il perfection na Fart de draper ses 
figures. II mourut k Flortnce en iSiy, k^i de 48 ans. 



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NOTICE 

OF 

BARTOLOMMEO DI SAN MARCO. 

Bartolommeo di San Marco is known in Italy bj the 
cognomen of Fra Bartolommeo, from his haying been a 
monk of the order of S*. Dominic. He was born at Savignano^ 
near Florence, in 1469. A pupil of Cosimo Roserii, he par- 
ticularly formed himself by studying Leonardo da Yinci. 
Being very intimate with the celebrated Girolamo Savona- 
rola , and struck with the declamation c^ this rigid {preach- 
er, he threw into the flames all his designs and pictures, 
representing nudities. He was in the convent of the Domi- 
nicans when his friend Savonarola was arrested , and wit- 
nessing the fight that took place 4>n the occasion, between 
the monks and the officers of justice , h^ made a vow , that 
should he escape from the danger, he would take to the 
monastic habit. Thus he entered the order, in i5oo, and 
remained in it four years without giving any attention to 
his Art, except occasionally painting the portraits of some 
of his brethren. 

A journey to Rome , where he saw Michael Angelo s and 
Raphael's works, rekindled his imagination; and on his 
j^turn to Florence, he executed a few pictures. Ever follow- 
ing Nature , he never painted a figure wtthoiit having made 
a cartoon wherein he carefully studied the forms, and the 
light and shade. Sure of his drawing , he then had , when 
painting, to attend to the colouring only : thus his pictures 
are remarkable for their grace , . correctness in drawing , 
and strong colouring, 

Fra Bartolommeo invented the Mannikin or LajTman-^ hj- 
this means he perfected the art of draping figures. He died at 
Florence, in 1617, aged 48 years. 



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NOTICE 

SDK 

FREDERIC BAROCHE. 

Frederic Barocci, nomme Baroche en France, naquit a 
Urbin, en i528. II yint a Rome a 20 and, et regut quelcjues 
encouragements de Michel- Ange; cependant c'est le Correge 
qu*il chercha a imiter.Ses tableaux sont harmonieux, le clair- 
obscur y est parfait, et le coloris tres-suave. 

Jamais il ne posait le modele sans s informer slletait ason 
aise , dans la pose qu il lui donnait , c'est un usage que de- 
vraient suiyre tous les artistes. Barocbe est un des peintres 
les plus gracieux de Tecole romaine; ses figures sont bien po- 
seesy bien drajjees et bien dessinees ; les plis de ses draperies 
sont bien formes et touches nettement. Lorsqu'il avait a 
peindre des figures drapees , il faisail un modele en cire sur 
lequel il posait ses draperies. Ses tctes de yierges sont ordinai- 
nairement d*un caractere aimable et plein de douceur ; sa 
sceur, avec Tun de ses enfants, lui seryaient de modcles. 

Ses tableaux les plus celebres sont une Annonciation et un 
Saint Francois stjrgmatise. Cochin , en parlant de ce peinlre , 
dit que ses compositions se distinguent par « des disposi- 
tions de figures et de groupes si simples , si naturelles 
et qui paraissent si denues d'art, qu on en trouyerait de pa- 
reilles dans quelque lieu oil le hasard fit entrer. Souyent les 
principales figures sont au fond du tableau et le devant est 
yide ; d'autres ibis elles sont dispersees au hasard et sans beau- 
coup de liaison , neanmoins cette maniere a des beautes. » 

Baroche etait d'une sante delicate, qui lui permettait de 
travailler seulement deux on trois heures par jour. 11 a graye 
a I'eau-forte quatre pieces tres-estimees , et mourut a Urbin ^ 
sa ville natale, en 161 2 , etant age de 84 ans. 



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«M^\%VV\V\«^'V1VVVVV^VVVVVVVVV%WVVVVVV«WVV«VVVVVVV^ 

NOTICE 

OF 

FREDERICO BaROCCIO. 

Frederico Baroccio, was Lorn at Urbino, in i528. He 
came to Rome when 20 years old, and met with some 
encoyragement from Michael Angelo ; and jet, Gorreggio 
was the painter whom he sought to imitate. His pictures 
are harmonious, the light and shade is excellent, and the 
colouring very mild. 

He never placed his model whithout inquiring if the 
individual was a I ease in the attitude given; a custom wich 
all artists ought to follow. Baroccio is one of the most 
graceful painters of the Roman School : his figures are in 
good attitudes , well draped , and well designed. The folds 
of his draperies are well regulated and touched off with free- 
dom. When he had draped figures to paint, he had a 
model in wax, over which he cast his drapery. His heads of 
virgins are usually of an amiable and mild character. His 
sister and one of her children used to serve him as models. 

His most famous pictures are an Annunciation and a 
S^ Francis receiving the Stygmata. Cochin speaking of this 
painter, says, that, « his compositions are remarkable by 
the arrangements of figures and groups so simple, so natu- 
ral, and appearing so artless that such might be found in 
any place where chance might lead us. His principal fi- 
gures are often in the back-ground of the picture; whilst 
the fore-ground is bare : at other times they are dispersed 
at random and whithout much connexion together : still 
his manner has its beauties. » 

Baroccio was of a delicate health, which allowed him to 
work only two or thi^ee. hours in the day. He etched four 
plates which are held in great esteem. He died at Urbino, 
his native city, in ibi 2 , 84 years old. 

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%»»%»l<» » »»%»%%» <»%%»» %<»%<» » »%»<» » »v 



NOTICE 

8U1 

FRANCOIS ALfiANI. 

Francois Albaai, ordinairement d^ign^ sous le nom 
de TAIbfttte, mquit a Bologne, en ibj%. Destine d'abord au 
commerce , il se seq^it entrain^ par son gotii \en la pein- 
ture , et entra chez Denis Calvaert, ou il trouva Guido Rent, 
ayec leqoel il se lia d'amitie. II raCcompagna dans T^cole des 
Garracbes, et alia le retronyer ensuite k. Rome; mais la pre- 
ference que Ton accordait au talent dn Guide fit naitre de la 
jalousie entre eux. L'Albane aida beaucoup Annibal Garracbe 
dans ses peintures de la galerie Fam^. 11 fit ensuite les pla» 
fonds dn palais Yerosfn et ceux du chateau de Bassano. Ges 
Tastes compositions ne sont pas ce qui lui procura le plu§ de 
gloire ; il s*est montre bien plus babile dans les sujets grft- 
eieux, dans ceux surtout ou il pouvait faire entrer des f<Knmes 
et des enians, pour lesquels il trouvait facilement des mo% 
d^es dans sa famille, ajant douze enfaos tres-beaux, el uue 
femme egalement remplie de graces et d'attraits. 

L'Albane ayait une profonde estime pour Le Gorrege , et 
une telle y^n^ration pour Rapbael qu*il ne pronon^ait jamais 
ton nom sans se decoayrip< 

Les ccMupositions de TAlbane ne sont pas ioujours dignes 
de lotianges; quelquefois ses figures sont placees decdte et 
d'autressans ^tre groupies; ce( vice nelut a pas permiSid'a- 
voir de beaux effets de clairobscur, mais 11 eat admirable 
par la grAce et la finesse de son dessin. Sa couleur nn peu 
jaunAtre est g^n^ralement assez fraicbe et sent pinceau tou- 
jours doux et flatteur. Les fonds de ses tableaux sont decores 
de passages assez agreables. 

Umourut k Bologne, en 1660 Sgi de pr^s de 83 ans. 



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NOTICE 

OF 

FRANCESCO ALBANI. 

Francesco AILani , also called Albano , was born at Bolo- 
gna, in 1578. He was at first intended for trade , hut , feel- 
ing an inclination for painting, he entered the School of 
Denis Galyart, where he met Gi|ido Reni, with whom he be- 
came intimate. He accompanied him to the School of the 
Carracci , and followed him to Rome : but the preference 
given \o Guidons talent 'excited jealousy between them. Al- 
bani greatly assisted AnnibaLe Carracci in his pictures of the 
Farnese Gallery. He afterwards did the ceilings of the Pa- 
lazzo Verospi , and those of the Castle of Bassano. These im» 
mense compositions are not the works which procured him 
most fame. He showed himself far more skilful in graceful 
subjects, and more particularly in those , wherein he could 
introduce women and children , for which he easily found 
models in his own. family, having twelve very beautiful chil* 
dren, and a wife possessing equally every grace and at- 
traction. 

Albani had the utmost esteem for Correggio, and his vene- 
ration for Raphael was such that he never named him 
without taking off his hat. 

Albani's compositions do not always deserve praise : his 
figures are sometimes scattered about, without any grouping. 
This defect prevents his having fine effects, arising from die 
light and shade, but he is admirable for the grace and deli- 
cacy of his drawing. His colouring, which is yellowish, is 
generally rather fresh ; and his pencilling is always soft 
and pleasing. His back-grounds are ornamented with agreea- 
ble landscapes. 

He died at Bologna, in 1660 , being nearly 83 years old. 



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I^OTICE 

PIERRE BERETTINI. 

Pierre Beretlini naquit , en i S96 , a Gortbne , et par cette 
rais6n il est sou vent nomm^ Pieirt de Cortone^ Eleye d'un 
peinlre peu connu , Andr^ Gommodi , ses premiers essais 
donnerent si peu d'esperances , que ses camarades le nom- 
joidXexii Tite-d'dne ; maisa force d'etudes, de perseverance , il. 
■acquit assez de talent pour obtenir une grande reputation , 
quoique jamais il n'ait ete bon dessinateur. Au contraire, 
<c*e8t par lui , c'est . dans son ecole que la peinture a com- 
mence a perdre en Italic , ce degre sublime auquel elle s'^tait 
^ev^. 

Berettini a quelque chose d*imposant dans ses composi- 
tions , mais elles manquent de sagesse ; il semble ayoir 
cbeirlsc k o^uUiplier les figures sans n^cessile, et pour faire 
d4i fracas^ Ses letes sont sans noblesse, ses draperies sont 
]>lein<!s d'aJfectatiou, etsacouleur, quoique brillante, manque 
de Yerilc, Les pelatures qu il fit dans Teglise de Sainte Bi- 
Lienne , cl eel I as du palais Barberini , lui donnerent beaucoup 
ide cdebriie. II est le dernier des peintres italiens qui ait fait 
ce que Ton nomme de grandes-machinet, 

Beretlini fit un voyage dans la Lombardie et a Venise, 
vint ensuite a Florence et a Borne , oii il construisit quelques 
^ifices, dans lesquels il s'ecarta aussi des regies du bon 
gout;, adoptant des manieres ridicules , dont on Irouve des 
traces plus abondantes encore dans les trayaux executes par 
Boromini , son successeur. ^ 11 fit aussi a Rome des fresques 
remarquables par la vigueur de leur ton. 

Ses tableaux de chevalet sont rares , parce qu'il ne s'oocu- 
paitd etudes de cette nature que lorsqu*il avaitlagoutle, donl 
il etait ipcommod^ et dont ilmourut en 1669 , ig^de 78 ans. 



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NOTICE 
PIETRO BERRETTINI. 

Pi^i^ Berxcitini was born, in iS^G, at Gortona, wlteoce 
iie is often coiled Pieitv da Cdrtona, fle was tbe pupil of An- 
dk«A Gonimodi , a paintev but liUie known , and bit first at- 
iea^s w«re so .unpromisipg , tiiat bis fellow students used 
to eal,?biin the ox^ribiitlby dint ol studying and persevenmoe, 
be acquired enougb taleal to gain a great r^utation, al- 
tbottgb be never was a good draftsmam. On the e<3intrgrj It 
-was through him, and in bis school, that Painting began in 
Ilaljr to decline from that bigb d^ree to which it bad I'aised 
itself. 

^bere is some&ing commanding in Berretiini*s composi- 
tions, but 'they fail in due subordination ; he seem^ to hav« 
multiplied his figures unnecessarily, or merely for the s;ikeof 
bustle. His heads are without grandeur, his draperies are af- 
fected, and his colouring though brilliaat, wauls in fidelllj. 
The paintings >he executed in the chureb of Saata Bibienna , 
and>tbose of the Palazzo Barbarini gave him great renown. 
He is ooe of the Italian painters who executed ^vhal is termed 
grand machines, 

Serretlini performed a journey into Lombardy and to Ve- 
nice, and afterwards came to Floi^nce and to Rome, where 
be constructed some buildings, but in which he also wander- 
ed from the rules of good taste , adopting ridiculous styles of 
which many vestigies are found in the works executed by 
Borromini his successor. He also painted at Bome some fres- 
coes remarkable for their strong tone. 

fiis easel piptures are scaree , as be worked at such studies 
only when he bad fits of the gout, with which be was af- 
flioted and of Wbieb be died in 1669, aged 7$ years. 



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x%xvk/vv^fvvsl%^%,^lvy%/vywl^/%M^^^^nA^/v^/^\vM^/^/v%/^/w^/w^n/yK^^^ 



NOTICE 



JOSEPH CESARI. 

Joseph G^sari, designe.aussi sous les noms de Jotepin el 
de Joseph eT^/pma/naquit, en i65o , au chateau d'Arpina, 
dans la terre de Labour. 

Son pere, peiotre mediocre, lui enseigna les premiers 
elemens du dessin ; mais , des I'age de treize ans , il quitta 
son atelier , et yint k Rome , ou le besoin le for^a a Be mettrt 
en service. Le pape , ajant tu quelques-uns de ses essais, en 
fut.charme , et lui accorda quelques secours qui lui permi- 
rentde se placer chez Pomerancio. Avec de I'esprit, du ta- 
lent , ce peiQlre cut la faiblessR de vouloir rabaisser ses 
riraux , et dans c€ hu(, il sc lauaiL liiUm^me outre mesure. 
Le pape, qui I'almait beaucoup^ voulnl en quelquesorte lui 
fairc pardouuer ses haateurs ou do moins les autoriser; il 
le. fit chevalier de Sn in I'^Jcdiu-de 'La trail. 

Abus^nl de sa facilile^ il fi' abandon aait dans ses compo- 
aitlon^ a la fougue de eon esprit , au dereglement de son 
imaginatiotit Fei^uade qu U fa i salt assez bien sans modele, 
line consultait pas la nature, et I'assurance avec laquelle 
il soutenait ses principes lui fit oblenir une grande reputation 
de son vivant. Estime et honore de ses comjiatriotes , il vint 
en France , et re^ut Tordre de Saint-Michel , du roi Henri IV. 
Les honneurs et la fortune dont il jouissait ne Temp^cherent 
pas de murmurer contre les princes , et de se plaindre de 
leur ingratitude. Josepin en vieillissant cessa de parler de 
lui avec autant d*assnrance , et alors il vit d^roitre sa repu- 
liition. II mourut a Rome en i64o, age de quatre-vingts ans. 



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NOTICE 

or 

GIUSEPPE CESARL 

6iu$eppe Gesari, also called Joiepmo, and sometimes Jo- 
tcpino d'u^rpinOy was born, in i65o, in tbe eastle of Arpino, 
io tbe Kingdom of Naples. 

His fatber, wbo was a painler of inferior falenU, taugbt 
bim tbe firsf. elements of drawing : but wben fbirteea years 
old be left bis borne , and went to Rome , wbere be wfts 
compelled, tbrougb want, to put bimself as a servant. Tbe 
Pope baving seen some of bis attempts, was pleased with 
tbem, and gave bim sucb assistance as enabled our young 
artist to place bimself witb Pomerancio« Wittj and possessing 
talents , be bad tbe boldness to undertake to lower bis rivals, ' 
lauding bimself beyond measure. Tbe Pope wbo was very 
partial to bim^ in a manner wisbed bis baugbtiness to be 
overlooked, or at least to be autborized. He created bim 
Knigbt of S*. Jobn Lateran. 

Making an abuse of bis facilttyv be gave bimself up in bw 
compositions to tbe impetuosity of bis mind, and to bis wild 
fancy. Persuaded tbat be executed suliiciently well, without 
any model, be never consulted Nature f and tbe boldness 
witb wbick be maintained bis princif>les, got bim into great 
repute , during bis life. Botb esteemed and distinguidied by 
bis countrymen , be came to France and was invested by 
Henry IV, witb tbe order of S'. Micbael. NotwitbstaBding 
tbe bonours and fortune wbicb be enjoyed be could not- 
belp murmuring against princes, complaining of tbeir ingra^ 
titude. Josepino as be grew old left off speaking of bimself so 
favourably, and then be saw bis reputation decline. He died 
at Rpme, in 1640, at tbe age of fourscore. 



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%VM/WV\<M^VVW% \ww\%^w%v\ vv%vwvv%/wvw\%^/%a«v\«/v%%%/«M\%/\^vvvvi% %vvv^% 



NOTICE 



OCTAVE VAN VEEN. 

Octave ou Otto Van Veen , plus sou\ent appele Otto Ve- 
nius, ni a Lejde en i556, d'une des premieres families 
d* Amsterdam, regut une education distinguee. Apres avoir 
^tudie pendant sept ans a Rome, sous Frederic Zuccaro, 
qui tenait alors le premier rang en llalie , et s*^tre fait remar- 
quer, encore fort jeune, par des ouvrages qui etablirent sa 
reputation, il serendit en Allemagne aupr^ de Fempereur, 
mais il ne put j rester , tant Tamour de la patrie avait de 
puissance sur lui ; il resista aussi aux offres briilantes des 
electeurs de Ba^iere et de Cologne, et plus tard, k celles de 
Louis XIII. Ses connaissances ^taient tellement variees 
qu' Alexandre Farnese, gouverneur des Pajs-Bas, ie nomma 
ingenieur en ctef de la province et peinlre de la cour d'Es- 
pagne : il fut ensuite intendant de la monoaie a Bruxelles , 
et remplit ces places avec distinction , sans cesser de se 
livrer a ses travaux ordinaires de peintre et d'homme de 
lettres. On lui doit en latin , Vffistoire de la guerre des Bata- 
vet, les Emblimet d' Horace et la Vie de saint Thomas-d* Jquin , 
ouvrages enricbis de ses nombreux dessins. Pr^curseur du 
beau siecle de Tart dans la Belgique, il embellit les edifices 
d*Anvers d'une foule de tableaux dont ils sont encore un 
des principaux ornemens. Il suffirait h Otto Venius de la 
gloire 4'avoir ele le maitre de Rubens, s'il ne serecomman- 
dait lui-m^me par son genie facile et abondant, par son 
dessin a la fois exact, gracieux et naif, et Ton doit regrelter 
(fit Rubens n'ait pas adopte la maniere sage de son maitre. II 
mourut a Bruxelles age de 78 ans. 



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VVVVVVVVVyVV«WiVVV%^VVVVVVVVVVVVVV%;VVM/ViV%MVV%VVWV%«V¥%^/\VVVVVVt^ 

NOTICE 

OF 

OTHO VAN VEEN. 

Octavio or Otho Van- Veen , more generally called Otho 
Venius, was born at Lejden, in i556;he belonged to one 
of the first families of Amsterdam, and received a liberal edu- 
cation. After having studied seven jears in Rome, under 
Frederico Zucchero , who then held the first rank in Italy, 
as an artist, and having been remarked, although verj 
jroung , by some works , which established his fame , he went 
to Germany , called thither by the Emperor. But he could 
not remain there , the love of his country swaying him more 
powerfully. He also resisted the advantageous offei-s of the 
Electors of Bavaria and of Cologne , and subsequently those 
of Lewis XIII. His accpiirements were so various that Alexan- 
der Farnese , Governor of the Netherl^inds , appointed him 
Chief Engineer to the Province , and Painter to the Court of 
Spain. He afterwards was Master of the Mint at Brussels : 
these duties were honourably fulfilled by him , without his 
ceasing from following his usual studies as a painter and a 
man of letters. He wrote in Latin the History of the Batavian 
War, the Emblems of Horace , and the Life of S*. Thomas of 
Aquinas, works which he enriched with numerous draw- 
ings. The Precursor of the fine age of Art in Belgiuioi^ he 
embellished Antwerp with many pictures which still form 
one of the principal ornaments of that city. It would have 
been a sufficient glory to Otho Venius to have been Rubens' 
master, though he had not established his fame by his 
flexible and extensive genius, hy his drawing, which com- 
bines exactness , grace , and nature ; and it is to be regretted 
that Rubens did not adopt his masters sober syle. He died at 
Brussels, aged 78 years. 



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NOTICE 

sen 
CHARLES DU JARDIN. 

Charles Du Jardin , ^e Ton ecrit et prononce ordinaire^ 
ment a la maniere hollandaise, Karl du Jardin, naquit k 
Amsterdam, en i635. £leve de Bergbem, il alia de bonne 
heure en Italie , oil il se livra alternatiTement a I'etude et 
au plaisir. Les jeunes artistes de ceile ^poque avaient fmnue 
entre eux une societe connue sous le nom de Bandc jojreusci 
chacun de ses membres receyait en j entrant un nom carac- 
teristi^e de son talent, de ses habitudes ou de ses gouts. 
Dn Jardin portait celui de Barbe^de-Bouc, 

L'estime cpie les Italiens montrerent pour le talent de 
Du Jardin ne purent cependant le retenir k Rome. II 
Youlut revoir sa patrie. S'etant arrete a Lyon, il j trayailla 
beaucoup; mais, toujours entraibe par les plaisirs et la dis- 
pense, il s'y vit accable de dettes, et ne trouva d* autre 
mojen de les payer, que d*epouser son hdtesse, femme- 
riche, mais 4gee. Il yint bient6t avec elle k Amsterdam, 
od il fut bien accueilli , et ses tableaux fort recherches ; 
mais r habitation avec sa femme lui rendait son pays desa- 
greable. Un jour, allant conduire au Texel son ami le boui^ 
mestre Reynst,quipartait ponr Fltalie , il s*embarqua avec 
kti et ecriyit k sa femme qu'il reyiendrait bientot, mais elle 
ne le reyit plus. 

De retour a Borne, Du Jardin reprit ses habitudes, et 
qvand son ami youlut le ramener en Hollande » pretextant 
quelques etudes a terminer il le laissa partir seul, et U 
chargea de faire ses complimens a sa femme. Plus tard, il 
alia £aire un yoyage a Venise, mais il y tomba bientot ma^ 
Ude. II se retablissait a peine, qu'une indigestion Teoleya) 
!• to noyembre 1678, age de 43 ans. 



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L 



NOTICE 

or 
CHARLES DV JARDIN. 

Gharlea Du Jardin, general! j written and pronounced, 
according to tLe Dutch language , Karl du Jard^n , was bom 
at Amsterdam, in i6^5. He was a pupil of Berghem, and. 
went earl J to Italj, where he alternatelj gave himself up 
to studj and to pleasure. The joung artists of that period 
had formed among themselves a company known under th« 
name of the Jojous Companions, orBentyogel Society; each 
member on his admission received a name indicative of his 
talent, of his habits, or of his inclinations. Jardjn bore 
that oi'Barbe de Boucot Goat's Beard. 

Notwithstanding the esteem the Italians displayed for 
Jardyn's talent, still they could not induce him to remain 
in Rome. He determined to return , to his native country. 
Having stopped at Lyons, he did several pictures there; 
but, ever led awi^ by pleasure and profusion, he became 
overwhelmed with debts; and, having no other means, 
he married his hostess, a rich old woman.. He returned 
to Ani&Lerdam, accompanied by his wife, where he was 
welcomed and his pictures much sought after : but his wife's 
compiinj rendered his country disagreeable to him. One 
day that he accompanied to the Texel his friend the Bur- 
gomaster » Beynst, who was setting off for Italy, he em- 
barked wJLh him, and wrote to his wife that he should soon 
return , but she never saw him again. 

In RoDie, Jardyn resumed his former habits; and when 
his friend wished to return with him to Holland, he pre^ 
tended he had some studies to finish , and let Reynst set off 
alone \ requesting him to present his compliments to his 
wife. SuJisequently he performed a journey to Venice, but h« 
soon fell i]\ there. He was scarcely recovered , when he died 
through an indigestion, November so , 1678, aged 4^ years. 



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VV««VMA/V%%«VV%rVVVVVVVVVVVV%i«»VVV%«t/VV%\fVVVVV^^ 

NOTICE 
LATTREJNT DE LA HIRE. 

Laurent de La Hire naquit a Paris en 1606 ; fils d'un peintre 
qui ayait ete travailler en Pologne , il eut quelque peine a 
faire conseniir son pere a lui laisser suivre la carriere des 
beaux-arts. 11 s j fit pourtant remarquer , et son talent parut 
alors d*autant plus extraordinaire , que , des artistes ses con- 
temporalns , il fut le seul qui n imita pas la maniere de Youet. 

Ses compositions sont sages , son coloris a de la fraicheur , 
mais son pinceau est quelquefois trop leche , et son dessin 
n'est pas assez correct. Habile dans Farchilecture et dans la 
perspective lineaire , il se distingua aussi par Fetude de la 
perspective aerienne, qu'il outra souvent. Ses loinlains et 
m^me les figures de ses seconds plans sont dans ud etat de 
yague qui les fait paraitre enyeloppes d*un brouillard plus 
ou moins epais. 

La Hire fiit tr^s-estime dans le temps ou il yivait ; le cardi- 
nal de Richelieu et le cbancelier Seguier lui accorderent 
leur appui. 11 fit assez souvent des portraits, des pajrsages, 
et un grand nombre de petits tableaux representant des 
cujels de I'Histoire sainte. 11 a grave k I'eau-forte quelques 
pi^es d'apres ses propres compositions. La Hire ne quitta ja- 
mais Paris , et se maria en 1639. 

Lors de Felablissement de F Academic depeinture, en 1648, 
il fut Fun des douze auciens charges de professer, et mourut 
en ^65B, le aSdecembre, Age de 5i ans. 

Philippe de La Hire, son fils, quitta la peinture d*assez bonne 
heure pour se livrer k Fetude de Fastronomie ; c*est de lui la 
representation de la lune que Fon voit a la biblioth^que de 
Sainte-Genevieve a Paris , et qui a ^te gravee par CI. Mellan. 



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NOTICE 



LAURENT DE LA HIRE. 

Laurent de La Hire was born at Paris, in 1606; he was 
the son of a painter, who had exercised his profession in Po- 
land. Hehadsome trouble to induce his father, to allow him 
to become a votary of the Arts. He nevertheless distinguished 
himself in them , and his talent, at that time „ appeared the 
more extraordinary, that, amongst the contemporary artists, 
he was the only one who did not imitate Vouet's manner. 

His compositions are judicious, his colouring is fresh, but 
his pencilling is sometimes too laboured^ and his drawing is 
not sufficiently correct. Skilful in Architecture and in Linear 
Perspective, he also distinguished himself in the study of 
Aerial Perspective but which he often used injudiciously. His 
disUnces, and even his middle-ground figures, are indistinct, 
appearing as if in a mist more or less dense. 

La Hire, in his time was held in great esleem : Cardinal 
Richelieu and the Chancellor Seguler both patronized him. 
He often did portraits, landscapes, and a great number 
of small pictures representing subjects from sacred history. 
He has etched a few of his own compositions. La Hire never 
left Paris : he was married in iGSg. 

When the Academy of Painting was established in 1648, 
he was one of the twelve Elders chosen to lecture : he 
died December 28, i656, at the age of 5i. 

PhiHppe de la Hire , his son , left the profession of paint- 
ting , early enough in life , to give himself up to the study 
of astronomy : the representation of the moon , seen in the 
Library of S*. Genevieve , at Paris , is by hiqi : it has been 
engraved hj CI. Mellan, 



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ITAUAir SCHOOL. » • ••••■• BAPHAHli. ••■ * • > BIADRll) MUSZUBl. 



THE HOLY FAMHiY. 

An extraordioary beantj exists tkrotighout this picture. ¥he 
composition it sublime , sobert ^^^ ^^ & grand stjle , as is 
to be expected from RapbaeFs migbty genius. Tbe beautj of 
the forms is of tbe greatest delicacj ; tibe design pure and 
sublime. All tbe figures baye a wonderful grandeur, grace, 
and truth. Tbe draperies are in an excellent stjle» tbe 
colouriiig is bright, and tbe pencilling very soft. No one 
can ever be weary c^ admiring tbe beauty of tbe beads, wbicb 
«re extremely varied , and whose expressions are rendec^ 
witb a feeling that moves tbe heart. In a word, this picture 
combines, in tbe highest degree, genius, grandeur, barmony, 
and tbe most minute finishing. It forms part of iht Royal 
Museum at Madrid , and can senre as a companion to another 
Holy Family by the same artist , known under tbe name of 
tbe Pe€irl , which is seen in tbe Palace of tbe Escurial , and 
has already been given in this Collection, n*< 5o5. 

There are several engravings from tbis painting, an Etching 
by Brebiette , another in the Line Manner hj Frezza. Tbe 
print of it given by BonaSone was done from a drawing, and 
offers some slight deviations. 

Hegbt 3 feet 8 inches? widtb 3 feet 9 inches P 



649. 

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ECOLB d'iTALIB. »*m»«** RAPHAEL. —^— MUSJ&B DE MADRID. 



S". FAMILLE. 

Une {beauts incomparable regne dans tout ce tableau. La 
composition est sublime , sage et de grand stjie , ainsi qu'on 
doit Fattendre du g^nie ^leve de Raphael. La beaute des 
formes est de la plus grande delicatesse ; le dessin , pur et su- 
blime. "Toutes les figures ont une noblesse , une grAce et une 
T^rtt^ merreilleuses. Les draperies sont d^un stjie excellent ; 
le coloris est brillant et le pinceau des plus suaves. On ne 
pent se lasser d*admirer la beaute des t^tes extremement ya- 
riees , et dont 1' expression est rendne ayec une delicatesse qui 
emeut le coeur. Enfin ce tableau reunit au supreme degre le 
g^nie , le grandiose , lliarmonie et le fini le plus precieux. 11 
fait partie du Mus6e rojal de Madrid. 11 esi souyent [designe 
sons le nom de la Vierge au Lezard, k cause de celui que le 
peintre a place pres du chapiteau coriothien. Upeutseryir de 
pendant ii une autre Salnte-Famille, du mdme peintre ^ designe 
sous le nom de h Perie , qui se yoit dans le palais de [FEscu- 
rial , et que Ton a deja donn^ dans cette Collection sous le 
n<». 5o5. 

II existe plusieurs grayures de ce tableau , Tune a Teau- 
forte , par Brebiette , une autre au burin , par Frezza. La 
grayure qu'en a donnee Bonasone est faite d'apr^ un dessin, 
et pr^nte quelques l^g^res differences. 

Haut., 3 pieds 6 pouces? larg., s pieds^ 7 pouces? 



649. 

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L' ASSOMPTIOrsT 



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ITALIAN SCHOOL. »*««^ A. GAEBAGCI* •• • ••• • • >OL0GMA» 



THE ASSUMPTION OF THE VIRGIN. 

The Gospel does not mention the Virgin after the death 
of Jesus Christ; and the Acts of the Apostles speak of her 
onlj to state that ^e was with them at the Pentecost. A tra- 
dition which goes back to the V. centnrjr supposes that she 
died at Ephesus, and that her tomb wa^ known there at that 
time. It has also been said , that, fortj dajs after her death , 
she had been carried ofif to heaven , and that the apostles , 
coming to visit her tomb, had found in it onlj a few flowers. 
There is nothing to confirm the authenticitj of this fact , 
which, however, is generally adopted. 

In delineating this subject, Annibale Garracci has repre- 
sented the Virgin surrounded with angels. Some of the 
Apostles look at her with enthusiasm ; others carefullj examine 
the tomb where her body had been lain , and one of them 
liolds in his hand some of the flowers, found there. 

The painter did this picture on his return from Venice; but 
the bad quality of the canvass and the injuries it has sus- 
tained , scarcely leave any tra<^ oi the study he then made 
of Titian's paintings. This picture was formerly at the Bona- 
soni altar^ in the Church of San Francesco ; but it now b iv 
the Museum of Bologna. It has been engraved by J. M. Ikfl' 
telli and hy Rosapina. 

Height 8 feet 5 inches ; width 4 feet Z inches. 



6So. 



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I^COLElTALIBNlfB.*«««' AN. CARRACHE. •♦^MUS. DEBOLOGNB. 



ASSOMPTION DE LA VffiRGE. . 

L'fevangile ne parle plus de la Vierge, apres la mori de^Je- 
sus-Ghrist , et les Acies des ap6tres n'en font men lion que 
pour annoncer qu'elle se trouvaii reunie a eux lors dej la 
Pentec6le. Une tradition, qui r^n<mte «u V*. siecle, fait 
penser qu'elle mourut a Epbese, et que son tombeau j ^tait 
alors connu. On a dit aussi que quarante jours apres sa mort 
elle ay ait ete enleyee au ciel , et qu*alors les apdtres ^tant 
yenus yisiter son tombeau, n'y ayaient plus trouye que quel- 
ques fleurs. Rien ne pent confirmer Tauthenticite de ce fait, 
qui est pourtant generalement adopts. 

Annibal Carrache , en retra^ant ce sujet , a place la Vierge 
entouree d'anges. Parmi les ap6tres, quelques-uns la regar- 
dant ayec enthousiasme , d'autres examinent soigneusement 
le tombeau ou son corps etait place , Tun d'eux tient dans sa 
main quelques-unes des fleurs qu'ils j trouyerent. 

Le peintre fit ce tableau a son retour de Yenise; mais la 
mauyaise qualite de la toile et sa degradation laissent a 
peine des traces de Tetude qu*il fit alors , des peintures du 
\Titien. Place autrefois dans IVglise de Saint-Francois, k Tau- 
tel Bonasone , ce tableau se yoit maintenant dans le Musee 
^ Bologne. II a et^ graye par J. M. Mitelli et par Rosapina.. 

6(iut., 7 pieds ii pouces; larg., 4 pieds. 



65o. 



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&UTCM SCtfOOL. «♦ VAITDER HELST. »» AMSTBEDt^U MUSSUV. 



THE AMSTERDAM CIVIC GUARD. 

The tvhole of Europe had been at war for twenty years, 
when art last , williBg to restore peace , plenipotentiaries from 
every power were assembled, id 164 1, to settle a general 
treaty. The protestants conferned at Osnabnrg, and the ca- 
thc^ics at Mnnsfer. After nmnerons and difficult discussioBS , 
the King of Spain, at length recognised the United Provinces, 
and renouDced , ibir himself and his successors, all ckuvis 
over that country. 

The Amsterdam, Train -Bands, under the presidency of 
Captain Witz ^ celebrated this memorable event by a ban- 
quet , at which the principal persons of the town attended. 

Bartholomew Yander Helvt , then 35 years old , was com- 
missioned to perpetuate the remembrance of this meeting, and 
his work is of such great beauty that it is considered as one 
of the masterpieces of the Dutch School. The comixMition , 
colouring, harmony, expression, all are good, all are per- 
fect. Van l>yck and Rubens could not have better succeeded. 
This admirable ptctmre must be seen , to jndge to what a 
degree painting may be carried. 

This picture was fomferly in the Judgtoent Hall of (he 
Amsterdam Mansion House : it is now in the largest room 
cf the Mnseum , facing Rembrandt's picture , known under 
tbe name of the Night Gnard , which , has been given in this 
work, n°. 6o5. 

No other engravfilg .of this work is known bot the one 
by Patas. 

Width ti feet 3 inches? height 1 5 feet 1 1 inches? 



6St. 



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icOLE HOLLARDAISK. m-VANO. HELST.** MUS. d' AMSTERDAM. 



GARDE CrVIQUE D'AMStERDAM. 

Toute I'EuTope etait en guerre depuis yingt ans , lorsque , 
Youlant enfio ravoir la paix , ou reunit en 1641 , des pleni- 
potentiaires de toutes.les puissances pour arriyer a un traite 
g^n^ral. Les protestans se tenaient a Osnabruck eties catho- 
liques a Munster. Apr^s des conferences nombreuses et rem- 
plies de difiOcultes, le roi d'Espagne reconnut enfin la sou- 
rerainele des Provinces'Unies et renon^, pour lui et ses 
successeurs , a toutes ses pretentions sur ce pajs. 

La garde civique d' Amsterdam , sous la preside nee du ca- 
pitaine Wilz , celebra cet evenement memorable , par un re- 
pas oil assisterent les principaux personnag^ de la yilJe. 

Barthelemy Yander Heist , alors age de 35 ans ,. fut charge 
de perpetuer le souyenir de cette reunion , et son ouyrage est 
d'une si grande beauts , qu'il est considere comme un des 
chefs -d'ceuy re de I'ecole hollandaise. Composition , cou- 
leur, harmonic , expression , tout est bien , tout est parfait. 
Van D^ck et Rubens n'auraient pu reussir k faire mieux. 11 
faut yoir cet admirai)le tableau pour juger le point auq^el 
pent s'eleyerla peinture. 

Ge tableau etait autrefois a rH6tel-de-Ville d' Amsterdam , 
dans la chambre du tribunal; if est malnlenant place dans la 
plus grande salle du Musee , en face du tableau de Rembrandt^ 
designe sous le nom de la Garde de Nuit, et donne sous le 
n°. 6o3. » 

On ne connait d'iiutre grayure de ce tableau que celle 
faite par Patas. 

Larg., to pieds? haut., i5 pieds? 



A. 4. 65*. 



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FLEMISH SCHOOL. ——•^KYCKXtKT, •««*^TlEiniA GALLEAY. 



PILLAGING. 

A picture hy David Ryckaert was given under n°. 689, re- 
prefieniing one. of those scenes of gaiety so often met with in 
village festivals. In the present one nothing but affliction it 
seen. The fortune of. war has put a village at the enemy's 
mercy. The artist has delineated every kind of disorder 
usually attending such unlucky moments. 

Oo the right hand is a res})ec table looking house, which 
no doubt is to become the head quarters : near the same spot, 
is a superior officer who appears to listen to the prayers of 
several women one of whom, with her child , is on her knees, 
begging for the release of the prisoners who are tied to the 
tail of the officer s horse. 

The left hand side presents baggage and cattle taken from 
the peasants. The middle represents some riotous scenes ; in 
the back-ground , soldiers are seen striking and killing those 
who make any resistance. 

This picture forms part of the Vienna Gallery* 

Width 5 feet 10 inches ; height 4 feet x inch* 



65t 



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<COU IhtMUm, t—* KTCKAttT. '*««• o*t. DC VIERIIB 



PILLAGE. 

Nouft nyons yti sous le d®. 63g un tableau de David 
Ryckaert ; i} reprilsentait une des sctoes de gaiety si fi^- 
^enten dans les fi^es de Tillage. Ici nous ne Tojons que de- 
solation. Les ^r^emens de la guerre viennent de mettre 
un village k la disposition de Tennemi. Le peintre a retract 
toutes les especes de d^sordres qui accompagnent ordinaire- 
meut ces malheureux ii]istans. 

A droite est une maison assez bien b4tie , et qui sans doute 
*va deyenirle quartier-'general. Pr^sde la un officier superieur 
parait ecouter les reclamations de plusieurs femmes, Tune 
d'clle est a genoux avec son enfant et demande la liberty 
des prisonniers que Ton yoit attache k la queue du cheval 
de Tofficier. 

De Fautre cAt^ du tableau on voit de nombreux bagages et 
quelques bestiaux enleyds aux paysans. Le milieu oflfire quel- 
ques scenes de debaucbe; dans le fond on yoit des soldals, 
frappaiit et tuant ceux qui yeulent leur roister. 

Ce tableau fail partie de la galerie' de Vienne. 
. Lar., 5 pieds 6 pouces; bauf., 3 pieds lo pouces. 



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FRENCH SCHOOL. ♦♦•♦♦•^ DSBRET. ——•••^ F&BNCH B^SEDM. 



NAPOLEON 

SALUTING SOME WOUNDED PRISONERS. 

Id this picture , which does credit to M. Debret's talent 
the Emperor Napoleou is seen on horseback , on the right 
hand ; he is slopping at the approach of a convoy with some 
wounded prisoners, and, taking off his hat, he exclaims ; « Res- 
pect to valour in distress I » This fact , the truth of which some 
persons have called into question , was related in the Journal 
de Paris of the iS^^ Brumaire , in the ydar XIV. It is thence 
the artist took the first idea of his Subject. Near the Ejnpe- 
ror, are Marshal Bessieres and General Lemarrois. Quite to 
the right of the picture, is Marshal Augereau , Duke of Casti- 
glione. 

This picture formed psirt of the Exhibition of pictures , in 
1806/ It was afterwards placed in one of the halls of the 
Corps Legislatif « but, like every thing alluding to Napoleon's 
history, it was, in i8i4 ? removed to the store rooms , where 
it still remains. 

There exist two plates after this picture ; one engraved by 
Gordien , and the other by Oortman. 

Width i5 feet 11 inches; height 10 feet 7 inches.' 



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ECOLE FRAligAlSE. *—*• DBBR£T. •*^— MUS^B FRAII9AIS. 

NAPOLEON 

RENDANT LES HONNEURS A DES BLESSES ENNEMIS. 

Dans ce tableau , qui fait kon^oeur au talent de M. Debret , 
on voit a droite Ferapereur Napoleon, a cbeTal, s'arr^tant a 
la Yue d'un couvoi de blesses ennemis et se decouxrant en 
disant : «HoDnear au courage matheureitx ! » Ge fait, dont 
quelques personnesont revoque rauthenticite, a ete rapporte 
dans le Journal de Paris du i5 bromaire an XIV. G*est la que 
TauteuF a puisd Tidee de son sujet. Pres de Tempereur sont 
places le marechal Bessieres et le general I^marrois. Tout-a- 
fait a droite du tableau se voit le marechal Augereau , due de 
Gastiglioae. 

Ce tableau fit partie de I'exposition des tableaux en i8o€. 
11 fut place depuis dansune des salles du palais du Gorps-Le- 
gislatif, et, eomme tout ce qui a trait a Tbistoire de Napo- 
leon , en 1B14 il iut lelegue dams des magasins 011 il est 
eneore. 

On connait deux gravures d'apres ce tableau , Tune est 
faite par Crordiem et I'autre par Oortman. 

Larg., 1 5 pieds; baut. 10 pieds. 



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SCULPTURB. — •••••^•••••- GiaARDOM. ••»•> — •• VBRSAILLSS. 



APOLLO m THE BATH. 

Every evening, after finishing his journej, ApoUo, leaving 
his car, came to rest in the hosom of Thetis. The njrmphs, to 
relieve him of the fatigues of his day's work, eagerly pressed 
aroond him, some to bathe his feet , others to pour perfumes 
over his hands or to dress *his hair. 

This group , the largest known , is of a single block of 
white marble; it was intended to decorate the farther part 
of the grotto built at Versailles , on the spot where now is 
tibe hall leading to the chapel. It is placed in the rock to 
the right of the horse shoe. The composition is by the aculp- 
tor Girardon who executed the figure of Apollo , those of the 
two kneeling nymphs, and the one standing on the right 
hand. The three other nymphs were cut by Aenaudin. 

The execution of this beautiful group does the greatest 
credit to Girardon and it may be named as his master-piece. 
It has been iengraved by Gerard Edelink for Felibien s work , 
intiiied : Descriptiom 4« la groUe de Fermittet , Paris , Fol. 

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SGULPTUBE * V" * GIRAADOy. «^ »♦•♦•••♦•♦ VERSAILLES. 



APOLLON CHEZ THETIS. 

Chaijue soil', aprea aToir-termine sa course , Apoltoo, q«il- 
tanl le tbar du Soldi , veaait jse reposer dans lesein de The- 
ti»- Le» ujtnpbifs ^ pour le deJasser des faiigQCs de 1a jonr- 
E^, fl'emprejisaieiit autour de tui , les unes Etii fav^fiient les 
pieds, d'auLre« lui versaieoL de^ parfums suv le? mains, ou lui 
arrangeaietil 5a clieTcIure. 

Ce g:roype, le plus toosiderable que Von cotidaisse, est 
d'un seul bloc de tnarLre lilatic; U fut fail j^ioiir orner le fond 
de la ^ralle construite a VersaiUea » 8ur I'f^raplaeemetit oii 
eat mniuteuatil le vestibule de la cb ape He. H est place raaip- 
I CD ant dauB le roc her a di^ite du fer a chevaK La cornjHisi- 
liftn esldu sLaltjaire Girardoc , qui a exncule h figure d'A- 
pollon J cetles des deux njfijphea agenouiElces et ceileqtiiesL 
debout » dmile. Les ti-om auLres nymphes ant eie $cufptees 
par lleuaudin. 

L'execiitioQ de ce beau groupe fait le plus grand Uonneur a 
Gkrardon; od peut le eiter eamnie son chef-d'ceyvre. U a ele 
grav^ par Gerard Edelinck pour rouvra^e de Felibien , inti- 
tuM ; Dexcnption deiagrottc dta f^ermiUes , Paris, tGjfjt iQ-f**- 

Haul,, <j pied$? 



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LA CHAKITE. 



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icOLE ITALIEIIN£. •**^JiHDRi YAinJCCI. •♦•♦MUSES FRAJf9AIS. 



LA CHARITE. 

Cefti a Paris qu Andre del Sarle peignit ce tableau pour 
riilustre protecteur des arts et des lettres, le roi Fran- 
(^is l''^ LomazEO, daris ion Traite de la Peinture, le cite 
volume Mn dea chef^d'(£ii vre du peinire. Le sujet conyeuait en 
tffet h son caracLcri^ n^direllement simple, doux et sensible. 

Andre Vanucci n^ piis douue a sa figure la tendressc d'june 
mere poignant &e5 en fans. Uae gravite religieufie semble indi- 
^uer que la Charite remplit un devoir; elle eprouye de la 
satisfaction du bien qu'elle fait, et parait mediter en son- 
geant a celui qu'elle trouvera Foccasion de faire, Galme et 
serieuse , mais pleine de dignite , cette figure expri^le d'une 
maniere parfaite les sensations qu* inspire la premiere et la 
plus importance de toutes les vertus. 

Ce tableau fiit peint sur bob; les yers hataient sa destruc- 
tion , au moment oil Tinyention de Picault , pour transporter 
les tableaux sur toile , fit esperer de pouyoir conseryer ce 
cbef-d'oeuyre. £n ^ffei, confie alors a cet babile restaurateur 
de tableaux, Toperation reussit parfaitement , et cette pein- 
ture fut une des deux premieres expoeees au Luxembourg 
en 1760, pour faire connaitre au public le resultat d'une 
. deeouyerte si importante. 

Ge tableau a ^te graye par P. Audouin , Raph. Urb. Mas- 
sard , et G. Normand. 

Haut., 5 pieds 7 pouces; lai^., 4 pieds s pouces. 



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ITALIAN SCHOOL. ^ ANDREA YAIOJCCI. •«- FUENCH MUSEUH. 



CHAmXY. 

Andrea del Sarto painted this picture in Paris for that 
illustrious protector of the Arts and Letters , King Francis I. 
Lomazzo , in his Treatise on Painting, quotes it as one of the 
artist's masterpieces. In fact the subject suited his disposition 
which was naturallj plain, mild, and feeling. 

Andrea Yanucci has not imparted to his figure the kind- 
ness of a mother tending her children. A religious gravity 
seems to indicate that Charity fulfils a duty : she derives 
satisfaction from the good she does, and appears to meditate 
on that w^hich she may have occasion to do. Calm and serious, 
but full of dignity, this figure expresses perfectly the feelings 
inspired by the first and most important of all virtues. 

This picture was painted on wood , and the worms were 
hastening its destruction , when Picault discovered a method 
of transferring paintings to' canvass which gave the hope of 
preserving this masterpiece. Being intrusted to that skilful 
restorer of pictures, the operation succeeded perfectly, and 
this painting was one of the two first , exhibited at the 
Luxembourg, in ijSo, to show the public the result of so 
important a discovery. 

This picture has been engraved hy P. Audouin , R. U. Mas- 
sard, and G. Normand. 

Jleight 5 feet 1 1 inches ; width 4 feet 5 inches. 



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LA TKANSFIGUHATION. 



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EGOLE ITALIENNE. •*LOUI6 CAAIM^GH£.»^ MUSiE DE BOLCK^NE. 



LA TRANSFIGURATION. 

On nt dans IXvangik de Saioi-Marc : « Jesus prit ayec lui 
Pierre t Jacques et Jean, ei les eaonena seuk a I'eeart, sur 
aine haute monta^^ne, oil il fttt transfigure devant eux. Ses 
habits deyinrent eclaians de luoiiere ; la blancheur en fiit si 
grande , qu'eUe egalait ceile de la neige , et que Tart d au- 
cun foulon sur la terre nesaurait I'inuter. lis virent pa- 
raitre £lie et Mo'ise , qui parlaient a-vec Jesus. Alors Pierre 
prenant la parole dit a Jesus : Maitre , il nous est bon de 
demeurer ici ; faisons-jr trois ten(;es^ une pour vous , une 
pour Mo'ise et une autre pour Elie , ear il ne savait pas ce 
qu'il disait tant la frayeur les avait surpris. A I'instant il se 
Ibrma une nuee qui les couvrit , et de la il sorlit une yoix 
qui dit : « Gelui-ci est mon fils bien-aime, ecoutez-Ie. » 

Louis Garrache a bien suiyi le texie de TEyangile en dispo- 
sant ses personnages^ On yott Jacques et Jean stup^faits de la 
transfiguration de Jesus^hrist , tandis que saint Pierre parle 
a son diyin maitre, qui lui fait sigae d'ecouter la yoix ce- 
leste. 

On pent admirer, dans cette composition, labeaute des 
hunieres et la sage disposition des draperies : le peintre parait 
en cela ayoir imit^ le Gorrege ; mais I'expression de ses fi- 
bres ujqiproche pas decelle que Ton admire ayec tant de 
raison dans la celebre transfiguration de Raphael, d^^don- 
nee sous len". 33i. 

Ge tkbleau de Louis Garraclw a et^ dans Tciglise des reli- 
gieuses de Saint'* Pierre , martjre ; il se yoit maintenant au 
Musee de Bologne.. II a ete graW par Tomba. 

Haut., i^pieis 4 pduces; larg«, 8 pieds s pouees. 

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ITALUir SCSOOL. L. CABBAGGI. •• « BOLOGKA. 



THE TRANSFIGURATION. 

We read in the Gospel of SU Mark that : « Jesus taketh 
with him , Peter, and James , and John , and leadeth them up 
into an high mountain apart bj themselyes : and he was 
transfigured before them. And his raiment became shining, 
exceeding white as now ; so as no fuller on earth can white 
them. And there appeared unto them Elias with Moses : and 
they were talking with Jesus. And Peter answered and said 
to Jesus , Master, it is good for us to be here ; and let us 
make three tabernacles ; one for thee, and one for Moses , 
and one for Elias. For he wist not what to say ; for thej 
were sore afraid. And there was a cloud that overshadowed 
them : and a Toice came out of the cloud , sajiog , This is 
mj beloyed Son : hear him. » 

Lodovico Carracci has strictly followed the text of the 
Gospel in distributing his personages. James and John are 
seen wonderstruck at the transfiguring of Christ, whilst Si. 
Peter speaks to his diyine master, who beckons to him to 
listen to the voice from heaven. 

In this composition maj be admired the beauty of the lights, 
and the excellent casting of the draperies : in this, the artist 
appears to have imitated Gorreggio; but the expression of 
his figures does not equal that so justly praised iu fhe 
famous Transfiguration by Raphael already given by us, 
n«. 33i. 

This picture by Lodovico Carracci was in the churoh of 
the Nuns of St. Peter the Martyr : it is now. in the Museum 
of Bologna. It has been engraved by Tomba. 

height 1 4 feet s inchea; width 8 feet 8 inches. 

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MOY.se TROUVE >^I'R Lh NIL 



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icOLE ITALIEHNE. •••♦ ROMANELLI. ^«^» MUS]§E FBANgAIS. 



MOISE TROUVE SUR LE NIL. 

La population d'Israel augmentait teliement en Egypte , 
que le roi , craignant quelques re voiles, chercba plusieurs 
mojens pour emp^her raccroissement des Hebreux. N'ajant 
pu J reussir, il ordonna de faire perir tous les enfans males a 
Tinstant de leur naissance. ' 

La mere de Moise ayait d'abord cacbe la naissance de son 
fils; mais apres trois mois, ne pouyant plus y reussir, elle se 
determina a le placer dans une corbeille enduite de bilume , 
et a I'exposer ainsi sur les bords du Nil. La fille de Pbaraoa 
etant venue pour se baigner, aper§ut cette corbeille parmi 
quelques roseaux ; se I'etant fait apporter, elle vit bieu que 
c'etait I'enfant d'un Hebreu que Ton cHerchait a sauyer. Elle 
youlut J contribuer, et la scBur de Mdise ayant offert d'aller 
chercher une nourrice , le petit Moise fut confie aux soius de 
sa propre mere. 

Romanelli peignit ce tableau pour le cabinet de la reine 
Anned*Autriche, dans Tappartement du Louvre. 11 se Irou- 
vait alors en |)eudant ayec un Moise frappant le rocber; 
au milieu etait un autre tableau en largeur representant les 
Israelites recueillant la manne. La composition du Moise sauve 
des eaux est la plus agreable des trois. Les figures en sont 
tres-gracieuses ; mais le costume n'a rien d'bebra'ique , et le 
parasol que tient une des suiy antes de Tbermosis est tout-a- 
fait ridicule. Le pajsage ne donne non plus aucune.idee de 
I'Egjrpte. 

Ge tableau a ete grave par Simon Yalle. 

Haut., Gpieds; larg., 4 pieds 2 pouces. 



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ITALIAN SCHOOL. •••♦^ EOMAJfELLI. •♦♦♦.h.^ PRENCH MUSEUM. 



THE FINDING OF MOSES. 

The people of Israel multiplied so much in Egypt, that the 
King, fearing a revolt, sought several means to prevent the 
increase of this population. Not having succeeded, he ordered 
that all their male children should be put to death, at the 
moment of their birth. 

The mother of Moses had, at first, hidden the birth of her 
son; but after three months, unable to do so any louger, she 
determined to put him in a basket done over with pitch, 
and thus to expose him on the borders of the Nile. Pharaoh's 
daughter coming to bathe saw the basket amidst the flags 
and, having had it^ brought to her, recognised it to be a 
Hebrew's child that some one was endeavouring to save. 
She wished to contribute to this deed, and Moses sister 
offering to find a nurse , the child was thus intrusted to the 
care of its own mother. 

Romanelli painted this picture for the Cabinet of Queen 
Anne of Austria , in her suite of rooms at the Louvre. It was 
then as a companion to a Moses striking the Rock , and b«- 
tween the two was anotheis horizontal picture, representing 
the Israelites gathering the manna. The composition of the 
Saving of Moses from the waters, is the most pleasing of the 
three Its figures are very graceful, but the costume is hj no 
means that of the Jews; whilM the parasol held by one of the 
attendants of ThermosU is quite ridiculous. Nor does tl^e 
landscape give any idea of Egypt. * 

This picture has been engraved by Simon Vallc. 
Height 6 feet 4 inches ; width 4 feet 5 inches, 



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MIRACLES DE ST FRANCOIS l^VIER. 



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EGOLE FLAMANDE. »««*^»« RUBEIVS. p*p*^ GAL. DE YIEBNB. 

MIRACLES 

DE SAINT FRANCOIS XAVIER. 

Saint FroDgois, ne en i5o6, an cbiteau dc Xavier, daus 
les Pyrenees, etudia k rUniversite de Parts, derint profes- 
seur de pbilosopkie an college de Beauvats, fit connais- 
sauce, an collie de Sainte-Barbe , axec le jeune Ignace de 
Lojola , et derint Tun de ses premiers disciples. 

Apres ayoir parcouru ritalie , FEspagne et le Portugal , en 
se d^youant an seryice des malades , Francois Xayier partit 
pour les lades conune legat du pape, et arnva en 1642 k 
Goa , oil il cMnmenga ses predications. 11 conyertit a rEvan- 
gile an grand nombre d'infideles , dans Tlnde , snr les c6iss 
de Malabar , de Goromandel , et jenfiji an Japon. 

Les conyersions qu'il fit dans ce pajs furent d*antani plus 
ncndbreuses , qn on attrilnia a ses prieres plusieurs guerisons 
miraculeoses. RnJbeus a racme repr^enie ici la r^urrection 
dc pcrsonnages qne Ton erojait ayoir sn^combd k ieiir jnala- 
die et ^i sont rcndus k leurs parens et a leurs amis , au 
moacntoii lenra corps aliaient eU« ensey<dis sons la terre. 

Le peintre, youlant faire seatir Tinfbience de la puissan«e 
celeste , a plae^ dans les airs la jfigore all(%oriiiue de la Beli- 
gioo , et nne croix lamineuse , dont les rajons yiennent bri- 
mr les idoles «n presence de leurs adorateurs. 

La coqiposition de ce grand tableau e9t sublime et sa 0011- 
leor dea pins yigoureusea. 11 futpeint pour regtisedcs ^suites, 
a Anyers , et se yoit mainteoaot a Yienne , dans la galerie 
imperiale dn Behr^dera. 11 a etc graye par Marinas et par J. 
Blascbke. 

Haut., 17 pieds j larg., ii pieds 6 pouces. 

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PIBMISH SOHOOL. •♦♦♦^ RUB£VS. VIEHXA GAILIBT, 



SAINT FRANCIS XAVIER. 

^ This Saint was born in i5o6 , in Ihe castle of Xavicr, in 
the Pyrenees : he studied at the Paris Uniyersity, became a 
Professor in Philosophj at the College of Beauyais, and 
Tormed an acquaintance in the College of St. Barbe , with 
the jroung Ignatius of Lojola , and was one of his first dis- 
ciples* 

After going over ltaljr> Spain , and Portugal , deyoting 
himself to the seryice of the sick ; Francis Xayier set off for 
the Indies, as the Po})e's Legate, and reached Goa, in i54a , 
where he -began preaching. He conyerted to the Gospel 
man J heathens in India , on the Malabar and Coromandel 
Coasts , and (inallj in Japan. 

The conyersions he brought about in this country, were 
the more numerous, that seyeral miraculous cures wer^ attri- 
buted to his prayers. Rubens has eyen represented in th« 
present picture the resurrection of persons who were thought 
to haye died in consequence of their disorders , but who 
were restored to their relations and friends , at the moment 
their bodies were to he consigned to the earth. 

The artist wishing to displaj the influence of the celestial 
power, has placed in the skj an allegorical figure of Religion, 
and a luminous cross, whose rajs dart on the idols, and 
dash them to pieces, in the presence of their worshippers. 

The composition of this great picture is sublime , and the 
colouring most yigorous. It was painted for the Jesuits* 
Church at Antwerp , and is now at Vienna in the Imperial 
Belyedere Gallerj. It has been engrayed bj Mariuus and bj 
J. Blaschke. 

Height 1 8 feet ; width 1 2 feet a inches. 

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ECOLE FAAN9AIS. *- LETHI£:RE. —■ MUS£E DU LUXEMBOUIM. 



JEUNIUS BRUTUS. 

Tarquin ajant iie ch^Mti de ^Mne , iine cooftpiration sc 
fonD& poor Je retalitir snr le trdne. Les chefs dee conjuree 
eiaieDt Tilus et Tiberius , fils du consul Junius Brutus , et les 
Aquilins, ueyeux de son coUegueGoHatinus. Un esclave ajant 
fait connaitre le nom des traitres , ils furent tons arr^tes. 

En m^ms temps les consols montent sur leur tribunal et 
Qrdlonnent.qu*on leur amene les coupables ; on fait lecture de 
la lettre qu*ils ecriyaient a Tar^in* Les coupables ^taient des 
meilleures families de Rome. Gependant le peuple n ayait let 
jeux que sur les fils de Brutus. I/assemblee n'ayait aucun.sen*- 
timeDt de tendresse pour des traitres , pour des ingrais payers 
la patrie , pour des enfans indignes d*un tel pere, il n'jr ayait 
point de supplice assez grand pour eux : mais si Ton n'etait 
pas toucbe de compassion pour ces jeunes gens» OAgemissait 
sur le sort du consul. Tout le peuple joignit ses larmesacelies 
des coupables. Brutus, ajant fait faire silence , demanda a mt 
coupables s'ils ayaie^t quelque ebose a dire pour leur defense ; 
il r^^ cet ayis jusq^a trois fois., puis, yojantquils ne r4- 
pondaient rien, il pronon^a lui-meme leur sentence. 3e tour- 
oant ensuite yers ses oificiers,, il d^t : « Licleurs , £aites yotre 
deyoir. • Temoin de Fexecutip^ , il yit tomber h, tete de ses 
fib. 

M. Guillon Letbiere exposa ce tableau an salon de 1 7^5 ; 
il eut alors un grand sucees qui n'a pas ete dementi depuis. 
On a pu le yoir long-temps expose dans la gaUrie du ^u;xem- 
bourg. II en a, et^ fait tt^e gravure an layis par (Jk)querel. 
Larg., 23pieds 6 pouces; baut., i3 pieds 5 pouces. 

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FREirCH SCHOOL. •<»♦ LETHlfcRE. •♦»♦ LUXEMBOURG MUSEUM. 



JUNIUS BRUTUS. 

Tarquin being driven from Rome^ a conspiracy was form- 
ed lo replace him on Ihe throne. The chief conspirators were 
Titus and Tiberius, sons (o the Consul Junius Brutus; and 
the Aquili, the nephews of his colleague CoIIatinus. A slave 
having imparted the names of the traitors, they were all ar- 
rested. At the same momen>t the consuls ascended the tri- 
bunal and ordered the prisoners to be brought })efore them. 
Thfc letter they had written to Tarquin was read to them. The 
accused belonged to the first families in Rome ; but tbe peo- 
ple's attention was fixed on the sons of Brutus only. The as- 
sembly had no feeling of pity for traitors , men ungrateful 
towards their country, for sons , unworthy of such a father : 
no punishment was deemed too severe for them. But if no 
compassion arose for these young men, the fa(fe of tbe Con- 
sul was bewailed. The whole mass of the people joined their 
tears to those of the criminals. Brutus having commanded 
silence, asked the accused if they had any thing to say in 
their defence : this he repeated thrice. Seeing they replied 
not, he himself pronounced the sentence: then turning to 
his. Officers, he said to them : « Lictors do your duty , » and 
saw the heads of his sons fall off. 

M. Guillon Lethiere exhibited this picture in the Saloon of 
1795 : it then had a great success, which it has since con- 
tinued. It has been exhibited for a long time in the Luxem- 
bourg Gallery. 

There is an Aquatinta engraving of it by Coquerel. 

Width 24 feet, 11 inches ; height i4 feet, 3 inches. 

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ANTl:NOiJ:-J; 



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SCULFTU.E. »« AWTIQUE. •••^ MOS^E CAPITOLtIf . 



ANTINOUS. 

Favori de Tempereur Adrieu , Antinout liit c^Iebre par sa 
beaute et par son attachemenl exlraordiDaire k son prince ; en 
effet , selon Dion Gassius , il fit volontairement le sacrifice de 
sa vie afin que I'inspection deses enlraillet put faire connaitre 
aux devins ce qui devait arriver k I'erapereur. Adrien pleura 
SOD favori a chaudes larmes, youlut qu'on lui ^leyAt des statues, 
qu'oQ lui batit des temples , fit reconstruire la yille ou il etait 
mort , et ordonna qu'elle porterail le nom de celui dont la 
|>erte lui causait tant de regrets. 

Cest Wiockelmann qui a rcconnu Antinoiis dans ceite sta- 
tue, trouvee en 17 38 a la ville Adrienne, pres de Tivoli; 
mais ou ne peut dire quelle est la divinite sons Timage de 
laquelle le statuaire a youlu le represenler, parce qu*elle n« 
porte aucuQ s;ymbole caracteristique. Le tablier ou ionnelet, 
qui enloure les reios de la statue , a servi a dissimuler par- 
faitement la jointure des deux blocs dont elle se compose. 

Quelques artistes ont pens^ que 1 eleyation de la poitrine 
etait exageree ; mais lous les portraits d' Antinoiis se font re- 
marquer par ce caract^re ; Texecution de tontes les parties 
est tres-soignee. Qette statue est en marbre pentclique; le bas 
des deux jambes et la main droite onf ete restaures a Rome 
par rbilippe Yalle : elle est main tenant an Mu«ee-du Capi- 
tole. 

Cetle slaiue a ete grayee par Cbiitillo]!. 

Hani., 6 pieds Spouces. 



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SCULPTURE. •«•»•#•«»» ANTIQUE. •♦•♦»♦ CAPITOLINE MUSEUM. 



ANTINOUS. 

A faTOurite of the Emperor Adrian , AdIidous was famous 
for bis beautj and extraordinarj attachmeot to his Prince. 
According to Dion Cassius he voluntarily sacrificed his life, 
that th$ inspecting of his bowels might make Jcnown to the 
Soothsayers what was to happen (o the Emperor. Adrian 
bitterly wept his favourite ; he ordered statues lo be raised 
to his memory, temples to be raised to him, caused the town 
where he died to be rebuilt, and decreed, it should bear the 
name of the individual , the loss of whom occasioned him so 
much regret. 

It was Winckelmann who recognised an Antinous in this 
statue, which was found in iy38, in the Villa Adriana, near 
Tivoli ; but it is not known which is the divinity the statuary 
has wished to represent him under, for it bears no characte- 
ristic symbol. The joining of the two blocks, of which this 
statue is composed , is perfectly hidden by the apron, or tun- 
nelet , around the loins. 

Some artists have conceived that the swelling of the chest 
was exaggerated : but all the portraits of Antinous are distin- 
guished by this character. The execution of all the parts is 
highly finished. This statue is in Pentelic marble; the lower 
partofboth legs and the right hand were restored at Rome, by 
Philip Valle : it now is in the Museum of the Capitol. 

This statue has been engraved by Chatillon. • 

Height 7 feet. 



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icOLE ITILIENIIB. ^•♦•^ TlTIElsr. •••* • ••»•• <> BOME. 



LA VIERGE TENANT L'ENFANT JESUS, 

ADORI6 PAR PLUSIEURS SAINTS. 

Nous ayons dejk eti roceasion de faire remarquer que la 
pi^te de ceux qui demandaieut uu tableau , les engageait quel- 
quefois a d^igner au peintre les personnages qu*il derait 
placer daussa composition; c*estce qui est arriy^ pourcelui- 
ci. Tilieu , charge de peindre un tableau pour le mailre-aulel 
deT^glise Saiat-Nicolas des freres, ^ Yeoise, a du plater 
dans son tableau la Vierge et Fenfant Jesus. 11 les a accom- 
pagn^s de deux anges portant des couronnes pour r^om- 
penser la yertu des saints/ places debout dans le bas du 
tableau. 

A gauche est saint Sebastien enlierement nu , pr^ de Ini se 
Toient saint Francois et saint Anioine de Padoue ayec Fhabit 
monastique. Au milieu est saint Nicolas en habits pontificaux , 
il est accompagn^ d*un autre personnage que rien ne fait r»- 
eonnaitre. Tout-ii-fait a droite est sainte Catherine tenant 
d'une main la palme du martyre , et posant un pied sur Ja 
roue qui deyait dtre rinstrumenl de son supplice. 

Ge tableau est maintenant k Rome au palais de Monte- 
Gayallo. 11 a beaucoup souffert, les lumi^res sont un peu 
jaunes » il est tellement noirci qu*on le yoit ayec peine ; on y 
retrouye seulement quelques tdtes d*une grande beauts. Au 
milieu est un cartouche portant le nom du Titieu. II a ^te 
graye par Godefroj Saiter. 

M. Massias possedait k Paris une repetition de^ce tableau. 
La dimension en est : 

Haut. , 5 piedt 6 ponces; lai^. , 3 pieds 6 pouces. 



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fTALiAjr maoot,' •• TnrfAir* ••••••• ^ •••■••— f» bomb. 



tfiE VffiGIN AKD DIFANT JESUS 

ADORED BY SAINTS. 

Vie alrta^y have had occasioK U> remark that the (Pietj 
of those who ordered a .picture , jooieti^Bes induced them to' 
point oi^t to the painter the perMnages he was to inlroducf: 
in his composition* This has happened in the present pic- 
lure. Titian heiog oommissiooed to paint a picture for the 
high altar of the Church of San Nicola dei Frati , ait Venice ,, 
has introduced, in it the Yii^io and the Inlant Jesua« The/ 
are accompanied by two angeb bearing crowns to reward the 
irirtue of the Saints seen standing in the lower part of the 
picture. 

On the left iis St. Sebastian., whoUj naked ^ near: him are 
seen St. Francis, and St. Anthony ofPadtta, in their mo- 
nastic dresses. In the middle is St. Nicholas m pontificaki, 
accompanied by another personage, but whom no mark 
distinguishes. Quite to the ri^t i& St. Catherine holding thie 
palm of martyrdom i^ one hand , and placing her (foot on 
the wheel which was to be the instrument -of her sufiferingc. 

Thk picture, which is now at Rome , in tl^ Palla^ Honle 
Cavallo, is much damaged : the lighta are yellowish f and it 
has become so -black that some ihe parte are. souicely to be 
distii^ished : some of the heads obly are 4iseamad to be 
Vety beautiful. In the middleis a acroli with Titian •name. U 
has been engraved by Godefroy Saiten. 

M. Massias had in Paris a duplioa&etof this .picture the size 
of which is : 

Height 6 feet lo ittches; width 5 tei 8 inches. 



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jicOLB ITALIBKVB* ••«••»?. CALIABIt ——»» ■ ■•• — • Ot!llf. 



jfeSUS-CHRIST CHEZ SIMON. 

Le mime inij«t, peint par Jourenei, a ^i^ dono^ sous U 
B^.' 4^* Nbin nt l^p^terons pas ce que nous avons dit alors , 
mats nons pourroDS ajouter que les disciples de J^us-Christ, 
pensailt a la perte* du parfum que la femme p^heresse yenait 
die r^pibdre , direiit ayee uue espece d*indignaiion : « On eat 
pa- yendre ce psrfiim bied-ober'et en donner Targeut aiix 
paurres. » Mais J<^ns, connaissant lent* pens^, dit : cPourquoi 
LUmer oette femme, puisquelle a faii une honne oeuyre en- 
Ters moi.' Veos anrez toujours des pauyres parmi yons, mats 
'9«d8 ne m'aurez pas toujours* Ga '6ie pour pr^yenir ma s4- 
poUure quelle a repandu oe baume sur moi. Je yous dis en 
y^ritd^ par loate la terre et dans tons les lieux on sera pu- 
blic ceteyangile , on publiera aussi en memoire d'elle Taction 
qa*elle yient de faire. » 

Ce tableau de Paul V^ron^ est dans le palais Durazzo , k 
Genes. II est bien compost, les tdles sont belles et d'un grand 
eariictere : eelle de la Madeleine est remplie de gr&ce et d*un« 
firaicbeur cbarmanle. Les mains sont bien dessin^, les aja»- 
temens bien trait^s. Le ton general du tableau est clair et 
d*un effet admirable ; il est parfaitement consenr^. U A ^^ 
gray^ par Yolpato en 1774. 

Lai^., 14 pieds?baut., lopieds? 



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ITALIAH SCHOOU — ••••• P. tMjULtl. ♦«>•«• »> » « • GB2f6jl^ 



CHRI3T m THE HOUSE: OF JJOtON. 

. Xh^ Mmetubjfct^ piiptodby Jootviiet, 5va4giT«A n^.-i^. 
We i[ieed not repeat 4>ivr de^cripiion » Lai we will a4d.llNKl 
Ghriit*8 di8oipl9» aliudiogio Uie loM of the precious o wtmft i t ? 
ifi4igQaDUj.^txclAiined » that it might haye been told for anek; 
and the monej; given to the poor* «/When Je9ii4 u^idtestoed iC,^ 
be said unto thcm« Whj trauble yt ibe woman? for the 
hath witnight a good work vpoH me* For. ^ baitethe pM^ 
alwajf .wltb jrov ; htd me je have not alwi^a. For in thai afce 
l^^th poured thia ointment oil mj bodj ^ ^ did. it ibr mj 
bunel* Y^rily I saj' nnio j<itt^ Wheretoei^thit gospel shnii 
be preachedin (be whole worid, thiere shaH daothis, that 
this woman Jiatb ddne, be told lor a memorial of ber.* 

This picture h'j Paul Veronese is in. the Palazzo Dnrazzoi 
at Genoa. The composilion is good; the heads batve iicharaq-» 
ter.of grandeur : that, of the Magdalene is graceful an^ 
deligbtfifllj fresh. The hands arS correcdj drawn, and HHt 
draperies well treated- The general toiie of the picture b 
clear and of an admirable effect :it is also in bigbpresenm-^ 
tion. It was engraved bj Yolpato in 1772. 

Width 14 feet 10 inches? height fo feet i inches? 



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ISCOLB ITALIEirifE. »•••»«»«- ALLORI. » CAB. PAftTIGULIER. 



L'AMOUR DESARME. 

D^e«8e de la beante et du plaistr, VAoius cependant n*ap- 
prouvait pas les meehaucetes de 1' Amour et btimait lea yices 
qa*amine la yolupte.' G'est ce que le peiutre a youlu expri- 
mep ici en repr^senfant la mere des Graces reteoant TAmour 
et chercbant k lui enlever son arc , an moment ou ce dieu 
allait lancer une de ses Arches pour tourmenter un jeim« 
coeur. 

La deesse, couch^e k I'ombre d*un rocher dans une cam- 
petgne parsemee de fleurs, se repose tranqaillement, pensant 
au plaisir qu'occasione la tendresse et Famour timtde, figur^ 
par les colombes et le lievre, places sur le deyant du tableau. 
Dans le fond, on yoit un homme et une femm^ entiere- 
ment nus : ces malbeureux , entraines par des passion^ d^or- 
donnees, eprouyentdes remords , et yont cependant se preci- 
piter dans le gouffre de la d^baucbe. 

D'un bon goui de dessin et d*un bon ton de couleur, C9 
tableau d'Allori est peint sur bois; il faisait partiede la galerie 
au Palais-Royal. 11 est maintenant chez T. Hope en Angle- 
terre, et fut pajr^ 8700 francs ; il s*en trouyait une repetition 
dans la collection de Lucien Bonaparte. 

Ce tableau a et^ graye par Triere et par Garattoni. 

Larg. , 6 pieds 7 pouces; baut., 4 pi^ds 4 pouc0s. 



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ITALIAK SCHOOL. —•^—•^ ALLOlll. ^^—' PAtVATtt COLLEClMir . 



CUPID DISARMED. 

Altliough VeniM was the goddess of beautjr and pleasure , 
sUii she did not approve Gupid^s wicked tricics, and bla4aed 
the Tices iDcidental to voluptuousness. It is this which the 
(Munter has wished to express here, in representing the molhcr 
of the Graces, withholding Gupid, and endeavouring |lo 
deprive him of his bow, at the moment the young archer was 
going to shoot one of his arrows at a jouthful heart. 

The Goddess, lying under the shade of a rock in a tneadow 
strewed with flowers, reposes tranquilly, whilst ^e pcaders 
on the pleasnre occasioned by a tender and timid love, figur- 
ed hj the doves and the hare placed in the fore-ground of 
the picture* In the back-ground , a man and a woman bolK 
entirely naked, are seen : these unhappy beings, governed by 
forbidden |)assions, feel the torments of remorse , but never* 
theless plunge into the abyss of debauchery. 

This picture by Ailori is painted od wood : the design is in 
good taste and the colour of a good tone. It formed part of 
the Gallery of the Palais-Royal but is now in En^nd, in the 
collection of J. Hope Esq. It was paid Syoo franks, or L. i5(> : 
there is a duplicate of it in Locien Bo6apBrto> Gallery. 

Both Triere and Gatetloni have engraved this picture. 

Width 7 feel; height 4 fe«t 7 inebes. 



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IBCOLB ALLEMAN DE. •» P. BREUGHEL ———^ &AL. DB MUHIGH. 



LA FEMME ADULT^RE. 

Le crime de I'adult^re occasione des troubles si f&cheux 
^ns les families, qu'il a toujours et^ condamne chez tous les 
peuples ciyilises. Jesus^^hrist , pr^hant uae morale tres-pure, 
jne pouvait laisser consid^rer ce crime comme indifferent. 
Mais sa bonte et sa mis^ricorde pour les p^heurs remp4- 
cherent de condamner la femme adullere qu on lui amenait , 
£i il se contenta de r^pondre a ceux qui demandaient sa mort : 
m Que celui de tous qui est sans pecb^, lui jette la premiere 
jpierre. » 

Le m^mesujet a ^t^ traits par Bi$caino« n^. 3 so, et par 
Augustin Garrache, n<». 440. lei le peintre Pierre Breughel a 
repr^nte Tinstant oil J^us-Christ trace sa reponse sur la 
poussj^re. Le peintre a plac^ les ap6tres derriere Jesue-Christ, 
iandis que sur la droite du tableau on yoit deux pharisiens , 
qu'il est facile de reconnaitre aux sentences iir^es de la •. 
Bible et brodees sur leurs y^temens. 

Ce tableau, peint encamaieu, se yoit dans la galerie de Mu- 
nich : il est d*un effet yigoureux et donne une idee ayanta- 
geuse du talent de Pierre , n^ dans le yillage de Breughel, et 
souyent d^signe sous le no.n de Pierre-]e-Dr6le, k cause des 
Mjets gais qu*il s^amusait ordinairement a rendre. 

Ge tableau a et^ peint en i565; il en existe une grayure 
aocienne par un anonjrme. 

Larg , I pied i pouce? haut., 9 pouces? 



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<f^*Jht SCHOOL. ^^ P. BRCtJOSBU •^^ MUVICB 6ALLK&t. 



TfifE JJ>ULtEM:SS. 

The crime 6f n'duUery tausing Ihe ^o^t fatil cotlseqti^Dces 
in families has ever becfn conc^emtied, amobgst all ^IrHi^^ied 
nations. Jesus-Christ teaching the purest moratlHj, coiild nt>i 
allow this criitte to Be considered indlfierenflj. Bilt his go€kl- 
ness and mercy towards^ sinners^ preVeiited his doiidiemnlng 
the woman taken in adulterj, whoVas brought hetopehim; 
and he merely replied to those who ^wished her ^death. « He 
that is without Sin among you, let hiin first dast a'^tone atlier. '• 

The same subject has been treated by Bi^aino, n^. S20, aUd 
by Agosti&o Garracci, n**. 44o. Here the painter, IPeter Breu^ 
gfae], has represented the moment when Ghi^ist writes his'and- 
swer on the sand. The painter has introduced the ^Apostles, 
behind Jesus-Christ, whilst two Pharisees are seen on the right 
of the pickire : these are easily discerned from the sentences 
drawn from the Bible, and endS>roidered on their garmebts. 

This picture, which is painted in camayeu, is to be' seen in 
the Gallery of Munich : the effect is brilliant and giVes a fa« 
Tourable idea of Peler s talent. He was born in the vJUage of 
Breughel, and is often called. Droll Peter, from the lively 
subjects he usually chose for his pencil. 

This picture was painted in i565 : there exists an old en-^ 
graving of it by an unknown artist. 

Width 1 2 \ inches; height 9 7 inches. 



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io(M.KrBAii9^i"''******!'t'' sn^^' ••M. Husis Faur9Ais. 



URANIE. 

Le nom de cette niiise derire de w^tiyef (le ciel) , doot elle 
^diait lesmduTemens. Les anciens Iiii doDnaient pour attri- 
bnts le globe cdeste et le radius , baguette arec lacpielle lea 
mathematiciena d^montraient leurs figures dans lea ^oles. 

Le Sueur a pr^er^ lui miettre un compas k la main ; sa t^te 
est entour^ d*etoiles. 

On sail que la suite de§ Muses a ^t^ peinte par Le Sueur, 
Ters i65o, dans un h6tel de I'lle-Saint-Louis , qui alors ap- 
partenait a Lambert de Thorigny, president au parlement de 
Paris. Ge magistral se faisait remarquer par son gout pour 
lesJetlreset pour les arts, aiusi que par la maniire noble 
dont il emplojait sa fortune. - ' 

A la mort du prudent Lambert , son b^lel fut acquis par 
le fermier g^n^ral Dupin, qui en fit» comme son pr^^esseur, 
un lieu de reunion pour les hommes c^lebres , parmi lesqueb 
•e trouverent Rameau et Jean-Jacques Rousseau. 

En 1 789 la marquise du.GbAtelet fit Tacquisition de cet h^ 
td , ansujet duquel VoUaire ^criyait ^ M. de Mairau, en 1 74 1 ^ 
«Je me flatte bien. que nous dinerons ensemble un jour 
dans cette belle maison consacr^e aux arts et peinte par Le 
Sueur et par Le Brun. » 

Ce^iableau, peint snr bois , estoyale; il a iU grar^ par 
Bernard Picart et par.Audouin. . . * 

Hant.| 3 piedi 6 ponces ; iarg., % pieds 4 pumices. 



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HtMca KiKM^L. •MM* ut cinsnu *>>'•*• nMrek amiiM. 



URAWIA. 

The ttanM of ihU Muse it derired Irem 9^muct Ittavten , 
liFboM motions she. ttuiied. Tlie aocieatt gate hot for Mlri- 
hm^ the Cekfttial Sphere, and the Radius, a trand wiikivlweli 
nathematioiaDB iised to point onttlieir %i««s in theedMoh. 
Le Sueur lias prefeired placing a pait of ^mpaaseft in ber 
Land : her head is incircled with stars. 

It is known that the series of the Muses wak painted by Le 
Sueur, about the jear r€5o, in a Mansion of the %-&UBt- 
Louis, ^hiohthen belonged to Lambert de Thdrigtij, Pre^- 
dent of the Paris Parliament. This lawyer Was rekkarkable 
far his taste for the Arts^nd Sienoes , as -also fer the noble 
manner with which he employed hisiorlUQe. 

At the death o( the Presideirt Laridbert^ bis Hotiel was 
purchased bj the Faraser'General Da^a , Who 4 iike Ins pre- 
decessor DMide it a plaee of meeting lor eeldbraled ttien ; 
among whom «ame Rameau tad J^an^acqnes Rtounean. 

In lySgthe MarcUoness da Ohileiei bvaght this Ifolel; 
and it is on this siAjet that VtittaWe>, in T741 , wrate to 
il. de Maifan , « I hope Ite ahall one day dine tog«(iielh ill 
thai beantiM hease consacnKed to tbe Atti , ittd pafiuted by 
Le Sueur and bj Le Brun* » 

. This picture, which is painted on wood» is "Orat ? it Was hktn 
engrared bj Bernard Picart and Andouift^ 

Height 6 leet 8 iaohet ; widdi • laet 6 indkes. 



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VXtfTVaH* * K. i^ AMMittobTt. FLOHEnCB. 



L'AURORE. 

On a Til sons k nuoi^ro 624 la figure de kNuit placee sur 
Tun des JMmto du c^notaphe de JuHen de Medicis , dans Teglise 
de Sakii^Laufeitt de Fiorence. Gette figure de I*Aurore est 
placee svr ie icnnbeau de Laurent, p^re de la reine Catherine 
de Medicis. II est eley^ en face de celui de son oncle Julien. 

Michel*Ange a ddnn^ a sa figure de I'Aurore I'expression 
d'une femme a peine aortalit du sommeil , et accablee par la 
ckHikur ^^elW^piKMlte en apprenant la nouvelle de la mort 
du due. 

Oeite Mkr figure eM justement admiree sous tous les rap- 
ports. L'eaipei^ur (^iu4e8 Y, Tisitant ce tombeau , dit ayec 
eothousiaiaie en regardant cette figure : « On est etonne de 
no pas la toir m lever, on eroit I'entendre parler. » 

On coBsert^ dM» la: g^erie de Florence un petit modele 
encire de celte figure, fait par Michel-Ange lui-mdme. 11 a si 
pouces de proportion. 

Celle de la figure en marbre est de 6 pieds. 



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sfeULPTUEE. ' " « " Hi a; BUONAftKOTI. FLORENCE. 



AURORA. 

We gave, N*'. 654, the figure of Night placed at one of the 
ends of the Cenotaph of Julian de* Medici, in the Church of 
San Lorenzo at Florence. The present figure of Aurora is 
]>Iaced over the tomb of I^renzo , father to Catherine de 
Medicis. v 

Michael Aogelo has giyen to his figure of Aurora , the ex- 
pression of a woman scarceljr awake from h^r sleep, yet 
overwhelmed by the grief she feels on learning the Duke*s 
death. 

This beautiful statue is justly admired in every respect. 
The Emperor Charles V, when yisitingthis tomb, enthusiasti- 
cally exclaimed , looking at it : « Astonishment must be felt 
not seeing her rise , for she may be fancied to speak; » 

A small wax model of this figure, by Michael Angelo him- 
self, is preserved in the Gallery of Florence; its size is 
2 2 inches; that of the marble figure is 6 feet 4 inches. 



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ITALIAR SCHOOL. —*—» TITIAN. ••M«»PHIV ATE COUECTIOH. 



DIANA AND CALISTO. 

Orid relates th^t Diana returning from the ckase entered 
a cool grove, where a stream £k>wed with a »weet murmur. 
Putting her feet in the water, she said to- her nymphs , We 
are alone , this water is delightful , let us bathe here. Thej 
all threw off their garments , exeeptiog Calisto , who, afraid 
of making known her pregnane^, kept aside. Her compa- 
nions came to her,' and taking off her clothes , her nakedness 
soon imparted to- Diana the result of the njmph*s iutrigue 
with Jupiter. 

Titian succeeding^ better in painting female figures than 
those of men, has repeated this subject several times; and 
Vasari relates that he painted for Philip II , King of Spain , 
Diana and Actaeon , as also Diana and her Njmphs : these 
two pictures are still in theEscurial Palace. There exist two 
similar ones in the Gallery of the Belvedere y. at Vienna ; 
and two others were in that of the Palais Rojral : these last 
are now in England, in the possession of the Duke of Bridge- 
water, who purchased them for 5o,ooo franks , about L. 2,000. 

There are some slight variations in ^ese pictures , but 
each of them is of a bright colour and of a fine effect. Corne- 
lius Cort engraved the Escurial picture, and Aliamet that 6£ 
the Palais Royal , which we have given here. 

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iCOLB IT ALteiTKI. ««•••«««• TiTllN. —0^ C^^, 9ASiTtCVLiE9k* 



DIANE ET CAUSTO. 

Oyide rapporte que Diane, au. retour de la ehasse, entrs 
dans un boeage frais» oii un.niisaeau coulait avecundoux 
murmure. wAja^i mis les piedsdaos I'eaot elle dit : «Nout 
voil^ scales v I'eau esl Loqne , baignons-aous ici. • Toules let 
liymphes dterent lenrs vdtemeDS, mais Calislo, craignant de 
/aissep aperceT^oirsa grossesse , se lenait ^ I'ecai^t et gardait set 
liobiis. Ses compagoes .Yinrent a elicit lei TajraDL desh^illee ^ 
s« nuditefit btciiA6lcoxiBaHre a;I>i«iie^ les eflfets ds sa CiM^Iesse 
pour Jupiler. 

Tilien reussissait mteax it pcindre les figures de femmes <iiie 
celles d'faommes, aussl a-uH r^[iele ce sujet plusieurs fob. 
Yasari rapporle qui! pe^nit pour ie roi d'Espagoe Pbi* 
lippe II, Diaoe et Acl£op , ainsi que Diane et ses nympbes^ 
Ces deux lableaui.soot encore au palais de I'Escurial. II en 
existe deux pareils dans la gaJerie du Belvedere, a Viennc^ 
Deax autres . elaient dans celle du Palais-Rojal ; ils sont 
maintenant en Anglelerre, chez Ie due de Brldgfwater, qui 
le» paja So mille francs, cliacun. . 

lis se trouvent quelques legeres difierences dans ces ta- 
bleaux , niais chacun d'eux estd'uue couleur brillante et d'un 
tres-bel effet. Comeille Cort a grave Je tableau de FEscurial , 
ct AHamet celui du Palais-Rojral , que nous r^rdsentons icir 
Larg., 6 pieds 6 ponces ; haut., 5 pitdsjQ poucet. 



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CHRIST MORT. 



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IT ALDUr tcaoCHU ' A. CAaSACCU r MOWOI MUtlDM. 



A I)£AD CHRIST. 

AnoUMle Garraad^ Mkik% inAo adkcp meknehaly, kad 
thfowBi asktc bis pencil; thb work oa* ol tbe lalctt by tJM 
gceat paislcr, who dnd befove he Wat ^^fy yeaft old , wa« 
fihitbed oaly io coasapteiieo of the pteasuig request of the 
Ifaittei FaiBil|r. U was then fOoeed in their chapel, in tho 
Ghiffch ol San FvaAoetco di Ripa , at Rome. The oaaie ol 
this Church , borne also bj otte of the membert of thftt Ulna* 
triotos fanslj, imparts whj S'. Francis is introdncfd in the 
pteture, assistiiig die Virgin and SL Mary ICagdaleM ai the 
moment when Jesus Christ is placed near the sepulchre* 

The attitude of Christ is exceedingly grand, and the 
hdardlcss face, which appears bnitated ffow the Attti(|iM , is 
a licence that may be excused, from the beauty of its chs<> 
racter : perhaps ^e attitude of the Magd^ene nay he eonsi- 
derad as a little singular. 

The two little angels , who to9<^ the wonnds flC our 
Saviour are figures , perfect with respect to the drawing and 
expression. As to the colouring, it has not that figeur so 
remarkable in A. Carracci*s early pictures. 
' This painting has been engrayed by M. Jean Godefipoy, 
and is now in the Gallery of the Louvre. 

Height 8 feet 5 inches; width 5 feet > inches. 



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icou iTJinRin!. mm ah. cakbachk. —*• wssit vbak^ ai$> 



LE CHRIST MORT. 

Toinb^ dans niie gnndv m^lancolie , AnnilMil Gtrracbe ne 
TQulait phn prendre le pinceau ; cet ourraget Fun des der- 
niers de oe grand peintre , mort arant cinquante ans , ne 
fnt lermin^ que par suite des preasantes sollicitalions de la 
famille MatteLW fut alors place dam leur chapelle, k I'eglise 
de SaintrFran^is de Ripa, k Rome. Le nom de ceiteeglise, 
porte aussi par Fun des membres de Fillnstre famille , fait 
Toir pourquoi saint Francois figure dao« le tableau , assistant 
la Vierge et sainte Magdeleine au moment ou Jesus-Christ est 
dfipos^ pr^ du s^pulclire. 

La pose du Christ est des plus nobles « et la l^le sans barbe 
est une licence que Fon peut escuser a cause de la beaute de 
son caract^ : elle parait imit^e de Fantique. Peut-^tre j a- 
t-il quelque chose de singuUer dans la pose de la Magdeleine. 

Les deux petits anges qui touchent les plaies du Sauveur, 
sont deux peliles figures parfaites sous le rapport dudessin et 
de Fexpression. Quant a la couleur, elle n*a plus celte y'l- 
gueur si remarquable dans les premiers tableaux d*Annibal 
Garrache. 

Ge tableau a ^te grave par M. Jean Godefroy ; il est main- 
tenant dans la galerie du Lourre. 

Haut., 7 pieds ii pouces ; largr, 4 pteds it pouces. 



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SPAjnSH SCSOOL. »••••• VEIASQDEI. »»»««« HADKID MUSEUM. 



BACCHANAUANS REVELLING. 

Drinkers, fbe model of w&om Velasquez took in ibe lower 
classes of the people , present themselves lo do honiage to 
Bacchus, iheir favourite God. The one on his knees, in the 
fore-ground , has gained a victory, and Bacchus crowns him. 
Quite to the left is another professed drinker, who no doubt , 
in fiome anterior festival , won the crown ; perhaps for 
having been able to empty the vase he is clinging to. 

hi order to fully cheracterize the God of Wine, the painter 
has placed near him , a Faun , wholly naked, and holding a 
goblet. 

The colouring, and light and shade of this picture arc ad- 
mirable ; the expression also is beyond all praise ; the 
drawing moreover enhances its merit; yet, in certain parts, 
some harshness is discernible. It does not however enjoy the 
less a great reputation , and is quoted as one of the best pro- 
ductiond by the painter Velasquez. 

It forms part of the Museum of Madrid , is in high preser- 
vation , and has bees engraved hy M. Carmona. 

AVidth 7 feet i inch; height 5 feet 4 inches. 



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lEGOLrSiPAGKOLE. »••♦ viLASQUEZ. »*^ MUS^B OE MADRID. 



MASCARADE BACCHIQUE. 

Des buyeurs , dont Velasquez a pris les modeles daas les 
bsfise^ classes du peuple, Tiennent rendre hommage a Bac- 
chus, leur dieu faTorh Celui qui est a genoux, sur le de- 
. yant^ a remporle la victoire , et^acchus le couronne. Tout- 
a-fait k gauche est un buyeur emerite, qui sans douie dans 
une fete precedente a merite la couronne , peut-etre pour 
ayoir su yider le yase qu*il tient embrasse. 

Afin de bien caracteriser le dieu du yin , le peintre a place 
pres de lui un faune entierement nu et tenant une coupe. 

La couleur et le clair-obscur dans ce tableau sont admi- 
rables ; Texpression est aussi au-dessus de tout eloge ; le des- 
siu en augmeule encore le merite, cependant on peut aper- 
ceyoir quelques duretes dans certaines parties. 11 n en jouit 
pas moins d*une grande reputation et est cite comme uue 
des'meilleures productions du peintre Velasquez. 

11 fait parlie du Musee de Madrid , est d*une parfaite con- 
servation , et a ete graye par M. Carmona. 

Larg. 6 pieds 8 pouces ; haut. 5 pieds. 



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DUTCH SCHOOL. •♦•♦•♦ REMBBAJTDT. •^—^•^ AMSTEBDAIt/ 



AN ANATOMICAL DEMONSTRATION. 

Tfae studj of Anatomj, so important to medical men, was 
neverlhelesd tbtown aside for a long time , and looked upoa 
as sacrilegious. TheEmperor Cbarles V caused a conference 
(o be held at tbe Universitj of Salamanca, to know , if, ac- 
cording to a man s conscience, it was allowable to dissect a 
human bodj, in order lo become acquainted with its slruc- 
tnre. The answer being favourable , public classes were 
opened, the Anatomical Theatre- at Amsterdam was founded 
in 1 55o , and a great number of phjrsicians eagerlj pursued 
this studj. 

Later, it was wished to perpetuate the remembrance of the 
learned men who had frequented the establishment ; con s^- 
qaently f6ur pictures were ordered, representing various 
scenes of the Anatomical school. Rembrandt was commission- 
ed to do one, in t6^. It is truly a masterpiece. The artist 
has represented Professor Nicholas Tulp at an Anatomical 
demonstration, in presence of several illustrious Dutch per- 
sonages; Quite to the left is Jacob Koolveld; near him is 
Francis Van Loenen ; in the middle are Jacob de Witt , 
Burgomaster' of Dordrecht , and, nearer the Professor, Mat- 
thew Kalkoen ; the one above is Jacob Bloeck : ihe two in 
the back-gromidare Hartmanand Halbraan: 

Of an extraordinarj vigour and beautjr, this picture is 
very justly admired by Amateurs. It was engraved in 1798, 
by Mi Jacques de Frey^ -an artist born at Amsterdam ; but , 
who, suffering from the palsy during the last thirty years , 
live* in Paris in the most wraiched condition* ^ 

Width 8 feet 6 inches? height 6 feet 4 inches? 



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iKCOI>R«4M4.A«BUtf. ■MMM.BUiMtAllSX.'cMM AHSTERDiM. 



liBgOW D'ANATOMIE. 

L'etude de raoatomie, ci iaip«ertaAie pour J«ft m^dtcins^ 
futc^pendani abandoQiie.e pendaBl loog'^tettps et regavdee 
mdme comme un sacrilege. L^eniperear Gfaarlee Y fit faire 
i runiyersit^ de Salamaiupi6 une ooosultation pour sayoir 
ti , ea conscience , il eta it peruiis de diss^quer un corps 1hi- 
main , afin d^enconnaitie la structure. La v^ponse aysLui H6 
fayorable, des cours publics a*oiiyrirent, le tk^treanaloinifae 
d' Amsterdam fut cree en i5So , ct un grand nombre de me- 
decins se liyrerent ayee ardeur k oe genre delude. 

Plus tard on youlut perpetuer le souyenir des sayons qni 
ayaient frequenie TetablisseiBent , et on fit faire qiiatre ta- 
bleaux representant diyerses scenes de Tecole anaftomkpie. 
Rembrandt fut charge d'en faire un en iG32. Ge lut lin yeri- 
table chef-d*oeuyre. Le peintre a represente le professeur Ni- 
colas Tulp faisant une demonstration anaitomique en presence 
de plusieurs iUuslres Hollandais. Tout-^-fait k gaw^e «st Ja- 
cob Koolveld ; pres de lui Frangnds Van Loenen ; au milieu 
soni Jacob de Witjt, boiirgmestre de Dordsecht , jftt , phis 
pres du professeur, Matbieu Kalkoen; oelui^i^ostaii-'dessiis 
e«t Jac(^ Bloeck ; et Jks deuqi du. l»Bd sont H aitia n et 
Holbraan. 

D*une yigueur et d'ui»e l^auie ranarquablos , c« taWenu 
est justementadmice par les amateur*. Jl a eAe^grayeen 179B, 
par M- Jacques de Ji?ej, grawu*, ne a Amatwrdam, «t qui , 
tombe en paraljsie depui3 tceni^ .9ms , yit a Paris dams Teial 
ICjplus malbeuseui^. 

Larg,, 8 pieds? hauL^ ^ pi«ds? 



670. 

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rBKfCH SCHOOL. ——■ POUSJOH. —^ HllTATV COLLICTIOir. 



A BACCHANAL. 

Fauos and Bacchant Njmpbs idance together, but Uieir 
sport$ are internipted bj the brutal attadc of a Satyr who 
has thrown down a Bacchante at the foot of the statue of 
Priapiis , and is seeking to embrace her bj force. One of 
her companions rans to her assistance > and, catching the 
' Satjr bj the hair , is on the point of stril^ing him rather 
scTcrelj, with a metal tase , which ^e has in her left hand. 
Another Bacchante on the contrary appears to protect the 
Satyr and seems, to wish to prevent the other from employing 
such rough means. 

This picture is itk good preserration ; but , unforhinately, 
the canTaas , on wi^ichit is painted , is very coarse. It belong- 
ed, in 1817, to M, Sivri of Venice, who had taken it to 
Vienna for the purpose of selling it : the price he then re- 
quired was 6000 franlLS , or L. Mo* 

Width 5 feet 4 inches? height 4 feet 3 inches? 



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ECOLB 1BAII9AISE. POUSSUT. •*m«» c^b. PAETICULIBK. 



BACCHANALE. 

Des faunes et det bacdiantes dansent ensemble, mais ces 
jeux soat interrompuf par la bruUUte d*aii satjrre qui yieot 
de reDTtt«er une bacchante au pied de la statue de Priape, et 
cherche a Tembrasser malgre elle. Une deses compagnes yient 
a son secours, et, saisissant le satjrre par les cherenx, elle 
s appr^ie k le frapper rudement ayec un vase de metal qu'elle 
tient de la main gauche. Une autre bacchante parait au 
contraire prot^r le satjre et semble youloir retenir celle 
de ses compagnes qui yeut lui porter de si rudes coups. 

Ge tableau est bien conserr^ , mais la toile sur laquelle il 
est peint est malheureusement d*un tissu tresrgrossier. En 1 8 s 7 
il appartenait k M. Siyri de Yenise, qui Tayait alors ap- 
port^ k Vienne. II cherchait a 8*en d^faire et en demandait 
(>ooo francs. 

Larg., 5 pieds ? haut., 4 pieds? 



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S-^ JEROME. 



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SCjQlPTOAB. > »t » TORMOmrO. ••••—•mm 8BTILLB. 



S'. JEROME. 

Tbis tiMue, in kerra cotta, is kx>ked upon as the best 
BMMkm «i» eiustiDg in Spain. It was modelled hj Pietro 
TonigiaAO, a Florentine sculptor, who • in the beginning of 
the XYI ^enturyt worked , first at Florence , then at Gre- 
nada, and afterwards at SeriUe, where be died. This statue 
of S'. Jerome is in the coofVenC of the Hieronymites of Bne- 
narista , at about a mile from SeTille. It was at first placed 
' in a grotto where it was not seen to adrantage ; but , the high 
reputation it lad gained , caused it to be transferred to a 
little chapel with a good light , and aurm minted by a BmalJ 
cupola « supported by four columns. 

Thei glory aronnd the Saiut's head h \ix oitital , as aha 
ih» cross in hit left hand. The skull wliicK i& before him i^ 
natural, hut the Lion, a necessary a]»perjda^'e Ici properly 
characlerioe S*. Jerome, is ridiculously fini^ll, and ^ery i]l« 
executed : it is not believed to be by Torrigiano. 

Yasari pMlebda that it was a Florentine merchant who . 
served as a mcviel to.lhe statuary for the head of S*. Jerome. 

This figure, of the size of large life would be 6 feet 
4 inches high, if standing, it had not yet been Engraved. 



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SCULPTUBE. •••• TORBICUWO. ■ ••••••••••••» SifeviLLE. 



SAINT JEROME. 

Celte statue , en terre cnite , est regardee commc la plus 
belle statue modeme qui existe en Espagne. Elle est model^e 
par Pietre Torrigiano , sculpleur florentin , qui trayailla au 
commencement dn XVI*. si^cle, d*abord k Florence , puis k 
Rome f ensuite k Grenade et k Seville , oii il mourut. Gette 
statue de saint J^Mme se ?oit dans le convent des Hi^ronimites 
de Buenavbta , a un quart de lieue de Seyille. Placee d*abord 
dans une grotte ou on la yojait mal » la grande reputation 
dont elle jouit engagea k la transporter dans une petite cha- 
pelle bien ^lairee et surmontee d*un petit di^me soutenu par 
quatre colonnes. 

L'aurtole dont est couronne le saint est en metal, ainsi 
que la croix qu il tient de la main gauche. La t^te de mort 
qui est deyant lui est naturelle. Le lion , n^essaire pour 
bien caractdriser saint J^rdme , est ridiculement petit et tres- 
mauyais, on ne le croit pas de Torrigiano. 

Yasari pretend que c*est un marchand florentin qui ser- 
¥it de modele au statuaire pour la t^te de saint Jerome. 

Gette figure, de grande proportion, aurait 6 pieds si elle 
itait debout. Elle n*ayait pas encore ete gray^e. 



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FUri'E EN EGYPTE. 



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icOtr ITAUKNHE. ••*•*♦ O IMI*0 *««*. •*•♦ OiB.'PARtfcCttEft. 



FUITE EN ^GYPTE. 

Cesl a tort que Ton a donne a ce tableau Ic titre de Fuite 
en %jpte; les personnages ne sont point en marche, et 
consequemment il doit ^tre considere comma un Repos de la 
Saiute Famille , lors de sa fuite sur les terres d'£gj^pte. 

La composition de ce tableau est agreable ; la pose de la 
Vierge est charmante et son expression extremement gra- 
cieuse. La maniere dont elle est drapee est aussi simple que 
Traie. On sait que Guido Reni reussissaif principalement dans 
les t^tes de femmes ; celle»ci est belle sous tons les rapports : 
aussi ce tableau est-il un de ceux oil Ton pent admirer avec 
juste raison le talent du Guide ; cependant il n'ayait pas 
encore etc grave. 

Ge tableau est maintenant dans le cabinet de M. Sergio 
Manterini, k Naples. 




678, 

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JTAtUH >CHOOL. »•— OUIDO URI. *»PBtyATE OOLLECTIOV. 



FLIGHT INTO EGYPT. 

The title of the Flight into Egjpt giveato this picture is 
erroneous; the personages are not in motion , .and, conse- 
quently, it ought to be considered as a Riposo of the Holjr 
Family, during their flight into the land of E^pU 

The composition of this picture is pleasing; tlie attitude of 
the Virgin is delightful , and her expression highly graceful. 
The manner with which she is draped is as sifiiple as it is true. 
It is known that Guido Reni succeeded chiefly in wofnen'f 
heads; here (he Virgin's is in every respect l>eautiful. Thus 
this picture is one in which Guido's powers may justly be ad- 
mired : yet, till now, it had xiot been engmyed. 

This picture is now at Naples in M. Sergio Manterini's Gol- 
icction. 



673. 

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MCOLZ\TALliSHlt.P*^^p^f-WiZUJ^»0, » »^ REIMS. 



LE LAVEMENT DES PIEDS. 

Lorsque Jesus-Ghrist cut fait la derniere cene arte ses ap6- 
fres^ « il se leva de table, quitta sea babits, et ajant prU un 
liDge, il s'en ceignit. Apres il mit de Teau dans ub bassin et 
eommeo^a a laver les pieds de ses disciples et i les essujer 
avec k linge : il vint k Simon Pierre , et Pierre lui dit : Quoi ! 
Seigneur! vous me layjeriez les pieds. Jesus lui r^ndit : 
Vous ne sarez pas maintenant ce que je fais , mais vous le 
saurez par la suite* Pierre lui dit : Vous ne me layerez jamais 
les pieds. Jesus lui repondit : Si je ne vous lave , vous n'au- 
tez point de part avec moi. Simon lui dit alors : Seigneur, 
non-settlement les pieds , mais aussi les mams et la t^te. » 

Tel est Tinstant represents dans ce tableau, par Jerome 
Ifeizziano, souvent nomme en France, Mucian ou Mutien. Les 
figures sontde grandeur natur^lIe.Ce tableau, peint iilacolle, 
fiit fait pour le cardinal de Lenonc<Hirt, alors arcbev^e d« 
"Bm^b , qui le laissa k son ilglise. Depuis , les cbanoines en 
firent presoit i^t due d'Orleans, regent; mais son fik, en 
i^ant fait laire une eopie k Tbuile par Va^loo , il rendU Fo- 
>%inal k TSglise de Reims , ok il est encore maintenaBi. 

Oa &k connait une gravure faite par Louis Despkoe. 

Larg., 14 pieds lo pouces; baut., lo pieds 8 pouces. 



6741 

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ITALIAN SCHOOL. BfUZZIAlTO. — ——•— KHEIM8. 



CHRIST'S HUMILITY. 

After Jesus ChristV last supper with his Apostles ; « He 
riseth from supper, and laid aside his garments ; and took a 
towel , and girded himself. After that he pourelh water into 
a basin and began to wash the disciples* feet , and to wipe 
them with the towel wherewith he was girded. Then cometh 
he to Simon Peter : and Peter said unto him , Lord , dost thon 
wash my feet ? Jesus answered and said unto him , What 1 do 
thou knowest not now ; but thou shalt know hereafter. Peter 
saith unto him, Thou shalt neyer wa^ my feet. Jesus 
answered him. If I wash thee not, thou hast no part with 
me. Simon Peter saith unto him , Lord , not my feet onlj, 
but also m.y hands and jdj head. » 

This is the jnoment represented in the picture hy Giro- 
lamo Muzziano , often called, hy the French , Jerome Mutien, 
or Mucian. The figures are of the size of life. This picture 
which is painted in distemper, was executed for the Cardinal 
de Lenoncoiirt, then Archbishop of Rheims-; who left it to 
his Church. Subsequently the Canons made a present of It to 
the Duke of Orleans , Regent ; but his son having had a eopj 
in oil taken of it hy Yanloo , returned the. original to Rheims, 
where it is now. 

There is an engraving of it bj Louis Desplace. 

Width 1 5 feet 9 inches.; height 1 1 feet 4 inches. 



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i^QA-^ MUAHMVPE, •fin^ >\AfS AAB^^ jr-*.CiSJ|* iFiUlTIGUUKa. 



Pj;i^<croit y^a .paj^p e^q^e jlc Puben&.jjp^ U iffiita le style 
IWW'tt tf^t^ 4^ 8jigpts,l;iffiloifi^u,^. I^p§ celuL^pj ^H^maniere 

Ge petit tableau , peint but bois , est fait ayec finesse r et 

^iji^ J9i^gT*^BftiPf^.«i,4e l^.iCf4W<stVw 4^ lord. Stafford, 

Larg., 1 pieds.4''p6ii€es; baut., I pied'8}>ouces. 



675. 

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Wt;UUm SCHOOL. •» tax HABT. •» rUVATB C<H,LKCTIOV. 



REGALING IN A CABARET. 

Van Harp if thought to have been a pupil of Rubens , 
whose stjle he imitated, when treating historical tubjects. In 
the present one his manner has some reference with that of 
Ttnirn. 

This small pictare, which is on wood. Is painted with' 
delicacjy and gives an excellent , idea of the authors talent. 
It forms, since a long time, part of the Gallery of the Mar^ 
^is of Staffiirdf a great amateur of the Arts. 

Width a feet 6 inches ; height i foot 9 inches. 



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1^ Vi£^^|"a. E-i iriiMA^T -iJj,--L--^ *M .■«itEB rtfi fj.i>rKiiM? 



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ECOLE FLAMANDE. ••^ G. D5 CRAYER. •♦^ GAL. DE BfUKICH, 

LA VIERGE ET L'ENFANT JESUS, 

ADORES PAR PLUSIEqRS SAINTS. 

Ce magnifique tableau est uo ea^'voto, dans lequel le pein- 
tre a place la- Vierge et Tenfant Jesus, entQur^s des saints 
pour lesquels il avait une devptioo particuliere. Pans le haut 
est la Yierge, assise sur un trdue orne de draperies \ elle tient 
Tenfant Jesus debout . sur ^^ genoux. A droile est sainte 
ApolUne 4. geuoux, tenant a la main des tenailles, instru- 
ment de son supplice ; derriere elle sont sainte Rose et une 
autre sainte. De Tautre cdte on voit debout saint Jean tenant 
un. calice ; et saint Jacques le Majeur, tenant un bourdon. 

Au pied du trone , a droite, est saint Augustin, accompagne 
d*un ange tenant un coeur enflampne , et derriere lui saint 
Niolas de Tolentin, une main placee sur la poitr^ne; a 
gauche on Toil saiut Laurent , a genoux , tenant un gr^l ; saiqi 
Etienne, ajant une pierre dans la main; saint Andre, de- 
bout, en partie nu et appuje sur sa croix; puis saint An- 
toine , couyert d'ui) grand manteau. 

Tout-a-fait sur le deyant, du m^me cdte, le peintre Gas- 
pard de Crajer s'est represente a genoux , arrant a sa gauche 
sa soeur et son i^ev.eu. L(S militaire que Ton voit au milieu, le 
dos tourne , est, dit-on, le firere du jieintre, qui etait raort 
sans que celui-ci I'eut connu. 

Ce tableau , considere comme un des chefs-d'oeuyre de son 
auleur, porle dans le bascette inscription : Uspeh ds Grjlter 
FEcrr 1646. 11 a fait autrefois partie de la galerie de Dussel- 
dor^^, et fui paje 80 mille francs par Telecteur. II est aujour- 
d'huidans la galerie de. Munich. 

Haut., iB pieds 9 p<»uces; larg., 12 pieds. 

676, 

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FLEMfSH SCHOOL. •♦•♦••' G. D^ GRAYER, v***- MI7M1CS GALLBRV. 



THE VIRGIN AND INFANT JESUS, 

ADORED BY SEVERAL SAINTS. 

Tbb magitfficettt picture is aa .ejc-vitio , m which the paioi- 
er has introdliced the Virgin aod Id fan t Jesus sarrcmnded hj 
the Saints for whom he had a peeifliar derolion. In the up- 
per part i& the Virgin sitting on a throne ornwnoited with 
drapery : the Infant Jesus is standii^ on her knees. On the 
right is S^. Apollina kneeling and holding in her hands the 
pincers with which she was tortured : behind are S*. Rosa and 
another female Saint. On the ol^er side are seen S*. John 
standing and holding a ehalice « and St. James the Elder, 
with a pilgrim's staff. 

At the foot of the throne is St. Aogustin accompanied bj 
an angel holding a flaming heart, and behind him St. Nicho- 
las of Tolentino , with one hand ptaced on his breast : ojor the 
left are seen St. Lawrence kneeling and holding a gridiron ; 
St. Andrew standing , partly naked and leaning on his cross ; 
then St. Anthony coyered wHh a large mantlie. 

Quite in the fbre-gronnd, on the same side, the pamter 
Gaspard de Grayer has represented himself kneeling , with 
his sfster and his nephew on his left. The soldier seen in the 
middle, with his back turned, is said to be the painter's 
brother who died without the latter haying known him. 

This picture, which is looked npon as one of the author's 
masterpieces , bears on the lower part this inscription Iasper 
DE Criter , FECIT 1G46. It formerly formed part of the Dussel- 
dorf Gallery; and was paid 80,000 franks, L. 3, 200, by the 
Elector. It is at present in the GaQery of Munich. 

Height 19 feet 11 inches ; width 1 1 fbet 9 inches. 

676. 

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CLrrEMNESTRE 



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ECOLE FBAN^AISE. •*>» GUiBIIT. •* MUS^E DU LUXEMBOUAQ, 



CLYTEMNESTRE. 

Efl rcpresetitatit T assassin at d'A^-imcmnoii , le |iemlre a 
suivi Ja Imgtdie deM. Lemercierj pliit<M que la tradition an- 
cle n(ie, qui rapporte que ce prince ful frappe a f^oups de 
hanhe landis qu'il elait dans nn Lain , on on avait cu 5oin de 
le fa ire en Ire r, avec un v^tement qui le privait de Tusajc de 
^s Lras. 

Mais Vhistoire des Atridefi est renaplle de lant de faits fabu- 
leux, que Ton peut Lien , sanG inconvcDjenl , se perineltri* 
d'en ahaiiger quelqnes circonstances. M. Guerin a fiu mettre 
dans sa composition uii senlitnent po^tique si eleve , que Ton 
doit lui saToir gre du cLoix qn il a fait. 

n nous represenle It* toI des rois gouUnt nn repoa parfAit 
an pied des Iropbees que aa gloire fi est acquise an sieg^ de 
Trojes, Cljftemnesirt , poussce par jCgisthe ^ tient a ta main 
Je poi^nard doni elle doU trapper son cpous* Mais on Toit 
qu eJle a peine a commettre une action si atroce. Elle av-ir^ce 
lenlemenlj Tun de ses pieds est ddja place snr le senil dc la 
porte f mai:^ toute ta pose indique ta lesi stance de son ame. 
On sent quelle i-eculerait si Tindigne j^jislhe , craignant d« 
■voir sts paroles perdre ley r influence, nj joijnait Taction 
de la pousser forlemcnl vera la YiciiiDe qn*il lui ordonne im- 
pera live men t de f rapper. 

Ce tableau ., remarquabl e par la profondeur de la pens<^e , 
parut au salon de 1817. Admire du public, II fot alors acquis 
par le gouTemement , et ful place depuis dans la gale He du 
Liixembqurgt U a ete grave par M* Alfred Jobanoot et par 

M' Sisco. 

Haul., TO pleds 6 pouces ; larg. 9 pieda 9 ponces. "• 

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FBJE.NCH SCHOOL. »«c«»^ GtSEIN. *♦»» LUXEMBOURG MV'SCUAt. 



CLYTEMWESTRA. 

la representing the murder of Agamenomn , the painter 
has followed M.'Lemerciers tragedy preferably to the an- 
cient tradition which relates that he was struck down with 
a battle axe , whibt in a bath, in which he had been lured, 
and in a dress , depriving him of the use of his arms. But the 
history of the Atrids contains so many fictions , that , without 
committing any incongruity, the change of almost any of 
the circumstances is allowable. M. Guerin has imparted to 
his composition so high a poetical sentimip;it that he must be 
praised for his choice. 

He has represented the King of Kings enjoying a profound 
sleep beneath the trophys gained hj his glory at the siege 
of Troy. Gly temnestra , urged hy u£gisthus, holds the dagger 
with which she intends to strike her husband. But it is visible, 
«he hesitates to commit so atrocious an action. She advances 
slowly; she haji already placed on$ foot on the threshold of 
the door, but her whole attitude marks the struggle wilhin 
her soul. It is evident she would recede, if the unworthy 
i£gisthus , fearing , lest hia words should lose their influence » 
did not acicompany them by the action of pushing her vio- 
lently towards the victim whom he commands her irnpe*- 
riously to strike. 

,Jhis picture, remarkable for depth of tJb,ought, i^^peared 
in the Exhibition of 1 817. A^^mired by the public, it was 
then purchased by the Government, and subsequently placed 
in the Gallery of the Luxembourg* It has been engraved by 
Alfred Johannot and by Sisco. 

Height II feet s inches; width 10 feet 4 in^:hes. 



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»PPLPTURB. »♦«<>• DIOSCORIDE. ^v*- GlB. DE YIBKNE. 



APOTHEOSE D'AUGUSTE. 

Quoique les cam^ antiques re^irent ordinairement la 
denomination de pUrres gmvdes , c*ett v^ritablement de la 
sculpture. Ge beau camee du cabinet deVienne, estFundes 
plus grands et Tun des phis beaux sous le rapport du dessin et 
du travail . 

On croit pouvoir Tattribuer k Dioscoride* La composition , 
divisee en deux parties, offire au milieu du haul remperem* 
Auguste assis, et designe par le signe du capricome sous rin- 
fluence duquel il ^tait ne. II est represente sous la figure de Jh^ 
piter avec Taigle a ses pieds; pres de lui est sa femme Livie, 
aussi assise, et avec le caractere de la d^esse Ronle; debout 
pres d*elle est Germanicus, et.tout-a-fait it gauche Tib^, 
descendant d*un char de triomphe conduit par la Yictoire. A 
droite, derriere Auguste ;, on voit Neptune assis et Gjb^le 
couronnant Tempereur. La femme assise, appujee sur le 
tn^ne d' Auguste, est probablement Agrippine, femme de 
Germanicus , representee ayec les emblemes de la fi^ondit^. 
La partie inferieure ofi&e un tableau sjmbolique des yic 
toires d'Aijguste, oil des soldats erigent un trophee. 

Gette pierre fut apport^ de la Palestine et donnee a Phi- 
lippe leBel. Placee alors daus le tresor de Tabbajede Poissy, 
durant les guerres de religion , elle fut enlcFee furtirement , 
et vendue a Fempereur Rodolphe U , i5o mil le francs. 

11 existe plusieurs graTuries de celte belle pierre. La plus 
anoienne est d'apres le dessin de Rubens; une autre fiit faite 
en 1660, par Fr. Vanden Steen, pour Fouyrage de Lambecius. 
Montfaucon en fit faire unc pour ses antiquites; Mafiei la fit 
graver par Bartoli; Kohl Fa gravee pour Fouyrage de Eckel; 
et Abr. Girardet pour Flconographie de Yisconti. 
Larg., 8 p. i 1.; haut,, 6 p. 10 1. 

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fiCULPTUBB. m 9 BIOS«0«IDBS. —»»»♦»•>■»»• "flCirKik, 



THE APOTHEOSIS OF AUGUSTUS. 

Altfaougk antique oanieoB aregeMrally daiottiioaied ^ngrap. 
ed stones , tJM^ ia fect appertain to Sculptunr. This beautlM 
Gam«o k from tfa< O^lectioa at Yienna, and '» one of the 
lai^est and finest with respect to the design and peffeotien 
of the workmaaship. 

We think it majr be attribated lo Diofcoridea. The eempo- 
sitioB , divided into two |Myrf 9 , presentn in the middle of the 
upper part, the £mperor Augustus sitting, and designated by 
the sign of the Ratb, under whose tnflueneehe was bom. He 
is repesented under the figure of Jupiter with, the Eagle at 
his feei; near him is his wife Livia also seated, ander the 
character of the Goddess Roma ; neiv her tftbnds Germanicus, 
and , ^ite to die left, Tiberius alighting from a triumphal cai>, 
led by Victory. On the right , behind Augustus , Neptane is 
seen sitting, and Cybele opdwmng the Eropemr. The woman 
who is seated and foaning on Attgastus' ^on« , probabht is 
Agrippina, the wife of Germanieus, represented witii the 
emblems of Iruitfalness. 

The lower part olfers symbols of the yictories of Augustus , 
wherein soldiers are erecting a trophy. 

This steoe was brought from Palestine and given to f^ 
lippe leBel. Placed at the time in d)e treasury of the AUbey 
of Poissy, during die religious wars , it was clandestinely 
carried off to Germany, and sold to the Emperor Rodelphus II, 
who paid it about ii5o,ooo franks, or h, €,ooo. 

There exist several engravings of this beau^ful stone. The 
most ancient is from a design by Rubens; another was taken 
from it, in 1^60, by P. Vanden Steen , for Lambecius* Work 
Montfaucon had one done for his Antiquities; Maffei had it 
engraved by Bartoli j Kohl engiaved it for Eckel's Wwk j 
and A. Girardet for Yisconti^s Iconography. 

Width 8 i inches ; height 7 1 inches. 



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lECOLB ITAUEXHE. —*— TlTIElf. "« '« «" OAI,. DE VIEHHE. 



DANAE. 

La cel^bre pluie d'or qui penetre partout fut le moj€n 
qu empioja Jupiter pour airiyer a Danae, que sou pere Acri- 
sius ayait fait enfermer* dans Tesp^rance d eviler Taccomplis- 
sement de Foracle, qui lui av^t predit que son pelit-fils se- 
raU; son meurtrler. 

Meuft avons deja donn^ deux fois le m^e sujet , I'lin par 
Girodet, soua le m^- i43, raulr* pwr Vauder Werf, aous le n°. 
391, Gd8 deux peioires ont repreaeuU Dana^ arec V Amour, 
qui saus doute dispose la prtucesie k bieu recevoir le mailre 
desdieuzetdethommes. Daas ceUe compositiou, Titienlafaae 
^percevoir Jupiter lui-n^me encore euveloppe dans les uuees 
et f^iaAdant Tor a pieine main. J^a princeaie semble pi^occu- 
pee parim sentiment tout autre que celuide la richesse; mais 
use yieille serrante s'empresse de recueillir la pluie merveil- 
Jeuse qu'attirent les charmes de sa maitresse. 

Ce prAcieux tableau fait partie de la galerie du Belvedere a 
Vktnne; on lit au bas : TiTUims eqojbs c4es. La m6me conapo- 
ffitiou, avec qaelques cbangemeng, a else repetee par Titien, et 
se retpouve au Musee de Naples, «t cbez M. Young en Angle- 
terre. 

Ces difierens tableaux out e(e graves par Lisbelius , Richer 
et Louis Desplaces. 

Larg., 4 p. 9 p. ; baut., 4 p. 3 p. 



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ITALIAN SCHOOL. •««•«•»••♦ TITIAN, •♦•♦wh VIENNA GALLERY. 



DANAE. 

The famous golden sLower which penetrates through every 
thiog , was the means emplojed by Jupiter to get at Danae , 
whom her father Acrisius had caused to be shut up, in the 
hopes of averting the fut^Iment of the oracle, predicting that 
his grandson was to be his murderer. We have already given 
this subject twice; the one by Girodet, n». 1 43; the other by 
Vander Werf , n*. 391. Both these painters have represented 
Danae with Cupid, who, no doubt, induces the princess to 
receive favourably the master of the Gods and of men. In 
this composition Titian displays Jupiter himself sdli envelop- 
ped in the clouds and showering down the gold, with a 
bountiful hand. The attention of the princess appears taken 
up with a very different s^ntiment'to that' which' riches im- 
part; but an old female attendant* eagerly ' gathers up the 
wonderful rain drawn down by her mistress' charms. .*' " ' ' 

This delightful picture forms part of the Belvedere Gallery : 
on the lower part is the inscription : Titiands Eqces c:bs: The* 
same composilion, with some deviations , has been repeated 
hj Titian, and ,is in the Museum at Naples , and in the 
possession of M^ Young in England. 

These various pictures have been engraved by Lisbetias I, 
Hicher, and Louis Desplaces. 

Width 5 feet ; height 4 feet 6 inches. 



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EeOLE ITALIEHM. •♦W P. CA6LIA&I. •^^ GAL. tt DRESDtf. 



NOCES DE CANA. 

Le miracle que J^tis-Ghrist opera aiix noces de Cana fut le 
premier de sa yie, et noud n jr reyiendroos pas, parce que nous 
en avons deja parle sous le n". 678. Dans ce tableau, comme 
dans presque lous ceux de Paul Yeron^e, on admire une 
grande et magnifique composition, remplie de mouyement, 
sans aucun en^Muras ; mais on retrouye toujours le m4me 
oubli des conyeuances. L'arckitecture , les usages , les cos- 
tumes, n'ont aucun rapport ayec ceux des Juifo eu Gallic. 
C'est un repas tel que pouyaient le faii:e des Yenitiens, dans le 
XYI*. siecle. 

On peut admirer daus ce tableau la facilite du peintre, qui 
a donn^ k toutes ses tdtes des expressions yari^s et agreables. 
La couleur est det plus brillantes, et c'est le plus beau des 
quatre tableaux de ce maitre, qui ait pass^ de la collection dii 
due de Modene dans la galerie de Dresde, oil on le yoit maia- 
tenant. 

II a et^ graye par Louis Jacob. 

Larg., 16 p. J haut., 7 p. 3 p. 



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ITAUAXSCaOOL. •<•»•?. CAGLI«)lI.*MM»JPItBSDEirSiUJUlT. 



THE MARRIAGE AT CANA. 

The mirade wrought hj JeM» Christ «t the marria^ at 
Caoa was hb first : we «hail not describe it here , having al- 
readj doae so usder n; Sj%. hi this picture , as in almost all 
those hj Paul Veronese , a grand magnifieent composition , 
full of lift , diyested of all oonfmnon , is to he admired : bnt 
tiie same omission of proprietif oonstantlj recurs. The arehi- 
iocture , habits, and costumes, have so reference to those of 
the Jews in Galilee. This is a banq^t such as might have 
been given hj Venetians, in the sixteenth centurj. 

This picture displays the painter s great facility' : he bas 
given to all his heads, varied and agi>eeabie expressions. The 
colouring is of the most britHant; and it is ^be finest of the 
four pictures hy this master, which have go«e from (he Duke 
of Modena's Collection into the CaUery of Dresden , where it 
now is : it has been engraved hj Louis Jacob. 

Width 17 feet; height 7 feet 8 inches. 



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BOOLE ITALIEHNE ^•^^ FR. If A2ZUOLI. •^•♦•«»«m^^ &OMEi 



MOISE. 

Dieu ayant dit qu*il youlait dojiner la loi que detait 
suivre le peuple d'lsrael , Moise alia sur le mont Sinai et j 
resta plusieurs jours } mais, pendant ce temps, le peuple oublia 
le vrai Dieu pour adorer un simulacre semblable a ceux cpi'il 
avait eu Thabitude de yoir en £gjpte. 

Moise done descendit de la montagne , « et , s etant appro- 
che du camp , il vit le veau d'or et les danses. Alors, enflamme 
de colere , il jeta les tables qu'il tenait entre ses mains , et les 
brisa au pied de la montagne < » 

Gette figure, peinte par Francois Mazzuoli, dit le Parme- 
san , est d'une grande beauts. L^expression du proph^te le- 
gislateur est pleine de noblesse et de majesty. Le peintre 
semble ayoir ^te inspire par la statue de Michel-Ange;«mais 
il a eu tort sans doute de Timiter en la laissant assise. Getle 
pose etait naturelle dans I'^Ut de repos de la statue , elle ne 
peut conyenir a Faction yiolente repr^ntee dans le tableau. 

Yolpato a gray^ ce tableau en 1773, pour le cboix des 
plus beaux tableaux d*Italie , public par Hamilton « 



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iTALuit sGaooL. —f t. mtaxvtAA. 



M08ES. 

Co^ tiavisg sjkkl tlut ke w»idd delWer ilie Laws to hts 
Ibltowed hj tJM people of forael, Moses w«Bt^B mouni Sitii^> 
aud there f>eisaiaed several dajs, l>ut in ^ lAeaii time Uie 
people for^^ iiie true God to wonliip an nnage similar le 
those tbey had seen in Egypt. 

Ifoses eame do«ro from liie mouBFt x « And H eaiae to 
pass, as soon as he eame nigh unto the damp, that he saw 
the dalf, and the dancing : and Ijfoees* attger waxed hot, and 
he cast the tables out of his hands, and brake tSiem beneatii 
the mount. • 

Thift fig«rt painted by Francesco <Ma»n<^, periled Paroiig. 
giatto, is vei7 beautiful. The ex^essloQ of^t%e propi^ and 
legislator ts grand and majestic, f he painter «eems to bafe 
been inspired htf Michael Angeio's statue t but be has oertamlj 
erred in carrying his imitation ao far as to represent 
bis %ore sitting. This attitude was naltipafl 4n ^ reposing 
state of the statue, but it cannot suit the violent action 
delineated in the picture. 

Volpato engraved this picture in 1773, for a Collection 
of the finest Italian Pictures, published bjr Hamilton. 



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CAVALIEJA A r.A P* )i<TE DTXK AUhKlUiF, 



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icOVE KOLlAlirDAISE. »••« MET2U. »»»« CAB. PABTICVUEA. 



GAVAUER 

A LA PORTE DUNE AUBERGE. 

Emule de Gerard Dow et de TerLurg, comme eus Gabrid 
iletzu n'a peJQt que des icoues familieres et d'une pelile di* 
meiuLon ^ de m^me qu'eux aussi 1! &csi toujour^ fait remar- 
quer par uoe eouleur LnltaaLe eL tin flni di^s plus precietix ^ 
auqtiel il sul alleiudre aatis nuire a refTei du clair-oI>scur. 

Rien deplu^ simple que Ic eujet dece tableau. Un vojagetfi' 
^LrrlTe a la porle d'une auberge, la mailresBe de la malsou lui 
verse un verre de bier-e , qu'il ya boire sans desceodre d€ 
cbeval ; mais le domesiique, esperaol se refiacntir de la gene- 
rostte du Tojageur, sest approchti de aoa cliev.il , doot tl 
iient la bride, aGo de lui donner une parfaiie sectirite. 

Ge tableau est peiui arec un so'm exLr^me. 11 elait aulra* 
fois a Amsterdam , danale cabinet de M. Lubbcliog. Vers 1 751, 
11 fot acquis par M. Le BniD , qui le reodit alors S,ooo ff- 
On le vort main tenant dans la belle collection de lord Staf- 
ford , k Clerelaud- House. 
11 a et^ grave par G**T* Le Tellier, 

HauL, 1 piedsj Iaj'g> i pied ; pouces. 



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mJTCI SCBOOL. •••••• METSV. »•■ — PEIYATl COLLECTlOf . 



TRAVELLER HALTIHO AT AN INN. 

Gabriel Metzu was tbe riTal of G. Dow and of Terburg, and 
like tbem W painted familiar scenes onlj and of small 
dimensions : be was^ also lemarkable for a bright colouring 
and a ytrj high finish which he attained howerer without 
injuring the effect of the light and shade. 

Nothing can be more simple than the subject of this pic- 
ture* A trayeller stops at an inn, the hostess pours him out a 
glass of beer, which he intends to drink without alighting ; 
but the ostler, hoping to benefit from the traveller s gene- 
rositj, has taken hold of the horse's bridle, that the rider 
maj be more at his ease. 

This picture has been painted with the greatest care : it 
was fonnerljr at Amsterdam, in M« Ldibbeling*s Collection. 
About the year 1791, it was purchased bjr M, Le Brua^ who 
then told it for 6000 franks^ L. sSo. It is now iii the Marquis 
of Stafibrd*s beautifol Collection at Clej^velaH^ouse. It ba» 
been engraved hy C. F. Le Tellier. 

Height 1 feet i ] inch; widd >i foot Ainches. 



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l^LE FBANQAISE. •«♦««• P0US8IN. •♦ GAL. DZ l'hERMITAGE. 



FRAPPEMENT DU ROCHER." 

Lorsque k peuple d'Israel sortit d*£gjpte , il trarersa le de- 
sert et , w trouvant campe a Kapliidioi j \\ mauquaiL aWlu- 
meiit d'eau. MaisMoise s'etanl adre3«e a Dieu , le Seigneur lui 
i^pondit ; • Mardiez devant ce peuple , naeue^ avec voui dea 
anciens dlsrail, prener en mala la verge dont yous avez 
rrap|)e la mer, et allez josqu'au rocher d HoreL, je me trouve- 
rai J a moi-m^mc j vous frapperez ce rOcher et il en fortira de 
I'eau , afin que le peuple ait a boire. « 

Poussin fit ce tableau ^ en i G49t pour son ami Antoine Stella ; 
cette cotnpositioa eat sup^rieure a celle qu 11 avail fai(e quinze 
aod auparayaDt pour M. de Gillierf aLLaclie au marechal de 
Crequy^ amba$$adeur de France a Rome. Cepeudaut quelqnes 
persoDuefi preteudireut que I'eau, venant de sortir du roc her, 
n'avait pas eu le temps de se ere user uu lit aussi profond. 
Poussiu reponditacela daus une leLtre adreasee a Stella lui- 
m^me, ■ Ou'apparemmeut b dispostliou du lieu ou ce mi- 
racle se fit devait 4tre de la 9orLe qu'il Ta figuree , parce 
qu'autrement I'eau n'aurait pu etre rama^ee, ni prise pour 
s'eu servir daua le besoiu qu uue si grande quantite de peuple 
en avait » mais qu'elle se aerait repandue de Lous coles. » 

Peut-etre pourrait-on adresser au peintre un reproclie plus 
fotjde 1 test d'avoir laiase Moise encore daos Faction de frap- 
per lerocher^ tandisque I'eau coule depuis iooj^emps, puis- 
qu'oQ [a voit deja loin de sa source* La po(e de cette figure 
n'a pa& no a plufl toute U majesle que Tou [wurrait dciircr. 
Ce tableau n en eit pw moins un des plua remarquables de la 
gaieriede rHermilagc. II a etc grave par Claudiue Stella, 

Larg,^ 6 pieds lo pouces ; liaut., 3 picds 8 pouces, 

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FRENCH SCHOOL. •♦^^•^ POUSSIIT. •♦^BERMIT AGE GALLERY. 

I 

MOSES STRIKING THE ROCK. 

When the people of Israel had left Egypt, thej* crossed 
the desert, and^ being enoamped in Kade&h, thejr had na 
water. But Moses prayed unto God, ;»nd the Lord answered 
him, saying : « Take the rod, and gather thou the assembly 
logether, thou, and Aaron thy brother , and speak ye unto 
the rock before their eyes ; and it shall give forth his water , 
and thod shalt bring forth to them water out of the rock : so 
thou shalt give the congregation and their beasts drink. » 

Poussin did this picture, in 1649, for his friend Antoine 
Stella : this composition is superior to the one he had done 
fifteen years before for M. de Gillier, in the suite of the Mar- 
shal de Grequy, the French ambassador at Rome. Nevertheless 
some persons pretend that the water from the rock had not 
had sufficient time to get so deep a bedding. To this Poussin 
replies in a letter addressed to Stella himself ; « That most 
likely the spot where this was wrought was disposed in the 
manner he had delineated it , for otherwise the water could 
not have been gathered or taken up for the use of so nume- 
rous a population, but that it would have spread on all sides. 

Perhaps a more serious criticism may be i^pplied to 
the painter, that of having left Moses in the act of striking 
the rock, whilst the water has flowed from a considerable 
time, it being seen far from its source. Nor has the attitude, 
of the figure all the grandeur that might have been expected* 
Still it is one of the moset remarkable in the Gallery of the 
Hermitage. It has been engrairM by Glaudine Stella. 

Widths fe«t % inchiBs; Height 3 feet 10 i inches. 



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SCULPTUBB. •«»«»«»»♦♦ B. DB MARSY. »**»»«b«»«^ VERSAILLES. 



LATONE ET SES ENFANS. 

Toigours poursuivie par Junon , Latone avait ^te obligee de 
quitter Tile de Delos , ou elle avait doune naissance a ses 
deux enfans, Diane et Apollon. Elle traversait la Ljcie acca- 
blee de soif et de lassitude ; ajrant apergu un ctang dout I'eau 
paraissait claire, elle s'en approcha pour sy desalterer. Deja 
elle s*etait posee sur ses geooux pour boire plus a son aise ; 
mais des paysans , qui arrachaient les roseaux de Ictang , la 
repousserent avec brutality et Femp^cb^rent de boire. lis 
ajouterenta leur refus quelques injures, et la menacerent 
m^me de la maltraiter si elle ne s*eIoignait. La d^esse , alors 
tout emue / leva les mains vers le ciel et demanda la puni- 
tion de ces paysans , qui furent a Finstant metamorphoses en 
grenouilles. 

Ce beau groupe de marbre blanc est du au ciseau de Baltha- 
zar de Marsy. 11 est au milieu de Fun desbassins du jardin de 
Versailles, sur la partie la plus eleveed'une estrade a plusieurs 
gradins en marbre rouge; autour sont dispos^es 74 ligures 
de Lyciens , dans differens <itats de metamorphose , et toules 
jetant de Feau vers la d^esse , ce qui produit un des plus 
beaux efiets d*eau de cette residence royale. 

Jean Edelinck a grave ce groupe en 1679. 

Haut., Spieds ? 



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SC17LPTUES« B. DB MABilT. — TERSAILLBS. 



LATONA AND HER CfflLDRiajf. 

G>]Utanil}r purraed hy Juno, Latona had been obliged to 
quit the Island of Delos, where she had given birth to her 
two children, Apollo and Diana. She was crossing Ljcia and 
was OTcrpowered bj thirst and fatigue : perceiving a pond 
whose water seemed clear, she approached to quench her 
drought. She had alreadj knelt, to drink the more at her ease, 
when some peasants, who were gathering reeds in the pond, 
brutally drove her awajr and prevented her from drinking. 
To their refusal , they added insult and even threatened to 
beat her« should she not go awaj. Then the goddess in her 
anger raised her hands towards heaven, and prayed for the 
punishment of those churls, who were immediately changed 
into frogs. 

This group in while marble is due to the chisel of Balthazar 
de Marsy. It is in the middle of one of the basins of the garden 
of Versailles, upon the highest part of an estrade with several 
steps iu red marble : around are placed 74 figures of Lycians, 
iu various stales of metamorphosis , and all throwing water 
towards the goddess, which produces one of the finest water 
efifects of this royal residence. 

John Edelinck engraved this group, in tBjg. 

Height 5 feet 4 inches ? 



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ITALUM SCHOOL. •• O. BOBVSTI. •• tBIVATB COLLBCTIOIT. 



JUNO SUCKLING HERCULES. 

The manner in which are placed all the %ures of this 
compoflltion, dearlj indicates that the painter, Giacomo 
Kobusti, called Tintoretto, intended it to decorate a ceiling; 
but this sketch onljr is known, presenting to the admiration 
of the beholder, a bold touch, a irigorous colouring, and a 
yerj excellent taste in designing. 

Tradition has handed down to us, that ii was Minerva 
who induced Juno to give the breast to joung Alcides, whom 
she had just found in a field where he had been forsaken. 
The painter has preferred* placing in his composition Jupiter, 
who pre«eBt« his son to Juno. The joung hero squeeaed so 
rigorously the goddess*, brg^f^, that the pain made )ier leap 
precipitately from her bed* and the milk which gushed away, , 
spread itself in the heavens, and formed -that nebulous path 
which crosses it, entirely, and to which has been given (he 
name of the Mlkjr Way,, 

The eagle and peacock, the attribute's of Jupiter and of 
Juno, were necessary to understand the subject ; thf same 
cannot be said of the three little Loves, introduced in the 
conapoeilion, without their action being determined. 

This picture at first belonged to B|. de Seignelay; itsubse- 
gently got into the Orleans Gallery, and was afterwards 
purchased by M^ Bryan fjcu* 1 400 franks, about L, So. 

P. R. Dclaunay, engraved it for the Gallery of the Palais- 
Royal. 

Width 5 feet 5 inches; height 5 feet. 



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icoLE italiehhe. —— j. robusti. —• cab. particulieb. 



JUNON ALLAITANT HERCULE. 

La maniere dont sout posees toutes les figures de cettc 
composition , fait bien voir que le peintre , Jacques Robusti , 
dit Tintoret , la destinait a d^corer un plafond ; mais on ue 
connait autre chose que cette esquisse, dans laquelle on ad- 
mire une touche bardie , uu coloris yigoureux et un tres- 
bon gout de dessin. 

La tradition rapporte que Minerye engagea Junon a 
donner Je sein au jeune Alcide , qu* elle venait de trouver 
abandonne dans un champ. Mais le peintre a prei<bre placer 
Jupiter presentant son fils a Junon. Le jeune beros serra alors 
avec tant de force le sein de la deesse , que la douleur la 
fit sortir precipitamment de son l^t , et le lait qui s*ecbappa 
^ yiolemment se repandit dans le ciel et forma cette trace 
nebuleuse qui le trayerse entierement , et a laquelle on donne 
le nom de P^oie lactie, 

L'aigle et le paon , attributs de Jupiter et de Junon , etaient 
necessaires pour Tintelligence du sujet. On ne pent en dire 
aulant des trois pelits Amours plac^ dans la composition sans 
que Ton puisse determiner leur action . 

Ge tableau appartint d*abord a M. de Seignelaj ; il passa 
depuis dans la galerie d'Orleans , et fut acquis ensuite par 
M. Bryan qui le paja douze cents francs. 

P. R. Delaunaj I'a gray^ pour la galerie du Palais-Rojal. 

Lai^., 5 pieds i pouce ; baut., 4 pieds 8 pouces. 



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ITALlAKSCaOOt, —*n»»* A. TURCO.*<mmm FBUCB MUSEUM. 



A SCENE FROM THE DELUGE. 

This picture is remarkable for its well-drawn figures , a 
bright colouring , a delicate touch , as also much truth and 
freshness in the flesh parts. The baek-ground deserres pecu- 
liar attention; from the strength with which the painter has 
expressed dense clouds illumined bj lightning. 

Alessandro Turco, the author of thb picture, is often de- 
signated bj the name of Alessandro Veronese, ft'om the citjr 
of Verona, his native place : he is also called hy some , Or- 
betto; from the circumstance, that in his jouth , he had 
served as^ide to a blind^man. A contemporary of the Car- 
racci , his drawing rather approximates that of their School 
whilst his colouring has some resemblance with that of the 
Venetian. 

This picture is in the Gallery of the Louyre. It was en- 
graved, in 1 66 1 , by Gerard Edelinck ; afterwards by Levas- 
seur, for the French Museum, published by Robillard-Peron- 
Tille and Laurent. 

Width 8 feet ; height i feet 3 } inches. 



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icOLE ITALIElflfE.»*^»* AL. TURCO. •♦•♦^ MUS^E FaAW9AIS. 

SCENE DU BELUGK 

On remarque dans ce tableau des figures bien dessm^es , 
un colork tres-brillant , une touobe delicate, ains^ que beau- 
coup de yerite et de fraicbeur dans les carnations* Le fond 
du tableau merite une attention parliculiere , k cause de la 
vigueur avec laquelle le peintre a rendu des nuages epais 
eclaires par la foudre. 

Alexandre Turco , auteur de ce tableau , est souvent de- 
si gne sous l^nom d* Alexandre Veronese , a cause de Yerone , 
sa ville natale; quelques<<uns lui ont aussi donne le sobri-* 
quet de r Orbetto , parce que dans son enfancc il avatt seryi 
de conducteur a tia^ ayeugle. Gontemporain des uarracbes « 
son dessin serapprocbe assez de celui de cette ecole, et sa 
couleur a du rapport avec celle de I'ecole venitienne. 

Ce tableau est expose dans la galerie du LouYre. U a et^ 
grave en 1681 , par Gerard Edelinck; depuis, parLeyas- 
seur, pour leMusee fran^ais public par RobiUard-PeronyiUe 
et Laurent. 

Larg., 2 pieds 10 peuces; haut., 1 pteds !k;pouces. 



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JESUS-CHHIST ELEVK EN CKOIX 



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ITALIAN SCHOOL* —^——^ RUBENS. ••• — »*>♦ AMTWEaF. 



THE ELEVATION OF THE CROSS. 

Rubens was commissioned to paint this picture of Ihe 
Elevation of the Gross, on Lis return from Italy, just after he 
had studied the Garracci. It was then intended to adorn the 
high altar of the church of St. Walburge at Antwerp. A 
long time the pride of that church, it was afterwards brought 
to Paris, in 1796; and remained in the Museum until 181 5. 
It now is in the Antwerp Gathedral, as the companion to the 
famous Descent of the Gross , which was given under n<^. 4^* 

Like the latter picture, and according to the custom then 
in vogue, the principal subject is accompanied by two 
shutters, the one representing the holj women, and the 
other officers on horseback, ordering the punishment of the 
two thieves. It is asserted that the figure of the dog, placed 
in the fore-ground of the picture, was not inserted till 1627, 
at the request of the curate of the parish who thought that 
that part presented too much of an empty space. 

This picture has been engraved by G. L. Masipelier, (or 
the Museum published by Filhol : the print done by WittC' 
doee was engraved from a sketch which presents some de- 
viations. 

Height 1 3 feet 10 inches; width 10 feet 7 inches. 



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^coLE 7LABf audb. ••mm- KOMms. > iw m m antbrs; 



JESUS^GHiaST ELEVt EN OROIX. 

Cett i iOQ relour d*IUlie^ et «tt momtvd oh il veoait d*e- 
todler let Cmracliet , qseRnbooft 6it diAi^ defairece Uble&u 
de J rfa ia Christ ^ev^ eu croix. 11 1« fit alors pour orner le 
maitrc-anle] de Valise de Sainte-W^JlMirge k Aovers. Long- 
tempt adaiir6 daot cette ^gUte , il fut appoK4 a Paris eo i j^iS, 
et resta au Mus^ jutqu'ea i$i5^. 11 est place mainieDant daos 
la calhi^dralc d* AnT«rt , en pendant airec la oelebre detceate 
de croiz , que nont aTont d»QDee sous le u^, 4&. 

De mdme que ce taUeau et tuiyant Tusage dece tenuis, 
le tujet principal est aceompagni^ de deux Toleii representant 
Tun les saintes femmes, et Fautredes officiecs k cbeval or- 
donnant le supplice det deux larront. On assure que la 6gure 
dn chien , plae^ sur le deraot du tableau. , ne fut ajoulec 
qu'en 1627, sop la deraande du cure de la paroisse qui trou 
vait que cetle pkce offirait uu. irop grand yide. 

Ge tableau a ^1^ gfftYi par G.^L. Masquelier, pour le 
If usee public par FUhol; lagravure de Wittedoec a ele 
faile d'apres une esqnisse qui pr^nlequeJquesdiffispences^ 

Haul., iS pteds; long., lopieds. 



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VtJ'ttii SiCkCfOL* ^•••^■M o J. STEBXr^ •>»»#■—. THE ttAfiUS« 



A MERHY MElETrnG. 

The patinierJan Steen , giying himself ojr to loose pleasures, 
has geiterally repi^setited suet scenes as he witnessed. It 
has thence been thought that he could not turn his pencil' 
to any other subjects ; and it has been imagined , he wished 
to deliueate here , a Dutch Musico , a species of low lived 
place, frecpented for the purpose of drinking, smokitig , and 
sometimes singing , or dancing with females , ever readj to 
lend themselyes to everj kind of amusement. Such certainly 
is not the present siiene : it is a tiew of the painter s house 
and familj. 

Jan Steen is sitting on the right hand' near a female , who 
is at table eating oysters , whilst he plays on the lute. His 
wife sits in tiie middle of the room ; near her are two of her 
children; the painters father holds another in his arms, 
whilst a maid - servant , near him , rn the fbre- ground , is 
busily employed placing oysters on a gridiron to scollop 
them. The artisCs name is seen on the column to the righf. 

This painting, which is remaricabk for its colouring and 
brilUant effect , formerly formed part of M. I-^ormier 's Gol- 
fection : it was afterwards in the Sfadtholder^s. It subsequently 
came into the Paris Museum , but is now in that of the Hague. 
This picture has been engrared by Oortnian^• 

Width, 3 feet 7 \ inches; height, i foot 9 inches. 



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ieohi HOLLAKDAtSB. mm I. STEBH. •• UVSii DE LA BATE. 



REUNION JOYEUSE. 

Lepelotre JeanSteeo, se liyrant bahituellemeDt a la de- 
bauche, a peint ordinalrement les scenes qu*il yejrait. On a 
cru apparemmeat qu il ne pouyait emplojrer sonpinceau a 
d'autres objets , et oq a touIu Toir ici rioterieur d*un Mu- 
sico bolIaDdais , espece de mauyais lieu ou Ton entre pour 
boire , fumer , et quelquefois chanter ou danser, ayec des 
femmes ioujours prates a se prater a toute espece d'amuse- 
ment. Tel n'est pas assurement le lieu de la scene.'G*est Tin- 
lerieur de la maison du peintre ayec sa famille. 

Jean Steen est assis a droite aupres d'une personne qui est 
a table mangeant des buitres, tandis quil joue du lutb. 
Sa femme est assise au milieu de la piece , ajant pres d'elle 
deux de ses enfans ; le pere du peintre en tient un troisieme 
dans ses bras , tandis qu*une seryante , pres de lui sur le de- 
yant, est occupeeii placer des buitres sur un gril, pour les 
faire cuire. Le nom du peintre se yoit sur la colonne a droite. 

Ce tableau , remarquable par la couleur et son brillant 
efiet y a fait autrefois partie du cabinet de M. Lormier. II 
passa depuis dans celui du Statbouder. Apporte ensuite au 
Musee de Paris , il se yoit maintenant au Musee de La Haje. 
Ce tableau a ^te graye par Oortman. 

Larg. s pieds 6 pouces , baut. i pied 8 pouces. 



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fiitHtti StBOOL. ***i^*^ 14 tiiVV. •• M i ^ »t y *<i fc >4» * f Alits. 



HERCULES 

COMBATING THE CENTAURS, 

TheCentaurEurj^ie having sought to carry off Hippodamia, 
the very day of her nuptials with Pirithous, this event became 
the signiU of a dreadful £ght , between the Centaurs and the 
Lapithse. Hercules and Theseus took an active part in the 
vtrugjgle f. in which the famous Evryie , aad a great number 
of Centaurs perished. 

Otid relates that in the place whei^ they fou^t, stood an 
anti^pie vase, of an enormous size : Theseus snatching it up, 
threw it at £uryte*s head, dashed out his brains, and threw 
him on the ground. The Centaur, rolling over the sand, belch- 
es forth) with his blood, the wine he has just drunk. The 
others become furious and seize whatever they can get hold 
of as weapons. On every side^ vases^ dishes, urns, in a word, 
every thing made use of at a banquet is seen flying around. 

This large composition is painted in the middle of the 
<ieiliog of the Lambert Hotel galleiy, facing the Hercules 
deli-v^ring Hesione, previously given under n*. 635. It has 
been engraved by L. Desplaces , and is in the Collection of 
the Lambert Hotel paintings. 



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icOLI FEAll^AISB. » LE BRUH. ••••••— ———^ PARIS. 



HERCULE 

COl^ATTANT LES CENTAURES. 

Le cenUnre Euryt^ ajant touIu enlever Hippodamie , le 
jour mtee de ses nocesayec Pirithous , cet ^yenemeiit deyint 
le signal d*un combat terrible eotre les Gentanres et les La- 
pithet. Hercole et Thee^ prirent une part active a cette lutte, 
oil p^rit le fameux Eurjt^ et un grand nombre de Centaures. 

Oyiderapporte que dans rendroit oil en t lieu le combat etait 
on vase antique , d*une grandeur enorme : Th^see s^en saisit, 
et, I'ajant jet^ k la t^te d'Eurjtes, il lui ecrasa lacervelle et 
le renversa par terre. LeCentaure, se roulant sur le sable vo- 
mit avec son sang le yin qu*il venait de boire. Les autres 
deyienuent furieux; ilsse seryent pour armesde (outcequ'ils 
rencontrent autour d*eux. On yoit yoler de ious c6t(fs yases , 
plats , umes, en un mot tout ce qui senrait au festin. 

Cette grande composition est peinte au milieu du plafond 
de la galerie de rh6tel Lambert, en face de THercuIe deli^ 
yrant H^ione, donn^ prec^demment sous le n». 635. Elle a 
^t^ gray^e par L. Desplaces, et se trouye dans le recueil des 
peintures de FhiMel Lambert, publie par Bernard Picard. 



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CULPTUHE. •^^—^^ AWTI^UE> •»•••••• PRBWCg MUSEllAI. 



CERES, 

This figure of Cerea is remarkabk for Ibe aFFangement of 
the tunic which is twice tucked up , thus jM^senting a, doi]i)le 
fold that envelops and entirely surrounds it. This singuliur 
combination is met with in no other antique statue : it does 
not produce a wonderful effect , but the statuary has found 
means to disguise a part of those uniform plaits , by coyering 
them with the majoitle, the simplicity of which forms an 
agreeable contrast. 

Great merit is allpwed to the execution of the mantle , the 
handling of which is both delicate and soft. The same delicacy 
is also obseryed in the workmanship of the tunic , but it has 
an affectation that imparts a dryness to it , and^would mak« 
us belieye that the two parts were not by the same hand. 
The head, without being yery regular, still offers a delightful 
character. 

This statue, in Paros marLlfi.cemaft^from ike Villa Bor- 
ghese : it is now in the Museum <rf the Louvre. A part of the 
crown and of the diadem , the nose , both fore-wms , and 
both feet are modern restorations : it has been engraved by 
Bouillon. 

Height, 5 feet 4 inches. 



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SCULPTCBE. ANTIQUE. ♦••• MUS^B FRAlf^ATS. 



CERES. 

Gette figure de Ger^ est remarquable par rajustement de 
latunique, rele?^ deux fois et pr^sentant ainsi un double 
pli qui Teayeloppe et Tentoure eDtierement. Gette disposi- 
tion singuliire ne se retrouve dans aucune autre statue anti- 
que ; elle ne fait pas un effet merveilleux, mais le statuairc 
a su dissimnler une partie de ces plis sjmetriques , en les 
couyrant par le manleau, dont lasimplicite fait un contraste 
agreable. 

On trouve un grand merite d*execution dans ce manteau , 
dont la touche est i la fois fine et moelleuse. La m^me finesse 
se Yoit egalement dans le travail de la tunique , mais avec unc 
recherche qui j n^pand de la sdcheresse , et ferait croire que 
ces deux parties ne sont pas de la m^me main. La t^te ^ sans 
. ^tre Lien reguliere , offre cependant un caract^re charmant. 

Gette Statue en marbre de ParoS vient de la i^illa Bor^ 
gh^ ; elle est maintenant au Musee du Louvre. Une partie 
de la couronne et du diademe, le nez, les deux avant-bras 
et les deux pieds sont des restaurations modemes. Elle a ^te 
gravee par M. Bouillon. 

Haut. 5 pieds. 



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ASSOMFTION UK I ,A VIF.KOK. 

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ECOLB ITALIEKHB. »«•«•«■ AN. CARBAGHE»*«mGAL. DE OBESDE. 



ASSOMPTION DE LA VIERGE. 

Nou» a¥on9 d»^ parle une foi$ de ce sujet , donne sous le 
&». iS. Nous ayoQB ffiil remarquer que Poussiu ayail su 
se *garanlir de la double action qui existe, lorsque Ton re- 
presenle la Yierge arrivaat aa ciel , et les apdlres eutouf ant 
le lomLeau d*ou son, cor|)s a ele eukeve. 

Annibal Qarraclie a suivi <;ette traditiou ^ijl j^etd auforis^ 
par Fusa^e , et ausst par Tezemple 4u Gorrege , qui yenait de 
peiodre }e meme sujet dans la coupole de Parage* On pent 
n^ine pKiser que Garraehe , yiyement enMi par la briUapte 
eouleurdtt Gorrege » et pleiu des idees sublimes de ce peiAtre* 
a su en reproduire d*aitssi admirables, 

G*esC a tort que Richardson attribue ce tableau k Louis 
Garrache; il est certaiaemeut de la ^ain d*Aoiiibal» ^i le 
peignit pour la coofr^ie de Saint-Rocb k Reggio^ Le duQ de 
Mod^ne, en ajant fait Facquisition, le remplaga par unf 
copie, et fit oiettre eelui^ci dans sa galerie, d^oii il yiot en* 
suite dans celle de Dresde. 

II a el^ graye par Joseph Qamerata. 

Haut., 1 3 pieds 6 pontes; Iar^.> S pieds 8 pouees. 



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ITALIAir SCROOL.»«*»^ A. CARBACCI. ••♦•^ DBESDEN GALLERY* 



THE ASSUMPTION OF THE VIRGIN. 

We have alreadjr once spoken of this subject , given under 
DO. 1 5. We observed that PousMn had found the means to 
avoid the twofold action , existing when the Yirginis repre- 
sented arriving in heaven , and the apostles surrounding the 
tomb f whence her bodj has been translated. 

Annibale Garracci has followed this tradition, having cus- 
tom for authority, and also the example of Correggio, who 
had just painted the same subject in the cupola of Panna. 
It may even be thought that the painter, struck bj Correggio's 
brilliant colouring, and deeply embued with that artist's sub- 
lime ideas, has produced some quite as wonderful. 

Richardson erroneously attributes this picture to Lodovico 
Garracci, but it certainly is from Annibale s pencil ;he paint- 
ed it for the Friars of St-Rockat Reggio. The duke of Modcna 
having purchased it, substituted a copy in its place * and put 
the original in his Gallery, whence it was subsequently trans- 
ferred to the Dresden Gol lection. 

It has been engraved by Joseph Gamerata. 

Height 1 4 feet 4 inches; width 9 feet 2 inches. 



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icOLB ITAUEHME. •••»••»» TITIEN. —^ CAB. PAITICULIBB. 



VENUS SE MIRAWT. 

Ed laiflsaut 4 ce tableau la denomination de Y^nus , nous 
devoDS ^tre.excuaes par I'usage, et aussi par des attributs qui 
distinguent auffisammeut la deesse dc la beauts , un miroir «t 
FAmour. L*arc ^e la deesse tieut k la main est neoessairt- 
ment celui de TAmonr, dont le carquois est plac^ k la droite 
du tableau , car la grayure est en sens inverse. 

Gependant on doit penser ({ue le peintre a fait ici le por- 
trait d'une personne, qui sans doute n'eut pas d'autre cel^ 
brite que celle de sabeaute, et dont le nom a pass^ en meme 
temps qu elle. 

Malgre la degradation qu*a souffert ce tableau dans quelques 
parties , il rappelle cependant le grand talent du Titien. 11 
api>artint autrefois a la reine Christine de Suede , passa depuis 
dans la galerie du Palais-RojaU et fut acbete 7,5oo fr. par It 
comte de Darnlej, auquel il appartient maintenant. 

II existe de ce tableau^une gravure faite par Lejrbold. 

Haut.y 3 pieds 8 pouces ; lai^., 3 pieds i pouce. 



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ITAUAV tCHOOL. «« ' «■■ TITIAV. «M»nMTA'rB COLLECTIOIC. 



VENUS AT HER MIRROR. 

In Mdop^g fdr Ikis piotnre tke lume of Veeiit we are 
j«itifi«d hj caakMn , at alio hj te«ttribut€» wkich Mfficientlj 
diaiiBguisli Uie goddess of iMautj , Capid end e Locking- 
glass. The bow held hj the goddess,of coupse, is Loy&*s> whose 
^rer is placed on the rig^tof the pasnting, lor the prist 
is reversed. 

It is however thought that the painter hat here grven the 
portrait of some person w^, bo donbthadnocAher oelehritj 
than that of her beawlj , and whose name has been forgotten 
as soon as that faded away. 

Notwithstanding the itijsriet thit pietnve hae tnstained, in 
parts, ttill it recalt Titian't great laieot. It fonoerlybdoaged 
to Queen Christioa of Sweden, get into the Calierj of the 
Paiaif-Royal, and was purchased for j^^oo frankt, w L. doo, 
hy Lord hwnkj, lo whom it now belongs. 

there exiett an engraving of this picture hj Lejbold . 

Height 3 ieel 10 7 inches ; width 3 £eet 4 iochet^ 



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S'- CHAHl.KS HOK(3MKK CO^tMUNIAN'l■ LKS FESTIKKKKS 



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ECOLE FLAM15DE, »**♦ J, TAN OOST. »m4^ MitSEE FAAK^AlS. 

&\ CHARLES BORROMEE 

COIVBiraiANT LES PESTIFERES. 

La ville de Milan e(anl ravagee par titte pestc cruel te eu 
i576, Tarclieveqiie Rain I Charles Borramce s'empres&a de 
donoeraux baLitauf tous les Eecc>ura iiuaginables , tant spiri- 
tuals que eorporeh. 

Le peintre Jacguea van Oost h p*re a repr^sente ici le saiuL 
prelat, donuani la communiQn aos fideles aLUqiies de celle 
ierrible njaladie, 

L'ofdon nance du tableau a Leancoup de sinjplicile. On 
aper^oit , daos ratlitude et dans T expression dei mdades , ce 
melange de soulFrances phjsiques el de plM qne prescrivait 
Je Bujel, et qu'il etait di[ijene de Lien rendre, Rien n*est 
ptuj) nalure! que tet liQinine cpii t d'nne main , cberche k se 
garantir des vapeurs pestilentidl^ » tandiH que, de fautre, 
il veut ecarter nn jeune enfant, du eein de sa mere expi- 
ranfc. 

he colons de ce tableau est pie in de Tigucur^ san« avoir 
pourtant tmp d'eclat. 

Kant., 10 pledsg pouces; larg-, 6 pieds. 



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FLEMISH SCHOOL. —^— J. YAH OOST. —^ FRBHCH MUSEUM* 



S\ CHARLES BORROMEO 

ADMINISTERING PERSONS INFECTED WITH 
THE PLAGUE, 

The citj of Milan being, in 1S87, visited hj a dreadful 
plague, the Archbishop , St. Charles Borromeo , eagerlj hast- 
ened to giye to the inhabitants ererj possible assistance , 
both spiritual aud corporeal. 

The painter James Van Oost Sen'., has here represented the 
holy prelate administering the communion to the faithful 
suffering under this horrible disorder. 

There is much simplicity in the composition of this pic- 
ture : in the attitudes and expressions of the sick, that 
mixture of bodily ond mental sufferings, required by the 
subject, aud which it was difficult to give correctly, has 
been adhered to. Nothing can be more natural than the 
^ man , who , with one hand , is endeavouring to keep off the 
pestilential vapours , whilst with the other , he tries to remove 
an infant from the breast of its mother, who has just expired. 

The colouring of this picture is highly vigorous withou 
however its being too glaring. 

Height 1 1 feet 7 inches ; width 3 feet 6 inches. 



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ECOLE FLABfAKDE.**** VkVDER MBULEK. •«. MUS^E FRAR^ilS. 

LOUIS XIV 

COMMANDANT UNE ATTAQUE. 

L^attaque que Yon voit ici est celle de Farm^e espagnole , 
qui J en 1667 , etait campee pr^ du canal de Bruges , sous la 
couduite de Marsin et fut entierement d^faite. 

Vander Meulen a repr^sente la m^l^e dans le fond du 
tableau ; les gardes du corps vont sontenir Faction , et Ton 
Yoit sur le devant le roi donnant les derniers ordt es au due 
de Cliquy. Ce g^n^ral porle un habit rouge , galonn^ sur 
toutes les tallies; son cheval est bai, et la housse dont il 
est couvert est bleue brodee d'or; dans la broderie on distin- 
gue son chifre et deux batons croises , ce qui indique le grade 
de marecbal de France, que pourtant il n'obtint que Fannee 
suivante. 

Le roi est sur un cheyal blanc , son habit est bleu , sur- 
charge de broderies en or, qui ne laissent entreyoir le fond 
que yers la poche ; la doublure est rouge. Tout-^-fait a droite 
du tableau, est le prince de Cbnde. 

L'ensemble de ce tableau est tres-satisfaisant , tant sous le 
rapport de la couleur que sous celui du dessin. tl prouye le 
talent qu'avait Vander Meulen pour peindre les cheyaux. 

Ce tableau a ete gray^ , en 1680, par Seb. Le Clerc etporte 
a tort le nom de Le Brun ; il a ete gray^ depuis par Boyinet. 
Ind^pendamment du grand tableau , le Mus^ possede aussi 
Fesquisse, qui n'en di£fere que par quelques details. 

Larg., 1 5 pieds; haut., 11 pieds. 



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VLEMISH SCHOOL. •••• YAVDEB MEULEN. •—^PRENCH MUSEUM. 



LEWIS XIV DIRECTING AN ATTACK. 

It would be difficult to determine what town it is the at- 
tack of which 18 ordered hy the King; but it is eyidentlj one 
of those that were taken in the earljr campaigns of Lewis XTV, 
as the Prince is drawn young. 

Vander Meulen has represented a combat in the back- 
ground of the picture : the Body Guards advance to support 
(he action, and Ihe King is seen in Ihe fore.ground givjing his 
final orders to the General, jcommanding the attack. This offi- 
cer wears a red coat, laced at all the seams; he is on a h^j 
horse, whose saddlecloth is blue with gold embroidery : two 
ttafi& crossed may be discerned in the embroidery, these in- 
dicate the rank of a Fr ench Marshal. 

The King is on a white horse; his coat is blue, loaded with 
gold embroidery, which displays the cloth only towards the 
pocket; the lining is red. Quite to the right of the picture is 
the Prince of Gonde. 

Taken altogether this picture is very satisfactory, both 
with respect to the colouring and the drawing. It also dis- 
plays Vander Meulen s talent for painting horses. 

This picture has been engraved by Bovinet. Besides the 
gr^at painting, the Museum has in its possession the s|cetch, 
which differs only in a few details. 

Width^ 1 5 feet ii inchesj height, ii feet 8 incb^,. 



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JSCOLE ALLESfAKPE. •♦♦♦*♦ FVOEB. •♦•♦^•^ GAL. DE VIEVKE^ 



BRUTUS CONDAMNANT SES FILS. 

Tandis que David tenait en France ie sceptre de la pein- 
lure. West en Angleterre et Fuger a Vienne chercherent 
a marcher surses traces, sans toutefois parvenira I'atteindre. 
David avait donne son tableau de Brutus, livre a la douleur 
apres Texecution de ses fils. Plus hardi encore , M. Lethiere 
osa depuis faire voir le moment m^me de Texecution. Fuger, 
en s'emparantdu meme sujet, representa I'inslant ou Brutus 
prononce le jugement. 

Dans le premier tableau, David sut donner a son Brutus 
une telle expression , que cette figure seule rappelle la cruelle 
position d'un jiere for^ant son cceur a ceder au devoir du 
magistrat. 

Fuger, en faisant un tableau de petite dimension, a voulu 
cependant faire voir tous les personnages qui prennent part 
a la scene ; il s'est moins occupe de Brutus que des deux mal- 
beureux condamn^s qu'il a representes presque nus , brillaos 
de jeunesse et de beaute , mais rien ne peut ebranler Tin- 
fiexibilit^ du consul. 

M. Lethiere, ainsi qu on peut le voir dans son tableau 
n**. SSq , a represente aussi le senat et le peuple sollicitant 
I'inexorable consul ; la foule est plus considerable, mais il n'y 
a pas de coLue , on sent rimmensit^ du Forum /et I'ordon- 
nance des groupes est digne des plus grands ^loges. 

Le tableau de Fuger fut peint en 1 800 , pour M. le comte 
de Fries ; il est maintenant dans la galerie du Belvedere a 
Yienne; il a M grav^ en mezzo-tinte par Pichler en 1804. 

]L.9rg.y s pieds 10 pouces^ haut*, a pieds 2 pouces. 



695. 



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OBEMAir 8CBOOL. mmm rUGBH. ****** VIEKHA QALLBBT. 



BRUTUS CONDEMNmG HIS SONS. 

Whilst David swajed the sceptre of painting in France, 
West in England, and Fuger in Vienna sought to follow his 
sleps, without however their belikg able to reach him. David 
had given his picture of Brutus, a prej to grief after the exe- 
cution of his sons. Still bolder, Lethiere dared give the very 
moment of the execution. Fuger, taking the same subject, 
represented the moment when Brutus pronounces judgment. 

In the first picture, David imparted to his Brutus, such an 
expression that this figure alone recals the cruel situation of 
a father forcing his heart to yield to the duty of a judge. 

Fuger, however, iu painting a small sized picture, has re- 
presented all the personages taking part in the scene : he has 
given his attention less to Brutus tiian to the two unfortunate 
victims, whom be delineates almost naked, beaming with 
youth and manly beauly, but nothing can shake the consult 
resolution. 

Lethiere, as may have been observed in his picture, n". 65^^ 
has^ also represented the senate and people imploring the 
inexorable copsul; the assembly is more numerous but it is 
not crowded : the immense space of the Forum is discerned, 
and the arrangement of the groups deserves the highest 
praise. 

Fuger s picture was painted in iSoq, for the Count de Fries 
it is now in the Belvedere Gallery at Vienna, and has beep 
engraved, in mezzo-tinto, by Pichler, in 1 8o4, 

Width, 3 feet ; height , ) feet 3 | inches. 



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SCULPTURE. • • ••••♦ FR. QUEIROLO. »«««•»•♦•«•«- NAPLES. 



SAWGRO, 

PRINCE DE SANSEVERO. 

L'eglise de Saiate-Marie-de-Ia-Piti^ k Naples est souyent 
designee sous le nom de chapelle Sansevero , parce que , ap- 
partenant k cette iHustre famiile , elle est ornee des ttmbeaux 
de plusieurs des a&e^tres du prince Raimond de Sanseyero , 
si celebre lui-m^me par ses coaxMuasances aussi wastes que 
y arises. 

Le groupe que nous donnons est du ciseau de Francois 
Queirolo, Statuaire genois. Souyent d<^ign^e sous la denomi- 
tiation du F'ideux desabusd , elle represente le p^re du prince 
Raimond , en partie enveloppe d'un filet dont il cberche A se 
debarrasser. L*artiele a youlu faire allusion k la situation de 
ce pritice, qui pendant sa vie se laissa souvent en trainer 
par le vice. Plus tard , son genie Tajant eclaire, il reconnut 
ses erreufs ; ^1 , apres la mort de sa femme , il entra dans les 
ordres , puis devint un pr^tre yertueux. 

Le filet est en marhre, comme la statue el tous les acces- 
foif^, ce qui offrait de grandes difficultes d execution , puis- 
qu'il n est adherent que dans tres-peu de parties. La pre'- 
sence de ttiit ^ssiere enyeloppe fait opposition avec la 
precieux fifti d<is cbatrB. Cette diffiohlte yaincue est le prin- 
cipal et Ton pourrait presque dire le seul merite de ce groupe. 
Haut. 7 pieds ? 



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SCULPTURE. — F. QUEIROLO. •♦»<»••«•»• NAPLES. 



SANGRO PMNCE OF SANSEVERO. 

The church of SanU-Maria-della-Pieta, at Naples, is often 
designated under the name of the Capella SanseTero, because 
belonging to that illustrious family, it is embellished by the 
sepulchf al monunaents of several of the ancestors of Prince 
Raimoodo di Sansev^ro , himself so remarkable for his im- 
mense and yaried acquirements. 

The group given here is from the chisel of Francesco Quei- 
rolo a Genoese sculptor ; it is ofteu called the Sinful Man 
Undeceived, and fepresenls the father of Prince Raimondo 
partly envelopped in a net, of which he is seeking to rid 
himself. The artist alludes to the situation of that Prince, 
who, in the course of his life, often let himself be carried awaj 
bj vice ; but, who, at a later period, and enlightened bj 
his genius, reverted from his errors. After the death of his 
wife, he took holy orders, and became a virtuous priest. 

The net is in marble, as also the statue ^nd all the accea- 
sories, which must have produced great difficulties in the 
execution, as it adheres but in very few parts. The appeai- 
ance of this coarse envelope contrasts with the high i^ 
nish of the flesh parts. This difficulty being o^eijcome, is the 
principal, and, it might almost be said, only merit of the 
group. 

Height 7 feet 5 inches? 



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ECOLB ITALIBHHE. •— lULES ROMAIN. PALAIS DU T. 



PLUTON ENTRANT AUX ENFERS. 

Le peintre Jules Romain fct cbarg^ de constmire le palait 
du T, sitii<i daDS une !Ie pres de Mantoue; e*est lui q[ui donna 
les dessios et ex^nta, en grande partie, les nombreuses pein- 
tares qui decorent les chambres de ce palais. II repr^nia , 
dans la troisiime chambre, la yictoire de Jupiter sur les 
g^ans. Gette composition embrasse d*un seul jet les murs^ et 
1« plafond de la salle , c*est le po^me tout entier de la gi- 
gantomachie. L'inyention est impetueuse, terrible; les grou- 
pes sont pleins de yigueur, mais la couleur est un peu rouge , 
et le dessin n est pas toujours des plus corrects. 

Jupiter occupe la partle la plus ^levee. Les geans sont dis- 
perse tout autour; dans une autre partie on voit les Da- 
naides , puis les Titans ^erases : dans celle-ci i iton , sur un 
char attel^ de quatre chetaux noirs, rentrant aux infers, apres 
avoir aide son frere k remporter la yictoire. 

La galerie de Yienne possede une graude ^tude de la fi- 
gure de Pluton. Cest un oljjet d'autant plus precieux, que 
les tableaux de Jules Romain sont rares. 

La composition entiere a et<^ grayee en cinq plancbes, par 
Pietre-Sante Bartoli. La figure de Pluton Ta ^te par Trojen. 



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ITAUAirSCMOOL, OlPUO AOMAIIO •* PJkLAaOO DIL T# 



PLUTO'S ARRIVAL IN HELL. 

Tiie paittter Gkilio Rowno was cooimiBsioiied ta Iraild 
tlie Palazzo del T, situated in an island nearMantua» It was he 
who gaye the designs and executed a great part of the nume* 
rous paintings that adorn the apartments of this palace. He 
represented in the third chamber, Jupiter's victory over the 
giants. This composition takes up the whole of the walls and 
ceiling of the room : it is the entire poem of Gigantomachia. 
The invention is forcible, terrible; the groups are full of 
vigour, but the colouring is reddish, and the drawing is 
not always exceedingly correct. 

Jupiter occupies the highest part : the giants are dispersed 
all around; in another part are the Danaides, also the Titans 
who are ovexpowered. Here Phito is seen on a car drawn by 
four black horses returning into hell, after having assisted his 
brother in gaining the victcnry. 

The Gallery of Vienna possesses a large study of the figure 
of Pluto : it is an object the more precious, as Giulio Roma- 
no's pictures are scarce. 

The whole composition hat been engraved in five {^ates 
by Pictro San Bartoli^ and the figure of Pluto has be^ given 
by Troyen . 



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SAINTE P^AMILLE . 



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icOLB ITALIENI«£. •♦»<#««« ALB ANE.*«*^^»«-MVSEB FRAXI^AU. 



SAINTE FAMILLE. 

L*All>ane semble avoir eu dans cette compositioD quelque 
remioiscence de la Sainie Famiile de Raphael, designee or- 
dinairement sous le nom de la Yierge au herceau ; du moins 
Taction principale est la mdme , et la pose des deux enfans 
a beaucoup de rapports ; mais les carac teres sont entierement 
differens. Le peintre a ajoute dans son tableau la figure de 
saint Jose|>k. Deux anges contemplent cette scene tandis que 
deux cberubins , planant dans les airs , repandent des fleurs 
sur les personnages. 

On retrouye dans ce tableau la grace que TAlbane sait 
toujours meltre dans ses compositions ; mais , sous le rapport 
de Texecution , il se ressent de Tage avance de I'auteur, et 
Ton ny retrouye, ni la fermete, ni la fraicbeur du colons, qui 
distinguent ses premiers ouyrages.. 

Ge tableau faisait depuis long-temps partie du cabinet du 
roi ; il est main tenant dans la galerie du Louyre. 

II a etc graye par Villeroi pour le Musee public par FilboL 

^aut., I pied^ pcuces; larg., i pied 2 pouces. 



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ITALIAK SCHOOL. •••••• ALBAKI. PRCITCH fifUSEUM. 



THE HOLY FAMILY. 

Albani , in this composition, seems to have been impressed 
with some reminiscence of RaphaeFs Holj Family, generalijr 
known under the name of the Virgin and Cradle; at least the 
main action is the same and the attitudes of the two children 
hare much resemblance : but the characters are entirely dif- 
ferent. The painter has added iu his picture the figure of St. 
Joseph. Two angels contemplate the scene, whilst two cherub^ 
im4 hoyering in the air, shed flowers over the personages. 

The gracefulness which Albani always put in his composi- 
tions may be discerned in this picture; but with respect to 
the execution, it has traces of the author's advanced age, and 
it has neither the strength, nor freshness of colouring which 
distinguished his early works. 

This picture, for a long time, formed part of the King's 
Collection : it now is in the Gallery of the Louvre. 

It has been engraved by Villeroi for FilhoFs Museum. 

Height 2 2 inches; width i5 inches. 



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CUISFNIERE HOLLANDAISK. 



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icOLE HOLLANDAlse. •*** G« nt^ . 



• •• MUSCe FRA59JII1- 



4 CUISINIERE HOLLANDAISE. 

Une rcmme ycnant du lait d^iifl un vafle plac^ sur FAppui 
d'uoe fenelre, oii Ton Toit un chou , quelques caroUes et unc 
lanlerne; dan a It fond, une grandu chemiQee prca de laijuetk 
est suspendue une yolaille. Telle c»l la composition pour 
laquelle sans douLe il u'a pas fdtu un ^rand eftort d'imagina- 
lion. Mais lei eeL le charme altaehe a la perfecLion , que c« 
peltl taLUati, &i siiopte ea apparence ^ inliresse et plait tout 
k la fois. 

Cette jeune Hollsmdahc aUactie par &a fraiclieur j on arm* 
i recoanaitref daos lout ce qui I'eutoure , ceLle exlr^c 
proprete si faraUiere k la nation, Le pemlre Gerard Dow ^ eu 
doanant a diaque cboie un iini des plpi prccieux , n'a pont- 
tani nui en rien k Teifet general da tableau. 

Feint fiur bois * it fait pa rile du Musee fran^alS| et se 
IrouTe place dans U galerie du Louvre. II a el^ grave par 
Lips* 

Haul.} i3 pouces^larg. lopoueet. 



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DUTCa SCHOOL. •^^——^ O* DOW. •*»•*• FREKCtt MUSlUM. 



A DUTCH COOlt MAID. 

A fi^male pouHog some milk into a platter on the window- 
ledge> on which are seen a cabbage, some carrots, and a 
lantern; whilst in the background is a fowl hanging near a 
large chimney, such is the composition presented here, which 
certainly required no great effort of imagination : but suc& 
is the influence of perfection that this small picture so simple 
in appearance, excites interest y and, at the same tim«, 
pleases. 

This young Dutch woman attracts by her freshness ; it is 
deli^tful to see in every thing arouod her, that excessive 
cleanliness so common in her country. The painter Gerard 
Dow, in giving to each object the highest finish, has, however, 
in no part, injured the general effect of the picture. 

Painted on wood it forms part of the French Museum, and 
is now in the Gallery of the Louvre. It has been engraved 
by Lips. 

Height 1 5 i inches ; width lo ^ inches. 



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LA TRINITE 



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icOLE FLAMAHOE. ——^ RUBERS. ——^ MUS^E d'aNTERS. 



LA TRINITE. 

Kn jrepreflcntaDt le corps de J^us-Gliriftt mort et descendu 
de la croiz, le peintre a touIu rappeler le mjstere de la 
Trinity, puisquH a place le Sauyeur des hommes reposaat 
iur les genouxde Dieu le pere, tandis que Ton voit Tesprit- 
saint, planant au-dessus d*euz , sous la forme d'une colombe. 
Sur les c6tes sont deux petits anges en pleurs ; ils tiennent 
dans lenrs mains les instrumens de la passion, ce qui com- 
plete les souyenirs de la redemption du genre humain. 

On pent trouyer, dans ce tableau, I'exemple le plus 
clonnant de Teffet des raccourcis , rendus ayec nne perfec- 
tion reellement admirable- mais la t^te du Christ est sans 
noblesse et sans beaute. 

Ce tableau fut peint par Rubens, pour le couyent des 
Grands-Carmes ; il etait place sous le jube , a droite , en en- 
trant dans le choeur de cette eglise. On le yoit main tenant 
dans le Musee de la yille d'Anyers. II a ete graye par Schelte 
de Bolswert. 

Haut., 5 pieds i pouces; larg., 4 l>ieds f pouces. 



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PLEMI8B SCttOOL. EUBEITS. •♦^ AUTWBBP MUSEUM. 



THE TRINITY. 

Bjr representing the body of Jesus Oirist dead and taken 
down from tbe Cross, the artist has willed to fiecal the mjs- 
tery of the Trinitj, for he has placed the Sarionr of Mankind 
Ijring on the knees of God the Father, whilst the Holj Ghost 
IS seen hovering oyer them under the form of a Doye. Oa 
the sides are two little angels weeping; they hold in their 
hands the instruments of the Passion, which completes the 
remembrance of the Redemption of Mankind. 

There is in this picture a most astonishing specimen of 
the effect of foreshortenings, rendered with a trut j admirable 
perfection : but the head of Christ is without grandeur or 
beautjr. 

This picture was painted bj Bvbens, for the Conyent of 
the Unshod Carmelites : it was placed under the rere-doss, to 
the right, on entering the Chotr of this church. It is now in 
the Museum of the city of Antwerp : it haS been engrayed Lj 
^helttofBolswert. 

Height 5 feet 4 inches; widths, 4 feet lo inches. 



700. 



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ECOLE FRA219AISE. •^♦^ H. VERNET. •*•♦ CAB. PARTICULIER* 



ATELIER DE M. H. VERNET. 

II est taiitile sans doute da rappeler la diversilt: des Istteiia 
deM- Horace Veroct , di&Im on ne saurikit trop selonner de 
la faciliteavec bquelle il IravalUe. L'acti?ile de son e$prit 
ue lui permet paa de reeter «u momeul en i'e[>os ^ et Jore4|ue 
fiou lmag;i nation e$t fatiguec d'un sitjet , it U repose eti 
a'Dcciipant d'uu autre* Ajant besoin dedistraclionr ^1 ^^°- tt^e -j 
11 ne s'enferme pafi pour travaUler ; te$ eleves sodI iivec lui j 
cbacun jouit d« ionta lil>c:He dans rakliei- du nmltre. 

On en volt ici la preuve , ie modele est en tepoa , altacbe 
uegli^emment par sa longe ; il ^eoible epmuver quelque etun- 
uement de ce cjui 6e pa»se autour de lui. M. Horace Vernet, 
tenant encore la palelte et fumant un cigare , fieserinae avec 
M. Ledteu , son eleve. Pres de lui c^l M> Eugene Lami son- 
want de la trompette et s'appujant sur un piano, dout sac* 
compagne M. Amedea de Bctmplan. Aupres d'eux , on voit 
debout le general de la Ri]x>is5lerc , causant avec M. Athatin. 
bur le devant est it5sift M. de Forbio et M, de Motitcarville 
battant de la cai^e^ 

Da Toutre c^le, MM, Montfort et LdboiJ:x. attendeot fjue 
1 afi«aul d'armes soit Coi, afio da voir la place occessaire pour 
sa boxer, Tout^*lait a droite , sout.M. Laugbis lis^inl un 
journal, M. de JeoueviiLe fumaul one pipe t et le docteur 
Herautt teuant un petit buste k la maio- 

Dans le fond, du m^me c6te, e*t place siir le mur Je triom- 
phe dfiPaui jEimtle. tableau de reception de M. Carte Vernet: 
daus Tangle de Fatdier, le bmte de Josapb Vernet , dont le 
uom celebre ne pouvait espererune si brlHante successioa* 

Ce tableau , grave par Jaxet, eat chez M. de la Riboiseiere- 

Larg., 1 pieds j hAViUf i pied 7 pouces. 



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F&Eirca SCHOOL. —^ H. TESHET. —'» PBIVATE COLLECTION. 



H. VERNETS PAINTING ROOM. 

It uo doubl is useless to recal the rarious t^clents of Horace 
Vernet, but the facility with which he works is trulj won- 
derful. The activity of his miod does not allow him to rest 
a moment, and when his imagination is wearied with one 
subject, he rests bj taking up another. Needing amusement, 
he creates it, but he neref shuts himself up to studj; hb 
pupils are with him, each enjoying full liberty in their mas- 
ter s painting room. The proof of it is seen here f the model 
is at rest, carelessly fastened by his halter r he appears 
to feel some astonishment at what is passing around him. 
Horace Vernet still holding his palette, and smoking a cigar, 
is fencing with M. Ledieu, one of his pupils. .Near him is- 
M. Eugene Lami blowing the trumpet and leaning On a 
piano, upon which M. Am^^e de Bomplan is accompanying 
himsdf. Near these. General de la Riboissi^re is seen standing 
and talking wRh M. Athalin. Im the fore-ground sit M. de 
Forbin and M. de Montcaryille, the latter gentleman is 
beating the drum. 

On the other side, M. Montfort and M. Lehoux wait that 
the fencing match be over, that they may have sufficient 
room to box. Quite to the right are M. Langlois, reading a 
newspaper; M. de Jenneville , smoking a pipe; and D». 
H^ranlt, holding a small bust in his hand. 

In the back-ground, on the same side, is placed, on the 
waW, the Triumph of Paul iEmilius, Carle Vemet's presenta- 
tion picture; and in the angle of the atelier, i» the bust of 
Joseph Yernet, whose celebrated name could scarcely; be 
hoped to be so brilliantly iDhcritcd. 

This picture engraved by Jazet is in the possession of 
M. de la Riboissiere. 

Width -iS i inches ; height lO inches. 

701.^ 

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VENUS GENITRIX. 



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SCULPTURE. •♦•♦•♦^•♦•♦•^ AUTIQUE. ——^P€ MUS^E FRANCMS. 



VENUS GENITRIX. 

Les R<Hnaiu9 r^ardaieni Venus comme ]a mere de lears 
aocetres, et, sur les m^dailles ou ib oat repr^sent^ f image 
de F'tnus gemUrix^ la d^estea precisement la m^me attitade 
que cellede celte statue. Elle j parait habill^e d'une Innique 
transparente qui laisse Toir les contours ^l^gans et gracieux 
de ses membres. La pomme que V^ous tient dans la maio 
gauche est celle qu*elle re^ut de PAris pour prix de sa beaute. 

La t^te de la statue est rajustee, mais elle lui appartient; 
les oreilles sont percees, ce qui rappelle la coutume antique 
d'omer quelques statues de precieuses Loucles d*oreilles. 

Cesar, qui avait une pr^ilection particuliere pour le culte 
de Venus , lui fit Clever a Rome un temple en marbre sous Tiu- 
Tocation de Venus genitrix, Les jeux pour la d^didace de ce 
temple n'eurent pas lieu k cause de Tassassinat de ce grand 
homme , commis au moment oii il yenait d*instif uer le col- 
lege des pr^tres qui devaient dinger la c^r«^monie. 

Gette statue en marbre de Paros a ^t^ long-temps dans le 
jardin de Versailles : mainlenant au mus^ du Louvre, elle a 
ele grayee par MM. R.-U. Massard , Boutrois , Normand et 
Bouillon. 

Uaut., 4 pieds 7 pouces. 



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SCULPTURE. ■*>#•» ANTIQUE. -#*k^ FREWCH MUSEUM. 



VENUS GENITRIX. 

The Romans looked upon Venus as the mother of tiieir an- 
cestors; and, on their medals m which they have represented 
the image of Venus Genitrix, the goddess has precisely the 
same attitude as that of the statue. She there appears clothed 
in a transparent tunic which only discovers the elegant and 
graceful contour of her limbs. The apple that Venus holds in 
her left hand Is that which she received from Paris as the prize 
of beauty. 

The head of the statue though engrafted, bislongs to it ; 
the ears are pierced which recals the ancient custom of orna- 
menting some statues with |vecious ear-rings. 

Caesar who had a peculiar predilection for the worship 
of Venus, caused a marble temple to be raised to her in 
Rome, under the patronage of Venus Victrix. The games for 
the dedication of this temple did not. take place in conse- 
quence of the murder of that great man, cfmunitted just as 
he had instituted the College of Priests who werC' to direct 
the ceremony. 

This statue in Paros marble was for a long time in the gar- 
den of Versailles : it now is in the Museum of the Loovre, 
and has been engraved by R. U. Massard, Boutrois, Nor-, 
mand, and Bouillon. 

Height 4 feet lo \ inches. 



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S'^ JEROME MOURANT RE^OIT LA COMMUNION. ^ , 

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^COLl; JTALir.KJfE. «« I>* liMPlERt. 



BOMCp 



SAINT JEROME MOURAKT ^ 

RECOIT LA COMMUMON. 

L un deft quatre peresde TeglLse latine , saint J^rAme, vecut 
clans lelV^^siecle.Ne en Iirjrie Jl dJa etudiera Romesou* 
le c^Iebre DonaL, Irmrersa ensuile les Gaules ci la Gemjaiiie, 
Yint a Afjuilee, parcourut enfiuile la Thrace, fa Bilhynie, fte 
Ttiirn. pendant loug-tetnps dans lea diiserU de la Cliakid^^ 
puis revint plus lard a Befhleem , ok on assure ipW raou- 
a rige de 88 aa$. 

On dit AQSsi que, sentaiat sa fin approcher, it se fit porLcF 
dans Teglise pour reccToir la toni in union* Cest cet instant 
qua represenle DotDiniqiie Zampieri, daqs ce labJean que 
Potisfiiu pla^ait entre la Transii juration de Raphael et la 
Descenle de Croix de Daniel de Vollerre, 

Dans cette composiiioD lout est yrai , convenalile^ Boble , 
s.agt , eLudie j Tordonnaiice de Ja coniposition est simple , 
toutes les places sont r empties, ancun person n a ^e ii*est inu- 
tile* Saint Jer6me appplle bien fatten t ion du speclateur : &a 
t^le e$l noLte dans sa decrepitude; &t& bras ue peuyent ply* 
ob^ir a sa Tolonte qui voiidraii encora les el ever vers le ciel ; 
son corps est consume par la penitence^ maip on sent encore 
line ame ardeote que la vieillesse n'a pu eteiudre, 

Ge tableau, peint pour TegTise de Sainl-Jer6me-de-la-Cbarite 
3 Rome , ne fat paje que sSo fr, a son auleur. II a ete grave 
par Cesar Testa; BenoiL Farjat i^t Alexandre Tardieu. 

Haut-, I a pied lo pouces; Inrg., 7 pied 10 pouces. 



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ITALIAK SCHOOL. • • •••• D. ZAMPIERI. —••••••^• • •m** ROME. 



S*. JEROME. 

RECEIVING THE EXTREME SACRAMENT. 

S*. Jerome, one of the four fathers of the Latin Church, 
lived in thelV'J*. century. Bom in Illjrria, he went to studj 
under the famous Donat, afterwards crossed Gaul and Ger- 
many, came to Aquileia, went over Thrace, Bithjnia, with- 
drew for a long time in the deserts of Chalcis , and later re- 
turned to Bethlehem , where , it is asserted , he died aged 
S8 years. 

It is also said, that, feeling his end approach, he caused 
himself to be carried inlo the church to receive the commu- 
nion. This is the moment represented by Domenico Zampieri 
in this picture which Poussiu ranked between the Transfi- 
guration by Raphael and (he Descent of the Gross by Daniel 
di Volterra. 

In this compositionevery thing is true, appropriate, grand* 
sober, and studied ; the ordonnance of the composition is 
simple, all the spaces are filled, no personage becomes use- 
less. S*. Jerome strongly attracts the attention of the beholder : 
his head is grand , even in its decrepitness ; his arms can no 
longer obey his wish to raise them towards heaven ; his body 
is consumed by austere penances, but an ardent soul, which 
old age has not been able to extinguish, is still discernible. 

This picture , painted for the church of San Girolamo-di- 
Garitli, at Rome, was paid its author only 260 franks, about 
L. 10. It has been engraved by Cesare Testa, Benoit Faijat 
and Alexandre Tardieu.. 

Height 1 3 feet 7 \ inches; width 8 feet 4 inches. 

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IGOLE rLAMAWDE » f » CLAESSEKS. •♦•»•♦•••••♦«♦*«• BRU0E8> 



CAMBYSE 

FAIT ARRIETER UN JUGE PREVARIGATEUR. 

fi^rodole rapporte dans son histoire que Gambjse , fils de 
Cjrus , etaot roi de Perse , Sisamnes , Tuq des juges du 
rojraume , ayant re^ de Targent pour rendre uq jugement 
inique , le roi ]e fit saisir , et « apr^ I'ayoir eutendu lui- 
mdme il le condamna k 4ire ecorclie vif . 

Antoiue Glaessens « peintre flamand du XYm®. siecle , a 
4rait^ ce sujet avec ioute la naivete ordinaire aux peintres de 
«eiie epoque. Le juge est encore assis sur son tribunal niais 
il a ote son Bonnet «n presence du roi,. qui recapitule sur 
ses dmgts les differens motifs de raccusation . 

Tous les personnages sont rer^tus des costumes en usage 
dans le quinzieme si^ele, en Flandre. Le roi porte une robe 
kmgue en ^toffe broch^ tres-riche , ayec une bordure d*ber- 
mine. Sur le deyant a gauebe et tout pres du roi, on pent r«- 
marquer un de tes officiers , le casque en t^te, ajant une cole 
de maille et une cuirasse , puis un manteau court, sur lequel 
se trouye Inrod^ Taigle imperial d'Allemagne. On pent aussi 
yoir ayec <Stonnement que, dans la decoration dn tri- 
bunal , il se trouye deux ecussons contenant des armoiries ; 
mais on sait que du temps de Glaessens , les peintres s'em- 
barrassaient peii de T^poque oil yiyaient leurs b^ros , et qu'il 
leor doniiaient toujours le costume de leur propre temps. 

Ge tableau du fini le pluspr^ieux a ^t^ yu long-temps au 
Maeiie de Paris i il est maintenant k Bruges. 

Haut., 5 pieds; larg., S pieds ( pouces. 



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FLBMISH SCDOOL. —**—^ CLAESSEAS. •••••••♦*«»••♦ BRUGCS. 



CAMBYSES 

ORDERS THE ARREST OF AN INIQUITOUS JUDGE. 

Herodotus, in his history, relates that, Gambjses, the son 
of Cjrus, being King of Persia ; Sisamnes, one of the judges 
of that country, received a sum of inoney to give an unjust 
verdict : the King had him seized, aAd, having heard him 
judged condemned him to be flayed alive. 

Anthony Claessens, a painter of the XV^** century, has treat- 
ed this subject with all the simplicity incidental to the 
artists of that period. The judge is still seated in the tribu- 
nal, he has taken off his cap in the King s presence, who re- 
capitulates on his fingers the various motives of the accu- 
sation. 

AH the personages are clothed in the costumes worn in 
Flanders, during the XV**> century. The King has a long stuff 
robe richly worked, and bordered with ermine. On the fore- 
ground, to tlie [eft, and t^uile close to the King, one of his 
officers is seen with a belmet on his head, and wearing a 
coat of mail and a breast plate, with a short mantle, upon 
which is embroidered the Imperial Eagle of Germany. It will 
also be oLserved wilh aelonlsbinent, that, among the orna- 
ments of the tribimal, are tuo scutcheons with armorial 
bearings; but it is known that in Ctaessen*s time, painters 
attended but little to the periods in whicK their heroes lived, 
always giving them the costumes of their own times. 

This very highly finished picture was for a long time in the 
Museum of Paris : it now is at Bruges. 

Height, 5 feet 4 inches ? width, 3 feet 8 inches? 

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EGOLEFLABf A]!rDE.*«^»«^ CLAESSEJfS. »•«•<»««««•««♦•««»« BRUGE9. 



CAMBYSE 

FAlt PUNIR UN JUGE PREVARICATEUR. 

Ge second tableau d'Antoine Claessens est la suite de celui 
que nous venous de voir. Ici le peintre a represehle rexecuiion 
du coupable, et, comme dansle precedent, le roi s*y Irouye 
avec sa cour. A gauche , on peiit reinarquer son grand fau- 
connier, et Ton salt que cet office ^tait Tune des princi-' 
pales charges de la couronne, sous le regime f^odal. 

La condamnation par le roi lui-m^me et I'execution en sa 
presence semblent avoir etemontree par le peintre, a dessein de 
rappeler la ftrocite de Gambjse , prince sanguinaire qui tua 
son frere et sa soeur, et qui dans cette circonstance ordonna 
que la peau du coupable servit h couvrir le si^ge, sur lequel il 
fit asseoir le fils du juge pr^varicateur , en lui recommandant 
d*avoir loujours ce siege present a Tesprit. 

Ces deux tableaux de Glaessens sont fort remarquables 
sous le rapport de Texecution : les t^tes sont toutes d*une 
naivete et d*une v^rit^ frappantes j les details sont rendus 
avec la plus parfaite precision'; mais on n'y trouve aucune 
entente de clair obscur j le dessin est depourvu de gr&ced> 
les caracteres sont sans noblesse, ainsi que cela se remarque 
dans les ouvrages de la naissance de Tart. 

Ce second tableau est egalement k Bruges. 

Haut., S pieds ; Larg., Spieds 6 pouces. 



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^t'BllISB SCHOOL. •••• ^ » CLAESSENS. •• k—^— BRU6E S 



CAMBYSES 

ORDERS THE PUNISHMENT OF AN INIQUITOUS JUDGE. 

This second picture hy Anthonj Glaessens is tbe sequel to 
the one we have just seen. Here the painter represents the 
execution of the criminal, and, as in the former, the King is 
present with his Court. On the left , his Grand-Falconer is 
seen f it is known that this office was a principal one under 
the feudal sjstem. 

The condemnation Lj the King himself and the execution 
in his presence seem to have been delineated l)j the painter, 
for the purpose of recalling the ferocitj of Cambyses , a san- 
guinary prince^ who killed his own brother and sister, and 
who , in the present circumstance , ordered that the crimi^ 
naFs skin should serve to cover the bench , on which he caused 
ihe iniquitous judge's son to sit, recommending him to alwajs 
bear in mind this bench. 

These two pictures by Claessens are highly remarkable with 
re^>ect to the execution : the heads are all of a striking sim- 
plicity and truth ; the details are given with the utmost pre- 
cision ; but no knowledge of light and shade is to be found ; 
the drawing is deprived of all gracefulness, the characters - 
are without grandeur, as may be observed in the works be- 
longing to the earlier period of Art. 

This second picture is also at Bruges. 

Heigth 5 feet 4 inches? width 3 feet 8 inches? 



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ieoLK nuLiff^sB. MMM. aaiMUAfet. -Mwci^.tAaTjcuitiaik. 



HONMEURS REETDXJS A RAPHAEL. 

« iUfhael oMfft Cut expose eli^sliiiselon Fusafpe do ieiaip& et 
du pays : ee lum dcf respoaitioa fut eelui^lai m/^me oil act 
TOjait eaoore suspeodii; le tableau de la TpansOguration^ 
Gette cBoatioa mnortelle dfr raid, eMe. image «n quelqim 
aoHe -viY^nte^ akisi rapprodb^ de llartiste inaniinii, fit sur, 
1m asaifitaBa: une impreaaioB que le tempan'a point encoM 
iffiKtee dftna la menoire des lionimea. LaUuaion de ce 
vapproohemeot a etj§ reproduUe par uiie multitude d'ecritat 
oomme le plUa beau frait cpie le g^nie de la louaoge ait pu in- 
-renlep pour hosmrtt lea fuueratllea d^ua gra&d honune*. Mai4 
iXikj eUt pien. que d^isopiue daoa cette rei)C0DtFe;.et il iaui 
bien se garder de croire, ainsi quon Fa dit , que Ton ait port^ 
ce tableau comme unerbanaiere^aux fuuf^Failles de Raphael. 

«La yeritable pompe de son convoi fut ee cortege inamense 
d*aaHa<,. d-el^ea ,. d'artistes „ d*ecriTaiua celebres ,. de person- 
n^ea de toot rang qui L'accQmpagnereut au milieu des^ ge- 
mtasemeoa de touts la. ville; oar ee ful une cbuleur g^erale 
et la cQur du pape la pactagea* > 

Le tableau de M. Bergeret parut au salon de 1806. U Cut 
akMca geBeralemeBlappreci^^Lepeintre abien represents les 
aeutimenaai par£Eutementexprimeadepuia par M. Qae^remere 
de Quincjf dans son Hiatoirede Raphael dant noua arooa cru 
deTok sappocter iei Le passage. 

Ge tableau a orne le chateau de la Malmaison , d!oii il 
paaaa a Munich et fat ¥endtt« apres la mort du prince Eugihae, 
k mm amateur Beige ; U a ete ^awpar Sixdeniers. 

Larg.y 7picik i f bant., i paedsid ponces* 



707, 

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FAEirctt SCttOOL. •• * ••» BBR^BREt. «• PBIYATECOLLEdTIO^. 



HOMAGE PAID TO RAPHAEL. 

> Raphael being dead was exposed in his house according 
to the custom of the times and of his country : the spot 
where he laj in state , was the same in which was still hung 
the picture of the Transfiguration. This immortal production 
of Art , an image in a manner living ^ thus brought in contact 
of the now lifeless artist, made on the beholders an im- 
pression that tim^ has not yet erasiid from the remembrance 
of men. The allusion of this approximation has been men- 
tioned in a number of writings « as the finest trait which the 
genius of flattery could haye invented to honour the obse- 
^ies of a great man. But this combination was purely acci- 
dental ; and we must beware believing , what has been 
asserted , that this picture was borne as a banner at Raphael's 
funeral. 

• The true grandeur of (he procession was that immense 
concourse of friends, of pupils, of artists, of renowned writers, 
of personages of every rank , who accompanied him amidst 
the tears of the whole city ; for the grief was general , and 
the Pope's Court shared in it. » 

M. Bergeret's picture appeared in the exhibition of 1806 , 
and was then universally appreciated.The painter has fully re« 
presented the feelings so perfectly described by M. Quatre^ 
m^re de Quincy, in his history of Raphael , from which the 
above passage is taken. 

This picture ornamented the GhAteau of Malmaison whence 
it went to Munich, and was sold , after prince Eug^ie Beau- 
harnais, death, to a Belgium Amateur : it has been engraved hj 
S ixdeniers. 

Width 8 feet ; height 4. feet 6 inches, 

707. 

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LA PRINCES.se SANSEVERO. 



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iWULPTUBE: ».■■ « *».■■*■ OOKItADIVI. ■■»»>»■«■■<■ ITAPLn, 



LA PRINCESSE DE SANSEVERO- 

Nous ayons eu occasion de parler dans le n*. 696 , da 
pHnce llajmond -de Sansevero el de la chapelle qu*il fit 
decorer k grand frais. II j fil placer les statues de son pere 
et de sa ni^re;Ia premiere sous Temblemedu vicUux ddsahusiy 
«t la seconde sous celle de la pudeur, 

Cette Ktatue fut faite yers le milieu du XVIII>ne. siecle^ 
par le y^nitienCorradini, sculpteurde Tempereur Charles VI. 
Efle joult alors d'une grande reputation , a cause de la sin- 
gblarit^ qu'offrait une figure couverte d'un voile assez l^ger 
pour laisser aperceyoir toutes les formes du corps , qui mal- 
faenreusetiient tkt sont pas belles. L*ajustement de la draperie 
<ti de la guirlande est aussi fort peu gracieux et manque de 
pureti. 

Haut. 7 pieds? 



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SCULPTHBE. • • COBBADIKI. ••••• »» 9APLBS. 



THE PRINCESS OF SAWSEVERO. 

We had occasion, under n*>. 696, to speak of Prince Rai- 
mondodiSansevero, and of iKe chapel which he caused to be 
expensiyely decorated. He had the statues of his father and of 
his mother placed there ; the former under the emblem of the 
Sinful Man UDdeceived , and the latter under that of Mo- 
desty. 

This statue was wrought about the middle of the XVIII''* 
century, bj the Venetian Gorradini, sculptor to the Empe- 
ror Charles VI . It then ac(piired great renown from the sin- 
gularity of seeing a figure covered with a yeil , light enough 
to show the full shape of the body, which, unfortunately, is 
not handsome. The arrangement of the drapery, and of the 
garland is also rather deficient in grace, and wanting in 
purity. 

Height 7 feet 5 inches? 



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S™ FAMILLK. 



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ieOLB ITikLieimE.*M» MICHBI,-jLKGS.»*>»e4B. PA&TICUtllR. 



SAINTE FAMILLE. 

En ezaminant scvec soin cette Sainte Famille , il est facile 
de se /eonyaincre que la composition est de Michel-Ange Buo- 
narroti ; mais la peinture est-elle de sa main? Plusieurs rai- 
sons en font douter. 

On salt que ce grand maitre peignit rarement k Fhuite, et 
ce tableau se trouve rep^t^ plusieurs fois ayec des changtt- 
mens dans les accessoires. II en existe un dans la galerie du 
BelyMere k Yienne. Un autre se yoyait autrefois dans la 
galerie du Palais-Rojal , il passa dans la possession de Henrj 
Hope ; fiit yendu k sa yente en 1816, et port^ depuis en 
Allemagne. Un troisieme peint sur marbre ayait et^ fait pour 
le marquis Ganucci de Florence : il resta long-temps dans 
cette famille, puis yinten Angleterre, oil il est main- 
tenant dans le cabinet de M. George Fairholme. 

On pent raisonnablement penser que Michel-Ange fit seu- 
lement le dessin de cette Sainte-Famille , et quje plusieurs 
personnet lui ajant demands dfen ayoir la peinture , queU 
ques-uns de ses eleves en firent un objet d*^tude, sous les jeuz 
d# leur maitre. 

Ce tableau n*en est pas moius pr^ieux , il est peint ayec 
grand soin et parf aitement consery^. 11 a ^t^ gray^, en 1671 , 
par Jules Bonasone , et aussi ayec quelques diflferences par 
d'autret grayeurs italiens de cette mdme epoque. 

Haut., I pieds 4 ponces; larg., 10 poucetr 



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ITAIflAJt SCHOOL, f* U. ANGBLO.** PBIYATB COLLECTION. 



THE HOLY FAMILY. 

When this Holy Family is carefully examined it is easy to 
be convinced, that th« composition is Michael Angelo Buo? 
narroti's; but is the painting frpoi his hand? Sereral reasons 
excite doubts respecting it. 

It is known that this great master seldom painted in oil , 
and this picture is often found repeated with devialions in the 
accessories.There exists a repetition of it in the Belyedere Galr 
lery ^t Vienna. Another was formerly in the Gallery of the 
Palab-Royal : it got into the possession of Henry Hope, was 
sold at his sale in 1 8i6, and afterwards was taken to Germany. 
A'third painted on marble was done for the Marchese Ganucci 
of Florence : it remained a long time in that family, butsubr 
sequently found its way to England, where it now is in M^. 
George Fairholme's Collection, 

It may reasonably be supposed that Michael j Angelo only 
did the design of this Holy Family , and that several persons 
having requested from him a painting after it, some of hit 
pupils made it an object of study under their master's 
directions. 

This picture is not the less precious for this circumstance, 
' it is very carefully painted and in high preservation. It was 
engraved, in 1 671, by Giulio Bonasone, and also ^with some 
deviations by other Italian engravers of that same period. 

Height 17 inches; width « 10 | inches. 



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iCQLE ITALI£KIIE» p—^—^TVSaOU —*> GAB. SiAXICULISft. 



PIUUM»E II ET SA MAITRESSE. 

Eq nommaoit Philippe. 11, oa $e rappelle le prince, fiis 
de Charles Y^ qui fuUlt^raatiyeqieoX roide Naples, rei d*Aiir 
gleterre^ rol d'Espagne et roi de Portvgal;. (jut avec un genie 
eleve, uue memoire prodigieuse, ne se servlt de ses faiciilt^ 
qoe pour le malheur de ceux qu il eul a gouyerner ; <yii pmir 
repousser liieresie, fit la guerre a toute FEurope, ei fioU par 
perdre la HolLande ; qei sut eu meme t^ups fair e fleurir les 
art9,et coiwtruisit le faxneux palais de rEscurial^ ou il reusit 
|iQ grand aombre de tableaux du plus grand m^rite; qui 
eofin se fitremarq^er par une. pieie appaxHBnte et une dissolnr 
tion de moeurs dout il perit viciine. 

Philippe Ilepousa d'abord Marie, fille du roi de Portugal., 
ensuite Marie la Catholique, fille de Henri yiII,,roi d'Anr 
gleterre , puis enfin la princesse Elisabeth , fille ^e Hewri U, 
roi de France. II eut aussi une grand noipbre de makresaes , 
c*est FuQe d'elles doiit Titien. nous a represents les traits. 
3o^ Xkom Be nous est pas pv venu , mais on peitt yoir qa.'elk 
elait d'une grande beaute. Les instruiiiens. et les liyres de 
fnusique qui sont pres d'eUe font penser ^*dle aimait cet 
art.^ et la flute qu elle tient a la maia donne k entendre 
quelle jouait de cet instrument* 

Ge tableau est tres^precieuz sous to»» les rapports. II ap« 
partini autrefois a la reine Christine de Suede jpassaenauiAt 
daB» la Galerie du Palais*Ilo;yal ; puis ehez lord Fit2*William, 
qpi le pao^a sSfOoo fr, Il.fut iegu^ par lui a Tuniyttrtit^. de 
Cambridge. 

II a ele grave par J. BonHlard. 

I^arg., 6, pieda i pouces ; haut., 4 pMa 8 pouees.. 



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ITALIAN SCHOOL. *»> TITtAK. •* PBITATt COLLECtlOlT. 



PHILIP n AND HIS MISTRESS. 

When Philip 11 is meDtioned , that prince is alluded to 
who was son ^to Charles V , and was alternately King of 
Naples, King-Consort of England, King of Spain, and King 
of Portugal ; who, with a loftj genius , and a prodigious me- 
mory, made use of his mental powers only to contribute to 
the misery of those whom he had to goyern ; who , to re- 
press heresy, waged war against all Europe, and finally 
lost Holland ; who , at the same time , caused the Fine Arts 
to flourish and constructed the famous palace of the Escu- 
rial ; and who distinguished himself by a simulated piety , 
and yet became the victim of the dissoluteness of his 
manners. 

Philip II at first married Mary, daughter to the King of 
Portugal, then Mary, daughter to Henry VUI, King of 
England; and afterwards Princess Elizabeth, daughter to 
Henry II , King of France. He also had a great number of 
mistresses , the portrait of one of whom , Titian has given. 
Her name has not reached us , but it is erident she was yery 
beautiful. The musical books and instruments near her, im- 
part she was fond of that art ; and the flute in her hand 
shows she used to play on that instrument. 

This picture is yery precious in every respect. It formerly 
belonged to Queen Christina of Sweden it afterwards came 
into the Gallery of the Palais Royal ; belonged to Lord Fitz- 
William who purchased it for 25,ooo franks, about L tooo, 
and was bequeathed by him to the G^mbridge Uniyersity. 
It has been engraved by J. Bouillard. 
Width 6 feet 5 i inches ; height 4 feet 1 1 inches. 

710. 



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L' ENFANT PRODIOUE, 



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S«<II>B ITAKitBlllllb. •<««>» SAL^» BOS^A. —^ GAB. FliBTlCVLUHI. 



LTENFAJST PRODIGUB. 

NoMS avoQs dej[a eu 9 parler de.la parabole. de rCufant Pro' 
di^e« ea qouq occupant di98 tableaux, de Fomp^e Baton i, 
n^', 32, datMuriilo^ b^. 3oi , etdeSpada, n«>. 5oi ; mais ces 
trois peintres OBt tous retpreseBti^ le r^tour de rEufaQJt Pro- 
digue chez 6oa pere. 

Salyator Rosa B0U9 le ibobIt^ seul el dftaa le plus- grande 
miiere* a rinstant ou leconniuss^ut «a faute^et se TOjani 
force d'enyier la. upurrilure des pourceAux ^n il garda U , U 
te dit : « II faut que je me leve » que j,*aiUe vers moa pere , et 
que je lui dise : oiob p^ , j*ai p^che. contre le ciel et conire 
yqqa^ je ne suis. plus digoe d*^lve appele Totre iilsf traitea.- 
moi comme Tub de tqa seryiteurs. • 

Qa o» saurait regarder ce tableau, 84U8^ etre emu de pitie : 
le pQintre^ en monlrant Textrtoe deoument du coyupable, 
fait ^galeBieut sentir qu'il e^t d'uae condUioa i|Ase% ^levee. 
l«s aBimaux soBt.d'uue yerile parfaite ^ iis parais^ent peiBU 
d'apres m^xire^ L^ couleur est admirable et rbarmoBie des. 
plus parfaite* 

Ge tableau etAii,eB 1767 , chez l^,cointe d'Oxford a Hong- 
tpB ; U fut alors graye , par F* Bayeueb. Qn le yoii maiu 
t^aiit k Saiut-^ete^sbourgy. dmik la gaUrie de FHermitage. U 
se trouye ici graye en ^eus. iairers du tableau. 

flaut. 6 pieds ; larg. 3 pieds 9 pouces. 



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ITALUH SCHOOL. •.BOSA. •M»HBaMITAOI GALLB&V. 



THE PRODIGAL SON. 

We hart already had occasion to speak of the parable of 
Ihe Prodigal Son , wben describing Ihc pictures bj Pom- 
peio Battoni, n<>. 3i; hj Murillo, n®. 3oi; and hj Spada, 
n^. 5oi : but those three painters haye all represented the 
return of the Prodigal Son to his father. 

Salyator Rosa displays him to us , isolated , and in the 
greatest misery, at the moment , when, acknowledging his 
errors , and seeing himself forced to enyj the yerj food of 
the swine which he tends, he says : *' I will arise, and go 
to my father , and will say unto him : Father , I haye sinned 
against heayen and before thee. And I am no more worthy 
tj be called thy son :make me as one of thy hired seryants. '* 

This picture cannot be seen without its moying the pity 
of the beholder : the painter in displaying the extreme wretch- 
edness of the sinful youth , at the same time shows that 
he is of a higher condition. The animals are perfectly true 
to nature, and seem to haye been taken from life. The co- 
louring is admirable, and the harmony most perfect. 

This picture was, in 1^67 , in the possession of the Earl 
of Oxford , at Houghton, and was then engrayed by F.-Ra- 
yenet : it now is at S^ Petersburgh , in the Hermitage Gal- 
lerjr. The etching giyeu here is reyersed from the original. 

Heght 6 feet 4 inches; width 4 feet. 



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icOLE ALLEMU^UPE •* ANG. KAUFMANN. »»^ GAL. DE VIEBME. 



HERMAN ET THUSNELDA. 

Ge ii'e»t pas dansTacite^ maisdans un draine du poeie Klop- 
stock , qu'An^Ii^e Kaufnumn a puise son sujet d'Herman , 
plu& genjeralemenl connu sous le Dom d'Arminiua. 

Les fomudables legioDS pomaioes a^^nteU aneaalies dans 
la bataille saDglante qui rendit la liljerte a la Gerinaiik , eo 
d^truiftaDt les legions de Yarns , Hermann revint sacrifier 
BUT Ie» aubels de ses peres. Ses compagnons presentent les 
fruits de leur victoir^ , le bouclier de Varus, deux ai^es et 
une autre ei^eigne romaine. T^u^elda , rffnd grace, aDieu, 
puis s'adressant au iietos qivelle aime, elle lui dit : « libera- 
teur de la patrie, uti^h de Thvsnelda lacouronne de feuiliage 
sacre. » En m^e temps ses compagnes repandent des fleurs 
autour. de lui, et un b^rd^, ^levant Igs bras vers Wodao, lui 
temoigne la reconnaissance du peuple. 

Ge tableau est un des plus beaux ouvrages d'AQg^Ii<lue 
Kaufmann ; la composition en est riche el rempJie de mouve- 
ment ; les figures out des poses gracieiises. Le colons et k 
clair-obscur sont superieura a ceux des autres tableaux de 
cette artiste , mais les caracteres de t^tes sdnt Irop effemines 
et Tapret^ des anciens Germains est tr^p adoucie. 

Ge tableau fait partie de la galerie du Belv^er a Vienne. 
II a et^ grave au pointille par J.-B. Durner r et par G. Kotr 
terba, pour la Galerie Imperiale puHiee par Gharles Lucas. 

Larg., 6 pieds lo ponces; haut., 5 pied«4 



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GERMAN SCHOOL .•♦•♦^A. KkVFHkVIX,—*^^ VIEITNA GALLERY. 



HERMANN AND THUSNELDA. 

It is not fr6m Tacitus, but from a Drama, by the poet Klop- 
stock, that Angelica Kaiifmann has taken her subject of Her- 
mann, more generally known under the name of Arminius. 

The formidable Roman armies being annihilated in the 
bloody battle which restored liberty to (Jermany; after the 
destruction of the legions of Yams, Hermann returned to 
sacrifice on the altars of his forefathers. His companions pre- 
sent the fruit of their victory, the Shield of Varus, two Eagles 
and another Koman Ensign. Thusnelda returns thanks tq 
God : then addressing her beloved hero, she says to him : 
« Deliverer of thy country receive from Thusnelda the gar- 
land of sacred lea res. » At the same time her companions 
strew flowers around him , and a Bard , raising, his hands to 
Woden , testi6es to him the people's gratitude. 

This picture is one of Angelica Kaufmann's finest works : 
its composition is rich and full of life ; the attitudes are 
graceful. The colouring and the light and shade are superior 
to those of this female artist's other pictures ; but the s^le 
of the heads in too efieminate, and the harshness of the an- 
cient Germans too much softened. 

This picture forms part of the Belvedere Gallery at Vienna. 
It is has been engraved in chalk hj J, B. Durer, and by G. 
Jiotterba for the Imperial Gallery published by Charles Lucas. 
Width 7 feet 3 inches ; height 5 feet 4 inches. 



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ECOLE FRAN9AISE. —**^ POUSSIN. •♦»•»♦ CAB. PARTlCqUER 



MOISE EXPOSE SUR LE NIL. 

Ajant fait con naiire les motifs de Texposition de Mo'ise, lors- 
<pie, 6OU8 le n<>. GSy , nous avons donne ce meme sujet peint 
par RomauelU, nous n*aurons rien a ajouter relatiyement 
It sou bistoire. 

Cest, en i654t etaut iige de soixante ans, que Poussin fit 
pour son ami Stella, ce tableau de Moise expose sur le Nil. 
Toujours sublime dans ses compositions , 1# peintre a su 
reunir daj^sun m^me tableau des expressions variees, quoique 
tons les personnages soient mus par un sentiment semblable, 
Tinter^t qu'ils prennent au malheureux enfant dont I'exis- 
tence est menacee. 

L'enfant coucbe dans une corbeille endnite de bitume , ne 
connaissant rien du danger, est dans une parfaile security , 
tandis que la mere parait desolee de n'avoir d'autre mojren 
pour le sauyer du massacre general , que de le laisser a I'a- 
bandon sur le fleuve. La soeur de Mo'ise, yojant Tenir la fille 
de Pharaon , semble se livrer a Tesperance et fait signe a sa 
mere de se retirer en silence. Deja le yieux Amram s'eloigne 
avec resignation de ce lieu , et emmene avec lui Aaron qui 
semble temoigner quelque ^tonnement de ce qu'on laisse ainsi 
son jeuue frere. 

Le pajsage est un des plus beaux qu'ait peinfs Nicolas 
f^oussin. Les bautes tours, les palais , les fabriques indiquent 
une grande ville, le fond est tres-riche et tres-varie. 

Ce tableau a fait partie de la galerie du Palais-Rojal, ii est 
maintenant dans la possession du comte Temple, qui Ta pa^^ 
30,000 francs. |11 a et^ grav^ par Glaudine Stella, en 1613 , 
et depuis par Gharleau et par Benoit Audran. 

Larg., 6 pieds 4 pouces ; baut., 4 pieds 8 pouces. 

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PBCKCl SCBOOL. •••* POUSSIH. v***^ PRIVATE COLLECTIOIT. 



MOSES EXPOSED ON THE NILE. 

Having giyen tbe motives of the exposure of Moses ; when, 
under D^. 65;, we described the same subject, painted bj 
Romanelli , we have nothing to add relative to that storj. 

It was in i654, that Poussin being sixty jears old, painted, 
for his friend Stella, this picture of Moses expdsed. on the 
Nile. Ever sublime in his compositions, this artist has found 
the means to combine in the same picture varied expressions, 
although the personages are all excited bj a similar feeling, 
the interest taken in the fate of the unfortunate child whose 
very existence is threatened. 

The infant, in a basket daubed with pitch, unconscious of 
any danger, lies in perfect security; whilst its mother is in 
despair at having no other means to save it from the general 
massacre that to abandon it on the river. Moses* sister, per- 
ceiving Pharaoh's daughter approach, seems to yield to hope, 
and beckons her mother to withdraw in silence. Old Amram 
has already retired with resignation from the spot, taking 
with him Aaron, who appears to feel some astonishment at 
his young brother being left thus. 

The landscape is one of the finest painted by Nichola% 
Poussin. The high towers, the palaces, the buildings, display 
a vast city, and a very rich and highly varied back-ground. 
This picture formed part of the Gallery of the Palais- 
Royal : it now is in the possession of Lord Temple, who paid 
for it 20,000 franks, about L. 800. It, in 161 J, was engra- 
ved by Claudine Stella, and since by Chartcau, and by 
Benoit Audran. 

Width 6 eet 9 inches j height 5 feel. 

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'MELEAGRfcl. 



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SCULPTUBE. •» ■♦ AHTIQUB. ••■—>•* « «•»> VATl€A!f . 



M^LfiAGRE. 

Fils d'OEnee, roi de CaljrJon, Meleagre fut un des Leros de 
la Grece ; il eut part a la conquete de la Toisou-d'Or ; et, 
dans la cbafise du sanglier de Caljdon, G*esC lui qui tua Fani- 
mal prodigieux qu'avait suscite la vengeance de Diane. Parmi 
les cbasseurs reunis a cette occasion , Ton comptait Castor et 
Pollux, Thesee et Pirithoiis, Ljncee, Nestor encore jeune, 
Laerte,pere d'Ulysse, etla belle A(alante. Meleagre en devint 
amoureux , et cette passion fut la source de tous ses malheurs. 
Lorsqu'on fut parrenu a faire sortir le sanglier de la foret oil 
il s*e(ait retire, plusieurs chasseurs lancerent sur lui leurs 
dards et leurs javelots. Atalante le blessa la premiere d'un 
coup de ilecbe , ce qui ranima le courage de ses compagnons 
et fit tombersurTanimal une grele de traits. Enfin , Meleagre 
lan^a son jayelot et frappa le sanglier sur le dos : pendant 
que la bete s'agitaitetse debattait,yomissantdes ilo(s d'ecume 
et de sang, le jeune beros lui passa son epieu au travers du 
corps. Tous ses compagnons jetereul des cris de joie et vin- 
rent le felioiter. Meleagre, tenant son pied sur Fanimal et 
prdt k lui couper la t^te , s'adressa a Li belk Atalante : il est 
juste, lui dit-il, que tous partagiez avec moi I'honneur d'une 
victoire a laquelle vous avez eu tant de part. £n disaht ces 
mots, il lui donna la hure du sanglier, ce qui fit grand plaisir 
k Atalante. Jaloux de cette distinction , Toxee et Plexippe 
arracbereut a la princesse la depouille qu*elle yenait de rece- 
Toir et Meleagre, outre d^un tel afiront, se jeta sur ses deux 
oncles et les tua. 

Cette statue est maintenant au Vatican, Elle a ete gravee 
par Perier, Auden-Aerd, Cunego , Bossi et Gu^rin. 

Haut., 6 piedfl un pouce. 

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SCULPTUBE ——^p^—' ANTIQUlfc. •- FRENCH MUSEUSI 



MELEAGER. 

Meleager, the son of Eneas, King of Galjrdon, was one of 
the Grecian heroes ; he shared in the conquest of the Golden 
Fleece ; and, in hunting the wild boar of Galjdon , it was he 
who killed the dreadful animal raised bj the yengeance of 
Diana. Amongst the hunters, who met on this occasion, were 
Castor and Pollux , Theseus and Pirithous, Lynceus, Nestor, 
yet a jouth, Laertes, the father of Uljsses, and the beautiful 
Atalanta. Meleager fell in love with her, and this passion was 
the origin of all his misfortunes. When thej had succeeded in 
driving the wild boar from the forest, whither it had sheller- 
ed itself, several huntsmen hurled at it their darts and jave- 
lins. Atalanta was the first to wound it with an arrow , 
which renewed the courage of her companions, and brought 
on the animal a shower of darts. At length Meleager threw 
his javelin and strue kthe wild boar on its back ; whilst the 
beast was struggling and vomiting torrents of foam and 
blood, the joung hero thrust his lance through its bodj. All 
his companions uttered cries of joy and came to felicitate 
him. Meleager with his foot on the animal and on the point 
of cutting ofiP its head, addressed the beautiful Atalanta : 
c It is but right, said he, that jou should divide with me 
the honours of a victory to which you have so much contri- 
buted. » He then presented her the wild boar s head, which 
imparted great satisfaction to Atalanta. Jealous at this dis- 
tinction, Toxeus and Plexippus snatched from the Princess, 
the spoil she had just received; but Meleager, irritated at such 
an insult, threw himself on his two uncles, and killed them. 

This statue is now in the Vatican. It has been engraved by 
Perier, Auden-Aerd, Gunego, Bossi, nd Guerin. 

Height 6 feet 5 inches. 

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LA VIERGE ET L' ENFANT JESUS. 



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fcta^n italiexhe. **— aNt. AtLESRi.«M< uvsie be jtitLU. 



LA VIERGE ET L'ENFANT JESUS. 

Bn donnant ce tableau du Musee de Naples , oii il est desi^ 
^De sous le nom de la Zingarellaf nous devons dire qu'il en 
exisle plusietirs copies (brt remarquables. Mais ce qui Test en- 
core daTantage c'est que M. Fairholme de Londres possede 
un tableau que Ton doit regardcr comme original , puisque, 
6eiid>lable par la pose du personnage principal, ii sy trouve 
des differences notables qui ne peuTent etre de la main d'un 
copiste. 

Dans le tableau de M. Fair hoi me on voit k droite saint 
Josepb asflts, ayiMt son dne pres de [lui. Deux lezards s'aper 
^ivent sur le devant pres des pieds de la Yierge. A gauclie 
se trouvent deux lapins Tun aupres de I'autre, et deux anges 
settlement occupent le baut du tableau. 

M* George Fairbolme , amateur distingu^ , a Tojage 
dans le but de bien connaitre les tableaux du Gorr^ge. 
Gelui-ci est peint sur bois avec le plus grand soin et d*une 
parfaite conservation ; c'est un objet du plus baut prix. 11 se 
trouYait a Kome cbez le comte SeveroU , en pendant avec 
un Christ au Jardin des Oliviers. 

La gravure que nous donnoos est d'apres le tableau de Na- 
' pies , il a ete grave par Rossi et par Porporati. 

Haut. , I pied 7 pouces ; larg. , i pied 3 pouces. 



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ITALIAN SCHOOL. «•«• A. ALLEGRI. ««•« KAPLES MUSBVll. 



THE VIRGIN AND INFANT JESUS. 

In giving this picture from the Museum of Naples^ where 
it is designated under the name of the Zingcarella^ we must 
mention that there exist several verj remarkable copies of 
it. But what is still more singular, is that M^^. Fairholme of 
London , possesses a picture which must be considered as the 
original , there being marked differences in it that cannot be 
from the hand of a copjist. 

In M'. Fairholme's picture, St. Joseph is seen, on the right, 
sitting with his ass near him. Two lizards are discernible, in 
the fore ground, near the Virgin. On the left are two rabbits 
near each other, and two angels only, occupy the upper part 
of the picture. 

M**. George Fairholme is a dbtinguished amateur, who tra- 
velled with the view of becoming well ac(piainted with Cor- 
reggio's pictures. This is painted on wood with the greatest 
care, and b in perfect preservation : it is an object of the 
utmost value. It was at Rome, in Count Severoli's possession, 
as a companion to a Christ in the Garden of Olives. 

The etching given here is from the Naples picture ; it has 
been engraved by Rossi, and by Porporati. 

Height 10 inches; width i6 inches. 



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icOhH ITALIEKNE. •««♦ VASARI. ••^UVS. DE BOL06VE. 



tA c4:n£, 

PAR LE PAPE SAINT GREGOIRE. 

L^Eglise, pour faire la commemoration de la demiere Gene 
du Sauveur avec 86s apdtres , est danS Fusage de reunir, le 
Jeudi Saint, douze patiyreS qui regoivent un repas, auquel 
preside le cure dans sa paroisse , F^veque dans sa Cathedrale, 
le pape au Vatican et chaque prieor dans son couvenl. 

Yasariydans son ouvrage, doniie sur son tableau une notice 
curieuse k connaitre , et dans laquelle il dit : « J'ai peint 
satnt Gregoire k table avec dduze pauvres , parmi lesquels ce 
saint pddtife r^prdseute Jesus-Ghrist. La G^ne a lien dans un 
courent d'Olivetains ^ je Fai fait dessert ir par les mointfs de 
cet ordre , afin de les rassembler dutour de la table , selon 
la place quails voulaient y occuper. Le pdpe est repr^sente 
80U8 les traits de Gl^ment YIL Plusieurs grands personnages 
sont pr^ de lui ; de ce nombi e est le due Alexandre de 
M^dicis , a qui j'ai touIu temoigner ma reconnaissance et 
ndoli admiration. J*ai represente aussi plusieurs de mes amis. 
Parmi Icis dozliestiques , on retrouye quelques freres lais qui 
me seryaient; puis d^autres personnes attachees au c'6uv6nt , 
telles que le depensier et le sommelier. Enfin , on j distin- 
tingue Fabbe Seraglio , le general don Gyprien de Yerone et 
le cardinal Bentiyoglio. » 

Ge tableau fut peint sur bois pour le r^feeloire du monas- 
tere de Saint-Michel in Bosco, 11 est maintenant au mus^e de 
Bologne. II a ^te gray^ par G. Tomba. 

Haut., IS pieds s pouces; larg,, 8 pieds 4 pouces^ 



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ITALUV SCHOOL. *—•• VASARI. •««*«• BOLOGVA MUSEUM. 



THE LAST SUPPER. 

COMMEMORATED BY S«. GREGORY. 

The Church for the purpose of commemorating Our Sa- 
viour 8 Last Supper with his Apostles, is in the habit of call- 
ing together, on Maundjr Thursdaj, twelve poor persons, 
who partake of a meal at which the Curate of the parish pre- 
sides, the Bishop in his Cathedral, the Pope in the Vatican. , 
and each Prior in his Convent. 

Vasari, in his work, gives a curious description of this 
picture ; he sajs : « 1 have delineated St. Gregory at table 
with twelve poor persons, amongst whom this holj Pontiff 
represents Jesus Christ. The Supper takes place in a convent 
of Olivetans ; it is served by the monks of that order, so as 
to assemble them around the table, according to the places 
they wished to occupy there. The Pope is represented un- 
der the likeness of Clement YIII. Several high personages 
are near him ; among the number is the Duke Alexander di 
Medici, to whom I wished to testify my gratitude and my ad- 
miration. I have also represented several of my friends. 
Amongst the servants are some foster-brothers who used to 
wait upon me ; also other persons belonging to the convent , 
such as the Purveyor and the Butler. Finally the Abbate Se- 
raglio is seen there , as also General Don Cyprian of Verona, 
and Cardinal Bentivoglio. » 

This picture was painted on wood for the Refectory of the 
Monastery of San Michele in Bosco ; it now is in the Museum 
of Bologna. It has been engraved by G. Tomba. 

Height 1 5 feet; width 8 feet lo inches. 

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ECOLB ITAI^IEirilE. ^■• • ■■> ROOS. ——■ €AB. PARTIGDLIIiA. 



rUE DE TIVOLI. 

' .i^jkilippe Roos; ne a..Fraacfdrt sur ks BhiD , babila long" 
leijDps Tivol) t pres de Borne ^ et , pour cette raison;, il est 60U'» 
y^f^i nommeMasa,dc Jivoli, 

.P^iatre de pay^age^ il ^xcellait surtout dacis la mafii^re 
de^i^ndre les animaux dont il omait le devanl deses la- 
lileaux. Gelui -rcl pn^sente beaucoup plii& d'eteudue qu'il 
u'etait daos ThiaJbiiiide^deJe faire, il olfre la ^iie de la «non^ 
togoe de Tivoli, et du petit Temple qui la siinnoDte. 

Le.groupe des deux caches qui ee battent est (oueh^ avec 
esprit : les patces que Tob ¥oit sar la gaucbe sent bien pkc^, 
mais ils fontToir combien le maitre ^tait faible sous le rap* 
pOTt du dessiu de >k figure. 

Ce tableau ^tait, en 1765^ eii Angle terre , dans le cabinet 
de M. Iladlej.jll fut alorsgrave.parGuillanme Elliott. 

Larg. 6 pieds 6 pouces , baut. 4 pied 4 pouces. 



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ITALIAH SCHOOL. ••■- ROOS. —*^ PRIVATE COLLECTION. 



A VIEW OF TIVOLI. 

Philip Roos, who was bora at FraDkfort on the Rhine, resided 
for a long time at Tivoli near Rome and, for this reason is of- 
ten called Rosa di Tivoli. As a landscape painter he particular! j 
excelled in tendering the animals with which he adorned 
the fore-grounds of his pictures The present one offers more 
extent than he usually gave : it represents a -view of the moun- 
tain of Tivoli, and of the small temple that crowns it. 

The group of two cows fighting are touched off with 
spirit : the herdsmen , seen on the left, are well placed , but 
they show how deficient that master was with respect to draw ' 
ing the human figure. 

This picture, in 1765, was in England, in M"^. Hadley's 
Collection; and was then engrayed by William Elliott. 

Width 6 feet i x inches ; height 4 f«et 7 inches. 



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EPrCIERK DE VILLAGE. 



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icOLE HOLLANDAISB. •*•«- G. DOW. •^^•^ MUSis FRANgAIS. 



EPICliRE DE VILLAGE. 

^oujours parfail dans les details, sans nuire k rensemble, 
Gerard Dow a rendu avec un soin etonnant une scene des 
plus simples. Les t^tessont d'une naivete et d'une verity par- 
faites , Fexecution est admirable et ne laisse rien a desirer. 

Ce tableau peut ^tre considere comme Fun des plus pre- 
cieuz ouvrages de cet habile peintre. Peint sur bois, il a ete 
apporle en France il j anoipbre d'annees ; ii a successiyement 
d^core les plus riches cabinets de Paris. Dans les ventes pu- 
bliques ou il a passe , il n'a jamais descendu au-dessous de 
17,000 fr. On le voit maintenant dans lagrande galerie du 
Louyre. 

II a ^te gray^ par Dambrun , pour le Mus^e public par 
Filhol. 

Haut., I pied s pouces; larg., 11 pouces. 



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DtJtCll SCHOOL. »*———^ O, DOW. •*•♦•♦ FREHCfi lIUSBUIf. 



THE VILIAGE GHiLNDLER. 

. Ever perfect in the details » without injuriag the. general 
effect, Gerard Dow, hai expressed with an attonishing care 
one of the most simple scenes. The heads are of a perfect 
simplicity and truth , the execution is admirable and leaves 
nothing to be desired. 

This picture may be considered as one of that skilful pain- 
ter s most precious works. It is painted 6n wood, and was 
brought to France many years back : it has successively or- 
namented the richest Paris Gdllections. In the public sales , 
where it has been put up, it has never been sold under 17,000 
franks , about L. 680. It now is in the Grand Gallery of the 
Louvre. . 

It has been engraved by Dambrun, for the Museum pub- 
lished by Filhol. 

Height 1 5 inches; width is inches. 



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LEONARD DE \TNCI MOURANT. 




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ECOLE rEA2f9AISE.'^**^MBSAGEOT.****««M-UUSEB FRAJI9AIS. 



LEONARD DE VII^dL MOURANT. 

FrUD^ois I*', ayant a|y|>ele en France le peintre florenlia 
L^nard, il-te.logea an palais mtgme de Fbnlainebleau etc^est 
Ik qti*il moorut en pr^ence et dans les bras du roi. 

VaSari, dans^on ouvrage sur les peintres Italians, rapporte 
aInAicette anecdote. « Le roi aVait coutume delui rendre de 
ffriiquentes risites-et liii l^moignaitbetiucoup d'amilie.Unjour, 
L^Dttard ^'^ant souleye'de son lit par respecl, lui parlait de 
0«A sbUfirances et luiexpritnait le regret de n'avoir pu i>orter 
tiyn aH h uo plus liatrt point de perfection. 11 lui survint 
alprs unparoxisme avant-coureur de la mortjle roi s'appro- 
eha- pour lui donner du secours et Leonard expira dans ses 
bras , eiant alor^ dans sa sbixante-qiiinzieme annee. » 
' <}e'tld)1eatr/falt pcmr le roi Louis XYI, parut au salon de 
1781'; depuis il fht eleCut^ en tapisserie,a la manufacture des 
eobellns el- a et^ grav^ par J.-C. Le Vasseur. 

On pourrait d^sirer plus de noblesse dans les caracteres , 
un dessin plus pur ; mais k Tepoque ou yiyait Fr. Guiilaume 
M^uageot, I'^cole fran^ise sortait a peine de la mauTaiae 
route d'ou I'avait liree M. Vien, «t ce tableau fut regar4<^ 
alors comme un objet d'autaut plus meritant , que sa couleur 
mdme est assez brillante. 

Haut., 10 pieds; largi, io.pied«« 



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fbeuch school. ••»• mbnageot. *—■ raBiicH museum. 



DEATH OF LEONARDO DA VINCI. 

Francis I , having invited to France the Florentine painter 
Leonardo da Vinci , lodged him in the very palace of Fon- 
tainebleau, and it was there that he died in the King's arms. 

Vasari, in his work on the Italian Painters, thus relates the 
anecdote, « The King used to pay him frequent visits , and 
testi6ed much friendship for him. One day Leonardo , out 
of respect, raising himself on his bed , spoke of his sufferings 
and expressed his regret at not having been able to carrj his 
art to a higher degree of perfection. At that moment he had one 
of those paroxjrsms, the fore-ruuners of death ; the King ap- 
proached, to give him assistance, when Leonardo expired in 
his arms : he was then in his seventj-fifth year. * 

This picture, which was painted for Lewis XYI , appeared 
in the exhibition of 1781 : it was afterwards wrought in 
tapestry, at the manufactory of the Gobelins, and has been 
engraved by J. C. Le Vasseur. 

More grandeur in the characters, and a more correct style 
of drawing would have been desirable : but in F. Guillaumt 
Meoageot's time, the French School was scarcely emerging 
from the bad road out of which it was drawn by M. Vien; but 
this picture was looked upon as an object the more deserv- 
ing, as its colouring is ramer brilliant. 

Height 10 feet 8 inches ; width xo feet 8 inches. 



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NYMPH E SE BAIGNANT. 



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NYMPHE SE BAIGNANT. 

Peodant le XYIIK^^k, la «eidptiire^ait aiis^ tom- 
L^ <d«pA k >(i^cadefi«e ; et , iandis <pie Vien cherdiait it' 
nmenu'* lai'fetiitiiTe> dans 'la iomitte route , JuHen , elelre tie 
Goustouv iDMitBait qii il arait une ttemblable insptmtiott ; soq 
genie leiramena k rimitatum de la Dature^ et cette ckarmante 
figure demontre ayec quel soin il Fayait ^tudiee. 

Xa feiue -Marie- Antoiaetle ay^ait' le gout des plaisirs 
oiAKip^tFei: :\ tandtSi^'elle ci^t le joti liameau'du x^^it 
Xmaaofi » Iaskh chectthait khn faire trooper les m^mes plai- 
stri a.BbatisbaiiiUet..UQe laitene yenait d'etre -eonstruite dans 
ce pare, em- tyyfii tet le peiatre de passage, Robert, ^i 
etaii.en^aelque sorte le ^decorateiir de-ce sejour royal , indi^ 
qua ^ieB>c«mmeje ttatuaire qiB devaitaroirla preference, 
pour les sculptures. -dontoAyouIait dmer la laiterie. 
■. JUkstaine fui gea^ralcBient^dmH^, et si on<peut parle'r 
ajMe eloge de sa pose graeieute ^ de la beauty -de seat formes , 
^tehmme de sa|iikjsionoiiiie,^n doitdire airisi ^e rien uef 
MAD^e & reflBecution , poisque le marbre est d un grain ires 
beau et d'une blancheur parfaite. 

Gette statue decore depuis IcMig-temps une des salles du 
palais du Luxembourg. 

Haut«, S pieds. 



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SCULPTVBE. ————••■ JULIBN. * — •■ FaBHCH MUSEUM. 



A NYMPH BATHING. 

Sculpture during the XYUI century had also fallen into 
decay; and whilst Vien was eneaTOuring to bring back 
painting into a fair path, Julien,apupil ofGoustou, displayed 
that he was similarly inspired; his genius carried him to imi- 
tate nature, and this charming figure shows with what care 
he studied it. 

Queen Marie Antoinette was taken with rural pleasures : 
whilst she was forming the pretty hamlet of the PetU'Trianon , 
the King was seeking to make her derive the same satisfac- 
tion at Rambouillet. A dairy had just been constructed in the 
park, in 1778, and, Robert the landscape painter, who, in a 
manner, was the artificer of this royal abode, named Julien 
as the statuary, who ought to have the preference for the 
sculptures, which were to ornament the dairy. 

The statue was generally admired , and if we can praise 
the graceful attitude, the beauty of the forms, and the delight- 
ful countenance; we can also add, that nothing is wanting 
as to the execution, for the marble is of a very beautiful 
grain, and perfectly white. 

This statue adorns , since a long time, one of the Halls of 
the Luxembourg Palace. 

Height 5 feet 4 inches. 



710. 



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TABLE 



D£S 



PEINTURES ET SCULPTURES 

COITTENUBS DAKS LES LlVAAISOITjS I99 A I20 BIS. 



^i Sftinte Faraille. 

ojo AsMmptionr de la Vierge. 

••• Garde civique d' Amsterdam. 

« »a On pillage. 

653 NapoleoD honor. !e malheur. 

^4 Apollon cfaei Thetis. 

/ 655 La Cbarite. 

k656 La Transfiguration. ' 

J 657 Molse irouve sur le I\il. 

\ 658 Miracles de saint F. Xavier. 

1 659 Junius Brutus. 

[ 660 AntinoQs. 

/ 661 La Vierge et 1' Enfant J^us. 
I 66a J^ns-Christ chez Simon. 
1663 L'aroourd^sarme. 
{ 664 Lia femme adullere. 
1665 Uranie. 
I 666 L'Aurore. 

667 Diane et Calisto. 
66S Le Christ mort. 

669 Mascarade bachique. 

670 Lecon d anatomie. 

671 Baccbanale. 
67a Saint Jerdme. 



IUpbakl. Mus^e de Madrid. 

An. CkVitikcnx.Musee de Bologne. 
Vauokr l^xiAt.Musee d' Amsterdam, 
D. Rtckabrt. Galerie de Fienne, 
DcBRKT. Musee/ranfoit. 

GiaARDOir. Fersailles, 

Andrb obl S. Mttsie franfois, 
L. Cakkacbk. Musee de Bologne. 
RoMAHELLi. Musee franfots. 
Rubers. Galerie de Fienne. 
G. Lbtbibrb. Musee du Luxembourg. 
Musee CapitoUn. 

TiTiEN. Rome, 

P. Galiari. Genes. 

Brorzih. Cabinet partieulier, 

P. Brbdgbel. Galerie de Munich. 

Lk Sdkdr. Muaie franfM, 

MicoEi^AncB. Florence. 

Titier. Cabinet partieulier. 

Ar. CktitikCBX.Musee fran^ais, 
Vbla5QUBz. Musee de Madrid. 
Rembrarot. Amsterdam. 
N. PoussiR. Cabinet partieulier. 
P.ToRRiGiARO. Seville, 



1 13 



673 Fuite en Egypte. 

674 Le lavement des pieds. 

675 Paysans en goguette. 

676 La Vierge et rEnlaat 
672 Clytcmnestre. 
670 Apotheose d'Auguste. 

S9 Danae. 
o Pieces de Cana. 
..681 Motoe. 
"* \ 68a Cavalier d I'auberge. 
I 683 Frappement da rocher. 
[ 684 Latone et ses enfans. 



Goioo Rbri. Cabinet particuUer, 
J. MuzsiARO. Reims. 
Var Harp. Cabinet partieulier. 
J^us. G. ntOKkXZ^.Gahriede Munich. 

P. Gubrir. Musee du Lusembourgi 
DioscoRioB. Cabinet de Fienne. 

TiTiBR. Galerie de Fienne. 

P. VbrorAsb. Galerie de Dresde. 
Fr. Parmbsar. Rome, 
G. Mbtzo. Cabinet partieulier. 
N. Poossiw. Galerie del' Hermutage, 
B. OK Marst. F*r$ailU$, 



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II 



ii5 



ii6 



117 



118 



TABLE DBS PECITURES ET 8GULPTUBES , £Tb. 



' 685 Jtuioa allaiUot Hercule. 
I 686 Scene da Deluge. 

"" 1 Jesus-GbrisI eler^ en croit. 

J ReuDiOD jojeuse. 

f 689 Hercule combat let CeoUores.Li Bann 

6go C^res. 



J. TiKToasT, Cabinet partieulitr. 
A. Toiico. MuseefranfoU. 

Anvers. 

Musee de la Hay. 

Paris. 

Musetf ran fait. 



ROBKIIS 

J. Stkbr. 



\ 691 Assomption de la Vierge. Aw. CkVLtacnK.Galerie de Dresde. 
1 69a V^nus se'mirant. Titibm. Cabinet particuUtr. 

I 693 Saint Gbarles Borromee. J. V&11 Oosr. Musie franqeUs. 
I 694 Louis XIV comm. une attaque.VAiio. Hz^nxK-Musiefrangtus, 

695 Brutus condamne ses Gls. Fookr. Galerie de Fienne. 

, 696 Sangru, prince de Sanserero. F. Quxiaou. Naples, 

7 Pluton entrant anz Enfers. J. Rohaih. Palais da T. 
[ 698 Sainte Famille. Fr. Alb&ri. MusSe franfois. 
1.699 Gnisiniere bollandaiae. G. Dow. Masie franqw, 

1 700 La Trinite* Rdskrs. Musee d' Anders, 

I 701 Atelier de M. Horace Vernet. Hor. Vrrrkt. Cabinet particuUer. 
70a Venua G^nitriz. Musis /ramfais* 



' 708 Jupiter et I.Ma. P. Giliari. 

1 704 Gommunion de saint Jerome. P. Zampibri. 
I 705 Gambyse faitarr^ter un juge. A. Gl&bssbrs. 
I 706 Gambyse fait punir le juge. A. Glabssbrs. 
I 707 Honneurs rendus a Raphael. Bbrobrbt. 
700 La prin cease de Sanserero. Gorradiri. 



709 



Sainte Families 



i 710 S'hilippe II etsa maitresse. 
I 71 1 L' Enfant Ih>odigue. 
"9 V7ia Hermann et Tbusnelda* 
' 718 Moise expose sur le Nil. 
714 Mel^agre. 

[ 715 La Vierge et I'enfant Jesus. 

[716 La Gene par saint Gregoire. 

I 717 Vue deTivoli. 

(719 Epiciere de Yillage. 

I 719 Leonard de Vinci mourant. 

[ 730 Njmpke an bain. 



Migbbl-Ahob. 

TlTlBR. 

Salv. Rosa. 

A. KAUrMARH. 

PODSSIR. 



a. gorrbob. 
Vasari. 
P. Roos. 
G. Dow. 
Mbraobot. 

JutlBR. 



Cabinet partieulier. 

Rome, 

Bruges. 

Bruges. 

Cabinet particuUer. 

Naples. 

Cabinet particuliew. 
Cabinet particuUer. 
Cabinet oarticuUer, 
Galerie de Fienne, 
Cabinet particuUer. 
Faticam. 

Musee de Naples 
Musee de Bologne. 
Cabinet partic uUer. 
Musee fremitus. 
Musee franfois, 
Musee franqtus. 



lao bis. 



[ Tilres , Tables. 

[ Notice surTitien Vecelli. 

— sur Nicolas Berghero. — 
•— sur Gbarles I<ebrun. — 
— - sur Bartbelemi deSt. Marc. .— 

— sur Frederic Baroche. — 



Notice sur Francois Albaui. 

— Pierre Berettinl. 

— sur Joseph Cesari; \\ ■ 

— sur Otto Venins. :... 
sur Gbarles Du Jardin. 
SUP Laurent dis La fiirc^^ 



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INDEX 



PAINTINGS AJVD SCULPTURES 

COITTAINED IW THE PARTS lOQ TO liO BIS inCLUSIYE. 



109 



Hi) The Holy Family. 

650 The Assumption. 

65 1 The Amsterdam civil Guard. 
65a Pillaging. 

653 Napoleon sal . wound* prison. 

654 Apollo in the Bath» 

i655 Charity. 
656 The Transfiguration. 
657 The Finding of Moses. 
658 S«. Francis Xarier. 
659 Junius Brutus. 
660 Antinous. 



R&PBAKi.. Madrid mu*eum. 

An. Cahkacci. Bologna. 
Vardkr HcLST.^nwtert/am museum, 
D. RTCKAsaT. T^ienna gallery, 
Dbbabt. French museum* 

GiaiAooH. Versailles. 

A. DKi. SiRTO. French museum. 
L. Garbacci. Bologna. 
R011AHB1.L1. French ma^raas. 
Rubkhs. Vienna gallery. 

G.-G.LmrniM%K.Luaembourg museum. 
. • . . CapitoUne museum. 



1 661 The Virgin and Infant Jesus. Titiaw. 
I 66a J.-C. in Simon's House. " 

1663 Cupid desarmed. 
r664 The Adulterestw 
I 665 Urania. • 
^666 Aurora^ 



Rome* 
P. Vbrorbsb. Genoa. 
BBOnsmo. Private collection. 
P. BRKOGBBt.. Munich gallery. 
Lb Sobob. French museum, 
BDonABBOTi. Florence. 



1667 Diana and Calisto. 
668 A Dead Christ. 
669 Bacchanalians RcTelling. 
K 670 An anatom. Demonstration. 
A Bacchanal. 
I St. Jerome. 



Titian. Private collection, 

kn. CktmAcci J'rench museum. 
VBiiASOfUBK. Madrid museum, 
Rbmbbaudt. Amsterdam museum. 
N. PoDsaiif. Private collection. 
P. ToBmiaiAN0.5«r<7/e. 



[ 673 Flight into Ejnrpk. 
nflity. 



ii3 



Gmoo Rbbi. Private oollection. 
I 674 Chnst's Humiiitj. J> Mdxziaro. Rheims, 

] 675 Regaling in a Cabaret. Yam Habp. Private collection. 

I 676 The Virgin and Infant Jesus. G. nm CKkxx%.Mumch gallery, 

Clytemnestra. P< GtiBBix. Luxembourg museum. 

676 Apotheosis of Augustus. Diosco&idbs Vienna. 

TiTiAM. Vienna gallery, 

P. Vbborbsb. Dresden gallery. 
PABMiooiAifOt Rome, 
G. Mbtzv. Private collection. 
N. PoDSSiv. Hermitage galltry^^ 
B. OB Mabst. Versailles, 




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INDEX TO THE PAINTINGS AND SCULPTURES. 



6d5 JU119 suckling Bercnies. 

686 Scene from the deluge. 

687 The Elevat. of the Cross. 
A Merry Meetiog. 

689 Hercules and the Centaurs. 

690 Gores. 



J. TiiTOItST. PripateeoUectiom. 
A. VKaonKSB. Fmek mustum. 
Rdmhs. Ghent and Jntwerp . 

J. Stur. Hafue mm*tum. 

Le Bauif . Paris. 



[ 691 The Assumption. Ah. Gia«icci. DrttdengalUr^, 

\ 69a Venus at her Mirror. Titian. Private ooUeettom. 

1^3 St.-Ch. Borromeo. J. vau Oosv. French mmteum, 

\ 694 Lewis XIV direct, an Attack. Vahd. fiiVhtn. French museum. 
I 695 Brutus comdenm. his sons. Focxa. Vienna gaUerf. 

I 696 Sangro, Pr. of Sansevero. F. Qmiaou. Naples. 



118 



697 Pluto's afriTal in Hell. 
^8 The Holy Family. 
^9 Dutch cook Maid, 
^oo The Trinity. 

01 H. Vernet's painting Room. 

foa Venus Genitriz. 

io3 Jupiter and Leda. 
fo4 Communion of S^ Jerome. 
ro5 Iniquit. Judge arrested. 
106 Iniquit. Judge punished. 
[07 Homage paid to Raphael. 
ro8 The Priucess of Sansevero. 

709 The Holy Family. 

-10 Philip II and his Mistress. 

1 1 The Prodigal Son. 

19 Hermann and Thusnelrfa. 

i3 Moses exposed on the Nile. 

1 4 Meleager. 



GiUL. RoHiHO.Pa/asr* del T, 

F. ALBiHi. French museum. 

G. Dow., French mu s e m m, 
RiiBsas. jintwerp mueemm, 
Hoft« VxaiiKi'. Private coUectivm, 

. . V . . French musemm. 

P. ViaoniSK. PclvatecoUeetion. 
OoMBifico. Rom^. 
A. Claksssxs. Bruges. 
A. Claksskiu. Bruges. 

BsaGERKT. 

CoaaAoiAi. Naples, 

BuoniaaoTi. Private collection. 
TtTUii. Private colleeiion, 
Salv. Rosa. Private eolleetiom- 
A. RAoniARii. Fienna gallerf, 
PoDSSix. Private coUeeti^m. 
Vatican. 



i5 The Virgin and Inf. Jesus. A. CoaMOK. Naples museum. 
16 La»t supper by S». Gregory. Vasari. 
12 A view of TivoU. P. Roos. 

18 The village Chandler. G. Dow. 

19 Death of Leonardo da Vinci. Mbxiaobot. 
lao A Nymph bathing. Jdmbh. 



Bologna 

Private eoUeetion. 
French musesau. 
French museum. 
French 1 



lao his. 



[ Titles, Index. 

I Notice of Tisiano VceellL 

— of Nicholas Berghem. 

— of Charles Le Brun. 

— of Bartol. di SU Marco. 

— of Frederico Baroccio. 



Notice of Francesco Albani. 
^ of Pietro Berrettini 

— of Giuseppe Cesari. 

— of Otho Van Vees. 
~ of Charles Du Jardin. 

— of Laurent de La Hara. 



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